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915	yago	2	48	https://transcripts.cnn.com/show/lkl/date/2007-06-15/segment/01	en	Transcripts			[ "https://transcripts.cnn.com/assets/header.transcripts.gif", "https://transcripts.cnn.com/assets/1.gif", "https://transcripts.cnn.com/assets/1.gif", "https://transcripts.cnn.com/assets/1.gif", "https://transcripts.cnn.com/assets/1.gif", "https://transcripts.cnn.com/assets/shows_by_cat_white_header.gif", "https://transcripts.cnn.com/assets/1.gif", "https://cdn.cnn.com/cnn/images/1.gif", "https://cdn.cnn.com/cnn/images/1.gif" ]	[]	[]	[ "" ]	null	[]	2007-06-15T00:00:00		en			null	Return to Transcripts main page CNN Larry King Live Al Pacino Interview Aired June 15, 2007 - 21:00 ET THIS IS A RUSH TRANSCRIPT. THIS COPY MAY NOT BE IN ITS FINAL FORM AND MAY BE UPDATED.
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But the field is wide open for a scientific paper about how each entry in the current crop of movies made by actors resembles the on-screen persona of its first-time director. Tom Hanks’ That Thing You Do! is as smoothly winning as he is. Infinity, about the late Nobel laureate physicist Richard Feynman, displays the same soft-focus earnestness as its star-director, Matthew Broderick. Steve Buscemi imbues Trees Lounge with a Buscemic slacker kick. And Looking for Richard, an inventive, funny, garrulous examination/performance of Shakespeare’s King Richard the Third, all but vibrates with the energy of its brash creator, Al Pacino. The result is a neat, artistic high-wire act — and, as the Bard might have writ, a real kick/In the pants. It’s a daring thing Pacino seeks to do: Explicate the power and importance of studying Shakespeare in general, and Richard III in particular, for an American moviegoing audience more used to quoting ”Hasta la vista, baby” than ”A horse! A horse! My kingdom for a horse!” Even more cheekily, Pacino plops himself down at the heart of the story in a triple role: as the character of Al Pacino the actor, who wants to make a movie of the play; as Pacino the director, who’s trying to get a movie made; and as Pacino the intellectual popularizer, who’s trying to promote his subject. Working with his resourceful and patient collaborator, Frederic Kimball (who cowrote the narration), the actor yaks and prowls as he gnaws at the meat of the play and the meaning of the character, pushing his colleagues, hamming it up, and striding with actorly self-regard in his role as auteur. With his disheveled hair matted under a backward Scent of a Woman baseball cap, his beard stubble in a changing but constant state of ”can’t be bothered,” and his dark eyes observing closely from behind an impressive procession of chic eyeglasses, Pacino looks the parts. And with his considerable clout, he rallies some great fellow actors and deft moviemakers to participate. (In addition to Kimball, credit goes to coproducer Michael Hadge and, in particular, to cinematographer Robert Leacock.)
915	yago	3	44	https://twentyfourframes.wordpress.com/tag/al-pacino/	en	Al Pacino « Twenty Four Frames	https://secure.gravatar.com/blavatar/d7aa46c18fcbc9e958d920117d48842da9864b7cf29fa6a6bdc6b1715f25f45a?s=200&ts=1724146903	https://secure.gravatar.com/blavatar/d7aa46c18fcbc9e958d920117d48842da9864b7cf29fa6a6bdc6b1715f25f45a?s=200&ts=1724146903	[ "https://twentyfourframes.wordpress.com/wp-content/uploads/2017/05/humphrey-bogart9.jpg?w=397&h=248", "https://twentyfourframes.wordpress.com/wp-content/uploads/2016/03/godfather444.jpg?w=640", "https://twentyfourframes.wordpress.com/wp-content/uploads/2011/06/pacino-on-stage.jpg?w=300&h=205", "https://twentyfourframes.wordpress.com/wp-content/uploads/2011/02/panic-poster.jpg?w=198&h=300", "https://twentyfourframes.wordpress.com/wp-content/uploads/2010/02/serpico-poster206519-1020-a2.jpg?w=197&h=300", "https://twentyfourframes.wordpress.com/wp-content/uploads/2010/02/serpcio2a.jpg?w=300&h=242", "https://twentyfourframes.wordpress.com/wp-content/uploads/2010/02/serpico-lc-1a.jpg?w=300&h=239", "https://twentyfourframes.wordpress.com/wp-content/uploads/2020/03/the-late-show-kindlw-cover-004.jpg?w=188", "https://twentyfourframes.wordpress.com/wp-content/uploads/2019/08/make-it-write-book-cover-final2r-004.jpg?w=180", "https://twentyfourframes.wordpress.com/wp-content/uploads/2019/01/bitter-ends2-009.jpg?w=180", "https://twentyfourframes.wordpress.com/wp-content/uploads/2019/08/devious-tales-book-cover-final-1-of-1.jpg?w=180", "https://twentyfourframes.files.wordpress.com/2016/03/lessons-in-the-dark-cover-small-003.jpg?w=640", "https://johngrecoblog.files.wordpress.com/2016/02/cropped-john-banderlier-dsc2063-2065.jpg", "https://twentyfourframes.wordpress.com/wp-content/uploads/2014/03/spielberg_guide5_ss_697da926-bab1-44fe-83dd-df70360208c0_1024x1024.jpg", "https://twentyfourframes.wordpress.com/wp-content/uploads/2011/07/john-greco-photography-quarter-page.jpg?w=170", "https://twentyfourframes.wordpress.com/wp-content/uploads/2015/04/blyth-ebook-cover.jpg?w=287", "https://twentyfourframes.wordpress.com/wp-content/uploads/2015/05/jtlynch-author-photo.jpg", "https://twentyfourframes.wordpress.com/wp-content/uploads/2011/08/nray1.jpg?w=175", "https://twentyfourframes.wordpress.com/wp-content/uploads/2012/01/pm-photo.jpg?w=133", "https://twentyfourframes.files.wordpress.com/2010/08/classic-movie-blog-association.jpg", "https://i0.wp.com/i3.photobucket.com/albums/y82/dyjafi/bt_assoc_b_k.jpg", "https://twentyfourframes.wordpress.com/wp-content/uploads/2011/10/dennis-hopperbook-cover-final.jpg?w=175", "https://secure.gravatar.com/blavatar/d7aa46c18fcbc9e958d920117d48842da9864b7cf29fa6a6bdc6b1715f25f45a?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/d7aa46c18fcbc9e958d920117d48842da9864b7cf29fa6a6bdc6b1715f25f45a?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2017-05-16T07:36:52-04:00	Posts about Al Pacino written by John Greco	en	https://secure.gravatar.com/blavatar/d7aa46c18fcbc9e958d920117d48842da9864b7cf29fa6a6bdc6b1715f25f45a?s=32	Twenty Four Frames	https://twentyfourframes.wordpress.com/tag/al-pacino/	Ruth Eckerd Hall was advertising it as “Pacino: One Night Only” back during the latter part of last year; an evening of conversation, film clips and Q&A with the acting legend. It would be an “Inside the Actors Studio” type-setting, an interview with Al Pacino hosted by Steve Persall, the film critic for the St. Petersburg Times. We quickly purchased tickets and anxiously looked forward (at least I anxiously looked forward, my wife just waited) for the date to arrive. Then one Sunday morning in early November, I was reading the New York Times and there I see an ad in the Arts and Leisure section announcing Al Pacino will be performing on Broadway beginning November 13th and running through February 2011, in William Shakespeare’s “Merchant of Venice!” Hmm, it was during this period, Pacino was scheduled to appear at Ruth Eckerd Hall in Clearwater. How can he be in two places at the same time? Even an acting legend cannot perform that kind of magic. Soon the dreaded letter arrived from Ruth Eckerd Hall; Pacino’s appearance was postponed due to other commitments and will be rescheduled for a later date to be announced. It stayed that way for almost six months until we received notification that a new date had finally been set, May 31st. Oorah! There are few people who deserve the status of legend. In a time when the media deems every reality TV cast member a star or long time TV sit-com star, like say Betty White, a legend, true legends are indeed rare. Marlon Brando, Humphrey Bogart, John Wayne, Bette Davis and the recently deceased Elizabeth Taylor are legends. Betty White, not so much (I am not picking on Betty White, she certainly has endured, as much as I am on the silly “Entertainment Tonight” style media that uses the terminology so indiscriminately). Al Pacino fits the category of a true legend. Continue reading → “The Panic in Needle Park” is raw unnerved New York filmmaking from the 1970’s. Its locations reek with the underbelly of city life, the subways, dirty streets, and the infamous Sherman Park aka Needle Park. Al Pacino in his first leading role is on fire, gum chewing, chain-smoking and wired. This is Pacino, pre-Godfather, unadulterated and hungry. Directed by Jerry Schatzberg, a well-known photographer, who spent the early part of his career taking portraits of Bob Dylan, including the cover of his “Blonde on Blonde” album, Faye Dunaway, The Rolling Stones and Andy Warhol. Schatzberg would go on to direct other downbeat works like rarely seen “Puzzle of a Downfall Child” and “Scarecrow.” “Panic” opened in 1971 and died a quick death at the box office. It remained mysteriously missing from the world of video for 36 years until finally released on DVD in 2007. The 1970’s was a time when filmmakers made statements, provoked and were passionate about what they did. You could make a small art film and not worry about the commercial viability, at least not completely. The film is a disturbingly beautiful piece of work. An uncompromising bleak vision as filmed by Schatzberg whose use of improvisation and cinema verite style filmmaking puts you right there on the grimy streets with the protagonists. Unlike most drug themed films from this period “Panic” does not cater to the counter-cultures glorification of drug use, part of the reason it did not do well at the box office, as portrayed in such films as “The Trip”, “Psych Out”, “Wild in the Streets”, “Easy Rider” and “Head.” That said, the day after “Panic” opened in New York City another hard-core film about drug addicts opened also, this time the location is on the west coast, the little known “Dusty and Sweets McGee.” Continue reading → Heroes are in short supply these days. A recent article in the New York Times made me take another look at one real life hero from my own younger days. Sidney Lumet’s 1973 work, “Serpico”, based on Peter Maas’ bestselling non-fiction book of New York City detective Frank Serpico, who along with fellow officer David Durk, confronted wide spread police corruption placing their lives on the line in the face of a closed culture that best considered to leave things status quo. Maas’ book focuses on Serpico’s story reducing Durk to a supporting player, though one suspects he had to be more involved that the film lets on. In the film, Anthony Roberts portray Bob Blair supposedly Durk, under a fictional name. Serpico is a young Italian-American who seems is alone in his position as an honest cop. Surrounded by a closed society, the blue wall, that consents to police officers getting a free lunch, literary, receiving payoffs to look the other way, and extorting money from criminal elements allowing to “do their business” without interference from the law. An oddball within the police department, not just for his honesty and refusing to accept favors, but also in his rather bohemian lifestyle, at least bohemian for a police department filled with “straights” versus a “hippie” mentality. Serpico lives in the Village; he reads biographies of artists like Isadora Duncan. His girlfriend Leslie (Cornelia Sharpe) is a dancer with a seemingly waspish background. Serpico is the antithesis of your typical police officer wearing long hair and a beard in a time when the style was considered radical. We first see Serpico graduating from the police academy with his proud immigrant parents at his side. As a rookie, Serpico just observes his fellow officers, saying nothing preserving his own code of ethics though every other cop seems to be accepting favors, even if it is just donuts from a local coffee shop. When he eventually expresses his objections to his superiors, he is placated by superiors who promise an investigation but do nothing. He soon builds a reputation as someone who cannot be “trusted” because he’s honest. He is transferred from one precinct to another. No one wants him around; the honest cop cannot be relied upon. His continuous accusations are met with false promises that there will be an investigation. His life is in danger; the threats come from his fellow officers, not from the criminal elements he faces in the streets every day. Realizing the department will not clean up itself, Serpico and Blair leak the story to a major newspaper and the internal corruption becomes front-page news. Frank becomes a star witness in Mayor’s commission to investigate corruption within the police department. Transferred to a narcotics squad in Brooklyn, it all come to a tragic eruption when during a drug bust, two fellow officer’s stand by and watch Serpico be shot in the face. The film concludes with Serpico sitting at a pier with his dog as the final words on the screen tell us he is now living somewhere in Switzerland. Al Pacino gives a tense but controlled performance as Serpico, an intelligent and idealistic man who refuses to accept the status quo. At this early stage in his career, Pacino gave us some of his best work in a series of films that could not be sustained for long, “The Panic in Needle Park”, “The Godfather 1& 2”, “Scarecrow” and “Dog Day Afternoon”, it was one heck of a ride. “Serpico” also gives us a rarity in American film, a heroic Italian-American instead of the usual portrayal of Italian-Americans as underworld figures or stereotyped as lower-class goomba’s from Brooklyn or the Bronx. Still the film plays down Frank’s Italian-Americanism, we do not see much of Frank’s background, his parents are shown only when he graduates from the academy and in the hospital when he is shot, other than that, Frank lifestyle is free of ethnicity. He moved out of the old neighborhood and into the more bohemian Greenwich Village, his girlfriends are non-ethnic and or artistic types. Sidney Lumet has a feel for New York rivaled by only a few other directors (Scorsese, Spike Lee, and Woody Allen are others that come to mind) and during his career Lumet has had a special affinity for looking at corruption and the relationships between good cops and bad cops within the New York City police department. He has address this subject in at least four movies, “Prince of the City”, “Night Falls on Manhattan”, “Q&A” and “Serpico” with varying degrees of success. More than 35 years later “Serpico” remains a powerful and unsettling film. It’s not perfect, ii is marred specifically by an annoying soundtrack, and unlike, “All the President’s Men” a film made a few year later, by having to have use fictitious names for most of it real life characters. The film also gives the impression that practically the entire police department, except for two or three individuals, were corrupt, a fact that is hard to believe. That said the corruption that did exist at that time had to be wide spread enough that the true life Knapp Commission, formed by then Mayor John Lindsay did investigate police corruption and reform soon followed. “Al Pacino in Conversation with Lawrence Grobel” is probably as close, as we will ever get to an autobiography from Al Pacino. This series of interviews taken over a thirty-year period covers Pacino’s youth and his career including his thoughts and ideas on the life of an actor. Pacino comes across as a dedicated actor who is still in love with the theater. He discusses how he creates, prepares and researches for a role. He talks in detail about the movies he been in, fame and even goes on in depth about the films he’s directed and how he finds them hard to let go. . He discusses his being famously reluctant for doing interviews and he tells a story about reading a biography of Montgomery Clift and then watching “A Place in the Sun” and how he became so fascinated with the guy he read about that he was distracted from his performance and the film itself. And that what he is trying to preserve. Keeping the character pure by not revealing too much about yourself. For those looking for the latest Entertainment Tonight type gossip they will be highly disappointed. For those looking for a serious actor discussing the craft of acting and the life of an actor, well then you came to the right place. A must read.
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915	yago	2	49	https://fortworthbusiness.com/technology/al-pacino-was-nearly-fired-from-the-godfather-the-rest-is-history/	en	Al Pacino was nearly fired from ‘The Godfather’; the rest is history	https://assets.fortworth…622f26d72d07.jpg	https://assets.fortworth…622f26d72d07.jpg	[ "https://assets.fortworthbusiness.com/media/2020/02/alt-FWBP-logo.png", "https://assets.fortworthbusiness.com/media/2021/08/FWBP-MLWB.jpg", "https://assets.fortworthbusiness.com/media/2021/04/FWBP_Full_Logo.png", "https://assets.fortworthbusiness.com/media/2021/08/FWBP-MLWB.jpg", "https://assets.fortworthbusiness.com/media/2020/02/480943ee650d883d6f79622f26d72d07-696x463.jpg" ]	[]	[]	[ "" ]	null	[ "The Washington Post Karen Heller" ]	2016-11-30T10:15:00+00:00	BEVERLY HILLS, Calif. - On this, almost everyone was agreed: Al Pacino was looking like a disaster as Michael Corleone.Shooting had begun in early 1971. Pacino	en	https://www.fortworthbus…-square-logo.png	Fort Worth Business Press	https://fortworthbusiness.com/technology/al-pacino-was-nearly-fired-from-the-godfather-the-rest-is-history/	BEVERLY HILLS, Calif. – On this, almost everyone was agreed: Al Pacino was looking like a disaster as Michael Corleone. Shooting had begun in early 1971. Pacino recalls the Paramount suits looking at the rushes and saying: “What the hell is this kid doing? And he’s short to boot.” They thought he was delivering an “anemic” performance. The studio brass, Pacino says, “tried to fire me three times.” There “was a movement not to have me in the part,” the 76-year-old actor recalls, sitting on the porch of his rental house in the flats of Beverly Hills. “I didn’t want me in the part.” Paramount had wanted Ryan O’Neal or Robert Redford to play Michael in “The Godfather,” America’s great epic about violence and family. Pacino himself thought that he would be better as the hotheaded older brother, instead of in the role that secured his stardom. “Michael? Sonny would be more appropriate,” he remembers thinking. But ultimately, he knew what he was doing. “I was trying to create a character who you don’t know where you’re at with him,” he says. “I knew it was a tough part to pull off. Michael’s so insular, so private.” Writer and director Francis Ford Coppola believed. He had always envisioned Pacino, already an acclaimed New York stage actor, as Michael. “His intelligence is what I noted first. He knows how to use his gifts,” says Coppola. “He uses what he has, this striking magnetic quality, this smoldering ambiance.” Then came the Sollozzo scene. Michael, teeth clenched, eyes darting, grabs the gun hidden in the restaurant bathroom and shoots Corleone rival Sollozzo and corrupt New York police captain McCluskey. It’s the law-abiding son’s first mob hit, and it seals his fate as his father’s replacement. The scene sealed the actor’sfate, too. Pacino, who will receive a Kennedy Center Honor on Dec. 4, stayed in the picture. Audiences saw what he was doing, having Michael’s character build with the story. Pacino, the New York Times noted, is “an actor worthy to have Brando as his father.” Pacino is sipping tea, surrounded by hounds, in front of his white-columned house in this fabled, palm-lined enclave. He’s at ease, but he doesn’t fit, an inveterate New Yorker in a far too sunny place. Buses loiter on his block every few minutes, tourists trying to steal a glimpse beyond the gates of the man whom film historian David Thomson in 2002 deemed “our greatest actor now.” Pacino is the winner of an Oscar (eight nominations), two Tonys, two Emmys, four Golden Globes (17 nominations) and a National Medal of Arts. In person, he does not disappoint. He seduces. Call me Al. Here’s my cell number. A kiss on each cheek. Everything, except his physical stature, is outsize. His skin is tanned the color of cognac; the hair a tempest. His voice, a Bronx rasp, shades the world in italics. Where Robert De Niro recedes in public appearances, all nods and mumbles, Pacino offers a banquet of observations. “Talk is therapy,” he says, opening his arms. “Everything’s therapy. I’ve been in therapy my whole life.” Among Pacino’s ancillary talents is making fine Italian suiting – he’s wearing a tuxedo jacket for day – look like thrift-store rejects. It’s Salvation Gabbana. The get-up – baggy black T-shirt, baggy black pants, oversized silver and black ring – is impossible. And it all works. “He never looks like a movie star,” says Ellen Burstyn, his co-president at the Actors Studio. “He always looks like he slept on someone’s couch.” Pacino has been a star for 44 years, yet he still displays a penchant for risk and for working with young talent. Famous for saying no in the beginning of his career, “the last 20 years, I say yes more. I don’t know why,” he says. He’s filming “Hangman” with Johnny Martin, an unknown director. He’s also that rare actor who is not just admired but loved by his peers. “I can’t think of any actor whom people care more about in films than Al,” says friend Alec Baldwin, who has appeared in two of his movies. “There are actors who are admired, but Al they embrace.” In the span of a dozen years, beginning with 1971’s “The Panic in Needle Park,” he created a cinematic canon that few can best: the first two “Godfathers,””Serpico,””Dog Day Afternoon” (he initially turned down the great Sydney Lumet; “What can I say? I was ignorant”) and “Scarface,” eviscerated by critics at the time but ultimately placed atop pop culture’s altar. More indelible lines of dialogue are associated with him than with almost any other actor, a testament not only to the way the roles were written but to how he came to own them. He’s initially drawn to the script. “I’m very text-oriented. The text is everything,” he says. “The play’s the thing.” “He’ll write out the whole part, the text of the dialogue, then interpret in the terms of language he would normally colloquially use,” Coppola says. “Then he translates it into the language of the script.” He keeps doing theater, his first love, including a 2010 New York performance of Shylock in “The Merchant of Venice” that critics deemed revelatory. He has performed “Richard III” many times, including in “Looking for Richard,” a 1996 exploration of the work that he directed and financed. But, “Hamlet” is “my favorite play of Shakespeare,” he confesses. “I never thought of doing it. I didn’t feel right about it.” Pacino has done exceptional television work: He played closeted New York superlawyer Roy Cohn, dying of AIDs, in “Angels in America;” pathologist and assisted suicide advocate Jack Kevorkian in “You Don’t Know Jack”; the legendary record producer in “Phil Spector.” He has also made dreck – perhaps the nadir was “Al Pacino” in Adam Sandler’s “Jack and Jill” – which he prefers not to talk about. And then he does. “My accountant was put in jail,” he says. “That was part of the genesis.” Pacino was one of many celebrities who invested their savings with financial adviser Kenneth I. Starr, who pleaded guilty in 2010 to stealing at least $59 million from his clients. Know for his loyalty, Pacino shrugged it off, friends say, and went on. Work keeps him sane. “He loves the whole aspect of making movies, and he’s sort of fearless,” says filmmaker Barry Levinson, who co-wrote the 1979 courtroom drama ” … and justice for all” and directed Pacino in “You Don’t Know Jack” and “The Humbling,” a 2014 movie made for less than $2 million. “He’s easy to work with. It’s fun. He’ll just say, ‘Let’s try this.’ You keep playing with it, keep trying and seeing what else is there.” In the early days, Pacino was known as the actor who would ask for just one more take. “Oh, a small amount” of takes, he laughs. “Like 30. I had Brian De Palma scratching his head.” “He works really, really deeply,” says Burstyn. “I don’t think anything interests him except creativity. He’s a real acting genius. The only other one who comes to mind is Laurence Olivier.” Pacino grew up in an era that was more Vito than Michael. An only child, he lived with his fragile mother, who was prone to depression and became addicted to barbiturates, and his Italian immigrant grandparents – his grandfather was from Corleone (!), Sicily – in a three-room, fifth-floor tenement apartment in the South Bronx. His given name is Alfredo, but he was nicknamed Sonny – the name of his character in “Dog Day Afternoon.” He recalls that a junior-high teacher, Blanche Rothstein, came to the apartment and told his family, “You have to encourage your boy to act.” “I wasn’t very good at school,” he says. “I wasn’t focused on my classes. My mother had problems, and there was no money coming in.” After 10th grade, he quit Manhattan’s High School for the Performing Arts. He worked at various jobs, including as a Standard Oil office messenger with John Cazale, who would play his weak brother, Fredo, in “The Godfather.” His mother died when he was 21, and his grandfather a year and a half after that. The Actors Studio rejected him, only to accept him four years later. The studio’s famed Lee Strasberg later became his mentor and friend (and played gangster Hyman Roth, whom Michael ordered killed in the second “Godfather”). When Pacino finally landed theater work, the reviews were rhapsodic. In 1968, the New York Times called him “the best young actor in town.” He can become so preoccupied with acting that almost everything else falls by the wayside. There are stories of him misplacing cars, losing a new coat because, when he tried to go back to the store to pick it up, he’d forgotten where he’d bought it and had lost the receipt. “Rehearsing is my favorite thing. It’s the closest you come to feeling like you’ve got something going,” he says. “And then the product comes out and,” he stops, sighs, “you didn’t” meet your expectations. The beauty of rehearsal is “that you imagined how the role would be.” He worked for four years on “Looking for Richard” and spent seven months rehearsing an “Antigone” production that was never staged. He admits that bad reviews singe and that he doesn’t read profiles of himself. His only other driving passion is his children: Julie, a 27-year-old filmmaker, and 15-year-old twins Anton and Olivia; he shares joint custody of the latter with their mother, actress Beverly D’Angelo. Hence the move to Los Angeles, a place where he never planned to live. His massive 1920s house is decorated like graduate student housing – if the student happened to be particularly wealthy. Gym equipment and dress shoes collect in a corner of the living room, which is dominated by an enormous television that appears to be always on. Pacino loves sports, especially football (he played a coach in Oliver Stone’s “Any Given Sunday”), baseball and boxing. Sullied dishes tower in a kitchen that appears to be an afterthought. “Not to drop names,” says Pacino – are there names Al Pacino can drop? – “but Elizabeth Taylor used to come to my house and cook spaghetti.” Let us pause for a moment to conjure that image. The actress would ask Pacino’s friends, “How’s that boy doing?” Pacino recalls. “Did he get help around the house? Because he needs all the help he can get.” The “boy” was 40 at the time. He got help. “Women find him irresistible,” says Coppola. Pacino is celebrated for the company he has kept, a cavalcade of smart, accomplished actresses – Jill Clayburgh, Diane Keaton, Marthe Keller, Tuesday Weld, D’Angelo – many of whom make brief appearances in his conversation and are always spoken of warmly. “I guess I’m boasting, but I’m friends with almost all of them,” he says. “It’s one or two things I can say that I’m happy about.” Pacino has famously never married. (His father, who left the family when Al was 2, wed five times.) “Sometimes I think I would have preferred that I did get married,” he muses. “One reason is I would have found out so much more than I think that I know.” He declines to discuss his current relationship, with Argentine actress Lucila Sola, 37. He also resists making political statements of any kind, an anomaly in Hollywood. “It’s like what Lee Strasberg said about swimming in the ocean: ‘I don’t want to get involved,'” the actor says. Partly, it’s his courtly behavior – he is faultlessly kind about his collaborators, even the failures. Over a long afternoon of conversation, he never disparages a director or an actor, even off the record, or a single associate, not even his former accountant. “Scarface,” the 1983 movie that the actor calls an “operatic, Brechtian sort of treatise on greed and avarice,” written by Oliver Stone and directed by Brian De Palma, branded Pacino, in the lead role of Tony Montana, as a double-barreled actor of seething intensity. It’s a full-throttle performance, soaked in blood and powdered in cocaine, that’s not for everyone. But the generalization that Pacino is prone to histrionics misses his ability to delve deep into characters who are nothing like Montana. He has played plenty of cops and crooks – he’s playing a detective in “Hangman” – but he can exquisitely underplay a part, as in “Donnie Brasco,” where he portrays a fearful two-bit mob soldier who would register as lint to Michael Corleone. Audiences pay a premium to watch Pacino become violent on the screen. After he became a star, he commanded $14 million a picture. These days, “he gets five million” a movie, his manager told the New Yorker in 2014. “With a gun – seven million.” Violent behavior is actually anathema to him. “I know it’s going to seem odd,” Pacino says, “but every time I go to do a movie and there’s a gun, I have to ask them to show me how to use it. And they’re like, ‘He’s putting me on.’ But I have an aversion to guns.” After “The Godfather,” Pacino was offered almost everything, including roles that won other actors awards: “Days of Heaven,” “Taxi Driver,” “Star Wars,” “Kramer vs. Kramer,” “Die Hard” and “Pretty Woman.” He told the Independent last year, “There is a museum of mistakes, all the movies I rejected.” Celebrity and drinking – he’s been sober since 1977 – wore him down. “It was a ride, hard to compute. I wasn’t really helping it along. I was having the whole thing of fame,” he says. After “Revolution,” a fiasco in which he played an 18th-century fur trader and reluctant soldier that someone should have stopped him from doing, Pacino took a four-year break from movies, beginning in 1985. “I was walking all over the city, seeing friends in Central Park. Having these little coffee klatches. It’s New York City, man, and I’m very happy there,” he says. “It was sort of enriching in a way. I felt more like myself, and I was living with Diane. It was wonderful.” One day, walking in the park, “this guy is passing me, he says: ‘Al, what the hell happened to you? You don’t make movies. You got to make movies, man, c’mon.’ I never saw anything like it.” He needed money and, as it turns out, to work. “Sea of Love,” a 1989 romantic thriller in which he plays another detective, reignited his career. In the pipeline, a play about Tennessee Williams and, finally, the long-awaited “The Irishman” with De Niro and Martin Scorsese, his first time with the famed director. (He and De Niro did Michael Mann’s 1995 “Heat” but famously had only one scene together.) Pacino will play Jimmy Hoffa. Lear? “I’m ready. We’re talking about a movie on it,” he says. Pacino long ago proved the studio brass wrong, that he’s the furthest thing from a disaster. “You gotta realize yourself in all your roles. For me, the acting is very much a sanctuary,” he says. “It’s a place where I go and feel as close to what I should be doing in life, and why I’m here.” And so he acts, constantly. — The 39th Kennedy Center Honors ceremony will be held Dec. 4 at 7 p.m. in the Opera House. The taped presentation will be broadcast Dec. 27 at 9 p.m. on CBS.
915	yago	0	50	https://tv.apple.com/au/movie/looking-for-richard/umc.cmc.5nnbrj8i4521c9tfwg5sz412t	en	Looking for Richard	https://is1-ssl.mzstatic…g/1200x675mf.jpg	https://is1-ssl.mzstatic…g/1200x675mf.jpg	[ "https://tv.apple.com/au/movie/looking-for-richard/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif" ]	[]	[]	[ "" ]	null	[]	2007-06-19T07:00:00+00:00	Actor Al Pacino has a documentary film crew follow him as he works on a production of Shakespeare's Richard III, conducting interviews with fellow actâ¦	en	/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png	AppleÂ TV	https://tv.apple.com/au/movie/looking-for-richard/umc.cmc.5nnbrj8i4521c9tfwg5sz412t
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Brando in the ’50s. Pacino’s film output dropped off in the ’80s, as he spent much of his time in the theater. But just when most of us thought he had disappeared, he made his return to the screen in Sea of Love and Dick Tracy, with his third Godfather to come. Here — except for the forgettable Me, Natalie — is a complete Pacino filmography, with comments by the actor. All the movies (excluding The Panic in Needle Park) are available on video. The Panic in Needle Park (1971) Pacino’s first leading role was in this relentlessly depressing story of young junkies in love on the streets of New York. Female lead Kitty Winn was thrust into the spotlight first, winning Best Actress at Cannes. But it was Pacino’s performance that caught the eyes of American critics, who praised his instincts and intensity. The Godfather (1972) Pacino landed the role of Michael, heir to the Corleone crime empire, only at director Francis Coppola’s insistence. The studio heads felt a big name was needed, and not even Pacino thought he was right for the role. ”I didn’t understand why Francis wanted me to play that part,” he says. ”I was shocked, like everybody else. I always thought he wanted me for Sonny, but Michael was the only character he saw me as.” The performance won him his first Oscar nomination. Scarecrow (1973) Pacino and Gene Hackman are drifters who become unlikely friends while hitchhiking across the country. A downbeat buddy movie in the Midnight Cowboy mold, it shared the Best Film award at Cannes, and while critical opinion was mixed, acclaim for its stars was nearly unanimous. Despite rough edges, this lost-in-America travelogue remains an unsung high point in the careers of both actors. Serpico (1973) Sidney Lumet’s street-smart drama based on real events and people starred Pacino as Frank Serpico, an honest New York cop who led a one-man crusade against rampant police corruption. ”(The role) was exciting to work on because I had the real guy to study,” says Pacino, whose Oscar-nominated performance captures how Serpico’s passion veered into obsession. Watergate-era audiences embraced the character as a bona fide hero, and the movie became a hit. The Godfather Part II (1974) If Godfather was about Michael Corleone’s rise to power, Godfather II showed him preserving that power at the expense of his humanity. The part earned Pacino his third Oscar nomination but almost cost him his life. He fell ill during filming in the Dominican Republic and was hospitalized, where his condition deteriorated. When his longtime friend Lee Strasberg saw the actor’s state, he contacted Pacino’s personal physician, who whisked him back to the States. ”The doctor told me I would have died if I’d been in there one more day,” Pacino says. Dog Day Afternoon (1975) Back on the streets of New York, Pacino reunited with Sidney Lumet to play another character from real life, a nobody who becomes somebody when he tries to rob a bank to pay for his male lover’s sex-change operation. When he takes hostages, the heist escalates into a media circus. Pacino’s mercurial portrayal brought him Oscar nomination No. 4. Bobby Deerfield (1977) Pacino’s title character is a cold, controlled Grand Prix driver who falls in love with a dying woman (Marthe Keller). ”The middle of the film wasn’t quite thought out,” he says, but he was intrigued because ”it played a little on my condition, having to do with isolation and loneliness and what can happen with success and money.” Sydney Pollack directed Alvin Sargent’s screenplay, from a novel by Erich Maria Remarque, but all that talent couldn’t save Pacino’s first wrong career move. …And Justice for All (1979) A young trial lawyer bucking the rotten legal system was the perfect Pacino part in a less-than-perfect movie. ”It suffered from one too many incidents,” acknowledges Pacino. ”One less and the picture would have done a little better.” The moment that redeems this Norman Jewison film is its crowd-pleasing climax, in which the star denounces the trial, the system, and all of society as he’s carried kicking and screaming from the courtroom. That scene alone may have won Pacino his fifth shot at an Oscar. Cruising (1980) Pacino rejoins the NYPD, this time as an undercover cop cruising the gay leather-bar scene in search of a serial killer. The film is among the most infamous in recent Hollywood history. Critics considered it a failed thriller, and segments of the gay community found it homophobic in the extreme. ”It was a movie I just fell into,” Pacino says. ”I was working with Billy Friedkin, who had done The Exorcist, The French Connection, so I thought he was going to make a real thriller in his tradition. Something that was going to be a fantasy. That was my perception.” Somehow the actor emerged from the controversy unscathed, but a good performance got lost along the way. Author! Author! (1982) Pacino’s first (and maybe last) light comedy found him playing a Broadway playwright whose wife (Tuesday Weld) has walked out, leaving him with her children from various marriages. As the story of a makeshift family pulling together, the movie was meant to run on warmth and charm. Few critics found enough of either. Pacino was uncomfortable with director Arthur Hiller, and it shows. ”Hiller and I did not get along,” admits Pacino. ”He’s the only director that’s happened to me with.” Scarface (1983) Pacino is Tony Montana, a Cuban refugee turned Miami drug lord, in this remake of Howard Hawks’ gangster film. With Oliver Stone doing the screenplay and Brian De Palma directing, the result was understandably overheated. But, says Pacino, ”that was part of Brian’s concept, to do everything in an extraordinary way — to have the violence blown up, the language blown up. The spirit of it was Brechtian, operatic. You get a lot of movie with Scarface.” Revolution (1985) In his only historical picture, Pacino played a colonial loner swept up in the American war of independence. Despite a splendid production and impressive battle sequences, this film by Hugh Hudson (Chariots of Fire) inspired few viewers. Pacino says it was rushed into release too fast: ”That film wasn’t finished, it had another six months of work. It was like selling somebody a car without a motor. The audience saw something incomplete.” Sea of Love (1989) Widely perceived as a comeback for Pacino, this film gave him a meaty role as a cop in mid-life crisis who falls in love with a woman he suspects of several sex-related killings. Critics hailed it as suspenseful and praised him and costar Ellen Barkin for the sparks they struck onscreen. Audiences were so happy to rediscover Pacino that not even scene-stealer John Goodman could swipe his thunder.
915	yago	3	29	https://www.telegram.com/story/news/local/worcester/2007/06/10/that-young-pacino-fella-s/52877203007/	en	That young Pacino fella’s come a long way over the years	https://www.gannett-cdn.…=pjpg&width=1200	https://www.gannett-cdn.…=pjpg&width=1200	[ "https://www.gannett-cdn.com/authoring/2007/06/10/NTEG/ghows-WT-09e663d1-b1c5-4189-9b06-743e95cfc8b8-176d4c22.jpeg?crop=618,465,x0,y67?width=320&height=240" ]	[]	[]	[ "" ]	null	[ "David Kronke, The Worcester Telegram & Gazette" ]	2007-06-10T00:00:00	Early in his career, Al Pacino was performing on stage in Boston in a role considered to be perfect for him. While listening for his cue to head to the stage in the dressing room, he saw another cast…	en	https://www.gannett-cdn.…ages/favicon.png	Telegram & Gazette	https://www.telegram.com/story/news/local/worcester/2007/06/10/that-young-pacino-fella-s/52877203007/	Early in his career, Al Pacino was performing on stage in Boston in a role considered to be perfect for him. While listening for his cue to head to the stage in the dressing room, he saw another cast member reading a newspaper. When Pacino asked his co-star what he was reading, the actor became sheepish. Pacino saw that he was reading a rave review of the play, except for one element. Just as Pacino heard his cue to head to the stage, he read a line in the review suggesting that it was very difficult even to “tolerate him.” “I laughed — I was young enough to laugh,” Pacino recalled. “It hurt, but it was funny. It was funny because it hurt.” It’s even easier for Pacino to laugh these days. This week is serving as something of a victory lap for the Oscar-winning actor. Wednesday night, he received the AFI Lifetime Achievement Award at a gala at the Kodak Theatre in Hollywood. Tuesday, he appeared at the premiere of his new movie, “Ocean’s Thirteen,” then headed to the 20th Century Fox lot to speak to an audience that had just seen the premiere of another new film, “Babbleonia,” in which the actor discusses his craft and his longstanding relationship with the Actors Studio. “Babbleonia” will be a bonus disc in “The Al Pacino Collection,” which includes three film adaptations of stage plays (“Chinese Coffee,” “The Local Stigmatic” and “Looking for Richard”) directed by the actor and due in stores June 19. Taking questions from the audience for more than an hour, Pacino reflected upon his celebrated career, which began in earnest when he was initially turned down for membership in the Actors Studio in New York. “They’re very nice — they give you a pat on the back, but they say, ‘No,’” Pacino recalled with a wry smile. Pacino recalled that two of his signature moments in his film canon never even appeared in a script: Between takes while filming the botched-bank-heist film “Dog Day Afternoon,” the film’s assistant director, Burtt Harris, suggested he shout out the word Attica, a reference to a recent prison riot. When he did so, the crowd watching the shooting cheered and began chanting along with the actor. For his Oscar-winning turn as a retired military man in “Scent of a Woman,” Pacino sought instruction from a lieutenant colonel. “Every time I got something right, he said, ‘Hoo-ah,’” Pacino remembered. The phrase became his signature line in the film. “That’s the fun thing about all of this — when something like that lands, it’s wonderful. Of course, they don’t all land.” Discussing directors with whom he has collaborated, Pacino said, “I prefer ones who tell me what to do and where to go,” such as Sidney Lumet. By contrast, Francis Ford Coppola, who directed Pacino in the “Godfather” trilogy, would collaborate with his actors: “He’d say, ‘What do you want to do?’ I’d say, ‘You know what you want me to do — just tell me.’” On the other hand, Pacino conceded, “I wouldn’t like to work with myself as a director.” Pacino also admitted he had agreed to make a couple of movies without having read the script beforehand. But he also confessed that he has turned down more than his fair share of great films: “It’s heartbreaking,” he said with a generous laugh, declining to further indict himself by listing the titles. And he insisted that when reading scripts, “I never feel I’m right for anything.” “I don’t know anything about acting — that’s how I start off every role.”
915	yago	0	0	https://en.wikipedia.org/wiki/Looking_for_Richard	en	Looking for Richard	https://upload.wikimedia…_for_richard.jpg	https://upload.wikimedia…_for_richard.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/f/ff/Looking_for_richard.jpg/220px-Looking_for_richard.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2005-04-15T22:20:28+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Looking_for_Richard	1996 film Looking for RichardDirected byAl PacinoWritten byWilliam Shakespeare Al Pacino Frederic KimballProduced byMichael Hadge Al PacinoStarringCinematographyRobert LeacockEdited byWilliam A. Anderson Ned Bastille Pasquale Buba Andre Ross BetzMusic byHoward Shore Production companies Chal Productions Jam Productions Distributed byFox Searchlight Pictures Release date Running time 112 minutesCountryUnited StatesLanguageEnglishBox office$1,408,575 Looking for Richard is a 1996 American documentary film directed by Al Pacino, in his directorial debut. It is a hybrid film, including both a filmed performance of selected scenes of William Shakespeare's Richard III and a documentary element which explores a broader examination of Shakespeare's continuing role and relevance in popular culture. The film was featured at the Sundance Film Festival in January 1996[1] and it was screened in the Un Certain Regard section at the 1996 Cannes Film Festival.[2] Al Pacino won the Directors Guild of America Award for Outstanding Directing – Documentaries. Description [edit] Pacino plays both himself and the title character, Richard III. The film guides the audience through the play's plot and historical background.[3] Pacino and several fellow actors, including Penelope Allen and Harris Yulin,[4] act out scenes from the play.[5] In addition, the actors comment on their roles. Pacino also features other actors famous for performing Shakespeare, such as Vanessa Redgrave, Kenneth Branagh, John Gielgud, Derek Jacobi, James Earl Jones, and Kevin Kline.[6] Pacino includes interviews with Shakespeare scholars such as Barbara Everett,[7] as well as ordinary people on the street. Cast [edit] Al Pacino as Richard III Penelope Allen as Queen Elizabeth Harris Yulin as King Edward Kevin Spacey as Buckingham Winona Ryder as Lady Anne Madison Arnold as Rivers Vincent Angell as Grey Gordon MacDonald as Dorset Kevin Conway as Lord Hastings Julie Moret as Mistress Shore Estelle Parsons as Queen Margaret Alec Baldwin as Clarence Aidan Quinn as Richmond Bruce MacVittie 1st Murderer Paul Guilfoyle 2nd Murderer Reception [edit] The film received positive reviews from critics. On the review aggregator website Rotten Tomatoes, 82% of 49 critics' reviews are positive, with an average rating of 7.1/10. The website's consensus reads: "Looking for Richard is a smart, fascinating behind-the-scenes look at adapting Shakespeare."[8] References [edit]
915	yago	0	93	https://www.afi.com/afis-100-years-100-movies-10th-anniversary-edition/	en	AFI’S 100 YEARS…100 MOVIES — 10TH ANNIVERSARY EDITION	https://www.afi.com/imag…s/afi-social.jpg	https://www.afi.com/imag…s/afi-social.jpg	[ "https://www.facebook.com/tr?id=404753177081502&ev=PageView&noscript=1", "https://www.afi.com/wp-content/themes/AFI/images/search_close.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/05/AFI-Logo.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/05/AFI-Logo.png", "https://www.afi.com/wp-content/themes/AFI/images/search.png", "https://www.afi.com/wp-content/themes/AFI/images/white_search.png", "https://www.afi.com/wp-content/themes/AFI/images/search_close.png", "https://www.afi.com/wp-content/themes/AFI/images/search_white.png", "https://www.afi.com/wp-content/themes/AFI/images/toggle.png", "https://www.afi.com/wp-content/themes/AFI/images/white_toggle.png", "https://www.afi.com/wp-content/themes/AFI/images/loader.gif", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2020/02/Donate-to-AFI@2x.png", "https://www.afi.com/wp-content/themes/AFI/images/top.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/08/gdpr-logo.png" ]	[]	[]	[ "American Film Institute" ]	null	[]	null	AFI's 100 Years...100 Movies – 10th Anniversary Edition is an updated edition to AFI's 100 Years...100 Movies, a list of the top 100 greatest American films of all time. Honoring the 10th anniversary of this award-winning series, a jury of 1,500 film artists, critics and historians determined that CITIZEN KANE remained the greatest movie of all time. The television special AFI’s 100 Years…100 Movies – 10th Anniversary Edition originally aired June 20, 2007 on CBS.	en	https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/09/favicon.ico	American Film Institute	https://www.afi.com/afis-100-years-100-movies-10th-anniversary-edition/	This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful. You can adjust all of your cookie settings by navigating the tabs on the left hand side.
915	yago	3	68	https://josmarlopes.wordpress.com/2012/08/12/you-must-remember-this-the-films-you-cant-resist/	en	‘You Must Remember This’ — The Films You Can’t Resist	https://josmarlopes.word…20-480.jpg?w=300	https://josmarlopes.word…20-480.jpg?w=300	[ "https://josmarlopes.wordpress.com/wp-content/uploads/2012/08/the-adventures-of-robin-hood-old-robin-hood-movies-5738560-720-480.jpg?w=300&h=200", "https://josmarlopes.wordpress.com/wp-content/uploads/2012/08/amadeus.jpg?w=344&h=146", "https://josmarlopes.wordpress.com/wp-content/uploads/2012/08/tracybadday-at-blackrock-gonemovie-com1.jpg?w=364&h=142", "https://josmarlopes.wordpress.com/wp-content/uploads/2012/08/001-chariot-race-ben-hur-1959.jpg?w=347&h=128", "https://josmarlopes.wordpress.com/wp-content/uploads/2012/08/frankenstein.jpg?w=270&h=349", "https://josmarlopes.wordpress.com/wp-content/uploads/2012/08/casablanca_bogartbergman.jpg?w=300&h=236", 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]	null	[]	2012-08-12T00:00:00	Hello, movie fans! Here's a second list of my favorite (and not so favorite) films -- many of them acknowledged cinema classics by any definition of the term and, as the title of my post suggests, memorable in their own ways. Let me know your views and thoughts on this list, which is in semi-alphabetical…	en	https://secure.gravatar.com/blavatar/016ae6ab778616434d4acfc92718a79d159b8348c1317cf24392f35729171c9f?s=32	Curtain Going Up!	https://josmarlopes.wordpress.com/2012/08/12/you-must-remember-this-the-films-you-cant-resist/	Hello, movie fans! Here’s a second list of my favorite (and not so favorite) films — many of them acknowledged cinema classics by any definition of the term and, as the title of my post suggests, memorable in their own ways. Let me know your views and thoughts on this list, which is in semi-alphabetical order. Happy reading! The Adventures of Robin Hood (1938) Though filmed in the “wilds” of the California hills and originally conceived as a vehicle for movie tough-guy James Cagney, this classic version of the story of Robin Hood and his merry band of thieves is grand movie-making at its finest. It proved a box-office bonanza for the Warner Brothers studio at a time when the hounds of war were yapping at the heels of Europe, with many of the predominantly British and/or UK cast sensing the difficulties their fellow countrymen abroad were about to undergo. As a result, there are superb performances from just about every member of the group, especially the excellent Robin Hood of the youthful and athletic Errol Flynn, who was never better in green tights. Olivia de Havilland, in her third pairing with the swashbuckling Flynn, is the lovely Lady Marian, Claude Rains the slightly effete but thoroughly malevolent Prince John, and Basil Rathbone the slimy scoundrel Sir Guy of Gisbourne — and a fairly decent swordsman, at that. With yeoman work provided by Melville Cooper as the phlegmatic Sheriff of Nottingham, boisterous Alan Hale in a repeat of his earlier silent stint as Little John (he was to assume the role one last time in 1950’s Sword of Sherwood Forest), bullfrog-voiced Eugene Pallette as the rotund Friar Tuck, and Una O’Connor, Herbert Mundin, Patric Knowles, Ian Hunter (a model King Richard), Montagu Love, Lionel Belmore, and many others in fine support. Exquisitely scored by Erich Wolfgang Korngold, for which he won a deserved Oscar. It’s possibly the closest Korngold came to his concept of “opera without words.” Directed with flair and gusto by Michael Curtiz and second unit director William Keighley, whom Curtiz later replaced. Perfect family entertainment and lavishly filmed in early three-strip Technicolor. For adventure and romance, it has never been topped. Remade many times, with Richard Todd, John Derek, Richard Greene, Sean Connery, and, in recent times, Kevin Costner, Cary Elwes, and Russell Crowe taking turns as Robin. Amadeus (1984) Peter Shaffer adapted his successful stage play for the screen, both opening up and expanding the drama along the way. The basic fiction of Antonio Salieri’s murder of his rival Mozart is retained, but it’s the locale (filmed in Prague), the richly elegant eighteenth-century costumes, and the charismatic performances that give this film its vibrant life, in addition to the master’s heavenly music, performed on the soundtrack by Sir Neville Marriner. Austrian composer Wolfgang Amadeus (Latin for “To love God”) Mozart, precocious and scatological — well documented in his voluminous correspondence with his wife, father and sister — was a true and undeniable genius of his or any other time. A prolific composer, he dabbled in just about every conceivable musical form; produced works of astonishing range, beauty and originality; and achieved worldwide fame and recognition in his short life. On the other hand, the Italian-born Antonio Salieri was a fairly run-of-the-mill mediocrity who wrote innumerable pieces for the church and the theater, almost none of which have survived into the modern classical repertoire. F. Murray Abraham was catapulted into the front ranks of lead actors with his fascinating, multi-layered portrayal of the jealous court composer Salieri, helped in large measure by the superb makeup job of veteran Dick Smith. Tom Hulce is the vulgar, potty-mouthed, maniacally cackling but ever-so-charming “Wolfie,” a finely detailed achievement, with Elizabeth Berridge as his klutzy lower-class spouse, Constanze. Hulce and Berridge’s distinctive Americanness is wisely exploited by Czech director Milos Forman as a counterpoint to the highbrow snobbery of the snooty types that populate the backstabbing royal court of Austrian Emperor Joseph II, played with a haughty air of self-confidence (and boundless good humor) by the wonderful Jeffrey Jones. The other cast members include Simon Callow (a noted author in real life, who played Mozart on the British stage), Roy Dotrice (as Leopold Mozart), Patrick Hines, Charles Kay, Christine Ebersole, Vincent Schiavelli, Kenneth MacMillan (in an amusing bit restored for the expanded director’s cut), Barbara Byrne, and Kenny Baker (R2-D2 of the Star Wars series) in a “small” role. The movie narrowly misses a four-star rating, as the play was much more concentrated on the stage and is shorn of some of its lovely literary language due to the different requirements of the film medium. In addition, it takes extensive liberties with the perception and presentation of Mozart’s operas that distort their true historical nature and significance. Other than that, it’s a fabulous showcase for classical-music lovers. (Too many notes, indeed!) Bad Day at Black Rock (1955) Western ambience, Western atmosphere, Western attitude — but wait! It’s not a Western at all, but a reasonable facsimile of a film noir that takes place in broad daylight (now there’s a novelty for you). Clearly, opposites attract in this case. And talk about having a bad day, each one of this movie’s denizens experiences what can only be described as a less than fulfilling sojourn. John Sturges, the director, had slaved away on Hollywood B-pictures for nearly a decade before rising to prominence with this brief but tightly concentrated, highly suspenseful thriller. This was Sturges’ second foray with Tracy (their first was the formula courtroom drama, The People Against O’Hara), who initially declined to participate in the production. However, he quickly changed his mind, once he got wind that film noir icon Alan Ladd was willing to do the picture if Tracy wasn’t. Bad Day at Black Rock turned out to be Tracy’s final screen appearance for MGM — indeed, a bad day for MGM! The story takes place in the aptly titled Black Rock (it was filmed in Lone Pine and Alabama Hills, California, near the Sierra Nevada mountains), a frontier dustbowl dwelling at the end of World War II, where a mysterious one-armed stranger’s sudden presence and polite inquiries into a Japanese-American named Komoko are met with antagonism and suspicion from the local townsfolk. The stranger’s probing and the hostile reactions of the citizenry ultimately turn the atmosphere of this sleepy, redneck ghost town topsy-turvy. Spencer Tracy plays John Macreedy, the laconic loner, who can take extremely good care of himself (he has a mean karate chop). Robert Ryan is Reno Smith, the town’s mover, shaker and resident mischief-maker, as well as all-around bad apple. He’s got the townspeople tied around his little pinky, or so he believes. When things start to unravel around him, Smith lashes out aggressively, much like a cornered mongrel. The always excellent Ryan and a taciturn Tracy shine in this one; they go toe-to-toe in verbal discourses that define one another’s characters in understated ways (the screenplay is by Don McGuire and Millard Kaufman, from a story by Howard Breslin). Our “modern action movies” can take a lesson from these two worthy pros in how to convey craftiness and subtlety through looks and glances alone. The “action” aspects are expertly handled in a real-world manner by Tracy and the mean-as-a-junkyard-dog duo of Lee Marvin and eternal fall-guy, Ernest Borgnine. A haggard Dean Jagger is the alcoholic sheriff with a permanent hangover (and guilty conscience) over what happened to Komoko. Featuring John Ericson and Anne Francis (who starred together in the short-lived TV-series Honey West), with Walter Brennan, Russell Collins and Walter Sande, all good in Sturges’ first major Hollywood hit. It’s a rather slow starter, but stick with it — you’ll be amply rewarded for your patience. Superb widescreen photography by William C. Mellor. The deep, dark secret everybody wants to avoid discussing concerns a fallen comrade of Japanese descent who saved Tracy’s life; he wants to pay respect to his dead buddy by returning the hero’s medal to his father, Komoko. Andre Previn wrote the powerful score. This film was a springboard to Sturges’ later string of all-male ensemble efforts, most notably Gunfight at the O.K. Corral (1957), The Magnificent Seven (1960) and The Great Escape (1963), all three of these actioners high-level macho-escapist fare at their feverish best. Ben-Hur (1959) Of all the religious widescreen Hollywood epics released in the fifties and early sixties, this sound version of General Lew Wallace’s “Tale of the Christ” is the most revered. And for good reason: it boasts a marvelous international cast, impressive life-size sets, beautiful location shooting, and that awesome chariot race near the end. Oh, and don’t forget a major miracle or two! Charlton Heston is at his jaw-clenching, agonizing best as the long-suffering Judah Ben-Hur (Academy Award for Best Actor). How he manages to confront and overcome the various challenges posed to him by his rival Messala is the major thrust of the drama. The excellent Stephen Boyd is on a par with Heston as a magnificent Messala, the very embodiment of raw Roman ambition. Despite revisionist claims of homosexual vibes between these two characters, Judah and Messala are merely fiercely competitive boyhood chums. They have differing ethno-political views that interfere with their childhood friendship — and that inevitably lead to conflict and tragedy. It’s strictly a man’s world, however, with the only minor flaw being the limited, stilted roles for the women, particularly Israeli actress Haya Harareet as Esther. Judah’s Roman love-interest Flavia, played by Marina Berti, was all-but cut from the final release print; the loss is regrettable, as she would have given Heston’s driven character a personal dimension and added layer of warmth. She appears briefly in the scene where Quintus Arrius (solidly played by British veteran Jack Hawkins) adopts Judah as his son. The film is long but never boring. Several writers laid their hands on the screenplay, among them playwright Christopher Fry and author Gore Vidal, although the onscreen credit is given to Karl Tunberg. The direction is by William Wyler, with a fine assist from his second unit team headed by Yakima Canutt, is technically precise. He succeeds in creating a high degree of tension between the two main protagonists; credit is due him as well for sustaining interest in their feud throughout the over three-hour course they do battle in. The music by veteran Miklos Rozsa is a model for films of this type. He went on to score several more epics in a similar vein, including El Cid (also with Heston), King of Kings and The Golden Voyage of Sinbad. The ending is a bit too literal, but serves as a fitting conclusion to what went on before. The movie betrays its fifties origins mostly in its treatment of Jesus, who is never seen in close-up, only in long shots and from behind. He’s played by opera tenor Claude Heater. Others in the (very) large cast include Finlay Currie, Martha Scott, Cathy O’Donnell, Sam Jaffe, Frank Thring, and Hugh Griffith, an Oscar-winner for his supporting role as Sheik Ilderim. The Bride of Frankenstein (1935) It’s been called the greatest horror picture ever made – no faint praise for gay British film director James Whale (The Old Dark House, The Invisible Man), whose iconic monster movie this is: a first-rate, and far superior, sequel to his earlier Frankenstein from 1931. Yes, it’s sentimental in spots, even downright cloying in its manipulation of the audience’s feelings for and identification with Dr. Frankenstein’s patchwork creation; yet almost 80 years later it cannot help but wipe the floor of the competition. Played to pathetic perfection by a middle-aged Boris Karloff (The Mummy, The Black Cat), the film has been cloned and parodied by everyone from Abbott & Costello and Mel Brooks to The Rocky Horror Picture Show — often copied, but never equaled. A most satisfying viewing experience, and a right of passage for anyone seriously interested in the horror-movie genre. Colin Clive repeats his role as the restless, anxiety ridden Henry Frankenstein, who is threatened and cajoled by the eccentric Dr. Pretorius, a wild-eyed Ernest Thesiger (a fey stand-in for the director — and how he relishes those rolled “r’s”), into creating a mate for the lonely Karloff. Jack Pierce’s superb makeup job for both the Monster and his titular Bride (Elsa Lanchester, in a dual role, as author Mary Shelley as well) has passed into screen legend. Universal Studios objected to Whale’s humanization of their prize moneymaker, especially the scene of the Monster weeping as the “Ave Maria” blares forth in the background. Their subsequent entry in the series, Son of Frankenstein (1939), reverts to the Monster’s brutish nature. A pity! Expressionistic sets, bizarre shadows and camera angles, and eerily comical secondary characters – in particular, the whiny-voiced Una O’Connor and the slow-witted E.E. Clive as the village burgomaster, along with the sympathetic Blind Hermit (charmingly played by O.P. Heggie) – add up to a smashing good time for all. Terrific music score by Franz Waxman, and featuring Valerie Hobson as Elizabeth, Gavin Gordon as Lord Byron, Reginald Barlow as Hans, Mary Gordon as Hans’ wife, and the ever dependable Dwight Frye as Karl. It quite literally ends with a bang. Essential viewing. Casablanca (1942) The once-in-a-lifetime convergence of stars, screenwriters, and actual historical events conspired to make this exercise in what would normally have been a formula B-picture into a timeless film classic, one you really can’t resist. The meeting of incongruous leads Humphrey Bogart as Rick Blaine, the cynical owner of a popular Moroccan nightspot (and latent freedom fighter), and Ingrid Bergman as Ilsa Lund, the luminous lost object of his affection, will forever be remembered as an inspired episode in the Warner Brothers canon of wartime romances. Viennese actor Paul Henreid plays the stalwart second lead as underground resistance leader Victor Laszlo. The screenplay was by Howard Koch (the scriptwriter for Mercury Theatre’s famed “War of the Worlds” broadcast) and the twins Julius and Philip Epstein; among the many high-points are the first meeting of Rick and Ilsa, Sam’s rendition of “As Time Goes By,” the stirring singing of the Marseillaise, the highly-quotable line “Here’s looking at you kid,” and the famous finale at the airport. Others in the sturdy ensemble include Claude Rains as the dapper inspector Louis Renaud, Conrad Veidt as the nefarious Nazi Major Strasser, Peter Lorre as the repugnant Ugarte, jowly S.Z. Sakall (erroneously billed as S.K.) as Carl the headwaiter, Marcel Dalio (a real-life refugee from the Holocaust) as Emil the croupier, Leonid Kinskey as Sascha the bartender, Sydney Greenstreet as Signor Ferrari, owner of the Blue Parrot Café, and, of course, Dooley Wilson as Sam the singer-pianist, who faked his own piano playing. Many other supporting bit players from the marvelous Warner Brothers stable are scattered throughout, including Leon Belasco, Mischa Auer, Oliver Blake, Torben Meyer, William Edmunds, Madeleine LeBeau, Helmut Dantine, Joy Page, John Qualen, Ludwig Stossel, Frank Puglia, and Dan Seymour as the venerable Abdul the doorman. Directed with showmanship, flair, and a rich noir-perspective by Hungarian Michael Curtiz, and brilliantly scored by Max Steiner, who contrary to belief did not write “As Time Goes By.” Chinatown (1974) In the same year that Paramount was touting The Godfather, Part II as a Best Picture Oscar contender, the studio was cognizant enough to release Polish-born director Roman Polanski’s brilliant crime drama Chinatown. With a masterful, Academy Award-winning screenplay (by writer Robert Towne), superb art direction (W. Stewart Campbell), and finely detailed production values (Robert Evans is credited as producer), it took the cinema world by storm; movie critics fell over themselves with high praise for the venture. That one-word title alone is enough to tell the tawdry tale of well-to-do — and well-heeled — private gumshoe J.J. Gittes (Jake to his “friends”), smartly played by Jack Nicholson, and his seemingly innocuous involvement with Mrs. Evelyn Mulwray (Faye Dunaway), the wife of Hollis Mulwray (Darrell Zwerling), chief engineer for the Los Angeles Water and Power Department. After a series of red herrings, Jake unwittingly stumbles onto a deadly game of cover-up by underhanded city officials, snot-nosed (and violent) gangster types, trigger-happy country folk, and wise-cracking police officers, all of whom know a whole lot more than they’re letting on about the dirty dealings over at Water and Power. As the fabulously wealthy Noah Cross (a smarmy but outlandishly entertaining John Huston, outstanding in a secondary role) casually informs Mr. Gittes, “You may think you know what you’re dealing with, but, believe me, you don’t.” Truer words were never spoken. Nicholson looks smashing in his immaculately tailored suits, wide-brimmed hats, and silk bathrobe (costume design by Anthea Sylbert). So’s that snazzy roadster, too, but it’s all for show. Indeed, that’s the dirty little secret of Chinatown: despite the obvious finery and ostentatious trappings of the rich and famous, the filth begins to pile up fast – a little too fast for poor Jake to keep up with. After one too many revelations, his carefully calculated world comes crashing down around him, as Jake finds himself at sea in a hum zinger of an ending, a tragic denouement of monumental (as well as Oedipal) proportions. With their masks lifted, the characters are revealed as the bizarre grotesques they’ve now become. It’s nihilism writ large, as it were. Most impressive are the camera angles, which were shot from behind Jake’s back. The feeling is of being dragged against one’s will into his unseemly realm, to see for oneself what Jake is about to discover and unravel. We’re accomplices — maybe even voyeurs — witnessing the disintegration of everything he holds dear. Everything about this classy feature, however, is top drawer, including the dynamite cast. Best of all is Nicholson’s Jake, a fellow too smart to get caught with his pants down, but too dumb to prevent it from happening anyway. Dunaway is so gorgeous to look at, and her arguments so compelling and strong, that we’re immediately taken in by her conviction — a true femme fatale in every sense, to her own detriment. Perry Lopez brings just the right touch of sarcasm mixed with disdain to his role as the harried police inspector Lt. Escobar, always one step ahead of his quarry, but wisely taking two steps back to reflect upon the situation at hand. Another major character are the physical locations themselves, which contribute mightily to the overall sense that something’s not right in this part of town (the film was mostly shot in and around the San Francisco Bay area). Also featuring John Hillerman, Richard Bakalyan, Roy Jensen, Bruce Glover, sweaty Burt Young, James Hong, Beulah Quo, Nandu Hinds as Jake’s secretary Sophie, young Diane Ladd, and Joe Mantell as Jake’s partner Walsh, who has the last word: “Forget it, Jake. It’s Chinatown.” Polanksi appears briefly as the nasty little hood who slices Nicholson’s nose with a knife. The excellent and spare score is by the late, great Jerry Goldsmith – a gem of a composition. The film was cleverly recycled as the basis for Gore Verbinski’s animated Rango (2011), which includes a hilariously sinister take on the Noah Cross character as voiced by Ned Beatty. Citizen Kane (1941) What is there left to say about this landmark production? Nothing at the time prepared Hollywood and RKO Radio Pictures for the firestorm of controversy this classic feature generated upon its initial release. The story of the assorted problems it encountered with its plot (purportedly based on the life of newspaper mogul William Randolph Hearst) and subsequent distribution is well known. What we’re ultimately left with is a masterpiece of the cinematic art form, what can conservatively be termed a true collaborative effort by all concerned. It’s still amazing to learn, after all these years, how truly revolutionary this production was: the mere fact that it came out of the Hollywood dream factory of the 1930s is proof enough of its uniqueness. Theater director, writer, producer and actor Orson Welles has been given far too much credit for having single-handedly invented many of the camera angles and lighting techniques we now take for granted. In truth, he and his cinematographer, Gregg Toland, were basically following a textbook example of how to make a motion picture. They both get an A+ for effort and delivery. The marvelous script is by Welles and Herman Mankiewicz, although Orson tried to suppress that fact for years thereafter. There is so much to see, and specifically to hear, in this marvelous maiden work that multiple viewings are absolutely mandatory to fully appreciate what is cinematic storytelling at its very best. The plot has been reworked time and again, most surreptitiously by Akira Kurosawa’s Rashomon and, to some extent, The Godfather series. The large cast, many of them past veterans of Welles’ Mercury Theater on the Air radio program and his Federal Theater Projects, includes Dorothy Comingore, Joseph Cotten, Edward Sloane, George Coulouris, Ruth Warwick, Ray Collins, Fortunio Bonanova, Philip Van Zandt, Paul Stewart, Erskine Sanford, Gino Corrado, future film director William Alland as the inquisitive reporter, future tough-guy Alan Ladd, and young Orson himself (in a corset, no less, to hide his massive bulk). The extraordinary sound design and deep-focus photography, as well as the musical score by the untested Bernard Herrmann (in his pre-Alfred Hitchcock days), add up to an oppressive atmosphere of a life lived lavishly on the edge. The music for the pseudo-opera Salammbô, an ingeniously lyrical set piece, features many nods to classical composers Richard Strauss and Erich Wolfgang Korngold; although Welles had in mind the French Romantic style of Massenet’s Thaïs, but this will do. City Slickers II: The Legend of Curly’s Gold (1994) Sequel to the successful yuppies in mid-life-crisis comedy City Slickers, which also stars Billy Crystal, Daniel Stern, Patricia Wettig, and Jack Palance in his Oscar-winning supporting role as the laconic cattle boss Curly. They’re back, along with Jon Lovitz (replacing snippy colleague B. Kirby Jr.) as Crystal’s no-account brother. Others from the original cast show up at the end, including Josh Mostel, who’s got to be a dead ringer for Wayne Knight they look so much alike. This version has funnier set pieces than the first film, as well as a bigger part for Mr. Palance, whose acerbic asides are just as caustic. The plot is a retread of Warner Brothers’ The Treasure of the Sierra Madre in which Crystal, Stern, Lovitz, and later Palance as Curly’s twin brother Duke, go to the Nevada desert in search of a fortune in lost gold. It includes snippets of the Walter Huston dance, Crystal’s imitation of Humphrey Bogart, and scenes and music from The Godfather Part II. It’s colorfully shot on location in Moab, Utah, and the screenplay is by Crystal and the team of Lowell Ganz and Babaloo Mandel, who’ve written several winners for director Ron Howard. As far as sequels go, this one is better than the usual scattershot continuation, and is fairly high up on the laugh meter. Mark Shaiman’s tuneful Western-style score is a shameless rip-off of Elmer Bernstein’s The Magnificent Seven theme music, but it’s a fitting tribute nonetheless. There are a couple of crude jokes and bits, and Crystal engages in some comic hanky-panky with wife Wettig (who has a reduced role here) — but nothing too offensive, at least by adult standards. Duck Soup (1933) The most irreverent and irrepressible screwball comedy the Marx Brothers ever perpetrated on moviegoers — and, at slightly over an hour, their most concentrated effort at hilarity ever. Most of the jokes and routines had been perfected by the team in numerous stage appearances, and were already considered old hat by the time they were filmed. Here, they’re elevated to high art, if not high jinks. The threadbare plot, which is but a flimsy excuse for the film’s marvelous comedic high-points, involves dubious Freedonian dictator Rufus T. Firefly’s wrongheaded attempts to wage war against the neighboring Sylvania. Groucho Marx plays the easily flummoxed Firefly, with brothers Chico and Harpo serving as Sylvanian “spies,” while fellow sibling Zeppo tags along as Firefly’s male secretary. Margaret Dumont is priceless as the boys’ clueless foil, Mrs. Teasdale. Tall, aristocratic, and with a flair for fun and mischief, Louis Calhern is the Sylvanian ambassador Trintino, Raquel Torres is the slinky Spanish-style vamp, and old pro Edgar Kennedy (he of the slow burn) is the put upon lemonade vendor. Many outrageous and totally ludicrous skits (“Peanuts, getta you peanuts”) are punctuated by Groucho’s sly commentary, Chico’s fractured English, and Harpo’s silent slapstick. That coat of his yields some singularly offbeat items, to say the least. The musical sequences are pure unabashed fun (play close attention to Groucho’s entrance song — it’s a riot!) and the rousing closing number is a send-up of old vaudeville routines and minstrel shows — no offense intended. A thoroughly enjoyable romp and on most critics’ Top Ten Funniest Movies Ever Made list, this vehicle was the Brothers’ swan song for Paramount Pictures before they migrated over to MGM. The Ghost and the Darkness (1996) Based on the true story of two man-eating lions loose in the South African bush country at the turn of the century, the film stars Val Kilmer as Colonel John Patterson, unlikely cast as an Irish engineer assigned to build a bridge across the River Tsavo, and Michael Douglas as Remington, an American big-game hunter spouting rapid-fire syllogisms. They join forces to rid themselves of the beasts, whose nasty habit of eating up the local workforce is crimping the style of British railroad baron and self-styled martinet Tom Wilkinson (The Patriot, Batman Begins). Others in the cast include Henry Cele (Shaka Zulu), whose prominently chiseled features are welcome in a small role as the doomed foreman, the authoritative Bernard Hill (Titanic) as the smart-ass doctor of the camp, and mild-mannered Brian McCardie (Rob Roy) as the Scottish missionary. The usually solid and distinguished Indian actor Om Puri (City of Joy) seems at sea as a disruptive Hindu leader of the workers. The major attractions, however, are the titular lions, and the ones used in the picture are a truly fearsome and ugly-looking pair. The real-life stuffed lions responsible for all the carnage can still be seen at the Chicago Field Museum, as the narrator John Kani so informs us. He plays the stoic African guide, who has the best line in the film when he’s asked about life with his three wives. Filmed on location, it’s better than your average National Geographic special. There’s real ferocity to the beasts, it’s gorgeously photographed, and the sound design is truly spectacular; this is definite home theater demo material if there ever was one. The main roles are somewhat shallow, however, especially Douglas’ (who also produced), and the ending is as contrived as they come. It’s redeemed by the film music, which is by veteran screen composer Jerry Goldsmith, who after over forty years in the movie business still manages to surprise and please the listener. His wonderful score weaves African tribal chants, dance rhythms, and native drum beats into the seams to very good effect. Directed by Stephen Hopkins and scripted by veteran screenwriter William Goldman. The lions will certainly scare you if the acting doesn’t. Gladiator (2000) Covers similar thematic ground as Anthony Mann’s The Fall of the Roman Empire, and is a close cinematic cousin to such films as Spartacus, Ben-Hur, Demetrius and the Gladiators, and other sword-and-sandal epics. Emperor Marcus Aurelius is about to retire and considers handing over the power reigns to popular general Maximus (“The Spaniard”). Before the emperor can do so, however, he’s murdered in true Roman dysfunctional-family tradition by his envious son Commodus, while Maximus is about to be put to the sword. He escapes, in time to find his wife and child butchered by his former mates. Sold into slavery, he manages to seek revenge by finding glory in gladiatorial combat. The film takes this basic plot point and reinterprets it as sports hero-worship, no better illustrated than in an early scene where Maximus and his troops make ready for combat. Substitute helmets and shoulder pads for shields and swords, and you have the opening play of the Super Bowl Game — complete with pep talks, back-slaps, and color commentary (all that’s missing are a couple of “high fives”). Soft-spoken Russell Crowe is fine and dandy as the brawny Maximus. He has “macho action star” scrawled all over his chest. Indeed, since then he’s gone on to appear in the far superior Master and Commander: The Far Side of the World and Ridley Scott’s remake of Robin Hood. Also featured are Joaquin Phoenix as the conniving Commodus, Richard Harris in the tiny role of the fragile Marcus Aurelius, Connie Nielsen (fresh from her stint as a “fiendish” attorney in The Devil’s Advocate) as Commodus’ sister Lucilla, Djimon Hounsou (a welcome presence) as the glowering gladiator Juba, and Derek Jacobi as the low-key but crafty Senator Gracchus. Oliver Reed hams it up to the hilt in his last screen appearance as the slave trader Proximo. His visage was computer-grafted onto another actor’s body after his untimely passing in mid-production. Spencer Treat Clark (Unbreakable) plays Lucilla’s precocious son Lucius, and Giorgio Cantarini (who co-starred with Roberto Benigni in Life is Beautiful) has a cameo as Maximus’ offspring. Directed by Ridley Scott, slightly out of his league but managing to find his way around the epic conventions well enough. Excellent CGI effects add a much-needed dimension and lift to some of the outdoor scenes, establishing Rome as a major character in itself. The score is by Hans Zimmer, one of his better ones. Jarringly photographed in a manner similar to Spielberg’s Saving Private Ryan, i.e., a mix of slow motion, stop-action, and rapid crosscutting, with hints of a high-speed documentary style. It all comes together with some roughness around the edges, but should do much to revive the period-action flick, as evidenced by Peter Jackson’s Lord of the Rings trilogy a year later. It owes as much to Braveheart as to Tacitus. Glory (1989) Directed by former Harvard-graduate Edward Zwick, the letters of another Harvard alumnus, those of Col. Robert Gould Shaw (Matthew Broderick, who also provides the voiceover), a young, white Union commander in the 54th Massachusetts Volunteer Infantry Regiment, written to his northern abolitionist mother (Jane Alexander, unbilled), formed the basis for this inspiring portrait of gallantry and racism during the American Civil War. Other relevant sources included the novel One Gallant Rush: Robert Gould Shaw and His Brave Black Regiment by Peter Burchard and Lincoln Kirstein’s photographic compilation, Lay This Laurel. Unlike the real-life 54th, which was made up mostly of free black men from the North, the screen regiment is comprised almost entirely of ex-slaves. Except for the presence of Shaw, his parents, and the imposing figure of author and abolitionist Frederick Douglass (Raymond St. Jacques) — two of whose sons actually signed up with and fought for the 54th — the principal participants depicted in the drama are purely fictitious. One of these fictitious creations, Trip (Denzel Washington), is flogged for having deserted his troops in the midst of their training. As it turns out, Trip was only looking for a decent pair of shoes, which the troops had been denied due to the racist tendencies of the quartermaster in charge of their supplies. Denzel’s tearful acquiescence in full view of his fellow troopers, and before his commanding officer, is one of the most powerful sequences in the movie. He and the other volunteers eventually get to display their fighting spirit and worth as soldiers in a futile and vividly realistic suicidal attack on an impregnable beach fortress off the coast of South Carolina. The hardships these men experience along the way frame the main part of the story behind the unsuccessful charge at Fort Wagner where, historically, the 54th Massachusetts Volunteer Infantry lost half their men. Pride, courage, bravery, dignity and sacrifice are all touched upon in this potent war drama, a fitting tribute to the soldiers who fought and died in that vicious battle, which occurred almost simultaneously with a similar confrontation on the wide-open fields of Gettysburg. After several nominations wherein he came up empty-handed, in 1990 Denzel finally won a well-deserved Academy Award for Best Supporting Actor for his personification of an angry black man railing against social injustice. The most poignant portion of the film comes when the lifeless body of Col. Shaw is unceremoniously thrown into a ditch alongside the corpse of Pvt. Trip and others of their regiment, with sea birds squealing and squawking noisily overhead. With a screenplay by Kevin Jarre and striking photography by veteran British cinematographer Freddie Francis, Glory also featured excellent performances from Morgan Freeman, Cary Elwes, Andre Braugher, and Jihmi Kennedy, with Alan North, Bob Gunton, John Finn, Jay O. Sanders and Cliff De Young in other roles. The exceptionally fine and moving score by James Horner, with the welcome participation of the Boys Choir of Harlem, is one of this composer’s best remembered pieces. It’s a favorite of record collectors and sound buffs (Shawn Murphy is the sound engineer), with more than a hint of Carl Orff’s Carmina burana in its sweeping choral passages and otherworldly tonalities. The Godfather, Part I (1972) “I believe in America. America has made my fortune.” So begins one of the most influential Hollywood films of the seventies, with sorrowful undertaker Bonasera (Salvatore Corsitto) making a desperate plea for justice in godfather Don Corleone’s inner sanctum. Francis Ford Coppola’s directing career took off like a rocket as a result of this film’s unprecedented popularity and success. It made him and Paramount Pictures a bigger fortune than either of them could ever imagine. Mario Puzo’s pulp novel The Godfather – not exactly high art or intellectually challenging as literature – came to passionate life in Coppola’s now-classic depiction of the Sicilian-American underworld (we know what he meant, even though the word “Mafia” is never uttered). Postwar America is the setting for this violent tale of Don Vito Corleone, the godfather of the title, who lords it over his crime syndicate as one of the heads of the five New York “families.” Gambling, prostitution, murder incorporated, judges in hip pockets, and nefarious bribery schemes are their life blood. But incredibly, the godfather refuses to dabble in drugs, which makes Don Corleone out to be a beggar among thieves. His unequivocal stand against dope dealing lands him in hot water with the opposing forces longing to take over his territory. Played by the legendary Marlon Brando, the Don is power personified: a lift of a finger, a cock of the head, and his slightest whim is dutifully obeyed by head enforcer Luca Brasi (former wrestler Lenny Montana). Brando won a well-deserved Best Actor Oscar (he refused it, however) for his subtle, tour de force performance, even though he’s relegated to what is essentially a supporting role. Equally deserving is Al Pacino (note the fire in his eyes) as youngest son Michael. It’s been said this film is about the dark side of the American dream; while true enough in practice, the real crux of the drama (with screenplay by Coppola and Puzo) is the unquestioned devotion Michael feels towards his father, despite his distaste for dad’s work. Michael proves his love by taking over the family business after Don Corleone is seriously injured in a botched assassination attempt — perpetrated by the shifty-eyed Sollozzo (cagey Al Lettieri) — and after hot-headed brother Sonny (James Caan) is gunned down at a Long Island toll booth. So many quotable lines (“I’m gonna make him an offer he can’t refuse,” “Leave the gun, take the cannolis,” and “Never tell anyone outside the family what you’re thinking”), so many individualized portraits (i.e., Clemenza, Tessio, the Tattaglias, Apollonia, Don Tommasino, Fabrizio), it’s one of those movies that demands our undivided attention. No matter how many times you’ve seen it there are always fresh insights to be savored over: the opening trumpet solo – mournful, longing, full of untold regret; right-hand man and ex-cop Al Neri (Richard Bright), closing the door on Michael’s wife Kay (Diane Keaton); Brando’s tearful breakdown (“Look how they massacred my boy”) upon viewing the dead Sonny’s shattered features; that ironic, masterfully orchestrated finale whereby Michael wipes the slate clean of his father’s foes while standing as godfather to his sister Connie’s child; and many more. With a fine ensemble cast, including Robert Duvall as Tom Hagen, Talia Shire (Coppola’s real-life sister) as Connie, John Cazale as Fredo, Richard Castellano as the fat Clemenza, Abe Vigoda (Fish in Barney Miller) as Tessio, Alex Rocco as Moe Green, and John Marley, Sterling Hayden, Richard Conte, Al Martino, Morgana King, Gianni Russo, Vito Scotti, Simonetta Stefanelli, Angelo Infanti as Fabrizio, and Gabriele Torrei (uncredited) as Enzo the nervous baker. Striking cinematography by Gordon Willis, incredibly detailed production design by Dean Tavoularis, and of course that instantly recognizable film score by Nino Rota. Need we say more? The Godfather, Part II (1974) At three hours and twenty minutes, it’s almost as long as Gone With The Wind, but not nearly as funny. Francis Ford Coppola’s successful continuation of Mario Puzo’s Godfather saga is more than just excessive padding: it looks backward in time to the story of orphaned Vito Andolini, who flees Sicily to come to New York at the turn of the century, winds up on Ellis Island, has his surname changed to Corleone, grows up in poverty on the Lower East Side, then marries, has a family of his own, and faces down the dreaded Don Fanucci (played in oily fashion by the formidable Gaston Moschin) to become a “respected” member of society; and forward to the new don, Michael Corleone (an intensely driven Al Pacino, never better), and his efforts to salvage his family’s Nevada holdings from the clutches of soft-spoken but ruthless gangster Hyman Roth (Actor’s Studio co-founder Lee Strasberg in his movie debut) while simultaneously confronting a traitor within his midst as well as dealing with his failed marriage to skeptical wife Kay (the returning Diane Keaton). Every scene is a comment on, and a reflection of, similar ones to be found in Part I. Outright lies, blatant betrayals, treachery, duplicity, and double- and triple-crossings galore, with enough chokings, drownings, stabbings, and garrotings to fill ten crime novels! Spellbinding direction, high production values, and a supremely talented cast make Part II that rarity of movie sequels – damned if it isn’t better than the original, in spite of more than a few lapses in narrative logic (what’s the story with those Rosato brothers, anyway?). Featuring Robert Duvall as world weary consigliere Tom Hagen, struggling to understand Michael’s secretive ways; Talia Shire as Michael’s sister Connie, who makes a spectacle of herself with new boyfriend Merle Johnson (the real name of actor Troy Donahue, as Merle) at her nephew Anthony’s first communion; John Cazale (suave, in a black mustache) as younger brother Fredo and his shady dealings with Roth’s Sicilian “messenger boy,” Johnny Ola (Dominic Chianese); and the stoic Robert De Niro, excellent as young Vito Corleone, who copied Marlon Brando’s mannerisms and hoarse vocalization, while picking up an Oscar in the process. Also starring playwright Michael V. Gazzo in a winning performance as old-timer Frankie Pentangeli. Gazzo’s role was “invented” by the screenwriters due to the producers dropping Richard Castellano from the cast – his salary demands simply couldn’t be met. Instead, we have Irish-Italian actor B. Kirby Jr. as a slimmed-down version of the youthful Pete Clemenza, along with G.D. Spradlin as the garrulous Senator Geary, Richard Bright as Al Neri, Joe Spinell as Willy Cicci, and Morgana King, Leopoldo Trieste, Amerigo Tot, Fay Spain, Abe Vigoda, Gianni Russo, James Caan, the incomparable Harry Dean Stanton as an FBI man, Danny Aiello as Tony Rosato, and Peter Donat as Senator Questadt. Roger Corman puts in another of his patented “guest shots” as a member of the investigating committee looking into Michael’s Cosa Nostra connections. Gordon Willis’ dark-hued photography is back, along with Nino Rota’s lush score, supplemented in part by Carmine Coppola, the director’s father. A five-star family affair, to be certain. Would we lie to you? The Godfather, Part III (1990) More rambling than either of its illustrious predecessors, with new characters spilling forth by the minute and an unusual familial “relationship” to ponder over, Part III of Francis Ford Coppola’s Godfather trilogy is the last and least admired installment of the series. His canny exploration into the inner workings of organized crime in America, with Mafia boss Michael Corleone as the chief suspect and subject, closes the circle he started with the Oscar-winning The Godfather some 16 years prior. An older and frailer Michael Corleone (Al Pacino, in gray hair and buzz cut) tries to make good on his past pledges to go straight and legitimize his lucrative Mafia dealings. In attempting to extricate himself from the Family “business,” Michael unwisely hands over the reins of power to a ruthless street enforcer, an onerous “clotheshorse” named Joey Zasa (oleaginous Joe Mantegna). When Michael’s trigger-happy nephew Vincent (Andy Garcia) comes busting in on the action, Don Corleone takes an instant liking to this, his brother Sonny’s bastard son, but is wary of the youth’s violent temper. Further complications ensue, such as Michael’s outwardly charitable donations to and involvement with the Catholic Church, which give way to other, unforeseen repercussions within the hierarchy of that venerable institution – all the way up to the Vatican’s banker, in a thinly veiled reference to the Michele Sindona affair of the late 1970s, along with a few others. There are so many red herrings, as well as false leads and dubious plot twists, especially the romance between Vincent’s cousin, and Michael’s daughter, Mary (an amateurish performance by Coppola’s daughter Sofia, who became a noted filmmaker in her own right); along with son Anthony’s operatic aspirations and eventual debut as Turiddu in Mascagni’s Cavalleria Rusticana, it all gets to be a bit much. Still, once all the machinations are finally set in motion, the inevitable grand finale (a truly operatic ending) materializes. It’s a humdinger of a conclusion, which may remind cinephiles of Rod Steiger in The Pawnbroker. But that Joey Zasa is a prize characterization, thanks to the chameleon-like Mantegna. In addition to him, we get several new personalities, i.e., the crooked Don Altobello (“tall and handsome”), played by short and frumpy Eli Wallach; Franc D’Ambrosio (with a background in musical theater) as Anthony Corelone; the Irish-brogue-spouting Donal Donnelly as Archbishop Gilday, as devious a hoodlum priest as they come; silver-haired lounge lizard George Hamilton as Michael’s immaculately tailored lawyer B.J. Harrison; former middleweight boxing champion Vito Antuofermo as Zasa’s bodyguard Anthony “The Ant” Squigliaro; and veteran thespian Raf Vallone as an exceptionally impressive Cardinal Lamberto, who hears Michael’s guilt-ridden confession, which happens to be the movie’s emotional highpoint. Of the numerous returnees, Diane Keaton is her low-key self as Michael’s ex-wife Kay, whom he reconciles with during the course of the drama; sullen Talia Shire (Coppola’s sister) as the widowed Connie, who totes a suspect box of cannolis to the opera; Richard Bright is a much heavier Al Neri; singer Al Martino appears as singer Johnny Fontane; Gabriele Torrei is Enzo the baker (the nervous fellow who tried to light his cigarette in the first Godfather); and Jeannie Linero as Lucy Mancini, Vincent’s mother. Directed by Coppola in high-flung fashion, with the peerless cinematography of Gordon Willis, production design by Dean Tavoularis, art direction by Alex Tavoularis, and musical direction by Carmine Coppola, Francis’ father. It may surprise fans that this picture was mostly filmed in Rome’s Cinecittà Studios, also used by Martin Scorsese for his Gangs of New York. It’s not the masterpiece that everyone wanted or expected from Francis, but a worthy pretender nonetheless. Do yourself a favor and see it, if only to have your curiosity sated as to how this whole Godfather thing gets sorted out. Gone With the Wind (1939) It’s hard to fathom that Margaret Mitchell’s best-selling fictional novel, Gone With the Wind, was practically an unwanted property in Hollywood. No studio head would get near a Civil War story, let alone adapt one for the screen. For years Tinsel Town touted the widely-held notion (perpetuated by MGM boy wonder, Irving Thalberg) that “No Civil War picture ever made a nickel!” That boast would forever be put to rest when producer David O. Selznick, who was Louis B. Mayer’s son-in-law, purchased the rights to Atlanta native Ms. Mitchell’s thousand-page tome. The result was a box-office juggernaut that went on to break all existing records. As heavy as Webster’s Unabridged Dictionary, the book GWTW (as it is customarily abbreviated) can be described as the American version of Leo Tolstoy’s massive historical epic War and Peace. The comparison is not at all a stretch, for both works take place during intensely turbulent periods of immensely significant change for their respective eras. For starters, Mitchell concentrated on the character of Katie Scarlett (originally Pansy) O’Hara, a lively spitfire of a Southern belle who uses large dollops of charm, guile and willful behavior (along with a ruthless capacity for survival) to overcome any number of obstacles, both to her person and to her beloved Tara. But what relation does Scarlett have to Natasha Rostova, the heroine of Tolstoy’s novel? Quite a lot and more than meets the eye! It was as if GSTW’s author had merged the personality of Natasha’s cousin, the mild-mannered Sonya (the mirror image of a Melanie Hamilton), with that of Scarlett herself, then had her pine away for the cerebral Pierre Bezukhov (standing in for poetic dreamer Ashley Wilkes), while spending the bulk of the story’s plot on the sordid lives of the buxom Helene Kuragina (another side of Scarlett’s capricious nature) and her dashing lover Dolukhov, who safely incorporates multiple aspects of Rhett Butler. We may add another viable connection: the invading Emperor Napoleon Bonaparte with that of Union General William Tecumseh Sherman. These contrasts may one day serve as the thesis for a more extensive study along the same lines. But for now, let it suffice that the three-hour-and forty-minute screen adaptation of Gone With the Wind is itself a masterpiece of narrative filmmaking. Overlooking the literary merits and deficits of its script (credited to Sidney Howard, who died before the film was released) or the cavalier treatment of the slavery issue, as well as its muddled political views, GWTW represents the highpoint of Hollywood storytelling at its starriest. Contrary to belief, wise-cracking Clark Gable (in the role of a lifetime) was not exactly a shoe-in for Rhett Butler. Also considered were such marquee names as Ronald Colman, Gary Cooper, Basil Rathbone and Errol Flynn. Selznick knew that Gable was right for the part, but he was loath to haggle with his wily father-in-law over his employment. Mayer drove a hard bargain in allowing Gable, then under contract to MGM, the opportunity to star in Selznick’s mammoth production. A deal was finally struck between the two moguls whereby Selznick would obtain Gable’s services in exchange for MGM getting the distribution rights. With literally a cast of thousands, some of the other key players involved were Leslie Howard as Ashley, Olivia de Havilland as Melanie, Laura Hope Crews as Aunt Pittypat, Hattie McDaniel (an Oscar winner for Best Supporting Actress) as Mammy, Butterfly McQueen as housemaid Prissy, Thomas Mitchell as Gerald O’Hara, Harry Davenport as Dr. Meade, Ona Munson as Belle Watling, and Victor Jory, Isabel Jewell, Rand Brooks, Carroll Nye, Oscar Polk, Eddie Anderson, Ward Bond, Irving Bacon, Louis Jean Heydt, and many other walk-ons, cameos and bit participants, including stuntman Yakima Canutt. Directed initially by George Cukor, who was fired and replaced by Victor Fleming (The Wizard of Oz), with some scenes, quite possibly, helmed by Sam Wood and even Selznick himself, all attention rightly belongs to Vivien Leigh as Miss Scarlett. The celebrated and well-publicized search for the elusive Scarlett is the stuff of movie legend, leading up to Selznick and his brother, Myron’s, unique choice of Ms. Leigh (born in Darjeeling, British-India) for the challenging role. Among the vast field of contenders and aspirants vying for the same part were Bette Davis, Paulette Goddard, Susan Hayward, Miriam Hopkins, Jean Arthur, Joan Bennett, Lana Turner, Alicia Rhett and Lucille Ball. In hindsight, of those mentioned Leigh was the only actress who measured up to Mitchell’s vivid description of the green-eyed, sweet-faced, yet “lusty with life” protagonist, copping an Academy Award (the first of two) as Best Actress for her extraordinary efforts. The score by Max Steiner, one of the longest to that time, is a certifiable classic among movie-music buffs. The instantly recognizable main Tara theme practically screams Hollywood to any and all corners. The production was designed by William Cameron Menzies, with art direction by Lyle Wheeler and costume designs by Walter Plunkett. If this isn’t the greatest epic Hollywood’s Dream Factory has ever produced (it’s all a matter of personal taste, in the final analysis), then Gone With the Wind absolutely lives up to its reputation as a certifiable crowd-pleaser without equal. The Graduate (1967) “Hello darkness, my old friend / I’ve come to talk with you again.” The first lines of director Mike Nichols’ screen adaptation of Charles Webb’s novel The Graduate come from “The Sounds of Silence,” written and performed by singer-songwriter Paul Simon and his partner Art Garfunkel. Contrary to accepted wisdom, the song was unrelated to Nichols’ film, but only became part of the finished soundtrack as an afterthought. It seized upon the prevailing mood of the time, which reflected the angst, the awkwardness, and the uncertainty of modern life, as well as the feelings of impending doom that the Vietnam War (and other crises) would soon bring to the fore. What Nichols brought to the material (an opening salvo in the so-called Hollywood “New Wave” of contemporary productions) was a biting wit and satiric edginess that captured the true essense of the turbulent sixties as few flicks of the era did. Not to say there weren’t other, equally absorbing glimpses into sixties pop culture (Bonnie and Clyde and In the Heat of the Night among the better ones); but this film, which made stars of its leads — and a household word out of Simon and Garfunkel — was the hands-down favorite. The sexual revolution is about to kick into high gear when Benjamin Braddock (a perpetually befuddled Dustin Hoffman, in his first major screen role), the clueless graduate of the title, comes home after four years of undergraduate studies in the East. Benjamin has no idea what to do with his life; his rich, upper-class parents (William Daniels and Elizabeth Wilson) provide little guidance, as do their unhelpful neighbors: “I just want to say one word to you,” the kindly Mr. McGuire advises him. “Just one word. Are you listening? Plastics.” Unable to face up to the challenge, Benjamin isolates himself in his room. Into his dreary world walks Mrs. Robinson (a supremely self-possessed Anne Bancroft, who was only a few years older than Hoffman), the alcoholic wife of his father’s best friend and law partner (delightfully underplayed by a laid-back Murray Hamilton). Mrs. Robinson initiates the young fool into the pleasures of the flesh, which boosts the ungainly Benjamin’s confidence level to no end. A hilarious hotel rendezvous notwithstanding, wherein the utterly bewildered Benjamin almost loses what’s left of his bearings, all goes well with the affair; that is, until he is introduced to Mrs. Robinson’s strikingly beautiful daughter, Elaine (angelic looking Katharine Ross). When Mrs. Robinson hears of the couple’s budding romance, she decides to take matters into her own hands, to disastrous but ultimately comic effect. Many of the film’s most memorable moments, including Dustin’s head-banging episode at the hotel room, were spur-of-the-moment inspirations, as recounted in Mark Harris’ book Pictures at a Revolution. Besides the other Simon and Garfunkel hits scattered throughout the story (“Mrs. Robinson,” “Scarborough Fair/Canticle,” and “April Come She Will”), the remaining music was supplied by jazz artist Dave Grusin. Calder Willingham and Buck Henry wrote the riotous screenplay, with Buck playing it straight as the deadpan Room Clerk. Many priceless vignettes by an army of featured contract players, including (try to spot them) Alice Ghostley, Marion Lorne, Norman Fell (“I don’t think we’ll have any more of this agitation. Will we, Mr. Braddock?”), Mike Farrell, Richard Dreyfuss, Elaine May (who partnered with Nichols onstage in the fifties and sixties), Jonathan Hole, Noam Pitlik, and Kevin Tighe. Still as fresh, funny and sharp as it was in 1967. Our favorite scenes are Benjamin’s disruption of Elaine’s wedding and the iconic last shot of the two of them in the back of the bus. This one scores a perfect 10 in my book. Lawrence of Arabia (1962) What makes a film a classic? Better yet, what makes a film epic a classic film epic? Without boring readers to tears with dry, statistical analysis — and for the sake of argument — let’s say that David Lean’s 1962 desert opus Lawrence of Arabia conveniently fits both bills. At roughly four hours in length, including overture, intermission and exit music (in Robert Harris’ exemplary restoration effort), it’s every critic’s Exhibit A in the “classic film epic” department, no contest about it. Why is that? Well, it’s got style to burn. It’s got wit, it’s got taste, it’s got sweeping romantic vistas and magnificent location scenery. It also features an enigmatic title character in T.E. Lawrence, deftly handled by the young Peter O’Toole in a wide-ranging (and revelatory) performance of the first order. Viewers were equally divided as to whether Lawrence was any more knowable at the end of the saga than at the beginning. Certainly the way the character’s been written (Robert Bolt and Michael Wilson contributed the Oscar-nominated screenplay) makes Lawrence out to be more of a warmongering adventure seeker and less of a real hero — an anti-hero, if you prefer. Still, all glory and honor are due O’Toole for what must have been an impossible acting assignment. He had to capture Lawrence’s softer “feminine” side, so to speak (his latent homosexuality could only be hinted at in 1962), without giving away the game or giving up any of the manly heroics associated with the historical figure. In addition, O’Toole had to reveal Lawrence’s exceptionally volatile nature as well as his high tolerance for pain – the torture scene featuring the sadistic Turkish Bey with the troublesome cough (played by Jose Ferrer) is a good case in point. The plot, in brief, concerns misfit British officer, Lieutenant Lawrence, and his involvement with Saudi Prince Faisal (Alec Guinness in a false beard and even more faux accent). His orders are to keep a close watch on those Arab beggars (“They’re a nation of sheep stealers,” according to the bigoted General Murray) and report his findings to British High Command in Cairo. Instead, Lawrence takes the bull by the horns by throwing himself headlong into an ad hoc campaign of his own devising. “I’ve got orders to obey, thank God. Not like that poor devil. He’s riding the whirlwind,” comments Murray’s replacement, General Allenby. Lawrence’s goal is to oust the stubborn Turks from the gulf port of Aqaba by using ragtag Bedouin tribesmen, the only force available to him. As fate (and luck) would have it, his plan works brilliantly — too brilliantly, one might add – and rather too easily for Lawrence’s future benefit. Sadly, it’s all downhill from there for the heavily burdened “El Aurens,” as the natives now call him. A legend of his own making (helped along by American reporter Jackson Bentley), Lawrence learns that he’s human after all and prone to all-too human failings — among them, a built-in self-loathing for what he’s become. In his international film debut, Omar Sharif contributes class, charm, and good looks (along with a sizzling screen presence) as Lawrence’s sympathetic Arab companion, Sherif Ali. Anthony Quinn (with an immensely prominent, hooked proboscis) is warrior chieftain Auda Abu-Tayi, his “ally” in arms. Others in the all-male cast include Jack Hawkins as a remarkably convincing General Allenby, Claude Rains as Dryden, head of the Arab Bureau, Anthony Quayle as Colonel Brighton, Arthur Kennedy as Jackson Bentley (the Lowell Thomas doppelganger), and bushy browed Donald Wolfit as the short-sighted General Murray. The film is divided into two parts, with the second half dragging slightly. The downbeat ending is, as expected, just that. But there’s no overlooking the award-winning desert cinematography by Freddie Young, or Maurice Jarre’s flavorful and much admired (by this author, anyway) film score, another award winner. Director Lean keeps it all together, in the process showing how to keep the focus on the human element amid the bloody spectacle of war. Produced by movie mogul Sam Spiegel, whose crowning achievement this undoubtedly was. All that’s left to say is: “Here, here!” The Mark of Zorro (1940) Fancy sword-play, dashing derring-do, damsels in distress, padres and peasants in revolt against their oppressors – all this, and lovely Linda Darnell, too. These are just some of the doings in this classic Twentieth Century-Fox swashbuckler, a film that defines the genre as few others from that period have. Handsome leading man Tyrone Power has a field day in the dual role of Don Diego Vega, foppish fool and carefree gentleman by day; and as Zorro, devil-may-care swordsman and masked good-guy avenger by night (from Johnston McCulley’s original 1919 story, with hints of The Scarlet Pimpernel thrown in). Darnell is the alcalde’s young niece, the beautiful Lolita Quintero. This sound remake of Douglas Fairbanks and Noah Beery, Sr.’s silent adventure flick is superior entertainment all around. Basil Rathbone takes over as bad-guy Captain Esteban, who shows off his remarkable fencing skills in a fast-paced duel to the death with Power (choreographed by fencing-master Fred Cravens). Eugene Pallette is the typically harried Fray Felipe, with J. Edward Bromberg as the alcalde Don Luis Quintero, Gale Sondergaard as his wife Inez, Montagu Love as Don Diego’s father, Don Alejandro Vega, and George Regas, Chris Pin-Martin, Frank Puglia, and Pedro de Cordova as extras. Stylishly directed by Rouben Mamoulian (Queen Christina, Blood and Sand), the film reeks of class. It also boasts a marvelously memorable, one-of-a-kind score by one of Hollywood’s most decorated film composers, Alfred Newman. Once heard, the main melody will remain with you for days on end. The plot revolves around Don Diego returning to nineteenth-century Southern California after having spent his youth in Spain. He finds his hometown in turmoil, thanks to the greedy Don Luis and the abusive Captain Esteban. Slowly but surely, Diego hits upon a plan whereby, with the aid of Fray Felipe, he begins to take the town back from the rich overlords with daring night raids on their purse-strings – sort of a Spanish-style Robin Hood, if you will. In the meantime, he throws the suspicious captain off the scent by courting the highborn Lolita. Remade for television, in 1974, with an appropriately polished Frank Langella as Diego, villainous Ricardo Montalban as Esteban, and Gilbert Roland and Yvonne De Carlo as Diego’s parents; and in 1998 as The Mask of Zorro, starring athletically inclined Antonio Banderas and an equally dexterous Catherine Zeta-Jones, with Anthony Hopkins as an over-the-hill Don Diego. Power’s version is still the best by a long shot. Sumptuously photographed by Arthur C. Miller, the 1940 film accomplished in 94 minutes what it took the other versions hours to do – but never quite made it. A winner in every way. The Music Man (1962) Where would high school musicals in this country be without this perennial (and thoroughly entertaining) slice of rural American life, the ever-popular theatrical showstopper The Music Man? An absolutely perfect, razzle-dazzle realization of Meredith Willson’s sprightly tribute to turn-of-the-century, small-town mores. Super salesman “Professor” Harold Hill (Gary Conservatory, Gold Medal Class of ‘05) comes to River City, Iowa, to fleece the local yokels out of their hard-earned cash, by duping them into signing their kids up for a proposed boys marching band. He attempts to deliver on his promise while simultaneously courting the town’s spinster librarian named Marian. It all turns out well in the end, though. Many lively and original musical numbers, along with delightful dance sequences, contributed by a well-blended cast, some from the original New York stage production. Stars Robert Preston, in one of his strongest roles, as the fast-talking con man Harold Hill, lovely Shirley Jones as the warbling Marian, young Ron Howard (then billed as Ronny) as her little lisping brother Winthrop, Pert Kelton (the original Alice Kramden on TV’s The Honeymooners) as the lady with the Irish brogue, Mrs. Paroo, along with Buddy Hackett as fellow flim-flammer Marcellus Washburn, blustering Paul Ford as the self-inflated Mayor Shinn, Hermione Gingold as his wife Eulalie Mackechnie Shinn, and the phenomenal barber shop quartet known as The Buffalo Bills. Directed by Morton Da Costa, who oversaw the original Broadway outing. Beautifully captured in widescreen Technicolor glory, an absolute must for full enjoyment. Toe-tapping, trombone-thumping fun all the way. Don’t miss it! Network (1976) For satire to be truly effective it must consist of the following elements: irony, wit, sarcasm, parody, exaggeration, and a surefire sense of the absurd. In addition, it should be devilishly clever as well as funny, with the laughter sticking in one’s throat. Where Network is concerned not only are these elements present, but there’s also an air of urgency to the characters, along with the seemingly distraught situations that Oscar-winning screenwriter Paddy Chayefsky (The Hospital) and director Sidney Lumet (Twelve Angry Men, Fail-Safe) have placed them in. Much of the story revolves around aging television anchor Howard Beale (an exhaustively manic and over-the-top Peter Finch in his final screen appearance), who heads up the nightly newscast for fourth-rated TV network UBS. Howard is on his last legs, a man with precious little to live for. But instead of retiring gracefully from the scene he threatens to blow his brains out on the air, much to the consternation of news division heads, especially excitable corporate flunky Frank Hackett (a perfectly realized Robert Duvall). Despite the best efforts of fellow newsman Max Schumacher (played by veteran thespian William Holden, whose worn features betray more than a hint of sadness) to keep him in line and out of trouble, Howard escapes from Max’s apartment (in the pouring rain, no less) to make a beeline for the TV studio, where he delivers one of cinema’s most impressive lines: “I want you to get up right now and go to the window. Open it, and stick your head out, and yell, ‘I’m as mad as hell, and I’m not going to take this anymore.’ ” His erratic behavior becomes a lifeline for Howard as well as a godsend for the network, thanks to an ambitious rising star in the news division named Diane Christensen (Faye Dunaway at her sleaziest). She sees the eccentric anchor as her ticket to fame and fortune: the Mad Prophet of the Airwaves, so she says – a combination of Andy Griffith’s Lonesome Rhodes with our own Glenn Beck – a patently insane fellow who could give the struggling network the ratings boost it sorely needs. The question that was asked at the time of the movie’s premiere was: could TV networks be THAT ratings conscious (and that unscrupulous) as to program a show with the title The Mao Tse-tung Hour, about radical leftists attempting to overthrow the U.S. government? Or be seriously touting Sibyl the Soothsayer as a newscaster? You bet it could. Nowadays, this is what passes for “entertainment” (if you’re unconvinced, tune in to Long Island Medium or Fox News for further proof). And Network was the trailblazer in this respect, the most prescient and forward-looking film Hollywood has ever produced. Finch won a posthumous Best Supporting Actor Oscar (the first ever awarded to a deceased star) as the “making-it-up-as-he-goes-along” Mr. Beale. Beatrice Straight won the Best Supporting Actress Award for her scene-stealing turn as Holden’s estranged spouse Louise. And Dunaway ran away with the Best Actress honors for her lead role as the scheming Diane. With Ned Beatty, brilliant as the evangelical head of the network, Mr. Jensen (“You…will…atone!!!”), Arthur Burghardt (an actual vegetarian) as the Great Ahmed Kahn, licking his chops over a bucket of fried chicken; and Wesley Addy, Bill Burrows, Conchata Farrell, and Kathy Cronkite as the slogan-spouting, Patty Hearst-lookalike Mary Ann Gifford, along with Ken Kercheval, Lance Henriksen, and a host of others. They’ll still be talking about this one when we’re old and gray, it’s that relevant. A shocker of an ending tidies things up nicely… well, sort of. A Night at the Opera (1935) No, not the Queen album, but just the Marx Brothers’ best attempt at integration of top-drawer comic and musical material into a feature-length film, the boys’ first for MGM’s Wunderkind, Irving Thalberg. A classic comedy of only the most outlandish proportions, its sideways pokes at snobbery, elitism, the establishment, and serious music-making remain timeless and fresh even today. Groucho plays society gatecrasher Otis B. Driftwood (don’t you just love those outlandish names of his?), with Chico and Harpo as pretty much variations of their usual meddling (and incompetent) selves. Verdi’s Il Trovatore gets a well-deserved drubbing (talk about a ridiculous plot!), thanks to the Brothers’ spurious efforts to champion the debut of their new tenor discovery Ricardo Baroni, played by the curly-headed Allan Jones. The romantic subplot between him and the fetching Kitty Carlisle, as soprano Rosa Castaldi, is just another ingredient in the general movie mayhem. They have excellent voices, by the way. Margaret Dumont returns as the rich dowager, Grande Dame and patroness of the opera Mrs. Claypool, whose girdle must be made of cast-iron, she’s so ramrod straight. The wonderfully phlegmatic Sig Rumann is the flustered opera impresario Mr. Gottlieb. And Walter Woolf King lends considerable (if under-appreciated) support as conceited male divo Rodolfo Lasspari. The enjoyable songs (“Cosi, Cosa,” “Alone”) are coupled with a riotous, nothing-sacred finale at the “New York” Opera Company, with some hilarious bits on board an ocean liner thrown in — “And two hard-boiled eggs” (HONK) “Make that three hard-boiled eggs” — that have passed into movie legend. Written by George S. Kaufman, among others, and directed by the Brothers’ favorite handler, Sam Wood. All the vital elements finally clicked for the boys. This was the first Marx Brothers’ movie sans younger brother Zeppo. The Prince of Egypt (1998) Kids may want to tune in, along with their parents, to this animated musical account of the Exodus story, The Prince of Egypt, a 1998 product of DreamWorks Pictures, the joint Steven Spielberg-Jeffrey Katzenberg studio venture. It incorporates state-of-the-art digital animation effects, and utilizes the voices of Val Kilmer as Moses, Ralph Fiennes as Pharaoh, Patrick Stewart as his father Sethi, and Michelle Pfeiffer, Jeff Goldblum, Sandra Bullock, Danny Glover, Ofra Haza, Steve Martin, and Martin Short in other key roles, to tell the tale of Moses, the Ten Commandments, and the parting of the Red Sea. Despite the clash of accents among the talented cast, the story is straightforwardly told, and this version, which is vastly superior to most Saturday morning fare (if not quite up to the advanced level of the best of the Disney Studios) is entertaining and gripping nonetheless. The visual rendering of the characters favors an elongated eloquence reminiscent of the Mannerist style of portraiture (think El Greco, or possibly Modigliani) that gives the finished product a uniquely original stamp of its own. The rivalry between the young prince Moses and future pharaoh Rameses is a thinly-veiled reworking of the Judah/Messala conflict found in MGM’s 1959 version of Ben-Hur, another superior religious picture. Thankfully, the script is on the same high level as that feature. And there’s even a hit song, i.e., “When You Believe,” to thrill to, beautifully sung in the movie by Pfeiffer, and repeated in the end credits as a power duet between then-reigning pop divas Mariah Carey and Whitney Houston. This is highly recommended for all family members. The Searchers (1956) Which movie was John Ford’s greatest? Some may say The Grapes of Wrath or How Green Was My Valley; others cite the Cavalry trilogy or The Man Who Shot Liberty Valance. But for my money, it has got to be The Searchers (based on the book by Alan Le May), a grandiose statement of Shakespearean proportions in its use of language (sometimes stoic, sometimes descriptive), locale (Monument Valley), comic relief to dissipate tension (the loony bird Mose, the Jorgenson clan, the preacher-turned-Texas Ranger, Capt. Clayton), and supremely memorable characterizations, the finest of which is John Wayne. He gives a towering performance as Ethan Edwards, a man obsessed with rescuing his kidnapped niece Debbie (Lana Wood as a child, big sister Natalie Wood as a teenager) from the arms of a Comanche chief named Scar (Henry Brandon). Failing to realize that he himself is scarred by his past — not just from battle but with the taint of racism and fear of miscegenation — Ethan lives out his bigotry in a search of his lost soul. It seems that he and Chief Scar are both motivated by feelings of revenge for the atrocities perpetrated on their loved ones. Ethan’s adopted nephew, Martin (Jeffrey Hunter, in another indelible portrait), acts as his conscience and guide through this minefield of hate, a Jiminy Cricket trying to keep his uncle honest about his motives in their years-long search. There’s a poetic rhythm and unmistakable melancholy to their journey. Director Ford wisely keeps dialogue to a minimum. We merely sense Ethan’s unspoken love for his brother Aaron’s wife, Martha, a lost amour from his youth. Their looks and gestures say it all. The opening number, “What Makes a Man to Wander” (sung by the Sons of the Pioneers) states the story’s theme right from the outset — it reappears at the end, serving the same function as a Greek chorus in summarizing prior events: “What makes a man to wander / What makes a man to roam / What makes a man leave bed and board / And turn his back on home? / Ride away – ride away – ride away.” Although the score is credited to Max Steiner, the song was composed by Stan Jones, a sometime member of Ford’s stock company. But the focus remains on Wayne’s character. Ethan eventually brings Debbie back to civilization, but he cannot partake of the happy homecoming. He stands outside the doorway, forever apart, forever searching, as he walks slowly away. One of Wayne’s greatest accomplishments on screen is the depth to which he was able to plummet to get at Ethan’s brooding character, i.e., that of the rugged individualist wounded by society’s encroachment, who seeks redemption for his sins by doing that which most men refuse to do; to face hardships head-on, only to retreat into the background once their duty is done. Wayne dredged up the darkness that resided within his own psyche: he’s Lucifer after the fall, trying to regain a measure of his humanity; Odysseus after the wars, lost on the Western prairie, pining for home and hearth; and Captain Ahab, driven to madness by his desire to even the score with those who annihilated his kinfolk. The other cast members, all of them good, include Ward Bond, Hank Worden, Ken Curtis, Harry Carry Jr., John Qualen, Olive Carey, Vera Miles, Antonio Moreno, Pippa Scott, Dorothy Jordan, and Warren Coy. Wayne’s son Patrick makes a cameo appearance. Fess Parker was originally tapped for the role of Martin, but the Disney Studios refused since Parker was tied up with promotional duties as Davy Crockett, a part that Wayne later played in The Alamo. With outstanding location photography by Winton C. Hoch, and a concise screenplay by Frank Nugent (The Quiet Man, Fort Apache), The Searchers influenced scores of motion pictures, among them George Lucas’ Star Wars series and Martin Scorsese’s Taxi Driver. A Star is Born (1954) In reading critic and author David Thomson’s book “The Big Screen,” I came upon a section devoted to movie musicals — specifically, the 1954 musical version of A Star is Born with Judy Garland and James Mason, produced by Sid Luft (Judy’s husband at the time), directed by George Cukor for Warner Bros., and written by Moss Hart. The 1937 version, produced by David Selznick, was conceived by Alan Campbell, Robert Carson Dorothy Parker, and William Wellman after Adela Rogers St. John’s story, “What Price Hollywood?” (1934), the film of which Cukor also directed. Thomson points out a connection I never noticed before: that the wistful music for both “The Man That Got Away” from A Star is Born and the song, “Over the Rainbow,” from The Wizard of Oz (1939) were composed by the same man, Harold Arlen. A coincidence perhaps? Hmm… And both numbers in turn were performed by the same singer, Judy Garland, at opposite ends of her fame and fortune. If it can be said of any artist, it most assuredly exemplifies the work of the former Frances Ethel Gumm: that she wore her pain on her sleeve. In Judy’s world, it would be considered a badge of honor (or dishonor, depending on your point of view) to be shared with anyone and everyone you’d come in contact with. When we’re young and naïve, the mere thought of experiencing pain and hurt are anathema to our very being. It’s so traumatic a sensation that you’d want to flee the room, and the person, where pain is present. As we grow older and, we must admit, hopefully wiser, we long to be near it; to grasp it, hold it, stroke it, much as a moth is helplessly drawn to the flame. We know we may be burned by our proximity to the one whose pain and anguish erupts from every fiber of her soul. But that’s exactly how we should experience Judy Garland’s art at this, the pinnacle of her career. Her pain was our pain — and it’s inescapable. This film, made when she was only 32 (but looking years older), is Judy at her tortured peak, her “swan song” to her fans; an insider’s fisheye glimpse of a complicated life lived in full view of the paying public. By now, most viewers will be familiar with the plot of talented band singer Esther Blodgett (Judy), renamed Vicki Lester, whose career rises in direct proportion to her alcoholic actor-husband Norman Maine’s faltering one. To spare his wife from tumbling along with him, Norman (Mason) decides to end his life by drowning his troubles at sea. Both stars shine in this fabulous Technicolor widescreen CinemaScope spectacular, with Judy providing equal parts vulnerability and humor to overcome her many backstage issues (i.e., her dependency on drugs, her weight problems, and her illnesses, both real and perceived). Besides the aforementioned “The Man That Got Away,” which summarizes the story textually and contextually, there is the 18-minute “Born in a Trunk” sequence to admire, choreographed by Richard Barstow to the music and words of Roger Edens and Leonard Gershe. Other songs include Arlen and Ira Gershwin’s “Gotta Have Me Go With You,” “Here’s What I’m Here For,” “It’s a New World,” “Someone at Last,” and “Lose That Long Face,” along with a medley of George Gershwin and Rodgers and Hart tunes. The other cast members are Charles Bickford, Jack Carson, Tommy Noonan and Amanda Blake. Trimmed of approximately 37 minutes after its successful release, A Star is Born has been painstakingly reconstructed to 176 minutes (but not the test-cut time of 196 minutes or the premiere running time of 182 minutes) for the DVD/Blu-ray Disc editions, with scenes and numbers restored using photographs, pan and scan footage and snippets of outtakes, making it a not to be missed one-of-a-kind experience. Sadly, once you’ve seen the end product, you may never want to view it again. Considering what Judy went through in the final months of her life (epitomized in Peter Quilter’s theatrical play, “Judy Garland – The End of the Rainbow”) in eerie imitation of the film’s premise, there’s just too much pain attached. Indeed, she paid the ultimate price for Hollywood stardom. The film was remade again by Warner Bros. in 1977, this time as a vehicle for Barbra Streisand and Kris Kristofferson. The Ten Commandments (1923) One of the earliest depictions of the story of Moses and the Hebrew Exodus out of Egypt still available to modern movie audiences comes from famed producer-director Cecil B. DeMille, a former stage actor and Hollywood co-founder, who even in the silent-film era was famous for his lavish historical pageants and superb handling of mass movement in crowd scenes. His first crack at the biblical genre was this 1923 silent epic version of The Ten Commandments, starring Theodore Roberts as Moses, Estelle Taylor as Miriam, and Charles de Roche as Pharaoh, produced by Paramount Studios and partially filmed in Guadalupe, Mexico. The moving Exodus episode and the handing down of the commandments are dealt with in expert fashion, while the rudimentary special effects, particularly the parting of the Red Sea, are indeed impressive for the time. The second half of the film is devoted to a more “contemporary” interpretation of what happens to one of two siblings who breaks God’s rules. Richard Dix and Rod La Rocque play the battling brothers (one good, one bad) in traditional, melodramatic clutch-and-stagger style, while silent movie queen Nita Naldi vamps it up as the tragic temptress who comes between them. Despite the soap opera trappings, the movie proved a big hit at the box office, raking in an incredible four million dollars in its day. The first part is the more gripping portion, and is recommended for joint family viewing. You’ll want to fast-forward through the stagy second section, which tends to drag a bit and might prove too mature for young children. Touch of Evil (1958) By the time of its release, the film noir genre had just about played itself out, but leave it to that old filmmaker and former “boy wonder,” Orson Welles, to find new nuances in it. Looking like a perpetually bloated bullfrog, Welles brings a lifetime of indulgence and missed opportunities to his role of the fat, over-the-hill police chief Hank Quinlan, a poor man’s Harry Lime — and twice as dishonest and repulsive. The film features Charlton Heston as a swarthy Mexican (!) detective whose wife Welles frames for murder. Heston refused to play his part unless Welles, scheduled to co-star with the lantern-jawed hero, was allowed to direct. His decision turned this potential grade-B thriller into an art-house classic. As reward for his accepting the assignment, Welles hired (and surrounded himself with) such old cronies as Joseph Cotten, Akim Tamiroff, Joseph Calleia, Mercedes McCambridge, and Marlene Dietrich, who donned a gypsy outfit and black wig to play Quinlan’s ex-squeeze. Curvaceous Janet Leigh is Heston’s doting and doped-up wife. The reedited version (allegedly more faithful to Orson’s original vision) is minus some of the fine, Latin-based jazz score penned by Henry Mancini (a major loss), but the justly famous opening sequence is left mercifully intact, and is just as revelatory. The ending has Welles floundering about like a beached whale, while Dietrich tosses off some choice postmortems. A perfect vehicle for rabid noir fans, and a fascinating glimpse into what can be done on a shoestring (nay, poverty row) budget. The luminous black and white photography is admirably transcendent. The Treasure of the Sierra Madre (1948) B. Traven’s 1927 novel about three prospectors panning for gold in the rugged Mexican backlands served as the basis for this classic Warner Brothers film depiction. Written and directed by Academy Award winner John Huston (The Maltese Falcon), who lived for a time in Mexico and appears as the white-suited American continually hit upon for monetary assistance; and co-starring his actor father, a toothless Walter Huston, in an Oscar-caliber performance as the lanky old-timer Howard, it’s an epic morality tale about the dangers of too much greed and too little foresight. Desperate for a quick buck, two down-and-outers, Fred Dobbs (a mean and ornery Humphrey Bogart, in one of his best “bad guy” roles ever) and Bob Curtin (a stocky Tim Holt), team up with the aforementioned Howard, a veteran of past prospecting ventures, upon hearing him talk up a storm about his exploits in a Tampico flophouse. Howard knows a thing or two about prospecting, and even more about human nature. After Dobbs gets lucky with a winning lottery ticket, the trio sets off for the Sierra Madre mountains. Seeing the agile old geezer traverse steep terrain with precious little effort, Dobbs wonders if he isn’t part goat. With Howard’s help, however, they hit pay dirt; but soon after, the men are forced to confront other crises, among them a fourth vagrant named Codie (Bruce Bennett), who’s just itching for a piece of the action. When Codie is killed by bandits and Howard gets whisked off by the locals for saving a boy’s life, Dobbs and Curtin are left to fend for themselves. Eventually succumbing to gold fever, Dobbs tries to eliminate the competition in typical delusional fashion. He meets his fate at the hands of those same Mexican bandits, one of whom, a nervous fellow known as Gold Hat (newcomer Alfonso Bedoya — forever fidgety, thanks to Huston’s non-direction), earlier uttered the famous line about not having to show “any stinking badges.” For an action-adventure yarn, this adult drama emphasizes (wonder of wonders) character development over special effects – in particular, that of the reckless Fred C. Dobbs. His descent into a fiery furnace is a trifle too literal at times, but otherwise this is fine entertainment the whole family can enjoy. It’s amazing what the talented Bogart can do with this two-dimensional creature. By humanizing Mr. Dobbs, one almost feels sorry for the man, which is probably the right feeling to have in these circumstances. Tim Holt is equally memorable for revealing Curtin’s warm and tender side (the touching letter reading episode, for instance). He’s joined by his old man, veteran cowpuncher Jack Holt, who can be seen briefly in the flophouse sequence. Last but not least, there’s the great Walter Huston, sounding off with that infectious laugh of his, as well as doing that funny little dance that Billy Crystal so admired (and stole from) for his comedic version of the story (see City Slickers II: The Legend of Curly’s Gold). One can’t fail to mention Max Steiner’s powerful film score, a major character in itself. Others in the cast are Barton MacLane, young Robert Blake as the boy who sells Bogie the winning ticket, Arturo Soto Rangel, Jose Torvay, Margarito Luna, Pat Flaherty, and (most controversially) Ann Sheridan as a streetwalker. The ending is a masterpiece of cinematic irony, and the film is noteworthy, too, for not having the spoken Spanish subtitled. Twelve Angry Men (1957) A powerful look into the American criminal justice system and the mysterious ways of jury deliberation and manipulation, the much lauded Twelve Angry Men was director Sidney Lumet’s first foray into the world of first-run cinema. The story was based on writer and producer Reginald Rose’s Emmy-winning teleplay of the same name, which he developed for the CBS anthology series Studio One. Rose, who created and wrote the successful TV series The Defenders (which also starred E.G. Marshall), had himself served on a trial jury; both the play and the subsequent movie version were taken from his personal experiences of that event. Although Lumet was a product of the off-Broadway theater circuit (he was a co-founder of the Actor’s Studio), he was also a pioneer of early television, having worked on a variety of network programs, among them You Are There, Playhouse 90, Kraft Television Theatre, and the ubiquitous Studio One. The tensions that pervade the 96-minute Twelve Angry Men derive principally from a critical plot element whereby twelve jurors are charged with deciding the fate of a disadvantaged product of an inner-city slum tenement. The defendant, a teenager of Hispanic descent, is alleged to have stabbed his father to death after a loud quarrel. The jurors involved in the case comprise a cross-section of familiar character “types,” each with their own viewpoint based on their individual backgrounds and biases: the bleeding-heart liberal (Henry Fonda), the coldly analytical broker (E.G. Marshall), the narrow-minded bigot (Ed Begley), the self-made businessman and troubled parent (Lee J. Cobb), the endlessly patient jury foreman (Martin Balsam), the mousy bank employee (John Fiedler), the streetwise ex-ghetto inhabitant (Jack Klugman), the chronically indecisive ad man (Robert Webber), the ethnic immigrant (George Voskovec), the common working stiff (Edward Binns), the apathetic sports nut (Jack Warden), and the wise old man (Joseph Sweeney). As they begin their deliberation, the lone holdout, known only as Juror #8 (Fonda), voices a reasonable doubt as to the boy’s guilt. Claiming the prosecution’s case is based primarily on circumstantial evidence, Juror #8 slowly and methodically builds a case of his own for the defendant’s innocence. The movie takes the juror’s theory and follows it to its startling conclusion. Despite a few lapses in logic, including a controversial move by Fonda involving the weapon used to commit the crime, the structure and (basically) one-room setting are unique to films. Along with Otto Preminger’s Anatomy of a Murder from 1959, another entertaining, highly adult, almost clinical dissection of a rape and murder case, Twelve Angry Men was deservedly honored in 2007 for inclusion into the National Film Registry. To this day, Lumet’s maiden achievement on film is used in law schools and criminal justice classes as a textbook example of what juries go through in arriving at a life or death decision. One must also mention the claustrophobic environment throughout, thanks mainly to Boris Kaufman’s black-and-white cinematography and the low camera angles. A five-star production hands down, this feature is as relevant today as it was back in 1957— maybe more so! Updated and remade in 1997, it starred Jack Lemmon, George C. Scott, Tony Danza, Courtney B. Vance, Ossie Davis, Hume Cronyn, Dorian Harewood, Edward James Olmos, James Gandolfini, Armin Mueller-Stahl, William Petersen, and Mykelti Williamson. Part of the “fun” of this version, which is several notches below the excellence of the original, is seeing who got which roles in comparison to its predecessor. Try it and see! ◘
915	yago	1	26	https://www.encyclopedia.com/people/literature-and-arts/film-and-television-biographies/al-pacino	en	Encyclopedia.com			[ "https://www.encyclopedia.com/themes/custom/trustme/images/header-logo.jpg" ]	[]	[]	[ "Get information", "facts", "and pictures", "about Al Pacino", "at Encyclopedia.com", "Make", "research", "projects", "and school reports", "about Al Pacino", "easy", "with credible", "articles", "from our FREE", "online encyclopedia and dictionary" ]	null	[]	null	PACINO, AlNationality: American. Born: Alfredo James Pacino in New York [1] City, 25 April 1940. Education: Attended High School of the Performing Arts, New York [2]; Herbert Berghof Studio under Charles Laughton [3]; Actors Studio, New York, from 1966.	en	/sites/default/files/favicon.ico		https://www.encyclopedia.com/people/literature-and-arts/film-and-television-biographies/al-pacino	PACINO, Al Nationality: American. Born: Alfredo James Pacino in New York City, 25 April 1940. Education: Attended High School of the Performing Arts, New York; Herbert Berghof Studio under Charles Laughton; Actors Studio, New York, from 1966. Career: Worked as mail boy, in the offices of Commentary magazine, a movie usher, and building superintendent; then actor off-off-Broadway; 1969—Broadway debut in Does the Tiger Wear a Necktie?; film debut in Me, Natalie; 1970—member of the Lincoln Center repertory theater; director of stage play Rats in Boston; 1977—in stage play The Basic Training of Pavlo Hummel in Boston, and New York; 1982–84—co-artistic director, Actors Studio; 1984—London stage debut in American Buffalo. Awards: Best Supporting Actor, National Board of Review, Best Actor, National Society of Film Critics, for The Godfather, 1972; Best Actor, National Board of Review, Best Motion Picture Actor—Drama, Golden Globe, for Serpico, 1973; Best Actor, British Academy Award, for The Godfather, Part II, 1974; Best Actor, British Academy Award, Best Actor, Los Angeles Film Critics Association, Best Actor, San Sebastian International Film Festival, for Dog Day Afternoon, 1975; Best Actor, Academy Award, Best Performance by an Actor in a Motion Picture—Drama, Golden Globe Award, for Scent of a Woman, 1992; Chevalier dans l'Orde des Arts et de Lettres, 1995; Outstanding Directorial Achievement in Documentary, Directors Guild of America, Best Actor, Boston Society of Film Critics Awards, for Donnie Brasco, 1997. Agent: c/o CAA 9830 Wilshire Boulevard, Beverly Hills, CA 90212, U.S.A. Films as Actor: 1969 Me, Natalie (Coe) (as Tony) 1971 Panic in Needle Park (Schatzberg) (as Bobby) 1972 The Godfather (Coppola) (as Michael Corleone) 1973 Scarecrow (Schatzberg) (as Lion); Serpico (Lumet) (as Frank Serpico) 1974 The Godfather, Part II (Coppola) (as Michael Corleone) 1975 Dog Day Afternoon (Lumet) (as Sonny) 1977 Bobby Deerfield (Pollack) (as Bobby Deerfield) 1979 . . . And Justice for All (Jewison) (as Arthur Kirkland) 1980 Cruising (Friedkin) (as Steve Burns) 1982 Author! Author! (Hiller) (as Travalian) 1983 Scarface (De Palma) (as Tony Montana) 1985 Revolution (Hudson) (as Tom Dobb) 1989 Sea of Love (Becker) (as Frank Keller) 1990 Dick Tracy (Beatty) (as Big Boy Caprice); The Godfather, Part III (Coppola) (as Michael Corleone) 1991 Frankie and Johnny (Garry Marshall) (as Johnny) 1992 Scent of a Woman (Brest) (as Lt. Col. Frank Slade); Glengarry Glen Ross (Foley) (as Ricky Roma) 1993 Carlito's Way (De Palma) (as Carlito Brigante); Jonas in the Desert (as Himself) 1995 Two Bits (A Day to Remember) (James Foley) (as Gitano Sabatoni); Heat (Michael Mann) (as Vincent Hanna) 1996 City Hall (Becker) (as Mayor John Pappas); Donnie Brasco (Newell) (as Lefty Ruggiero) 1997 The Devil's Advocate (Hackford) (as John Milton) 1999 The Insider (Mann) (as Lowell Bergman); Any Given Sunday (Stone) (as Tony D'Amato) Film as Director: 1996 Looking for Richard (+ ro as Richard III, pr, co-sc) 1999 Chinese Coffee (+ ro as Harry) Publications By PACINO: articles— Interview, in Time Out (London), 6 September 1984. Interview, in Ciné Revue (Paris), 30 January 1986. Interview with J. Schnabel, in Interview (New York), February 1991. Interview with Teresa Carpenter, in Guardian (London), 3 Decem-ber 1991. On PACINO: books— Zuckerman, Ira, The Godfather Journal, New York, 1972. Puzo, Mario, The Making of The Godfather, Greenwich, Connecti-cut, 1973. Yule, Andrew, Life on the Wire: The Life and Art of Al Pacino, New York, 1991. Schoell, William, The Films of Al Pacino, Secaucus, New Jer-sey, 1995. On PACINO: articles— Current Biography 1974, New York, 1974. Thomson, D., "Two Gentlemen of Corleone," in Take One (Montr-eal), May 1978. Strasberg, Lee, in Photoplay (New York), April 1980. Williamson, Bruce, "Al Pacino," in The Movie Star, edited by Elisabeth Weis, New York, 1981. Image et Son (Paris), January 1982. Chute, David, "Scarface," in Film Comment (New York), Febru-ary 1984. Stivers, Cyndi, "Sunny-Side Up," in Premiere (New York), Octo-ber 1991. Richards, David, "Sunday View: Pacino's Star Turn Reflects the Glories of Rep," in New York Times, 5 July 1992. Minsky, Terri, "Descent of a Man," in Premiere (New York), February 1993. Dullea, Georgia, "Al Pacino Confronts a Gala, Kudos, Fame and His Own Shyness," in New York Times, 22 February 1993. Film Dope (Nottingham), April 1994. Weinraub, Bernard, "De Niro! Pacino! Together Again for First Time," in New York Times, 27 July 1995. Breslin, Jimmy, "The Oddfather," in Esquire (New York), Febru-ary 1996. Reed, Rex, "Al's oeuvre," in Esquire (New York), February 1996. Lemon, B., "Stage Center," in New Yorker, 12 August 1996. Andrew, Geoff, "To Play the King," in Time Out (London), 15 January 1997. Bourget, Jean-Loup, Michel Ciment, and Michel Cieutat, "Al Pacino," in Positif (Paris), February 1997. Norman, Barry, "Why Pacino's Way Is a Winner," in Radio Times (London), 1 February 1997. Macnab, Geoffrey, and John Wrathall, "The Infiltrator/Donnie Brasco," in Sight and Sound (London), May 1997. * * * Al Pacino's career is connected to that of his Italian-American contemporary, Robert De Niro. Both New York City-born, they each became movie stars in the early 1970s, and have more often than not played vividly realized characters who exist (on both sides of the law) within contemporary urban milieus. Pacino's first major role is Michael Corleone in The Godfather; De Niro played Michael's father in the sequel, The Godfather, Part II. Two decades later, they were masterly paired in Heat, with Pacino the cop who obsessively tracks De Niro's hood. Finally, and most importantly, their acting styles clearly derive from the Method school, with Pacino remaining an important force in the continuation and development of New York's famed Actors Studio. Pacino's acting roots are apparent in his earliest performances, which emphasize spontaneity, improvisation, and a flamboyance of manner and expression to a point where acting threatens to become the films' raison d'être. This is precisely the case in his roles as the young junkie in Panic in Needle Park, the drifter who has abandoned his family in Scarecrow, the honest New York cop singlehandedly fighting a corrupt police department in Serpico, and the would-be bankrobber who desires to finance his lover's sex change operation in Dog Day Afternoon. It is his appearances in these films (as well as The Godfather and The Godfather, Part II) which established Pacino as one of the 1970s' most important stars. His performances in the first four are tours de force of an almost crazed nervous energy combined with a deep intensity and vulnerability. This energy appears at once a positive trait, infectious and irresistible, and a mask, a defense against the constant threat posed by the other characters or forces at work in the story. But it was his work in the two Godfather films which required Pacino to create a far more complexly psychological characterization. Here, his acting style changes drastically, as he becomes more restrained and understated. His Michael Corleone starts out a young, all-American war hero, a man with decent instincts and the type of guy one would expect to marry, raise a family, and become a pillar of his community. As time passes and Michael finds himself becoming more deeply and inexorably involved in his family's "business," Pacino gradually and ever-so-subtly develops his character into a powerful but nonetheless tragic figure: a man who has allowed himself to be seduced and ultimately corrupted, to the point where he is capable of instigating the most vicious and horribly evil actions (such as ordering the murder of Fredo, his own brother). Unlike his psychotic other brother Sonny, who is primarily ruled by his temper and emotions, Michael is an intelligent man who should know better. So his soul becomes tainted, and he becomes at once emotionally repressed and tragically incapable of altering his fate. He is consumed by a cloak of weariness which haunts him, overriding and defining his character more than any amount of power he has achieved. This aspect of his evolving character plays itself out dramatically in the third Godfather film, made a decade and a half after The Godfather, Part II, in which Michael Corleone suffers through the death of his beloved daughter. Pacino's career has not been without its share of miscalculations. Chief among them are Cruising, a distasteful, embarrassing thriller in which his character, a New York City cop, goes undercover and enters a gay netherworld in order to seek out a killer; Bobby Deerfield, an awful soaper in which he plays a race car driver romancing a beautiful but seriously ill woman; Revolution, a preposterous Revolutionary War drama in which he is cast as a trapper; and Scarface, by far his worst screen performance, in which he overacts outrageously as a Cuban drug dealer. But Pacino's stardom remained intact, and he has endured into the 1990s and beyond as a major movie personality whose casting in a film makes that film an event. —Robin Wood He ended the 1980s with a solid star turn as another New York cop in Sea of Love, generating sufficient heat in his love scenes with Ellen Barkin and exhibiting the abundant array of emotions experienced by his character. The same is the case in Carlito's Way, in which he plays a weary, streetwise Puerto Rican criminal attempting to go straight. He was never more ingratiating as an ex-con who falls for a reluctant waitress in Frankie and Johnny; he effectively reprised Michael Corleone in the otherwise disappointing The Godfather, Part III; he was fun to watch as the vividly menacing Big Boy Caprice in Dick Tracy; and he graduated to senior citizen roles, nicely playing a wise old Italian immigrant grandfather in Two Bits, a Depression-era nostalgia piece. In two of Pacino's most important 1990s films, he plays flamboyant characters who are, in their manner, aging extensions of his roles in The Panic in Needle Park, Scarecrow, Dog Day Afternoon, and Serpico. He earned a long-overdue Academy Award for Scent of a Woman, playing a blind, cantankerous, ultimately suicidal ex-Army colonel. But he is even better in Glengarry Glen Ross, adapted by David Mamet from his stage play about the pressures on, and frustrations of, a group of real estate salesmen. Pacino plays Ricky Roma, a character who is tough, hard, and slick. Roma is a hotshot who lays a psychological-metaphysical line on his clients like a master manipulator. Those who have come to Roma to inquire about purchasing property are not so much his clients as his victims. As Roma, Pacino offers an acting tour de force. To watch him here, spouting Mamet's bristling dialogue—at once vivid and knowing, with brush strokes both subtle and broad—is to see a master actor at the top of his form. The second half of the decade saw Pacino cast as an old-guard pro football coach/raspy-voiced warhorse (in Any Given Sunday); an aging, tired, low-level wiseguy (in Donnie Brasco, playing a character who, on the gangland food chain, is the antithesis of Michael Corleone); a dedicated television newsmagazine producer who is a Woodward/Bernstein clone, and is Serpico-like in his tenacity (in The Insider); and the devil himself, the charismatic, demonic head of a high-powered law firm (in The Devil's Advocate). Throughout his career, so many of Pacino's characters, whether cop or con man, are New York City-based. So it was appropriate, then, that in City Hall he played the Mayor of New York. In all these films, Pacino is a delight to watch—particularly when his characters are pointing, shouting, and allowing their emotions to flow across the screen. Throughout his career, Pacino often has returned to the stage, where he has played Shakespearean roles, including Richard III and Julius Caesar. He entered the directorial ranks in 1996 with a film that was personal and special to him: Looking for Richard, an ambitious documentary that is an ode to the Bard and a reflection of Pacino's unending fascinating with the character of Richard III. In Looking for Richard, Pacino illustrates how Shakespeare writes "great words" with "great meaning," and teaches the audience to "feel." He includes man-and-woman-on-the-street interviews that elicit responses to and feelings about Shakespeare, and points out the fallacy that only English actors can play the Bard. Looking for Richard also is an examination of the character of Richard III, with Pacino mounting and casting a production of the play. Primarily, the film works as a welcome reminder of the manner in which the emotions and conflicts of Shakespeare remain ever-relevant to today's world. —updated by Rob Edelman Al Pacino Al Pacino (born 1940) has been called one of the best actors in film history. He established himself as a Hollywood icon when he burst onto the scene in The Godfather and followed that critically acclaimed performance with eight Academy Award nominations and more than 20 movies over 30 years. Through it all, Pacino stayed grounded in his first love: theater. But despite three decades of fame and success, the man behind the actor, who cherished his privacy, remained something of a mystery. The Young Actor Pacino was born April 25, 1940, in New York City to Salvatore and Rose Pacino. Pacino's father left the family when Al was a baby and although Pacino visited his father in East Harlem, he was raised by his mother and maternal grandparents in a bilingual Italian American three-room household. Rose Pacino was ill throughout his childhood, as well as mentally troubled and poor, and died of a heart attack when Pacino was 22. He was under strict rule at home but had a happy, sheltered childhood. He was bored and unmotivated in school. He found his place in school plays and dreamed of a career in acting. Pacino's first acting lessons were at the Dover Theater, where he would go with his mother or grandmother to watch movies. After imitating the action on the screen for his grandmother, he was often asked to do the "looking for the bottle scene" from The Lost Weekend. Pacino found he could get positive attention with his acting antics. He won admission into Manhattan's prestigious High School of the Performing Arts but dropped out at age 17. As a teenager, Pacino took acting lessons from Charlie Laughton, who became a friend. Pacino held odd jobs to support the family. Broadway Pacino moved to Greenwich Village and started to audition. Once on the theater scene, Pacino entered a period of depression and poverty. There were days when he could not afford bus fare or even lunch. He lived for awhile off the pay of his soap-opera-actor girlfriend and future movie star, Jill Clayburgh. He found work where he could, in a coffeehouse, a workshop, a mailroom, a theater, and elsewhere. Finally, in 1966, he entered the prestigious Actors Studio and studied under Lee Strasberg, known for his Method Approach to acting. In 1967, Pacino won an Obie for his performance in The Indian Wants the Bronx, an off-Broadway, one-act play that ran for 204 performances. In 1969, he won the Antoinette Perry (Tony) Award for the Broadway play Does the Tiger Wear a Necktie? The play had only a brief run, but Pacino's work in Tiger got him noticed by film director Dominick Dunne. Hit It Big with Godfather In 1969 Pacino debuted on screen in Me, Natalie. But he felt awkward away from the stage and had such a bad experience that he did not return to film for a couple of years. He said to Jimmy Breslin of Esquire, "I was used to working on a tightrope onstage. A movie is just a line painted on the floor." In 1971 he played a junkie in Panic in Needle Park, directed by Dunne. In the early 1970s, such actors as Robert Redford, Warren Beatty, Jack Nicholson, and Robert De Niro sought the role of Michael Corleone in Francis Ford Coppola's The Godfather. But Coppola wanted Pacino, who had given solid performances in Panic in Needle Park and on Broadway. After a series of disastrous screen tests, no one—from the producers to fellow actors—wanted Pacino in the film, except for Coppola. Coppola stuck to his guns, and Pacino earned his first Academy Award nomination. Pacino decided not to ride a wave of Hollywood success into lightweight blockbusters. Instead, he took a series of difficult, important film roles that highlighted his genuine acting abilities. 1973's Serpico was a crime drama spotlighting the mental struggles of a New York cop. Pacino was nominated for an Oscar for Serpico and for his portrayal of Michael Corleone in The Godfather II in 1974. In 1975, Pacino was nominated for an Oscar for his role in Dog Day Afternoon, the story of a man trying to get money for his gay lover's sex change operation by holding up a bank and taking hostages. In 1977, Bobby Deerfield foreshadowed a downturn in his career, but Pacino received another Oscar nomination for best actor for the hard-hitting legal drama … And Justice for All. A Decade Without a Blockbuster Pacino's career turned south with the controversial Cruising, a look at the gay netherworld, in 1980, and Author! Author! in 1982. 1983's Scarface met with some criticism, partially for Pacino's Cuban accent and incessant cursing, but it would later become a cult classic. Revolution —an epic war movie on the Revolutionary War released in 1985—has been called by some critics the worst film of all time. Pacino was in the starring role. Revolution had a cursed shoot full of rewrites, Pacino became sick with pneumonia, and upon release the film was savagely attacked by critics. They were Pacino's first truly awful reviews, and he was criticized again for his accent. He stayed out of Hollywood for the next several years. Caught the Limelight Again Pacino's return to Hollywood came in the film Sea of Love in 1989, an erotic-romantic film that cast him as a hard-drinking cop. In 1990, Pacino reprised his role of Michael Corleone in The Godfather: Part III, earning praise for his acting amid mixed reviews for the film. Dick Tracy was also released in 1990, and Pacino got rave reviews for his comedic spoof on a gangster, a type of character he usually played seriously. He was nominated for another Oscar for best supporting actor for Dick Tracy. Pacino teamed up with Michelle Pfieffer for a romantic role in Frankie and Johnny in 1991. Two years later, Pacino was nominated for Oscars for two roles: a shark-like real estate agent in Glengary Glen Ross and a bitter, blind former army colonel in Scent of a Woman. Pacino was awarded a best actor Oscar for Scent of a Woman. In subsequent years, Pacino turned out many films that were box-office successes. Between 1993 and 2003, Pacino appeared in such hits as Carlito's Way, Heat, City Hall, Donnie Brasco, Devil's Advocate, The Insider, Any Given Sunday, Insomnia, and The Recruit. As of 2002, his average salary was $10 million a picture. Theatre Always His First Love Even as Pacino's star was rising in Hollywood, he continued to act in the theater. In 1970 he appeared in Camino Real, and in 1972 he began playing the lead in The Basic Training of Pavlo Hummel in Boston. That story of a Vietnam War recruit began a stint in New York in 1977, with Pacino in the lead, and he won his second Tony. During his self-imposed exile from film in the 1980s, Pacino immersed himself in theater. According to Breslin, "He stepped back and went to where he always felt at home—three flights up in a drafty place where they can put down enough chairs to call it a theater." He performed in Julius Caesar and gave readings at colleges and small theaters. He directed The Local Stigmatic and filmed it starring himself. It remains unreleased to the public. Stigmatic is a movie adaptation of a Heathcote Williams play that Pacino performed during his early days on the stage in 1968. In the 1990s, Pacino produced, directed, and starred in Looking for Richard, a marriage of theater (William Shakespeare's Richard III ) and film documentary that Pacino devoted himself and his money to for over four years. More than one reporter noted that while Pacino remained characteristically tight-lipped about most of his movies and his private life, he would enthusiastically talk about Looking for Richard. Pacino often turned down potential hit movies to do theater, he took long breaks between films, and he was constantly involved in independent ventures. Breslin points out, "There is no other recorded case like this in the history of American movie stars. Sure, some big movie actor or actress will occasionally find a spare week or two to throw at Shakespeare… . But no movie star has ever created his own work of artistic obsession, let alone two of them. Only this guy." In 2000, he became involved in the Actors Studio in New York's Oedipus Rex. In 2002, Pacino was off-Broadway with The Resistible Rise of Arturo Ui and in Oscar Wilde's Salome opposite Marissa Tomei. The Personal Pacino Pacino was an enduring bachelor, one of the few Hollywood men never to marry despite romances with Diane Keaton and other high-profile actresses. Despite his aversion to matrimony, Pacino had a daughter, Julie Marie, by acting teacher Jan Tarrant, and a set of twins-Anton and Olivia-with long-time girlfriend Beverly D'Angelo. Breslin wrote, "Pacino is famous mostly because of his extreme, unique, and undeniable talents as an actor and movie star during the past twenty-five of his fifty-five years. But he is also well-known for being hard to figure… . He is reluctant to talk to reporters, for example." Pacino has never been comfortable with fame. When he attained fame in his early 30s, he was un-equipped to handle it. He started drinking heavily and became reclusive and unstable. But his friends convinced him to join Alcoholics Anonymous, and in two years he quit both drinking and smoking. Pacino is a living legend. He "can play small as rivetingly as he can play big… . he can implode as well as explode," according to Jeff Giles in Newsweek. Pacino told Bronwen Hruska of Entertainment Weekly, "For me it's always been the character—'the play's the thing'—not my personality. When one overshadows the other, you become more a celebrity than an actor. I hope the perception is that I'm an act." Books American Decades, Gale Research, 1998. Complete Marquis Who's Who, Marquis Who's Who, 2001. Contemporary Theatre, Film and Television, Volume 23, Gale Group, 1999. International Dictionary of Films and Filmmakers, Volume 3: Actors and Actresses, St. James Press, 1996. Newsmakers 1993, Issue 4, Gale Research, 1993. St. James Encyclopedia of Popular Culture, St. James Press, 2000. Periodicals Daily Variety, October 30, 2002; January 8, 2003. Entertainment Weekly, November 12, 1993. Esquire, February 1996. Newsweek, June 3, 2002. Rolling Stone, February 2, 1984. US Weekly, January 29, 2001. Online "Pacino's Biography," http://www.fortunecity.com/lavender/exorcist/665/biography.htm. (February 10, 2003). □
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"http://alpacino_fan.tripod.com/imagelib/sitebuilder/layout/spacer.gif" ]	[]	[]	[ "" ]	null	[]	null					null	Actor, producer, director. Born Alfredo James Pacino, on April 25, 1940, in New York City. Pacino's mother left Al's father Sal, to go back and be with her mother who was against the marriage in the first place,Sal & Rose finally divorced and Salremarried. The young boy was raised by his father Salfor a short time than Sal was drafted by the Army/Airforce when Al was two years old and than raised by his mother and Sicilian grandparents raised Al in Manhattans notoriously tough area of East Harlem. An avid moviegoer, Pacino was known around the neighborhood for his dead-on impersonations of film legends. As a teenager he held various odd jobs, including theater usher and building superintendent. However, Pacino aspired for more creative pursuits and soon enrolled in New Yorks Herbert Berghof Studio, where he flourished in drama and the arts. At the age of 17, Pacino relocated to the Greenwich Village area, which served as New Yorks hub for performing arts in the 1950s and 1960s. Shortly after, he landed his first part in the stage production Hello Out There, which was directed by his mentor and friend Charles Laughton. In the mid 1960s, he worked as an actor at Café La Mama and The Living Theatre, where he enjoyed a steady stream of supporting roles and bit parts. Pacino went on to study under Lee Strasberg at the famed Actors Studio. He adopted the Method-acting approach (described as a technique by which an actor seeks to gain complete identification with the personality he or she is portraying), which would later influence his portrayal of some of cinemas most complex characters. During the late 60s, Pacino worked with the Charles Playhouse in Boston, where he appeared in a number of productions including America Hurrah and Awake and Sing (both 1967). In 1968, Pacino returned to New York and made his off-Broadway debut in the one-act play The Indian Wants the Bronx, for which he earned a Best Actor Obie Award. He soon graduated to Broadway, where he appeared in Does a Tiger Wear a Necktie? (1969), for which he received a Tony Award for Best Supporting Actor, as well as the Drama Desk and Theatre World Awards. That same year, Varietys poll of metropolitan drama critics chose him as Broadways most promising new actor. After conquering the stage, Pacino tried his hand at the screen, making his film debut in 1969s Me, Natalie. Shortly after, he landed his first lead role (as a heroin addict) in Panic in Needle Park (1971). Director Francis Ford Coppola was so impressed by his performance that he cast Pacino in the coveted role of Michael Corleone in The Godfather (1972). Arguably one of the greatest roles in modern American cinema, studio executives were extremely skeptical when Hollywood heavyweights Warren Beatty and Jack Nicholson were passed over for the virtually unknown Pacino. In his portrayal of the brooding Mafia heir, Pacinos raw talent exploded onto the screen. The Godfather was hailed by critics and audiences alike, and Pacino received his first Oscar nomination as Best Supporting Actor in 1972. Two years later, he reprised his role as the more mature Corleone in 1974s sequel The Godfather, Part II (this time securing his first Oscar nod for Best Actor). In his next projects, Pacino collaborated with director Sidney Lumet and earned two more Oscar nominations for his roles as the incorruptible cop in Serpico (1973) and as a bisexual bank robber in Dog Day Afternoon (1975). Both unconventional films were extremely well received, only further confirming Pacinos success as a multifaceted actor. Pacino secured his fourth Academy Award nomination for his role as a crusading lawyer in And Justice For All (1979). In Brian DePalmas Scarface (1983), Pacino played the infamous Cuban drug lord Tony Montana, opposite Michelle Pfeiffer and Robert Loggia. After Scarface, Pacino took a four-year sabbatical from film, returning to star in 1989s sultry thriller Sea of Love, with Ellen Barkin. Later that year, he added directing to his repertoire with a personal project titled The Local Stigmatic (1989), which was not intended for national release. The 1990s proved to be a very productive decade for Pacino, when he made a number of acclaimed films and portrayed a wide range of characters. In 1990, he earned yet another Best Supporting Actor nomination for his role in Warren Beattys Dick Tracy and (for the third time) played Michael Corleone in The Godfather, Part III. He captured his first Academy Award for Best Actor for his role as a blind veteran in 1992s Scent of a Woman, and simultaneously earned a Best Supporting Actor nomination for his performance in David Mamets play Glengarry Glen Ross. In 1993, he reunited with DePalma for Carlitos Way. Pacino paid homage to his grandfather in the Depression-era film Two Bits (1995), in which he played a character based on his late relative. Later that year, he starred as a determined detective in Michael Manns Heat (1995), alongside Robert DeNiro, who played the equally determined criminal. Heat reunited Pacino and DeNiro for the first time since the The Godfather: Part II and also marked their first appearance on screen together. In 1997, Pacino received praise for his portrayal of a small-time mobster in Donnie Brasco, which co-starred Johnny Depp. He delivered two no-holds-barred performances as a modern-day Satan in 1997sThe Devils Advocate(opposite Keanu Reeves and Charlize Theron) and as 60 Minutes producer Lowell Bergman in 1999s Oscar-nominated The Insider (opposite Russell Crowe). Later in 1999, Pacino headlined Oliver Stones Any Given Sunday, in which he played an aging football coach at odds with the establishment. Throughout his career, Pacino moved between screen and stage. In 1977, he won a second Tony Award for his part in the Broadway production The Basic Training of Pavlo Hummel. In the fall of 1979, he took on the challenging title role in the play Richard III; and from 1980-83 he intermittently appeared as Walter Cole in David Mamets American Buffalo, performing in different venues throughout the U.S and Britain. Although Pacino considers himself first and foremost a stage actor, his films are the medium that propelled him to stardom. His career has spanned five decades and over 30 films, the majority of which have produced some of Hollywoods most memorable characters. Pacino has never been married despite a few long-term relationships with actresses Jill Clayburgh, Marthe Keller, and Diane Keaton. In 1989, Pacinos relationship with acting teacher Jan Tarrant produced a daughter, Julie who lives with her mother. Al has 4 sisters Josette Pacino(school teacher) twin sisters Roberta Pacino-Richman (a filmaker, with her husband Mark Richman)and Paula, (Homemaker), and the youngest sister, Desiree Pacino(Food and Beverage industry).
915	yago	1	5	https://letterboxd.com/director/al-pacino/	en	Films directed by Al Pacino	https://s.ltrbxd.com/sta…are.a06cd562.png	https://s.ltrbxd.com/sta…are.a06cd562.png	[ "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty.f00c82c0.png" ]	[]	[]	[ "" ]	null	[]	null	Films directed by Al Pacino	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/director/al-pacino/	Alfredo James Pacino (born April 25, 1940) is an American actor and filmmaker. In a career spanning over five decades, he has received many awards and nominations, including an Academy Award, two Tony Awards, and two Primetime Emmy Awards. He is one of the few performers to have received the Triple Crown of Acting. He has also been honored with the AFI Life Achievement Award, the Cecil B. DeMille Award, and the National Medal of Arts. A method actor and former student of the HB Studio and the Actors Studio, where he was taught by Charlie Laughton and Lee Strasberg, Pacino's film debut came at the age of 29 with a minor role in Me, Natalie (1969). He gained favorable notice for his first lead role as a heroin addict in The Panic in Needle Park (1971). Wide acclaim and recognition came with his breakthrough role as Michael Corleone in Francis Ford Coppola's The Godfather (1972), for which he received his first Oscar nomination, and he would reprise the role in the sequels The Godfather Part II (1974) and The Godfather Part III (1990). His portrayal of Michael Corleone is regarded as one of the greatest in film history. Pacino received nominations for the Academy Award for Best Actor for Serpico (1973), The Godfather Part II, Dog Day Afternoon (1975), and ...And Justice for All (1979), ultimately winning it for playing a blind military veteran in Scent of a Woman (1992). For his performances in The Godfather, Dick Tracy (1990), Glengarry Glen Ross (1992), and The Irishman (2019), he earned Best Supporting Actor Oscar nominations. Other notable portrayals include Tony Montana in Scarface (1983), Carlito Brigante in Carlito's Way (1993), Benjamin Ruggiero in Donnie Brasco (1997), and Lowell Bergman in The Insider (1999). He has also starred in the thrillers Heat (1995), The Devil's Advocate (1997), Insomnia (2002), and appeared in Once Upon a Time in Hollywood (2019). On television, Pacino has acted in several productions for HBO, including Angels in America (2003) and the Jack Kevorkian biopic You Don't Know Jack (2010), winning a Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie for each. Pacino currently stars in the Amazon Video web television series Hunters (2020–present). He has also had an extensive career on stage. He is a two-time Tony Award winner, in 1969 and 1977, for his performances in Does a Tiger Wear a Necktie? and The Basic Training of Pavlo Hummel. Pacino made his filmmaking debut with Looking for Richard (1996), directing and starring in this documentary about Richard III; Pacino had played the lead role on stage in 1977. He has also acted as Shylock in a 2004 feature film adaptation and 2010 stage production of The Merchant of Venice. Pacino directed and starred in Chinese Coffee (2000), Wilde Salomé (2011), and Salomé (2013). Since 1994, he has been the joint president of the Actors Studio.
915	yago	1	10	https://www.britannica.com/topic/Looking-for-Richard	en	Looking for Richard \| film by Pacino [1996]	https://cdn.britannica.c…e.jpg?v=3.124.31	https://cdn.britannica.c…e.jpg?v=3.124.31	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/47/190947-131-FCF3F960/Olympic-torch-illustration-sports-summer-games.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/92/125692-131-43C78F64/Charles-Pete-Conrad-Apollo-12-surface-flag-Nov-19-1969.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/52/196952-131-0665E4EE/Egyptians-hieroglyphics-carvings.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/38/216038-131-BEEAF8B4/beaver.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/16/175316-131-39FF106B/Big-Sur-Waves-Beach-Pacific-Ocean-Point.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/31/142331-131-EE300AF6/basketball-Orange-background-lighting-Homepage-entertainment-history-2010.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/45/189145-131-45FF672E/Secret-Service-Agent-Earpiece.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/91/66291-050-C790A630/Al-Pacino-The-Insider-Michael-Mann.jpg?w=300" ]	[]	[]	[ "Looking for Richard", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[]	null	Other articles where Looking for Richard is discussed: Al Pacino: TV and stage work: …also directed the documentary films Looking for Richard (1996) and Wilde Salomé (2011), which offered behind-the-scenes looks at two of his stage productions.	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/topic/Looking-for-Richard	In Al Pacino: TV and stage work …also directed the documentary films Looking for Richard (1996) and Wilde Salomé (2011), which offered behind-the-scenes looks at two of his stage productions. Read More
915	yago	2	12	https://letterboxd.com/film/looking-for-richard/	en	Looking for Richard (1996)	https://a.ltrbxd.com/res…jpg?v=4c4ba2e4f5	https://a.ltrbxd.com/res…jpg?v=4c4ba2e4f5	[ "https://s.ltrbxd.com/static/img/empty-poster-1000.231946d0.png", "https://s.ltrbxd.com/static/img/empty-poster-230.6b1dabe6.png", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://s.ltrbxd.com/static/img/flags/ESP.2321e2cc.svg", "https://s.ltrbxd.com/static/img/flags/CZE.cf470e4e.svg", "https://s.ltrbxd.com/static/img/flags/FRA.8ba38c97.svg", "https://s.ltrbxd.com/static/img/flags/FRA.8ba38c97.svg", "https://s.ltrbxd.com/static/img/flags/CZE.cf470e4e.svg", "https://s.ltrbxd.com/static/img/flags/FRA.8ba38c97.svg", "https://s.ltrbxd.com/static/img/flags/ESP.2321e2cc.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://a.ltrbxd.com/resized/avatar/upload/1/1/9/6/0/0/shard/avtr-0-80-0-80-crop.jpg?v=19c6cc20f1", "https://a.ltrbxd.com/resized/avatar/upload/1/6/0/6/5/2/7/shard/avtr-0-80-0-80-crop.jpg?v=775b3ff4bc", "https://a.ltrbxd.com/resized/avatar/upload/1/1/2/9/5/8/1/shard/avtr-0-80-0-80-crop.jpg?v=b006961b32", "https://a.ltrbxd.com/resized/avatar/upload/7/0/7/1/7/3/shard/avtr-0-80-0-80-crop.jpg?v=3e66fddc2b", "https://a.ltrbxd.com/resized/avatar/twitter/8/8/1/8/9/5/shard/http___pbs.twimg.com_profile_images_1284910618525478913_TSVolz_9-0-80-0-80-crop.jpg?v=1b491782cc", "https://a.ltrbxd.com/resized/avatar/twitter/1/0/7/4/7/1/shard/http___pbs.twimg.com_profile_images_2179837204_image-0-80-0-80-crop.jpg?v=042345313b", "https://a.ltrbxd.com/resized/avatar/upload/1/0/1/3/0/6/3/shard/avtr-0-80-0-80-crop.jpg?v=6fac9dc847", "https://a.ltrbxd.com/resized/avatar/twitter/8/2/3/6/shard/blob-0-80-0-80-crop.png?v=3937b59caa", "https://a.ltrbxd.com/resized/avatar/twitter/5/3/5/0/9/3/shard/http___pbs.twimg.com_profile_images_1361843792182149124_TPNN7M_u-0-80-0-80-crop.jpg?v=00c35593a4", "https://a.ltrbxd.com/resized/avatar/upload/2/2/4/4/5/5/5/shard/avtr-0-80-0-80-crop.jpg?v=3b3de39d2a", "https://a.ltrbxd.com/resized/avatar/upload/2/6/6/8/5/shard/avtr-0-80-0-80-crop.jpg?v=7ef1ccda1e", "https://a.ltrbxd.com/resized/avatar/upload/1/9/5/7/9/2/4/shard/avtr-0-80-0-80-crop.jpg?v=510d57d7fd", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png", "https://s.ltrbxd.com/static/img/empty-poster-110.69da135f.png" ]	[]	[]	[ "" ]	null	[]	null	Al Pacino's deeply-felt rumination on Shakespeare's significance and relevance to the modern world through interviews and an in-depth analysis of "Richard III."	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/looking-for-richard/	There's something inherently fascinating about watching experts talk about a craft they understand inside and out. It could be on any subject, any medium. When people are passionate about something, you take notice. Al Pacino lives and breathes Shakespeare. By watching him here, you can get a real sense of this actor's joy when he obsessively picks apart one of Shakespeare's most difficult plays, Richard III. Even Pacino fumbles over the description of the story. "I know you're confused by what I just said because I'm confused even listening to myself!" So Pacino rallies his theatre buddies together and tries to find a common understanding of Richard III. He stages a few intimate readings in some New York apartments (with… I must admit that until I'd seen this film I hadn't been aware of Pacino's love for Shakespeare? It's been nine years since I watched this, but it's amazing to think that this documentary is nearly twenty five years old itself. I seemed to remember my father-in-law speak highly of Pacino's performance in 2004 The Merchant Of Venice, but I'm not entirely sure how much Shakespeare the little New Yorker has actually done, either on stage or screen. Here however it's a mix of behind the scenes footage of the rehearsals and planning going in to staging a performance of Richard III in Central Park, and a broader examination of just what makes Shakespeare still so compelling over 400 years…
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"" ]	null	[ "Team BWW" ]	null	Searching to find out more about Al Pacino? We have a full Biography, Photos, Theatre Credits, TV and Movies, Videos and more! Check out Al Pacino's bio now including film and tv, as well as on stage.	en	https://www.broadwayworl…h-icon-57x57.png		https://www.broadwayworld.com/people/Al-Pacino/	Al Pacino News Garrett Clayton to Perform at THE BIG GAY CABARET SERIES The Big Gay Cabaret at Venus Cabaret Theater features LGBTQIA+ performers from Hollywood, Broadway, and Chicago. Join Garrett Clayton in September! Learn more and see how to purchase tickets. Ariana DeBose, Rachel Brosnahan, & More Join Cast of Shakespeare Film LEAR REX A plethora of new names have joined the upcoming film adaptation of Shakespeare's King Lear, including a number that will be familiar to Broadway audiences, such as Academy Award winner Ariana DeBose and Emmy winner Rachel Brosnahan. Free Shakespeare In The Park Returns To Western Maryland Cumberland Theatre teams with Embassy Theatre, Our Town Theatre, and Locust Post Brewery for a month-long Shakespeare festival in Allegany and Garrett Counties, featuring free performances and events. Ruskin Group Theatre Presents THE SUBSTANCE OF FIRE Opening July 12 Rob Morrow and Marcia Cross star in THE SUBSTANCE OF FIRE at Ruskin Group Theatre, opening July 12. Written by Jon Robin Baitz, the play promises a compelling performance by the acclaimed actors. The Drama Book Shop Unveils Summer Reading Events In July And August The Drama Book Shop will host a series of live events featuring Broadway and Off-Broadway guests. Learn more and see how to attend! Interview: Gavin Kawin Lee Anxious to Truthful Storytelling in UNBROKEN BLOSSOMS East West Players world premieres Philip W. Chung’s Unbroken Blossoms June 30, 2024 (with previews beginning June 27th). Jeff Liu directs the cast of: Gavin Kawin Lee, Ron Song, Arye Gross, Alexandra Hellquist, Conlan Ledwith, Paul Dateh, Ty Aldridge and Valerie Rose Lohman. Gavin took some time from rehearsal to answer a few of my queries. THE PEOPLE VS. LENNY BRUCE Comes to the Garry Marshall Theatre in July The People vs. Lenny Bruce is the third segment of 'All The Court's A Stage,' a series of plays that are based on seven of Martin Garbus‘ cases. With a dramatic adaptation by Susan Charlotte from the 1964 obscenity case, and directed by Antony Marsellis, it will make its Los Angeles premiere at Garry Marshall Theatre July 21st and 22nd. 25 Theater Books for Your Summer 2024 Reading List From theatre biographies to theatre fiction; theatre books for kids to theatre history; check out our collection of 25 new Broadway books for every theatre lover's Summer 2024 reading list. KNOX GOES AWAY Begins Streaming on Max Next Month Saban Films’ KNOX GOES AWAY will make its streaming debut on Max in the U.S. on FRIDAY, JULY 26. The film will be available on HBO and will make its linear debut on SATURDAY, JULY 27 at 8:00 p.m. ET. New Jersey Symphony Will Perform THE GODFATHER in Concert The Godfather Live brings Francis Ford Coppola's masterpiece to music venues for the first time, making its premiere at NJPAC in Newark on Friday, August 16 at 7:30 pm; and Count Basie Center for the Arts in Red Bank on Sunday, August 18 at 3 pm. 44 �" THE (un)OFFICIAL, (un)SANCTIONED OBAMA MUSICAL To Have Invited New York Premiere Showcase 44 – THE (un)OFFICIAL, (un)SANCTIONED OBAMA MUSICAL will have its New York premiere showcase on June 24, 25, and 26, offering a unique theatrical experience centered around the former President. SIREN SONG, A World Premiere Solo Show Starring Dylan Jones, to Play Hollywood Fringe Siren Song a solo show written and performed by Dylan Jones, co-created with Allan Wasserman will premiere at Hollywood Fringe Festival 2024 on June 9th at the Stephanie Feury Studio Mainstage. Peter Van Norden to Receive the Actors' Equity Foundation's Michael McCarty Recognition Award The Actors’ Equity Foundation will bestow its 2024 Michael McCarty Recognition Award to actor Peter Van Norden. Learn more about Van Norden and about the award. Jurors Announced For NYC WEB FEST 2024 The NYC Web Fest has announced that submissions are now open for its 11th annual edition. From November 8th to the 10th, 2024, creators, industry professionals, and enthusiasts from around the world will gather in the heart of New York City to celebrate the best in web series, short films, and pilot episodes. Heidi Blickenstaff, Alex Edelman, and More Receive Elliot Norton Awards; Full List Awards were presented tonight in 37 categories including outstanding actors, directors, designers, choreographers, musicians, productions and 4 visiting productions by the Boston Theater Critics Association (BTCA) at the 41st Annual Elliot Norton Awards ceremony, held at the Huntington Theatre in Boston. Interview: Casey Adler of MIX-MIX: THE FILIPINO ADVENTURES OF A GERMAN JEWISH BOY at L. A. Theatre Center A co-production between Latino Theater Conpany and Playwrights’ Arena, the world premiere of Boni B. Alvarez’ Mix-Mix: The Filipino Adventures of A German Jewish Boy opens May 18, 2024; at the Los Angeles Theatre Center. Cast Members From THE WIZ, STEREOPHONIC, and More Honored With 2024 Theatre World Awards The 2024 Honorees have been announced for the Theatre World Award for an Outstanding Debut Performance in a Broadway or Off-Broadway Production. Learn more about the honorees here! Review: MOON OVER BUFFALO at Candlelight Music Theatre Candlelight’s MOON OVER BUFFALO is an uproariously funny comedy by Tony Award winning playwright Ken Ludwig. Last year they mounted his LEND ME A TENOR which was both parts as hilarious and charming. Ludwig’s plays have starred Carol Burnett, Alec Baldwin and Tony Shaloub, to name a few.nk of MOON OVER BUFFALO at Candlelight Music Theatre? Tribeca to Feature 'DeNiro Con' With Guests Martin Scorsese, Whoopi Goldberg, & More De Niro Con, a celebration of 80 years of Robert De Niro, has unveiled its programming lineup. Coinciding with the 2024 Tribeca Festival, this three-day tribute takes place at Spring Studios in New York City from June 14-16. De Niro Con is powered by Webex Events, allowing fans to download an exclusive app to make the most of their Con experience. See the full lineup here!
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"Stefan Pape", "Mark Grassick" ]	2020-10-03T06:00:38+00:00	From Michael Corleone to Serpico and Scorsese's The Irishman: Here's Why We appreciate the genius and pure talent of Al Pacino.	en	https://hotcorn-cdn.fra1…icon-150x150.png	The HotCorn	https://hotcorn.com/en/movies/news/al-pacino-godfather-irishman/	In 1985, Al Pacino – one of the most famous screen actors in the world – starred in Revolution, a historical drama set at the time of the American Revolution. It was a big budget film, boasted a talented award winning director Hugh Hudson and it flopped harder than Oliver Hardy from a high diving board. Released earlier, Brian DePalma’s Scarface had also been mauled by the critics. Pacino decided he’d had enough. He retired from the screen for four years, concentrating on his theater work. Some thought that he was done. Even Pacino himself recently commented: “I stopped and I don’t know that I would have gone back except I got broke”. But return he did. With Sea of Love in 1989 and then an Oscar- nominated cameo in Dick Tracy the next year, Pacino was soon back in his groove. However the four year hiatus neatly bisects Pacino’s career. There’s the fresh faced, nervy actor who can be quiet and calm and deadly. And then there’s totally different actor, who paints in broad hoo-ha! shaped brushstrokes. There’s that handsome face, the one Diane Keaton describing as the most entertaining face in Hollywood. And then there’s hollowed out craggier version. The soft nuanced voice to the rasp and bark of later years. And then there’s the Golden Raspberry winning appearance in Adam Sandler’s Jack and Jill, God help us all. Alfredo Pacino was born in Harlem 80 years ago, April 25. As a youngster he was a street kid, playing basketball, smoking cigarettes and hating school. He trained as an actor first in the HB Studio and then in the famous Actor’s Studio under Lee Strasberg. By his twenties, Al Pacino was getting regular stage work off Broadway and he began auditioning for film parts. He made his first big role in The Panic in Needle Park, a story of heroin users in New York. Al Pacino plays Bobby, a young thief and addict who falls in love with Helen (Kitty Winn), an innocent homeless girl who soon shares his life and addiction. It’s an underrated masterpiece. Gritty and realistic, and with a screenplay by Joan Didion and John Dunne, empathetic and intelligent. Pacino is dazzling. Watching him realize Helen has used for the first time is a quiet moment of emotional implosion. The role led directly to Francis Ford Coppola’s decision to cast him in the role of Michael Corleone in The Godfather, in the face of studio pressure to fill the role with an established actor and beating off competition from the likes of Robert De Niro. Over the first two parts, Al Pacino gave one of the most intense character portraits in American cinema: the incremental corruption of a soul from an idealistic young man to a shark eyed mobster to an anonymous corporate man. In a series of brilliant performances, Al Pacino showed his range throughout the Seventies. Watch Scarecrow from 1973, a kind of updated Of Mice and Men with Pacino as the innocent sidekick alongside Gene Hackman’s cynical bluster. Or Serpico in which he takes on the role of the undercover cop who took on the corrupt police force. Or Sidney Lumet’s Dog Day Afternoon featuring Pacino’s explosive performance as a doomed bank robber. But Pacino’s golden streak came to an end with Bobby Deerfield, a Formula One movie that gets stuck in a melodramatic pit stop. William Friedkin’s Cruising also missed with audiences. Accused of homophobia in its depiction of a murderer stalking the gay nightclub scene, it has since gained a cult status. Then came the mauling of Scarface and Revolution and the retreat. Al Pacino’s return was understated at first. Sea of Love is one of many ho-hum erotic crime thrillers that cluttered up the early Nineties and his Oscar-winning performance in Scent of a Woman felt sentimental and awards-baity. His return as Michael Corleone in the ill-judged Godfather Part III only emphasized the distance from the glory days. But Pacino always produces interesting working and whether it was an inspired cameo in David Mamet’s Glenn Gary Glen Ross or starring roles in Donnie Brasco and The Insider Pacino evolved into a character actor of huge power when given the right material. His enthusiasm for the right material could also be seen in Looking for Richard, a documentary he directed about his passion for Shakespeare and Richard III. Last year proved to be one of his most productive years yet. Having already gone toe to toe with Robert De Niro in Michael Mann’s Heat, Pacino once more met up with his contemporary in Martin Scorsese’s The Irishman, giving a witty and touching portrayal of Jimmy Hoffa. He had a small but remarkable role in Quentin Tarantino’s Once Upon a Time in Hollywood and he’s also appeared in an Amazon series The Hunters. Returning to his passion, he’ll also be starring in Michael Radford’s King Lear. From Michael Corleone to King Lear, the range is a tribute to the actor and hopefully there a few more accomplishments to come.
915	yago	3	25	https://slate.com/culture/2007/08/how-al-pacino-got-typecast-as-al-pacino.html	en	How Al Pacino got typecast as Al Pacino.	https://compote.slate.co…0.jpg?width=1560	https://compote.slate.co…0.jpg?width=1560	[ "https://slate.com/media/components/onetrust-update/ccpa-icons/privacyoptions29x14.png", "https://sb.scorecardresearch.com/p?c1=2&c2=18406752&cv=3.9.1&cj=1", "https://pixel.quantserve.com/pixel/p-fw53_-Tq3MNK1.gif" ]	[]	[]	[ "" ]	null	[ "Jessica Winter" ]	2007-08-09T11:36:00+00:00	A friend tells a story that captures the dilemma of the universally acknowledged Great Actor, entering his golden years with his best roles presumably...	en	/favicon.ico	Slate Magazine	https://slate.com/culture/2007/08/how-al-pacino-got-typecast-as-al-pacino.html	A friend tells a story that captures the dilemma of the universally acknowledged Great Actor, entering his golden years with his best roles presumably behind him. It’s a few years back, and Al Pacino has just performed on Broadway in Oscar Wilde’s Salome (in a turn that, as local curmudgeon John Simon put it, offered “enough imploding pauses, demented stares, and wheedling singsong for six characters in search of a straitjacket”). Pacino’s audience gave off a bored, restless vibe in the theater, but now many of them gather around the stage door, and they go bananas when the legend comes tearing out: He pumps hands; he signs Playbills; he leaps atop the running board of the SUV waiting to whisk him into the night. Being Al Pacino, my friend recalled, seemed to energize the man and his fans far more than being King Herod—the actor was better suited to the role of Famous Person than for doing what he was famous for. Maybe it was the moment he stuck his face into a pile of purest Colombian snow as the monstrous kingpin Tony Montana in Scarface (1983). Maybe it was all those bug-eyed hoo-ahs in Scent of a Woman (1992), the role that belatedly won Pacino an Academy Award. Maybe it was that endlessly replayed ad for The Godfather, Part III (1990), in which the timeworn Michael Corleone growls, “Just when I thought I was out, they pull me back in.” But somewhere along the way, the Al Pacino persona—a crossbreed of cocaine-crazed gangster and droopy Borscht Belt jokester—took on the caricatured proportions of a folk hero, outmatching nearly any part he could play on stage or screen. His peers Robert De Niro and Jack Nicholson share a similar problem, but while De Niro has become ambassador of Tribeca after 9/11, and while Nicholson’s self-amused Oscar appearances are star turns unto themselves, both have maintained a certain impenetrability, a mystique. One can’t imagine either of them standing on the stage of the Actors Studio jawing endlessly for the cameras about his craft, as Pacino does in the meandering talkfest Babbleonia, included in the new DVD set Pacino: An Actor’s Vision. The box also collects the three films he has directed to date: the featurette The Local Stigmatic (1990, co-directed with David F. Wheeler), the shaggy Shakespeare documentary Looking for Richard (1996), and the prolix chamber piece Chinese Coffee (2000). (Pacino is currently in post-production on another documentary: a behind-the-scenes peek at Salome titled Salomaybe?) Each film in An Actor’s Vision has its roots in the New York theater, where Pacino got his start; in fact, he first acted in The Local Stigmatic more than 20 years before mounting the movie version. This was in the late ‘60s, when the young stage actor was cornering the market on nasty pieces of work, playing a violent junkie in Does a Tiger Wear a Necktie?, a racist punk in The Indian Wants the Bronx, and, in Stigmatic, a malevolent Cockney hood who believes that “fame is the first disgrace” and, to prove his point, takes a celebrity out of circulation by beating and scarring him. “[H]is whole performance, a steel fist in a rubber glove, has all the authority in the world,” Clive Barnes wrote in his New York Times review of Stigmatic. “However, personally, I would like to see what else Mr. Pacino can do in this world besides scaring babies, old women and me.” So did plenty of others. At 31, Pacino won his first major film role as a heroin addict in Jerry Schatzberg’s The Panic in Needle Park (1971). Ostensibly, this was yet another manipulative-lowlife part, but Pacino added a jumping-bean energy, rough-edged charm, and shades of addled vulnerability. Panic led to Francis Ford Coppola casting him in The Godfather (1972), though not without fierce studio resistance—Paramount executive Robert Evans infamously referred to Pacino as “that little troll.” Even among the unconventional late bloomers of the era’s leading men (Gene Hackman, Elliott Gould, Dustin Hoffman), Pacino was arguably the runt of the litter: short, scruffy yet somewhat effete, and not quite able to wrap his lips around the letter r. Michael Corleone’s seamless transformation from baby-faced college boy to hollow-eyed, brother-killing Don has been much celebrated, yet the first two Godfather films drew something from Pacino that’s rarely been tapped since: a regal stillness that evokes far more pity and terror than all the mugging and ranting that would later become his stock in trade. Though Michael does become a bit of screamer by Part II, all of his most tectonic scenes are quiet: when he announces his intentions to kill Sollozzo and McCluskey; when he plants the kiss of death on Fredo; when he wordlessly shuts the door on Kay, sealing her cruel exile from her children. The first Godfather launched a magnificent run for Pacino: He was the puppyish wayfarer opposite Hackman in Schatzberg’s Scarecrow (1973), the heroic cop in Sidney Lumet’s Serpico (1973), and, in Lumet’s Dog Day Afternoon (1975), he gave a stunningly complex performance as Sonny Wortzik, the ruined romantic who attempts a hapless bank robbery to secure funds for his lover’s sex change. The movie afforded a rare chance for Pacino to show his gifts as a physical comedian (just watch Sonny wrestle his rifle out of the box as the robbery commences). Dog Day Afternoon also proved that, more than any of his contemporaries, Pacino was willing to poke holes in the leading man’s armor of hetero-machismo, as he had in Scarecrow and The Local Stigmatic and would again as a New York cop investigating the gay S&M club scene in William Friedkin’s Cruising. (Maligned by critics and gay activists alike upon its first appearance in 1980, Cruising gets a select theatrical re-release on Sept. 7 and reaches DVD on Sept. 18.) As was the case with many of his fellow ‘70s icons, Pacino saw his fortunes flag in the ‘80s, notwithstanding his turn as the eyebrow-flexing, cigar-wagging, chainsaw-defying psychopath known as Tony Montana. Pacino has indicated that Scarface is the film he’s most identified with, and the number of kids in my Brooklyn neighborhood who sport knee-grazing Tony Montana T-shirts would seem to bear this out. While Pacino has wicked fun with screenwriter Oliver Stone’s priapic bons mots (“This town is like a great big pussy, just waiting to get focked“), the cult of Montana set an unfortunate precedent. Pacino increasingly sought out big, shouty parts and then inflated them past their already outsized proportions: He out-Sataned Satan in The Devil’s Advocate (1997), spontaneously combusted at regular intervals in Two for the Money (2005), and imitated a disgruntled spaniel in this year’s Ocean’s Thirteen. The victory of shtick over craft is disheartening. It’s important to remember, though, that the man is a populist, whether he’s communing with admirers outside the stage door or directing Looking for Richard, a film obsessed with making Shakespeare accessible to a mass audience. In Babbleonia, Pacino recounts seeing a performance of Paradise Now at the Brooklyn Academy of Music as a life-changing experience: “The audience became the theater; they were the event, they were the play.” This observation may be instructive: If, for Pacino, the audience is the thing, and the audience wants Cartoon Al, then Cartoon Al they shall have. (Oscar voters certainly did.) And sometimes, big is best. Pacino is terrific in his films with Michael Mann, as the brilliant, voluble cop in Heat (1995) and the brilliant, voluble TV producer in The Insider (1999). A recent career highlight was prime-cut ham all the way. In Mike Nichols’ HBO adaptation of Angels in America (2003), right-wing attack dog Roy Cohn at last presented a character manic and outlandish and wildly contradictory enough to swallow up Al Pacino. But in the film’s most riveting scene, Cohn—in the last throes of AIDS and swooning with opiates—is mostly silent as his nurse (Jeffrey Wright) delivers a purring rebuke of the disgraced villain’s entire life: a vision of heaven where Cohn is nowhere to be found. It’s a stroke of genius to ask Al Pacino, of all people, to listen, to react, to efface himself. If only it could strike more often.
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https://platform.vox.com/wp-content/uploads/sites/2/2024/08/gettyimages-2165441539.jpg?quality=90&strip=all&crop=0%2C0.0062492188476426%2C100%2C99.987501562305&w=1920 1920w, https://platform.vox.com/wp-content/uploads/sites/2/2024/08/gettyimages-2165441539.jpg?quality=90&strip=all&crop=0%2C0.0062492188476426%2C100%2C99.987501562305&w=2048 2048w, https://platform.vox.com/wp-content/uploads/sites/2/2024/08/gettyimages-2165441539.jpg?quality=90&strip=all&crop=0%2C0.0062492188476426%2C100%2C99.987501562305&w=2400 2400w" ]	[ "https://www.youtube.com/embed/-4rzqSsqaqA", "https://www.youtube.com/embed/PdFbiRK-UaY" ]	[]	[ "" ]	null	[ "Emily St. James" ]	2015-06-17T00:00:00	Vox is a general interest news site for the 21st century. Its mission: to help everyone understand our complicated world, so that we can all help shape it. In text, video and audio, our reporters explain politics, policy, world affairs, technology, culture, science, the climate crisis, money, health and everything else that matters. Our goal is to ensure that everyone, regardless of income or status, can access accurate information that empowers them.	en	/static-assets/icons/favicon.ico	Vox	https://www.vox.com/2015/6/17/8790397/dick-tracy-movie-25	Believe it or not, there was a time when the comics-based movie wasn’t considered a surefire moneymaker. But when director Tim Burton unleashed the grand, Gothic sweep of 1989’s Batman, it was unlike anything that’d come before — and, honestly, unlike very little that’s come since. The movie’s huge success first suggested to Hollywood that comic book adaptations could be a big business — and that created high hopes for another hyperstylized, comics-based work that was already filming. The result was released in a swirl of hype on June 15, 1990, only to fail to catch fire in the same way Batman had. That film, Dick Tracy, which turns 25 this week, is a weird footnote in the history of comics-based movies. To study it right now is to find it anachronistic, to label its approach to making comics-based movies as one that just didn’t pan out. And yet there’s much to enjoy and even treasure in Dick Tracy. It’s nowhere near the best movie of its type, but it’s a frequently audacious, stunningly beautiful ride through a four-color universe. The film’s color scheme is second to none Director Warren Beatty (who also played the titular detective) collaborated with cinematographer Vittorio Storaro (winner of three Oscars for other films and a nomination for this film) and his top-notch design team to create a world that existed primarily in the brightly hued splashes of the Sunday paper’s comics page. This is a world swathed in red and green, in purple and yellow — a look that newspaper publishers adopted in order to print color as cheaply as possible. But Beatty went way, way over-budget trying to capture the lush look of Chester Gould’s old comic strips. Every single scene is bathed in luminescent tints, and the film frequently pauses to take in the colorful grandeur of its fictional universe. If there’s one reason to revisit Dick Tracy today, it’s that the movie’s visuals are wholly different from those of any comics-based movie of today. All the visual effects were created practically Computer graphics imagery (CGI) was still in its very early stages in 1990, so Dick Tracy is a fun trip back to the era when visual effects technicians had to actually make something in a workshop if they wanted to see it on screen. That’s most evident in the film’s use of matte paintings — handpainted backdrops that suggest the backgrounds of scenes — which often take on the look of intricate cardboard cutouts. Dick Tracy’s physical environment is further enhanced by the Oscar-winning makeup design created by John Caglione Jr. and Doug Drexler. The two take on the task of literally creating Gould’s often repugnant rogue’s gallery onscreen, and they do an incredible job. Nowadays, these sorts of effects would be generated via computer, but that wasn’t possible in 1990. To watch this movie is to witness the height of a craft from a different era, one that was about to be replaced. The songs were written by living legend Stephen Sondheim One of Dick Tracy’s most important characters is Breathless Mahoney, the femme fatale Dick Tracy encounters at a club run by the movie’s main villain. Played by Madonna, Breathless needed songs to sing, so Beatty recruited Broadway composer Stephen Sondheim, the composer and lyricist responsible for Company, Sweeney Todd, and Into the Woods, among others. You can read more about Sondheim’s work on the film here. Sondheim’s music underscores some of the movie’s best sequences. (In general, when Beatty isn’t woodenly reciting its dialogue, Dick Tracy gets much better.) It doesn’t hurt that each song is performed by Madonna and longtime Sondheim interpreter Mandy Patinkin (who portrays a piano player known as 88 Keyes), either. Sondheim wrote about the experience of working on the film in his book Look, I Made a Hat: Not only was it for a movie based on a cartoon I had grown up with, it was set in the 1930s and thus invited pastiche, something I loved writing. Better yet, the songs were to decorate the plot rather than enhance it, which made them easy to write, and when Warren hired Madonna, no less, to play Breathless, I thought it might even be my chance to have a hit record. In the fullness of time, I didn’t get a hit, but I got an Academy Award. Kathy Bates is in this movie One thing many people do remember about Dick Tracy is that it boasts a surprisingly all-star cast. In addition to Beatty and Madonna, Al Pacino plays the film’s main heavy, while Dustin Hoffman plays a memorable supporting role as Mumbles, a gangster who only speaks in, well, look at his name. Charles Durning, Dick Van Dyke, and James Caan also pop up in smaller parts. But one bit player from the film is now famous in her own right. In a single, minor scene, Kathy Bates appears as a stenographer who tries to make sense of Mumbles’s distinctive patois. Dick Tracy captures the actress on the cusp of far bigger things. At the same ceremony where Dick Tracy would win Oscars for makeup, original song, and art direction, Bates would take home the trophy that launched the career she has now — for the movie Misery. The film is surprisingly violent, considering its PG rating Though Dick Tracy routinely cuts away from the consequences of its abundant violence, it features frequent, gigantic gun battles between the cops (led by Tracy) and the criminals (led by all those odd, misshapen gangsters). Tommy guns rattle, stuff gets blown up, and the whole thing is a lot louder than you would expect from a PG movie released today. It’s not difficult to imagine a version of this story that clocks in at a hard R, with slightly less judicious cuts. As it is, though, the violence has all the depth of, well, a comic strip panel. It’s mostly suggested, never shown. Dick Tracy’s failure to commit to his girlfriend is a gag on Beatty For those of us who primarily know Beatty as the longtime husband of the actress Annette Bening, it’s easy to forget that at the apex of his fame, he was as well-known for all the famous women he slept with as he was for the movies he starred in. In that sense, the scene where Tracy finally, haltingly proposes to longtime girlfriend Tess Trueheart (Glenne Headly) is a meta-gag on Beatty’s own bachelor status — one that makes less sense now, as he’s been happily married for decades. A number of big names almost directed this film before Beatty did Beatty first attempted to adapt Dick Tracy in 1975, and various studios’ ensuing efforts to turn the comic strip into a movie could fill a book of their own. Along the way, directors as varied as Steven Spielberg, John Landis (The Blues Brothers), and Walter Hill (48 Hrs.) were invited to put their stamp on the material, before eventually falling away from the project for various reasons. The final director courted before Beatty decided to just make the thing himself was Martin Scorsese, who was experiencing a bit of a low period in the late 1980s, when he was making daring, adventurous work that nobody was watching, like The Last Temptation of Christ. After failing to land the Dick Tracy job, however, Scorsese would go on to make Goodfellas, so everything turned out okay. The movie doesn’t really deserve its flop status Dick Tracy is mostly remembered for how it didn’t live up to the considerable fanfare that greeted it upon its release. And indeed, the huge marketing campaign mounted by Disney (which released the film under its Touchstone arm) resulted in only middling returns. Dick Tracy only managed to make a little under $104 million domestically, with another $59 million coming in from overseas. Details of the film’s final budget differ (with Variety suggesting it had topped $100 million), but most sources agree that it only crawled to profitability on home video. The problem was that Disney was expecting another Batman, and had instead delivered a smaller-scale hit that it hadn’t properly budgeted for. But Dick Tracy, ultimately, did perform respectably. It even landed in the top 10 films of 1990. In 2015 dollars, it would have made just under $200 million domestically, and while that’s not a smash, it’s still respectable. There’s a reason Beatty kept trying to produce a sequel — he had every reason to think he might be able to. Beatty’s attempts to hang on to the rights to the character resulted in one of the weirdest TV specials ever In 2009, Beatty recruited Leonard Maltin and two-time Oscar-winning cinematographer Emmanuel Lubezki to shoot a half-hour television special that would later air on Turner Classic Movies. The program features Maltin earnestly reciting a bunch of facts about Dick Tracy, while Beatty occasionally interjects — in character as Tracy — to describe the famous detective’s exploits. It’s super weird, and you can watch it below. Why did Beatty do this? The rights to the character were about to revert to Tribune Media Services (which owns the comic strip), and the stubborn actor still wanted to make a sequel. In order to retain those rights, Beatty produced this special, and a judge later ruled this proved he had a vested interest in continuing to make movies with the character. Beatty continues to hold the rights for all future Dick Tracy movies, and Tribune will just have to continue to wait.
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https://images.bauerhosting.com/legacy/media/61e0/0d20/2959/ff21/e4f3/ac0d/empire-march-2022-cover-crop.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=1440&q=80 1440w", "https://www.empireonline.com/assets/facebook.svg 1x, /assets/facebook.svg 2x", "https://www.empireonline.com/assets/twitter.svg 1x, /assets/twitter.svg 2x", "https://www.empireonline.com/assets/pinterest.svg 1x, /assets/pinterest.svg 2x" ]	[]	[]	[ "" ]	null	[]	1940-04-25T00:00:00	Find out everything Empire knows about Al Pacino. Discover the latest Al Pacino news.	en	/assets/empire/favicon.ico		https://www.empireonline.com/people/al-pacino/	Alfredo James "Al" Pacino (born April 25, 1940) is an American film and stage actor and director. He is famous for playing mobsters, including Michael Corleone in The Godfather trilogy, Tony Montana in Scarface, Alphonse "Big Boy" Caprice in Dick Tracy and Carlito Brigante in Carlito's Way, though he has also appeared several times on the other side of the law — as a police officer, detective and a lawyer. His role as Frank Slade in Scent of a Woman won him the Academy Award for Best Actor in 1992 after receiving seven previous Oscar nominations. He made his feature film debut in the 1969 film Me, Natalie in a minor supporting role, before playing the leading role in the 1971 drama The Panic in Needle Park. Pacino made his major breakthrough when he was given the role of Michael Corleone in The Godfather in 1972, which earned him an Academy Award nomination for Best Supporting Actor. Other Oscar nominations for Best Supporting Actor were for Dick Tracy and Glengarry Glen Ross. Oscar nominations for Best Actor include The Godfather Part II, Serpico, Dog Day Afternoon, the court room drama ...And Justice for All and Scent of a Woman. In addition to a career in film, he has also enjoyed a successful career on stage, picking up Tony Awards for Does a Tiger Wear a Necktie? and The Basic Training of Pavlo Hummel. His love of Shakespeare led him to direct his first film with Looking for Richard, a part documentary on the play Richard III. Pacino has received numerous lifetime achievement awards, including one from the American Film Institute. He is a method actor, taught mainly by Lee Strasberg and Charlie Laughton at the Actors Studio in New York. Although he has never married, Pacino has had several relationships with actresses and has three children Description above from the Wikipedia article Al Pacino, licensed under CC-BY-SA, full list of contributors on Wikipedia
915	yago	3	64	https://preview.houstonchronicle.com/movies-tv/al-pacino-was-nearly-fired-from-the-godfather-10646143	en	Al Pacino was nearly fired from ‘The Godfather’; the rest is history	https://s3.amazonaws.com…168--700x500.jpg	https://s3.amazonaws.com…168--700x500.jpg	[]	[]	[]	[ "" ]	null	[ "Karen Heller \| Washington Post", "Karen Heller", "Washington Post" ]	2016-11-30T21:03:00	Pacino recalls the Paramount suits looking at the rushes and saying: What the hell is this kid doing? The studio brass, Pacino says, 'tried to fire me three times.' There…	en	https://s3.amazonaws.com…violet-32x32.png	Preview \| Houston Arts & Entertainment Guide	https://preview.houstonchronicle.com/movies-tv/al-pacino-was-nearly-fired-from-the-godfather-10646143	BEVERLY HILLS, Calif. - On this, almost everyone was agreed: Al Pacino was looking like a disaster as Michael Corleone.Shooting had begun in early 1971. Pacino recalls the Paramount suits looking at the rushes and saying: "What the hell is this kid doing? And he's short to boot." They thought he was delivering an "anemic" performance. The studio brass, Pacino says, "tried to fire me three times." There "was a movement not to have me in the part," the 76-year-old actor recalls, sitting on the porch of his rental house in the flats of Beverly Hills. "I didn't want me in the part." Paramount had wanted Ryan O'Neal or Robert Redford to play Michael in "The Godfather," America's great epic about violence and family. Pacino himself thought that he would be better as the hotheaded older brother, instead of in the role that secured his stardom. "Michael? Sonny would be more appropriate," he remembers thinking. But ultimately, he knew what he was doing. "I was trying to create a character who you don't know where you're at with him," he says. "I knew it was a tough part to pull off. Michael's so insular, so private." Writer and director Francis Ford Coppola believed. He had always envisioned Pacino, already an acclaimed New York stage actor, as Michael. "His intelligence is what I noted first. He knows how to use his gifts," says Coppola. "He uses what he has, this striking magnetic quality, this smoldering ambiance." Then came the Sollozzo scene. Michael, teeth clenched, eyes darting, grabs the gun hidden in the restaurant bathroom and shoots Corleone rival Sollozzo and corrupt New York police captain McCluskey. It's the law-abiding son's first mob hit, and it seals his fate as his father's replacement. The scene sealed the actor'sfate, too. Pacino, who will receive a Kennedy Center Honor on Dec. 4, stayed in the picture. Audiences saw what he was doing, having Michael's character build with the story. Pacino, the New York Times noted, is "an actor worthy to have Brando as his father." Pacino is sipping tea, surrounded by hounds, in front of his white-columned house in this fabled, palm-lined enclave. He's at ease, but he doesn't fit, an inveterate New Yorker in a far too sunny place. Buses loiter on his block every few minutes, tourists trying to steal a glimpse beyond the gates of the man whom film historian David Thomson in 2002 deemed "our greatest actor now." Pacino is the winner of an Oscar (eight nominations), two Tonys, two Emmys, four Golden Globes (17 nominations) and a National Medal of Arts. In person, he does not disappoint. He seduces. Call me Al. Here's my cell number. A kiss on each cheek. Everything, except his physical stature, is outsize. His skin is tanned the color of cognac; the hair a tempest. His voice, a Bronx rasp, shades the world in italics. Where Robert De Niro recedes in public appearances, all nods and mumbles, Pacino offers a banquet of observations. "Talk is therapy," he says, opening his arms. "Everything's therapy. I've been in therapy my whole life." Among Pacino's ancillary talents is making fine Italian suiting - he's wearing a tuxedo jacket for day - look like thrift-store rejects. It's Salvation Gabbana. The get-up - baggy black T-shirt, baggy black pants, oversized silver and black ring - is impossible. And it all works. "He never looks like a movie star," says Ellen Burstyn, his co-president at the Actors Studio. "He always looks like he slept on someone's couch." Pacino has been a star for 44 years, yet he still displays a penchant for risk and for working with young talent. Famous for saying no in the beginning of his career, "the last 20 years, I say yes more. I don't know why," he says. He's filming "Hangman" with Johnny Martin, an unknown director. He's also that rare actor who is not just admired but loved by his peers. "I can't think of any actor whom people care more about in films than Al," says friend Alec Baldwin, who has appeared in two of his movies. "There are actors who are admired, but Al they embrace." In the span of a dozen years, beginning with 1971's "The Panic in Needle Park," he created a cinematic canon that few can best: the first two "Godfathers," "Serpico," "Dog Day Afternoon" (he initially turned down the great Sydney Lumet; "What can I say? I was ignorant") and "Scarface," eviscerated by critics at the time but ultimately placed atop pop culture's altar. More indelible lines of dialogue are associated with him than with almost any other actor, a testament not only to the way the roles were written but to how he came to own them. He's initially drawn to the script. "I'm very text-oriented. The text is everything," he says. "The play's the thing." "He'll write out the whole part, the text of the dialogue, then interpret in the terms of language he would normally colloquially use," Coppola says. "Then he translates it into the language of the script." He keeps doing theater, his first love, including a 2010 New York performance of Shylock in "The Merchant of Venice" that critics deemed revelatory. He has performed "Richard III" many times, including in "Looking for Richard," a 1996 exploration of the work that he directed and financed. But, "Hamlet" is "my favorite play of Shakespeare," he confesses. "I never thought of doing it. I didn't feel right about it." Pacino has done exceptional television work: He played closeted New York superlawyer Roy Cohn, dying of AIDS, in "Angels in America;" pathologist and assisted suicide advocate Jack Kevorkian in "You Don't Know Jack"; the legendary record producer in "Phil Spector." He has also made dreck - perhaps the nadir was "Al Pacino" in Adam Sandler's "Jack and Jill"- which he prefers not to talk about. And then he does. "My accountant was put in jail," he says. "That was part of the genesis." Pacino was one of many celebrities who invested their savings with financial adviser Kenneth I. Starr, who pleaded guilty in 2010 to stealing at least $59 million from his clients. Know for his loyalty, Pacino shrugged it off, friends say, and went on. Work keeps him sane. In the early days, Pacino was known as the actor who would ask for just one more take. "Oh, a small amount" of takes, he laughs. "Like 30. I had Brian De Palma scratching his head." "He works really, really deeply," says Burstyn. "I don't think anything interests him except creativity. He's a real acting genius. The only other one who comes to mind is Laurence Olivier." Pacino grew up in an era that was more Vito than Michael. An only child, he lived with his fragile mother, who was prone to depression and became addicted to barbiturates, and his Italian immigrant grandparents - his grandfather was from Corleone (!), Sicily - in a three-room, fifth-floor tenement apartment in the South Bronx. His given name is Alfredo, but he was nicknamed Sonny - the name of his character in "Dog Day Afternoon." He recalls that a junior high teacher, Blanche Rothstein, came to the apartment and told his family, "You have to encourage your boy to act." "I wasn't very good at school," he says. "I wasn't focused on my classes. My mother had problems, and there was no money coming in." After 10th grade, he quit Manhattan's High School for the Performing Arts. He worked at various jobs, including as a Standard Oil office messenger with John Cazale, who would play his weak brother, Fredo, in "The Godfather." His mother died when he was 21, and his grandfather a year and a half after that. The Actors Studio rejected him, only to accept him four years later. The studio's famed Lee Strasberg later became his mentor and friend (and played gangster Hyman Roth, whom Michael ordered killed in the second "Godfather"). When Pacino finally landed theater work, the reviews were rhapsodic. In 1968, the New York Times called him "the best young actor in town." He can become so preoccupied with acting that almost everything else falls by the wayside. There are stories of him misplacing cars, losing a new coat because, when he tried to go back to the store to pick it up, he'd forgotten where he'd bought it and had lost the receipt. "Rehearsing is my favorite thing. It's the closest you come to feeling like you've got something going," he says. "And then the product comes out and," he stops, sighs, "you didn't" meet your expectations. The beauty of rehearsal is "that you imagined how the role would be." He admits that bad reviews singe and that he doesn't read profiles of himself. His only other driving passion is his children: Julie, a 27-year-old filmmaker, and 15-year-old twins Anton and Olivia; he shares joint custody of the latter with their mother, actress Beverly D'Angelo. Hence the move to Los Angeles, a place where he never planned to live. His massive 1920s house is decorated like graduate student housing - if the student happened to be particularly wealthy. Sullied dishes tower in a kitchen that appears to be an afterthought. "Not to drop names," says Pacino - are there names Al Pacino can drop? - "but Elizabeth Taylor used to come to my house and cook spaghetti." Let us pause for a moment to conjure that image. "Women find him irresistible," says Coppola. Pacino is celebrated for the company he has kept, a cavalcade of smart, accomplished actresses - Jill Clayburgh, Diane Keaton, Marthe Keller, Tuesday Weld, D'Angelo - many of whom make brief appearances in his conversation and are always spoken of warmly. Pacino has famously never married. "Sometimes I think I would have preferred that I did get married," he muses. "One reason is I would have found out so much more than I think that I know." He declines to discuss his current relationship, with Argentine actress Lucila Sola, 37. He also resists making political statements of any kind, an anomaly in Hollywood. "It's like what Lee Strasberg said about swimming in the ocean: 'I don't want to get involved,'" the actor says.
915	yago	0	66	https://thedrunkenodyssey.com/2016/06/12/the-rogues-guide-to-shakespeare-on-film-29-richard-iii-1995/	en	The Rogue’s Guide to Shakespeare on Film #29: Richard III (1995)	https://thedrunkenodysse…akes-on-film.png	https://thedrunkenodysse…akes-on-film.png	[ "https://thedrunkenodyssey.files.wordpress.com/2023/03/cropped-header4.png?w=960", "https://thedrunkenodyssey.com/wp-content/uploads/2015/07/rogues-guide-to-shakes-on-film.png?w=800&h=400", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/richard-3-poster.jpg?w=1016&h=1500", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-5.jpg?w=1024&h=674", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-2.jpg?w=1200&h=786", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-12.png?w=1024&h=449", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-10.png?w=1024&h=451", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-9.png?w=1024&h=453", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-7.jpg?w=1024&h=528", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-3.jpg?w=1200&h=792", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-8.jpg?w=1396&h=900", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-13.png?w=1024&h=449", "https://thedrunkenodyssey.com/wp-content/uploads/2012/05/1flip1.jpg?w=1704&h=2272", "https://1.gravatar.com/avatar/17378489a32f3c6fed9287d72c4a0ba8d4a035a1d0bcb34eeb130ebb6d4c69de?s=48&d=identicon&r=G", "https://thedrunkenodyssey.com/wp-content/uploads/2023/03/cropped-untitled-5.png?w=40", "https://thedrunkenodyssey.com/wp-content/uploads/2023/03/cropped-untitled-5.png?w=50", "https://thedrunkenodyssey.com/wp-content/uploads/2023/03/cropped-untitled-5.png?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2016-06-12T00:00:00	#29. Richard Loncraine's Richard III (1995) In Looking for Richard, Al Pacino seemed flummoxed by the possibility of coming to a basic understanding of Shakespeare, using the relatively obscure Richard III as his point of entry into the bard’s oeuvre. In a conspiracy of timing, Pacino must have been working on Looking for Richard around…	en	https://thedrunkenodysse…itled-5.png?w=32	The Drunken Odyssey	https://thedrunkenodyssey.com/2016/06/12/the-rogues-guide-to-shakespeare-on-film-29-richard-iii-1995/comment-page-1/#comments	#29. Richard Loncraine’s Richard III (1995) In Looking for Richard, Al Pacino seemed flummoxed by the possibility of coming to a basic understanding of Shakespeare, using the relatively obscure Richard III as his point of entry into the bard’s oeuvre. In a conspiracy of timing, Pacino must have been working on Looking for Richard around the same time, or just before, Richard Loncraine’s film of Richard III—starring Ian McKellen—was released. Ian McKellen found Richard easily. Besides having decades of experience acting Shakespeare, McKellen had more than a normal amount of rehearsal for the part, considering that the film production was adapted from a Royal National Theatre production that he had starred in. Unlike the relatively historically-accurate setting of Olivier’s film of R3, Loncraine’s film is a mid-twentieth century version that imagines Richard’s reign along the lines of fascism and World War II. At times, this seems hyperbolic, imagining the play as a brutal action film. (This predates a similar approach to Coriolanus and Macbeth.) The fulcrum for this vision, though, is Richard’s soliloquies, often delivered as confidential asides to himself, then when he notices us, delivered to us, the audience, bragging about the mischief he is accomplishing. Richard may be evil and a little crazy as he lies and murders his way to the crown, but he is charming, and the nuances of McKellen’s performance is glorious As the hunchbacked war veteran who fate in peacetime is to rot, ignored, as fourth in the line of succession, Richard’s motivations can be understood: And therefore, since I cannot prove a lover, To entertain these fair well-spoken days, I am determined to prove a villain And hate the idle pleasures of these days. But to understand his motivations is to pedantically miss the point. One he tries his hand at villainy, Richard likes being a villain. He is showing mastery over something he is good at. He is good at being a villain despite how everyone, based upon how he looks, expects him to be a villain. This spectacle can take the edge off of a brutal election season, I find. The cast of this R3 is a bit uneven. You have amazing Shakespearean talent such as Maggie Smith, Jim Broadbent, Jim Carter, and Nigel Hawthorne. Yet there are Hollywood actors like Annette Bening and Robert Downey, Jr. being not entirely persuasive next to them, along the lines of the heterogenous casting logic of Branagh. Bening plays Queen Elizabeth, Richard’s sister-in-law, and Downey plays Rivers, her brother. (Thus the Americans play in-laws.) Downey has almost no lines, and is not memorable when he has lines, and Bening’s performance is not quite strong, either. One gets the idea that for them the dialogue is a large mouthful, and Bening seems to be affecting an exaggerated enunciation that suggests a plebeian sense of pomp, although in fairness this may be her interpretation of the part. These two performances, despite my throat-clearing on the subject, are never outright bad. Into the mixture is Kristin Scott Thomas, of Four Weddings and a Funeral and The English Patient fame, as Lady Anne, one of the most confoundingly difficult parts in Shakespeare. While quite English, Thomas does not have a Shakespearean background, but manages the emotional acrobatics of the grieving widow wooed by Richard rather well. Unlike Olivier’s film, this Richard III dramatizes Lady Anne’s remorse at having been wooed by him. Of all of films made of Shakespeare’s work, Loncraine’s Richard III is a wonderfully cinematic vision, and the adaptation from stage to cinema was not rushed, but done with a remarkable sense of composition, cinematography, and editing. Despite a few flaws, too few to mention, this is among the very best film adaptations of Shakespeare. For newcomers who don’t mind a modern setting, this is a wonderful place to start. _______
915	yago	0	89	https://bsky.app/profile/did:plc:lss244cnzeoicm3p3nrg5ovh/post/3kw7u5ghkbd2d	en	@seamas.bsky.social on Bluesky	https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:lss244cnzeoicm3p3nrg5ovh/bafkreidz53jnl5fd36lxucupuelrqyazp7t6bp6fhygljywgk6yaqhyvcu@jpeg	https://cdn.bsky.app/img/feed_thumbnail/plain/did:plc:lss244cnzeoicm3p3nrg5ovh/bafkreidz53jnl5fd36lxucupuelrqyazp7t6bp6fhygljywgk6yaqhyvcu@jpeg	[]	[]	[]	[ "" ]	null	[]	2024-07-01T12:13:35.243000+00:00	Thinking again about how Al Pacino filmed the entirety of his Shakespeare documentary, Looking For Richard, while wearing, backwards, a baseball cap he got from the set of Scent Of A Woman.		/static/apple-touch-icon.png	Bluesky Social	https://bsky.app/profile/did:plc:lss244cnzeoicm3p3nrg5ovh/post/3kw7u5ghkbd2d
915	yago	3	33	https://sbiff.org/serpico/	en	Serpico			[ "https://sbiff.org/wp-content/uploads/serpico-1080x675.jpg", "https://sbiff.org/wp-content/uploads/serpico-1080x675.jpg 1080w, https://sbiff.org/wp-content/uploads/serpico-980x653.jpg 980w, https://sbiff.org/wp-content/uploads/serpico-480x320.jpg 480w" ]	[]	[]	[ "" ]	null	[ "Sean Pratt" ]	null		en			https://sbiff.org/serpico/	Dear Cinephiles, “The reality is that we do not wash our own laundry – it just gets dirtier.” When I first came to the United States to study in 1978, I had a poster of “Serpico” (1973) the way that Tony Manero had one in his bedroom in “Saturday Night Fever” and later on Dirk Diggler did in his room in “Boogie Nights” (1997). I liked it because it was Pacino, with that beard, the long hair, soulful eyes, and those casually placed aviator sunglasses on top of his head. He represented to me the non-conformist, the anti-establishment. Visually it reminded me of Che Guevara. I loved it because he just looked so cool. I wanted to be like him. I was infatuated with this film when it first came out. I couldn’t get enough of it. To me, living in celluloid dreams, Pacino represented the 70s, “The Godfather,” “Dog Day Afternoon” and “Serpico.” “Serpico” arrived at a time when the country was questioning authority, since we were in the middle of the Watergate scandal. We could no longer see the institutions of government as pillars of morality and goodness. And here was Frank Serpico, an idealistic rookie cop who believes in honesty, and lives by strong ethical values. The film was timely then, and watching it on the anniversary of the George Floyd’s murder it feels more prescient. Prior to sitting down to immerse myself in it, I read an interview with Senator Corey Booker in which he said: “Policing reform legislation must hold police accountable for egregious misconduct, increase transparency, and reform police practices to prevent police violence from occurring in the first place. “ The story, by Waldo Salt and Norman Wexler and based on the book by Peter Maas with the help of its real life subject, details Serpico’s struggle with corruption in the New York City Police Department during his eleven years of service, and his work as a whistleblower that led to the investigation by the Knapp Commission. The five-member panel was formed in April 1970 by Mayor John Lindsay to investigate corruption within the police department. The commission confirmed the existence of systemic and widespread corruption problems, and made a number of recommendations. Sidney Lumet captures a New York that is gritty and energetic. Working with master editor Dede Allen, the first 30 minutes move at a quick clip. We’re first introduced to Serpico as he’s rushed with a wound to his face on an ambulance, and we move to flashbacks where we watch him graduate from police academy and start to grow frustrated with his fellow officers’ laxness and their willingness to be take bribes. At home, Frank is an iconoclast. He takes Spanish lessons, where he meets Leslie whom he starts dating. She introduces him to ballet. On an impulse he buys himself a sheepdog. He’s a rebel and he has a very particular, eclectic way of dressing. A hippie might be a way to describe him. Eventually, he befriends Bob Blair (played terrifically by Tony Roberts) who works for the Mayor’s Office, and the main conflict of the story takes place. Can Serpico continue looking the other way at the sight of cops performing violence, extortion and collecting payoffs or is he willing to be a snitch? Pacino conveys this turmoil in both internal and physical ways. His acting is intense and virtuosic in this, and you can’t take your eyes off him. He underplays the first half of the movie, but we see the rage and outrage simmering inside of him. In one scene where he discovers a suspect he arrested receiving special treatment by the other officers, he’s had enough. The actor explodes. With so much pent up frustration, he seems like a caged animal ready to destroy the precinct. Lumet shoots this in long takes as we watch Pacino grab a wooden chair and slam it up and down onto the cement floor, his counterparts stunned by his volcanic reaction. Lumet and his cinematographer Arthur Ornitz use several compositional techniques to show us the sense of isolation and alienation that Serpico feels, and the city of New York serves as a perfect backdrop to achieve this. As the movie progresses the colors of the film become darker and darker, including the clothes worn by the cast. Towards the end the color has been drained from the screen. Lumet didn’t want a score to the film. Mikis Theodorakis, legendary Greek composer of “Z” and “Zorba the Greek” gave a hauntingly lyrical theme that plays intermittently. It’s poignant and unforgettable. Bob Blair : “You’ve got a feel for the streets, I got a feel for the politics, I guess.” Serpico : “Oh, yeah?” Bob Blair : “And you and me and one Batmobile, we could clean up the whole city in no time.” Love, Roger Serpico Available to stream on HBO, HBO NOW, HBO Max and DIRECTV. Available to rent on Vudu, Amazon Prime, Microsoft, Google Play, iTunes, Apple TV, YouTube, and AMC Theatres on Demand. Screenplay by Waldo Salt and Norman Wexler Based on the book by Peter Maas Directed by Sidney Lumet Starring Al Pacino, John Randolph, Jack Kehoe, Biff McGuire, Barbara Eda-Young, Cornelia Sharpe, Tony Roberts, Ed Crowley 130 minutes Director Sidney Lumet on “Serpico” “In a sense, you start with suspicion. There had been another director working on ‘Serpico’ who wasn’t working out. And we talked, and Al was very careful. It wasn’t a very long meeting and Marty [Bregman, his manager] called me a couple of hours later and said, ‘Come to work.’ Waldo Salt’s script was superb. However, it was 240 pages. But whoever had done the rewrite had somehow gotten it down to 130. We could do nothing about the start date because Al had to be available for Godfather II. But Al did something quite brilliant. When we started rehearsal he knew Waldo’s original script better than I did because he’d been with it for a long time. So he came in with Waldo’s dialogue and he’d say, ‘Sidney, can we read this?’ And we’d read it and it was often better. And in rehearsal we put together a new structure with Waldo’s dialogue. I think that Al saw that I was open to him and not playing turf games and things like that. That, and the first day of shooting, spun us close together because he had never shot that much on the first day—we had three different locations in three different sections of Manhattan. He didn’t know where he was at the end of the first day except that he knew that somehow or other six pages had been done.” (dga.org) About Screenwriter and Playwright Norman Wexler The son of factory workers in Detroit, Wexler had a flair for creating realistic down-to-earth characters with rough edges and a degree of grit. His career was dogged, though, by periods of mental illness which resulted in manic outbursts of temperament and which led to a prison sentence when, on a flight from New York to San Francisco in 1972, he made threats against President Richard Nixon. His later Hollywood career achieved notoriety when he had a well- publicised feud with Sylvester Stallone, whom he accused of mutilating his script for a sequel to “Saturday Night Fever.” Born in Detroit in 1926 and educated at Harvard College, Wexler moved to New York in 1951 and worked in an advertising agency as a copy-writer. He started to write plays in his spare time, and by the mid-Sixties several of them had been produced off-Broadway and in regional theatres. His breakthrough came when he wrote the script for “Joe” (1970), a low- budget film about a construction worker who forms an uneasy relationship with a businessman whose daughter (Susan Sarandon in her screen debut) has become involved with drug-addicts. Directed by John Avildson, the film became a cult hit, bringing fame to Peter Boyle, who played the title character. Howard Thompson, of The New York Times, called Wexler’s script “uncannily knowing and observant in staking out and stalking two human species”. Wexler collaborated with Waldo Salt on the screenplay for “Serpico” (1973), directed by Sidney Lumet and based on Peter Maas’s best-selling biography of a New York cop who bravely fought corruption within his unit. Al Pacino played the real-life policeman who refused to join in the bribe-taking that was rife in the force and risked his life to expose not only his corrupt colleagues but many of their superiors, an action which had resulted in a 1970 hearing that rocked the New York Police Department. The film’s screenplay was praised for not only providing a thrilling story, but also vividly conveying the off-beat personality of the bead- wearing, ballet-loving hero. “Norman Wexler is responsible for most of the hip humour,” wrote Pauline Kael in the New Yorker. “He writes virulent low-life dialogue with a demented lift.” “Mandingo” (1975), scripted by Wexler for the director Richard Fleischer, was equally successful at the box office though loathed by critics. Based on a best-seller by Kyle Onstott, it was a steamily melodramatic account of slavery, sex and sadism in the old South, and the following year Wexler adapted a similar Onstott novel, Drum, though this time the public agreed with the critics and rejected the luridly sensational result – the director Burt Kennedy left the project midway and it was completed by Steve Carver. Wexler next wrote his biggest film success, “Saturday Night Fever” (1977), adapting Nik Cohn’s magazine piece “Tribal Rites of the New Saturday Night”, the story of Tony Manero, a clerk in a Brooklyn paint store who escapes from his humdrum existence when, on Saturday nights, he transforms himself into a sleek, pomaded stud and displays his sensational skills as a disco dancer…the film became one of Paramount’s top-grossing films of all time. After this highspot, Wexler’s career faltered. He was one of four writers who worked on the shoddy adaptation of Bob Randall’s thriller “The Fan” (1981), starring Lauren Bacall as a Broadway star stalked by a psychotic admirer, and Wexler’s own mental problems resulted in his being diagnosed as manic depressive. When in 1983 John Travolta asked him to write “Staying Alive,” a sequel to “Saturday Night Fever,” Wexler clashed disastrously with the film’s director, Sylvester Stallone, who put Travolta through a course of body-building and drastically revised Wexler’s screenplay…His last film, “Raw Deal” (1986), on which he collaborated with Gary Devore, was an undistinguished action movie for Arnold Schwarzenegger, but Wexler continued to write for the theatre and in 1996 his last play, a comedy called “Forgive Me, Forgive Me Not,” was produced at a theatre in Los Angeles. (independent.co.uk) About Screenwriter Waldo Salt Salt, the child of a suicidal mother and right-wing extremist father, came to Hollywood after graduating from Stanford at age eighteen. Among his early adaptations for the screen were Fannie Hurst’s “Humoresque” and Edith Wharton’s “Ethan Frome.” He was friends with Nathaniel West and F. Scott Fitzgerald, and worked on films with some of the period’s best known stars, including Robert Mitchum, William Holden, Burt Lancaster, and Virginia Mayo. In 1950, as his “The Flame and the Arrow” was showing throughout the country’s theaters, Waldo Salt seemed on his way to being one of Hollywood’s major screenwriters. But, for Salt as for many others, the 1950s meant the stifling of their creative talents by a paranoid and restrictive government. In April of 1951 Salt was called to testify before the House Un-American Activities Committee — Senator Joseph McCarthy’s brainchild for the investigation of Communist infiltration of America. Though never held in contempt of Congress, like a number of his colleagues, Salt was clearly identified as a card-carrying Communist and blacklisted for many years. Of that time, Salt said, “I wish we had done something to deserve being blacklisted. I wish we’d had that much influence on film or on politics at that time. I think the world might have been different. But we didn’t.” Throughout the 1950s and early 1960s, Salt wrote primarily for television and commercials. Using a pseudonym, he worked on a number of films, keeping somewhat in touch with the industry, but no longer at the center of it. Though the blacklist had been lifted, much of his life had fallen into ruin. Divorced, and sick with pneumonia and despair, Salt was living in a cheap New York hotel trying to write television scripts. “I ended up at fifty, over-the-hill, thinking I had no future,” Salt explained. “Finally, I realized that I had allowed myself to write less than I could.” According to fellow writer Ian Hunter, “From then on, Waldo approached screenwriting as an artist.” Struggling for the next four years to find his voice as a writer, Salt was poised for a comeback when, in 1968, he got the chance to write the screen version of “Midnight Cowboy.” Winner of Academy Awards for Best Picture and Best Director, the film also earned Salt the Oscar for Best Adapted Screenplay. It had taken nearly twenty years, but Waldo Salt returned to Hollywood the way he had left it — with dignity. Beginning with “Midnight Cowboy” (1969), Salt’s lifetime of experience culminated in a series of brilliantly written, critically-acclaimed screenplays, including: “Serpico” (1972), a film about an honest cop who must choose between loyalty to friends and his moral convictions; “The Day of the Locust” (1975), Salt’s adaptation of Nathaniel West’s novella; and “Coming Home” (1978), the story of a marine wife who falls in love with a paraplegic Vietnam veteran, for which Salt won his second Academy Award. Less than six months before his death in March of 1987, Salt received the Laurel Award for Screen Achievement, the highest accolade the Writers Guild can bestow. His acceptance speech proves to be a fitting epitaph: “As writers true to ourselves, it will always be hard, and if we’re good, we’ll always be in trouble. Let’s be sure we deserve it.” (pbs.org) About Author Peter Maas Born to Dutch and Irish parents in New York, Maas first became interested in journalism while studying political science and history at Duke University. Working for the student newspaper, he got his first scoop – and $1,000 – after sneaking into a hospital to interview labour leader Walter Reuther, who was recovering from an assassination attempt. After graduating in 1949, he worked for the New York Herald-Tribune in Paris, before joining Collier’s magazine in 1955. Although drafted into the US navy during the Korean war, he saw no combat, and, after completing military service, worked for a variety of magazines before evolving into an investigative and campaigning reporter. Maas was among the founding contributors to New York Magazine and considered himself part of the new journalism movement, with fellow writers Jimmy Breslin and Tom Wolfe, bringing the flourishes of fiction-writing to news stories during the early 1960s. But he insisted that he cared less about the storyline than what motivated strong characters. He drew national attention for his story about a black man who had served more time on death row than any other US prisoner. It was, however, organised crime that made his name. His big break came in 1963, when he learned that an important underworld figure had turned government informer. Joseph Valachi was the first person to reveal the existence of the Mafia, at a time when there was great argument in America about whether it existed at all. Maas broke the story, and followed his series of articles with a book. Three years later, he enjoyed another big success with “Serpico,” the story of the undercover New York police officer Frank Serpico, who refused to accept payoffs. The book gave rise to a shortlived television series, and Sidney Lumet’s Academy Award-nominated film, starring Al Pacino. Although “The Valachi Papers” brought Maas fame, his first book, The Rescuer, had been published two years earlier, in 1967. The true story of the admiral who developed the diving bell and masterminded the world’s first submarine rescue on the eve of the second world war, it sold badly because, according to Maas, “it was Woodstock and nobody was interested in a submarine that went down in ’39”. A reworked version, “The Terrible Hours” (1999), topped the bestseller list. Other titles by Maas included “Killer Spy” (1995), about the capture of turncoat CIA agent Aldrich Ames; “King Of The Gypsies,” an inside look at a power struggle within a Gypsy family; and Marie, about the Tennessee official Marie Ragghianti, who exposed widespread corruption…Maas returned to the theme of organised crime with Underboss: Sammy “The Bull” Gravano’s Story Of Life In The Mafia. Another bestseller, the book also courted controversy, when Gravano testified in court that he had received a portion of Maas’s advance – a claim denied by the writer – and stood to make money from the sale of the film rights…Mass passed away in 2001… (theguardian.com) About Cinematographer Arthur J. Ornitz Mr. Ornitz, whose father was the screenwriter Sam Ornitz, was born in New York and studied film at U.C.L.A. His first important credits were for the black-and-white films ”Requiem for a Heavyweight” and ”The Goddess.” Among the many other films for which he was cinematographer were ”The World of Henry Orient, ”A Thousand Clowns,” ”Charly,” ”Midnight Cowboy,” ”The Boys in the Band,” ”The Anderson Tapes,” ”Serpico,” ”Death Wish,” ”Next Stop Greenwich Village,” ”The Chosen” and the made-for-televison movie ”Playing for Time.” (nytimes.com) Mr. Orniz passed away in 1985. About Director Sidney Lumet Sidney Lumet was a master of cinema, best known for his technical knowledge and his skill at getting first-rate performances from his actors. Literally born into the business as the son of actors from the Yiddish theater, Sidney Lumet began acting at the age of four, and made his Broadway debut at age 11 and first film appearance at 15. But it was as a director—first in the new medium of television and later in movies—that he found his true calling, drawing on his experience in front of the camera to become the very definition of an “actor’s director.” From “12 Angry Men” in 1957 to “Before the Devil Knows You’re Dead” in 2007, Lumet averaged a film per year, leading 17 performers to Oscar nominations (six of whom won), and running the gamut from scabrous satires and fever-pitch melodramas to iconic police stories and even a musical—more often than not with the city of New York as his canvas…In 2005, Lumet received a well-deserved honorary Academy Award for his outstanding contribution to filmmaking. Sadly, he tragically died of cancer in 2011. (filmlinc.org)
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the movie business. We vote for them for president, give them Academy Awards for directing, applaud their every mood and move. Our reward, as far as Al Pacino is concerned, is films like “Looking for Richard.” An attempt, at least in theory, to deconstruct Shakespeare’s “Richard III” and communicate its essence to a mass audience, “Looking for Richard” depends for approval not on anyone’s potential interest in the play but rather on our bemused tolerance for star-driven self-indulgence in general and Pacino’s brand of self-love in particular. “Look,” the film beams at us like eager parents who insist we admire their 2-year-old’s artwork as worthy of the Louvre, “here’s a certified movie star, complete with backward baseball cap and unkempt hair, and he’s interested in Shakespeare! Isn’t it wonderful to see him so involved?! And so creative!” Truly, we are not worthy. Directed and produced by Pacino, who also stars, “Looking for Richard” takes two basic tacks in its attempt to get a handle on “Richard III,” which everyone irrationally insists is difficulty itself. One is to have Pacino interview a wide spectrum of people about Shakespeare and the play, the other is to show several key scenes from the work, with guess-who in the title role, in both rehearsal and full-dress production. The interviews include peppy talks with celebrated Shakespeare veterans like Kenneth Branagh and John Gielgud, less scintillating man-in-the-street comments that indicate a not surprising lack of public connection to the plays and carefully weighed words from Shakespearean scholars. These last tend to be the most interesting (“Irony is only hypocrisy with style” is one memorable comment), but because Pacino has thoughtlessly chosen not to identify the speakers, we have no idea who is doing the talking. In fairness, the film doesn’t ID the actors involved either, but recognizing James Earl Jones and Kevin Kline is a lot easier than these cloistered academics. Ever present in all these discussions is Al himself, a man who also needs no introduction, especially to the entourage that surrounds him with loving looks and never fails to laugh at his every joke. No wonder the star always looks immensely pleased with himself as he determinedly mugs his way through the proceedings. This perpetual hamminess is the bane of “Looking for Richard,” as Pacino the director can in no way resist shots of Pacino the actor goofing around and so overdoing things that “Looking for My Close-Up” would be a more appropriate title. Excessiveness also infects his performance as the king, where Pacino scuttles around with a bothersome accent wedded to an unconvincing demeanor. “Unconvincing” is also a fair word for the scenes plucked from the play. Though there is a lot of stouthearted “you Yanks can do it” sentiment in evidence in the interviews, the reality is that Pacino and fellow American actors Alec Baldwin (Clarence), Kevin Spacey (Buckingham), Aidan Quinn (Richmond) and Winona Ryder (Lady Anne) are not the best interpreters of this material. There’s no shame in that situation, but it is frankly silly to pretend otherwise. It’s especially unfortunate for “Looking for Richard” that it appears less than a year after Ian McKellen’s brilliant, updated version of “Richard III.” Pacino’s staging is stodgy and old-fashioned compared to the dash and excitement of McKellen’s true modernization, and to compare Kristin Scott Thomas and McKellen to Ryder and Pacino in their respective Lady Anne seduction scenes is to be saddened and dismayed at how lacking the Americans come off. While there’s no harm in attempting to make Shakespeare more accessible, it’s hard to imagine this film exciting anyone except Pacino’s fans and those who are fatally charmed by celebrity actors. More a high-culture version of Planet Hollywood than a helpful gloss on its celebrated play, “Looking for Richard” is a worthy idea derailed by unyielding egotism. When Pacino asks, “What is this thing that gets between us and Shakespeare?,” he’s too self-involved to notice that in this case the thing is he and he alone. * MPAA rating: PG-13 for brief strong language and some scenes of violence. Times guidelines: The language is modern, the violence Shakespearean. (BEGIN TEXT OF INFOBOX / INFOGRAPHIC) ‘Looking for Richard’ Penelope Allen: Queen Elizabeth Alec Baldwin: Clarence Kevin Conway: Hastings Al Pacino: Richard III Estelle Parsons: Margaret Aidan Quinn: Richmond Winona Ryder: Lady Anne Kevin Spacey: Buckingham Harris Yulin: King Edward A JAM production, released by Fox Searchlight Pictures. Director Al Pacino. Producers Michael Hadge & Al Pacino. Executive producer William Teitler. Narration written by Al Pacino & Frederic Kimball. Cinematographer Robert Leacock. Editor Pasquale Buba, William A. Anderson, Ned Bastille. Music Howard Shore. Art director Kevin Ritter. Running time: 1 hour, 58 minutes. * Exclusively at Cineplex Beverly Center, La Cienega Boulevard at Beverly Boulevard, Los Angeles, (310) 652-7760; Samuel Goldwyn Pavilion Cinemas, Westside Pavilion, 10800 W. Pico Blvd., West Los Angeles, (310) 475-0202; and Monica 4-Plex, 1332 2nd St., (310) 394-9741.
915	yago	3	38	https://www.facebook.com/TheWeightSaint/	en	Facebook	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	[ "https://facebook.com/security/hsts-pixel.gif?c=3.2" ]	[]	[]	[ "" ]	null	[]	null	Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.	de	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico		https://www.facebook.com/login/
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the movie business. We vote for them for president, give them Academy Awards for directing, applaud their every mood and move. Our reward, as far as Al Pacino is concerned, is films like “Looking for Richard.” An attempt, at least in theory, to deconstruct Shakespeare’s “Richard III” and communicate its essence to a mass audience, “Looking for Richard” depends for approval not on anyone’s potential interest in the play but rather on our bemused tolerance for star-driven self-indulgence in general and Pacino’s brand of self-love in particular. “Look,” the film beams at us like eager parents who insist we admire their 2-year-old’s artwork as worthy of the Louvre, “here’s a certified movie star, complete with backward baseball cap and unkempt hair, and he’s interested in Shakespeare! Isn’t it wonderful to see him so involved?! And so creative!” Truly, we are not worthy. Directed and produced by Pacino, who also stars, “Looking for Richard” takes two basic tacks in its attempt to get a handle on “Richard III,” which everyone irrationally insists is difficulty itself. One is to have Pacino interview a wide spectrum of people about Shakespeare and the play, the other is to show several key scenes from the work, with guess-who in the title role, in both rehearsal and full-dress production. The interviews include peppy talks with celebrated Shakespeare veterans like Kenneth Branagh and John Gielgud, less scintillating man-in-the-street comments that indicate a not surprising lack of public connection to the plays and carefully weighed words from Shakespearean scholars. These last tend to be the most interesting (“Irony is only hypocrisy with style” is one memorable comment), but because Pacino has thoughtlessly chosen not to identify the speakers, we have no idea who is doing the talking. In fairness, the film doesn’t ID the actors involved either, but recognizing James Earl Jones and Kevin Kline is a lot easier than these cloistered academics. Ever present in all these discussions is Al himself, a man who also needs no introduction, especially to the entourage that surrounds him with loving looks and never fails to laugh at his every joke. No wonder the star always looks immensely pleased with himself as he determinedly mugs his way through the proceedings. This perpetual hamminess is the bane of “Looking for Richard,” as Pacino the director can in no way resist shots of Pacino the actor goofing around and so overdoing things that “Looking for My Close-Up” would be a more appropriate title. Excessiveness also infects his performance as the king, where Pacino scuttles around with a bothersome accent wedded to an unconvincing demeanor. “Unconvincing” is also a fair word for the scenes plucked from the play. Though there is a lot of stouthearted “you Yanks can do it” sentiment in evidence in the interviews, the reality is that Pacino and fellow American actors Alec Baldwin (Clarence), Kevin Spacey (Buckingham), Aidan Quinn (Richmond) and Winona Ryder (Lady Anne) are not the best interpreters of this material. There’s no shame in that situation, but it is frankly silly to pretend otherwise. It’s especially unfortunate for “Looking for Richard” that it appears less than a year after Ian McKellen’s brilliant, updated version of “Richard III.” Pacino’s staging is stodgy and old-fashioned compared to the dash and excitement of McKellen’s true modernization, and to compare Kristin Scott Thomas and McKellen to Ryder and Pacino in their respective Lady Anne seduction scenes is to be saddened and dismayed at how lacking the Americans come off. While there’s no harm in attempting to make Shakespeare more accessible, it’s hard to imagine this film exciting anyone except Pacino’s fans and those who are fatally charmed by celebrity actors. More a high-culture version of Planet Hollywood than a helpful gloss on its celebrated play, “Looking for Richard” is a worthy idea derailed by unyielding egotism. When Pacino asks, “What is this thing that gets between us and Shakespeare?,” he’s too self-involved to notice that in this case the thing is he and he alone. * MPAA rating: PG-13 for brief strong language and some scenes of violence. Times guidelines: The language is modern, the violence Shakespearean. (BEGIN TEXT OF INFOBOX / INFOGRAPHIC) ‘Looking for Richard’ Penelope Allen: Queen Elizabeth Alec Baldwin: Clarence Kevin Conway: Hastings Al Pacino: Richard III Estelle Parsons: Margaret Aidan Quinn: Richmond Winona Ryder: Lady Anne Kevin Spacey: Buckingham Harris Yulin: King Edward A JAM production, released by Fox Searchlight Pictures. Director Al Pacino. Producers Michael Hadge & Al Pacino. Executive producer William Teitler. Narration written by Al Pacino & Frederic Kimball. Cinematographer Robert Leacock. Editor Pasquale Buba, William A. Anderson, Ned Bastille. Music Howard Shore. Art director Kevin Ritter. Running time: 1 hour, 58 minutes. * Exclusively at Cineplex Beverly Center, La Cienega Boulevard at Beverly Boulevard, Los Angeles, (310) 652-7760; Samuel Goldwyn Pavilion Cinemas, Westside Pavilion, 10800 W. Pico Blvd., West Los Angeles, (310) 475-0202; and Monica 4-Plex, 1332 2nd St., (310) 394-9741.
915	yago	0	94	https://larsenonfilm.com/looking-for-richard	en	Looking for Richard	https://larsenonfilm.com…ngforrichard.jpg	https://larsenonfilm.com…ngforrichard.jpg	[ "https://larsenonfilm.com/wp-content/uploads/2017/06/larsen-logo.png", "https://larsenonfilm.com/wp-content/uploads/2017/06/posteritati-ad.jpeg", "https://larsenonfilm.com/wp-content/uploads/2017/11/filmspotting-300x250Nov17.png", "https://larsenonfilm.com/wp-content/uploads/2018/06/cultivate-logo-ad.png" ]	[]	[]	[ "" ]	null	[ "josh" ]	2014-08-08T19:35:35+00:00		en	https://larsenonfilm.com…avicon-32x32.png	Larsen On Film \| Current and archived movie reviews by Chicago-based film critic Josh Larsen.	https://larsenonfilm.com/looking-for-richard	The glut of actors with the inclination to direct has caused critics to approach such efforts with a skeptical disdain. Looking for Richard, Al Pacino’s directorial debut and a brave, inventive and amusing documentary about Shakespeare’s Richard III, faces this sort of biased critique, but a vanity project this is not. Looking for Richard explores what Shakespeare and his play mean to Pacino, other actors and the general public today. As an eager, playful and pushy Pacino talks with the likes of Kevin Kline, James Earl Jones and the anonymous man on the street, he elicits opinions, observations and memories that are funny, moving and profound. Interspersed between these interviews are outtakes of Pacino in the process of making a film version of Richard III. Rehearsing various roles are Kevin Spacey, Alec Baldwin and Winona Ryder, all of whom also appear in a number of recreated scenes from the play. If Pacino deserves credit for the idea of Looking for Richard, his editing team deserves praised for the execution. If Pacino deserves credit for the idea of Looking for Richard, his editing team deserves praised for the execution. Alternating from interviews to rehearsal readings to scenes from the play, the documentary jumps briskly along without ever losing coherence. And much of the movie’s humor is a result of well-timed cuts from one scene to the next. At the center of it all is still Pacino, guiding the cameras and initiating the talk. Even with his Scent of a Woman baseball cap and grizzled maw, Pacino revels in his ringmaster role. Yet if there is a weakness in Looking for Richard, it is Pacino’s unwillingness to tweak that image. For the most part, however, we see the actor’s domineering persona pushing Shakespeare. Whether he’s explaining Richard III to a high school class (who are half star-struck, half asleep) or arguing with his fellow actors over the play’s themes, Pacino gives Shakespeare a passionate, relevant appeal.
915	yago	1	37	https://oscarbiography.wordpress.com/2011/02/05/al-pacino-oscar-winner-biography/	en	Al Pacino Oscar Winner Biography	https://oscarbiography.w…02/oscar-win.jpg	https://oscarbiography.w…02/oscar-win.jpg	[ "https://oscarbiography.wordpress.com/wp-content/uploads/2011/02/oscar-win.jpg?w=630", "https://i0.wp.com/tracking.quisma.com/v.cfs", "https://i0.wp.com/upload.wikimedia.org/wikipedia/en/thumb/e/e9/Al_Pacino_and_Robert_Duvall_in_the_Godfather.jpg/220px-Al_Pacino_and_Robert_Duvall_in_the_Godfather.jpg", "https://i0.wp.com/bits.wikimedia.org/skins-1.5/common/images/magnify-clip.png", "https://i0.wp.com/upload.wikimedia.org/wikipedia/commons/thumb/3/3a/Al_Pacino_Roma_Film_Fest_cropped.jpg/170px-Al_Pacino_Roma_Film_Fest_cropped.jpg", "https://i0.wp.com/bits.wikimedia.org/skins-1.5/common/images/magnify-clip.png", "https://i0.wp.com/bits.wikimedia.org/skins-1.5/common/images/sort_none.gif", "https://i0.wp.com/bits.wikimedia.org/skins-1.5/common/images/sort_none.gif", "https://i0.wp.com/bits.wikimedia.org/skins-1.5/common/images/sort_none.gif", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://s2.wp.com/i/logo/wpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2011-02-05T00:00:00	Alfredo James "Al" Pacino (born April 25, 1940) is an American film and stage actor and director. He is most famed for playing mobsters including Michael Corleone inThe Godfather trilogy and Tony Montana in Scarface, though he has also appeared several times on the other side of the law—as a police officer, detective and a lawyer. His role as Frank Slade…	en	https://s1.wp.com/i/favicon.ico	Oscar Winners Biography	https://oscarbiography.wordpress.com/2011/02/05/al-pacino-oscar-winner-biography/	Alfredo James “Al” Pacino (born April 25, 1940) is an American film and stage actor and director. He is most famed for playing mobsters including Michael Corleone inThe Godfather trilogy and Tony Montana in Scarface, though he has also appeared several times on the other side of the law—as a police officer, detective and a lawyer. His role as Frank Slade in Scent of a Woman won him the Academy Award for Best Actor in 1992 after receiving seven previous Oscar nominations. He made his feature film debut in the 1969 film Me, Natalie in a minor supporting role, before playing the leading role in the 1971 drama The Panic in Needle Park. Pacino made his major breakthrough when he was given the role of Michael Corleone in The Godfather in 1972, which earned him an Academy Award nomination for Best Supporting Actor. Other Oscar nominations for Best Supporting Actor were for Dick Tracy and Glengarry Glen Ross. Oscar nominations for Best Actor include The Godfather Part II, Serpico, Dog Day Afternoon, the court room drama …And Justice for All and Scent of a Woman. In addition to a career in film, he has also enjoyed a successful career on stage, picking up Tony Awards for Does a Tiger Wear a Necktie? and The Basic Training of Pavlo Hummel. His love of Shakespeare caused him to direct his first film with Looking for Richard, a part documentary on the play Richard III. Pacino has received numerous lifetime achievement awards, including one from the American Film Institute. He is a method actor, taught mainly by Lee Strasberg and Charlie Laughton at the Actors Studio in New York. Although he has never married, Pacino has had several relationships with actresses and has three children. Pacino was born in East Harlem, New York City to Italian American parents Rose and Salvatore Pacino, who divorced when he was two years old.[1] When he was two, his mother moved to the South Bronx near the Bronx Zoo, to live with her parents, Kate and James Gerardi, who originated from Corleone, Sicily.[2] His father moved to Covina, California, and worked as an insurance salesman and restaurateur.[1] Pacino attended the School of Performing Arts in New York.[2] During his teenage years ‘Sonny’, as he was known to his friends, aimed to become a baseball player, though he was also nicknamed ‘The Actor’.[3] Pacino flunked nearly all of his classes except English and dropped out of school at 17. His mother disagreed with his decision; they had an argument and he left home. He worked at a string of low-paying jobs, including messenger boy, busboy, janitor, and postal clerk, in order to finance his acting studies.[1]Early life and education He started smoking at age nine, drinking and casual marijuana use at age thirteen, but never took hard drugs. His two closest friends died young of drug abuse, at the ages of 19 and 30 (his friend who died at age 30 had not seen Pacino for some years before he died).[3] Growing up in a deprived area, he got into occasional fights, and was something of a minor troublemaker at school.[3] He acted in basement plays in New York’s theatrical underground, and then joined the Herbert Berghof Studio (HB Studio), where he met acting teacher Charlie Laughton, who became his mentor and best friend.[3]During this period, he was frequently unemployed and homeless, and sometimes had to sleep on the street, in theaters, or at friends’ houses.[4] In 1962, his mother died at the age of 43. The following year, his grandfather, James Gerardi, one of the most influential people in his life, also died.[1] Actors Studio training In 1966, after many previous unsuccessful attempts, Pacino successfully auditioned at the Actors Studio. The Actors Studio is a membership organization for professional actors, theatre directors and playwrights in the Hell’s Kitchen neighborhood of Manhattan in New York City. Over its long history many famous and successful actors, directors and playwrights have come out of the studio. Pacino studied “method acting“[1]under acting coach Lee Strasberg (who later appeared with Pacino in the 1974 film The Godfather Part II).[2] During later interviews he spoke about Strasberg and the Studio’s effect on his career. “The Actors Studio meant so much to me in my life. Lee Strasberg hasn’t been given the credit he deserves … Next to Charlie, it sort of launched me. It really did. That was a remarkable turning point in my life. It was directly responsible for getting me to quit all those jobs and just stay acting.”[5] During another interview he added, “It was exciting to work for him [Lee Strasberg] because he was so interesting when he talked about a scene or talked about people. One would just want to hear him talk, because things he would say, you’d never heard before … He had such a great understanding … he loved actors so much.”[6] Pacino is currently co-president, along with Ellen Burstyn and Harvey Keitel, of the Actors Studio.[7] Stage career In 1967, Pacino spent a season at the Charles Playhouse in Boston, performing in Clifford Odets‘ Awake and Sing! (his first major paycheck: $125 a week); and in Jean-Claude Van Itallie’s America, Hurrah, where he met actress Jill Clayburgh while working on this play. They went on to have a five-year romance and moved together back to New York City.[4] In 1968, Pacino starred in Israel Horovitz‘s The Indian Wants the Bronx at the Astor Place Theater, playing Murph, a street punk. The play opened January 17, 1968, and ran for 177 performances; it was staged in a double bill with Horovitz’s It’s Called the Sugar Plum, starring Clayburgh. Pacino won an Obie Award for Best Actor for his role, with John Cazale winning for Best Supporting actor and Horowitz for Best New Play. Martin Bregman saw the play and offered to be Pacino’s manager, a partnership that became fruitful in the years to come, as Bregman went on to produce many of Pacino’s most acclaimed films, including “Serpico,” “Dog Day Afternoon,” and “Scarface”.[4] Pacino and this production of The Indian Wants the Bronx traveled to Italy for a performance at the Festival dei Due Mondi in Spoleto. It was Pacino’s first journey to Italy; he later recalled that “performing for an Italian audience was a marvelous experience”.[4] Pacino and Clayburgh were cast in “Deadly Circle of Violence”, an episode of the ABC television series N.Y.P.D., premiering November 12, 1968. Clayburgh at the time was also appearing on the soap opera Search for Tomorrow, playing the role of Grace Bolton. Her father would send the couple money each month to help.[8] On February 25, 1969, Pacino made his Broadway theatre debut in Don Petersen’s Does a Tiger Wear a Necktie? at the Belasco Theater. It closed after 39 performances on March 29, 1969, but Pacino received rave reviews and won the Tony Award on April 20, 1969.[4] Pacino continued performing onstage in 1970s, winning a second Tony Award for The Basic Training of Pavlo Hummel and performing the title role inRichard III for a record run on Broadway. In 1980s Pacino again achieved critical success on the stage while appearing in David Mamet‘s American Buffalo, for which Pacino was nominated for a Drama Desk Award.[1] Since 1990 Pacino’s stage work has included revivals of Eugene O’Neill‘s Hughie, Oscar Wilde‘s Salome and in 2005 Lyle Kessler’s Orphans.[9] Pacino made his return to the stage in 2010 as Shylock in The Merchant of Venice.[10] The production continued in October 2010 at the Broadhurst Theatre New York, earning US$1 million at the box office in its first week.[11][12] Film career Early film career Pacino found acting to be enjoyable and realized he had a gift for it while studying at The Actors Studio. However, his early work was not financially rewarding.[2] After his success on stage, Pacino made his movie debut in 1969 with a brief screen appearance in Me, Natalie, an independent film starring Patty Duke. In 1970, Pacino signed with the talent agency Creative Management Associates (CMA).[4] 1970s It was the 1971 film The Panic in Needle Park, in which he played a heroin addict, that brought Pacino to the attention of director Francis Ford Coppola, who cast him asMichael Corleone in the blockbuster 1972 Mafia film The Godfather. Although several established actors – including Robert Redford, Warren Beatty, and a little-knownRobert De Niro – also wanted to portray Michael Corleone, Coppola selected the relatively unknown Pacino, much to the dismay of studio executives.[2] He was even teased on the set because he was short in height. Pacino’s performance earned him an Academy Award nomination, and offered a prime example of his early acting style, described by Halliwell’s Film Guide as “intense” and “tightly clenched”. However Pacino boycotted the Academy Award ceremony, as he was insulted at being nominated for the Supporting Acting award, noting that he had more screen time than Brando – who was himself boycotting the awards.[3] In 1973, he co-starred in Scarecrow, with Gene Hackman, and won the Palme d’Or at the Cannes Film Festival. That same year, Pacino starred in Serpico, based on the true story of New York City policeman Frank Serpico, who went undercover to expose the corruption of fellow officers. In 1974, Pacino reprised his role as Michael Corleone in the sequel The Godfather Part II, acclaimed as being comparable to the original. The film became the first sequel to win the Best Picture Oscar, and Pacino was nominated for his third Oscar. Newsweek magazine declared that his performance in the film “is arguably cinema’s greatest portrayal of the hardening of a heart”.[3] In 1975, he enjoyed further success with the release of Dog Day Afternoon, based on the true story of bank robber John Wojtowicz.[2] It was directed by Sidney Lumet, who also directed him in Serpico a few years earlier, and for both films Pacino was nominated for Best Actor. In 1977, Pacino starred as a race-car driver in Bobby Deerfield, directed by Sydney Pollack, and received a Golden Globe nomination for Best Motion Picture Actor – Drama for his portrayal of the title role, losing out to Richard Burton, who won for Equus. His next film was the dark drama …And Justice for All, which again saw Pacino lauded by critics for his wide range of acting abilities, and nominated for the Best Actor Oscar for a fourth time. However he lost out that year to Dustin Hoffman in Kramer vs. Kramer— a role that Pacino had declined.[3] During the 1970s, Pacino had four Oscar nominations for Best Actor, for his performances in Serpico, The Godfather Part II, Dog Day Afternoon, and …And Justice for All.[2] 1980s Pacino’s career slumped in the early 1980s; his appearances in the controversial Cruising, a film which provoked protests from New York’s gay community,[13] and the comedy-drama Author! Author! were critically panned.[1] However, 1983’s Scarface, directed by Brian De Palma, proved to be a career highlight and a defining role.[2] Upon its initial release, the film was critically panned, but did well at the box office, grossing over US$45 million domestically.[14] Pacino earned a Golden Globe nomination for his role as Cuban drug lord Tony Montana.[15] In 1985, Pacino worked on his personal project, The Local Stigmatic, a 1969 Off Broadway play by the English writer Heathcote Williams. He starred in the play, remounting it with director David Wheeler and the Theater Company of Boston in a 50-minute film version. The film was never released theatrically but was later released as part of the Pacino: An Actor’s Vision box set in 2007.[2] His 1985 film Revolution about a fur trapper during the American Revolutionary War, was a commercial and critical failure, which Pacino blamed on a rushed production,[3] resulting in a four-year hiatus from films. During this time Pacino returned to the stage. He mounted workshop productions of Crystal Clear, National Anthems and other plays; he appeared in Julius Caesar in 1988 in producer Joseph Papp‘s New York Shakespeare Festival. Pacino remarked on his hiatus from film: “I remember back when everything was happening, ’74, ’75, doing The Resistible Rise of Arturo Ui on stage and reading that the reason I’d gone back to the stage was that my movie career was waning! That’s been the kind of ethos, the way in which theater’s perceived, unfortunately.”[16] Pacino returned to film in 1989’s Sea of Love,[2] about a detective played by Pacino who is trying to catch a serial killer who finds victims through the singles column in a newspaper. The film earned solid reviews.[3] 1990s Pacino received an Academy Award nomination for playing Big Boy Caprice in the box office hit Dick Tracy in 1990, in which critic Roger Ebert wrote that Pacino is ‘the scene-stealer’.[17] Later in the year he followed this up by a return to one of his most famous characters, Michael Corleone, in The Godfather Part III (1990).[2] The film had a good reception, but the third instalment had problems during pre production due to script rewrites and the withdrawal of actors shortly before production. In 1991, Pacino starred in Frankie and Johnny with Michelle Pfeiffer, who co-starred with Pacino in Scarface. The film is about a recently released prisoner (Pacino) who begins a relationship with a waitress (Pfeiffer) in the diner he works in. It was adapted by Terrence McNally from his own Off-Broadway play Frankie and Johnny in the Clair de Lune(1987), which featured Kenneth Welsh and Kathy Bates. The film received mainly positive reviews with Janet Maslin in The New York Times writing, “Mr. Pacino has not been this uncomplicatedly appealing since his “Dog Day Afternoon” days, and he makes Johnny’s endless enterprise in wooing Frankie a delight. His scenes alone with Ms. Pfeiffer have a precision and honesty that keep the film’s maudlin aspects at bay.”[18] In 1992 Pacino won the Academy Award for Best Actor, for his portrayal of retired U.S. Army Lieutenant Colonel Frank Slade in Martin Brest‘s Scent of a Woman.[2] That year, he was also nominated for Best Supporting Actor for Glengarry Glen Ross, making Pacino the first male actor ever to receive two acting nominations for two different movies in the same year, and to win for the lead role.[2] Pacino acted alongside Sean Penn in the crime dramas Carlito’s Way in 1993, about a gangster (Pacino) who is released from prison with the help of his lawyer (Penn) and vows to go straight. Pacino starred inMichael Mann‘s Heat (1995), in which he and fellow film icon Robert De Niro appeared on-screen together for the first time (though both Pacino and De Niro starred in The Godfather Part II, they did not share any scenes).[2] In 1996, Pacino starred in his theatrical docudrama Looking for Richard, which is both a performance of selected scenes of William Shakespeare‘s Richard III and a broader examination of Shakespeare’s continuing role and relevance in popular culture. The star studded cast brought together for the performance included Alec Baldwin, Kevin Spacey and Winona Ryder. Pacino played Satan in the supernatural thriller The Devil’s Advocate (1997) which co starred Keanu Reaves. The film was a success at the box office, taking US$150 million worldwide.[19] Roger Ebert in the Chicago Sun Times wrote, ‘The satanic character is played by Pacino with relish bordering on glee.’[20] In Donnie Brasco Pacino played mafia gangster “Lefty“, in the true story of undercover FBI agent Donnie Brasco (Johnny Depp) and his work in bringing down the mafia from the inside. Pacino also starred as real life 60 Minutes producer Lowell Bergman in the multi-Oscar nominated The Insider opposite Russell Crowe, before starring in Oliver Stone‘s Any Given Sunday in 1999. 2000s Pacino has not received another nomination from the Academy since Scent of a Woman, but won two Golden Globes since the year 2000, the first being the Cecil B. DeMilleAward in 2001 for lifetime achievement in motion pictures.[21] Pacino’s film festival-screened Chinese Coffee earned good notices. Shot almost exclusively as a one-on-one conversation between the two main characters, it was filmed in 1997 but not released until 2000. Chinese Coffee was included along with Pacino’s two other rare films he has been involved in producing, The Local Stigmatic and Looking for Richard, on a special DVD boxset titled Pacino: An Actor’s Vision which was released in 2007. Pacino produced prologues and epilogues for the discs containing the films. Pacino turned down an offer to reprise his role as Michael Corleone in the computer game version of The Godfather. As a result, Electronic Arts was not permitted to use Pacino’s likeness or voice in the game, although his character does appear in it. He did allow his likeness to appear in the game adaptation of the remake of 1983’s Scarface, titledScarface: The World is Yours.[22] Director Christopher Nolan worked with Pacino for Insomnia, a remake of the Norwegian film of the same name, co-starring Robin Williams. In this film, Pacino delivered a performance of a burned-out character, like in Donnie Brasco. Newsweek stated that “he [Pacino] can play small as rivetingly as he can play big, that he can implode as well as explode”.[3] The film and Pacino’s performance were well received, gaining a rating of 92 percent on Rotten Tomatoes.[23] The film did moderately well at the box office, taking US$113 million dollars worldwide.[24] His next film, S1m0ne, was one that Pacino liked, but which did not gain much critical praise or box office success.[3] He played the part of a publicist in People I Know, a small film that received little attention despite a strong Pacino performance.[3] Rarely taking a supporting role since his breakthrough, he accepted a small part in the box office flop Gigli in 2003 as a favor to director Martin Brest.[3] The Recruit, released in 2003, featured Pacino as a CIA recruiter and co-stars Colin Farrell. It was well received, despite being a film Pacino said he “personally couldn’t follow”.[3] Pacino next starred as lawyer Roy Cohn in the 2003 HBO miniseries ofTony Kushner‘s play Angels in America.[2] For this performance, Pacino won his third Golden Globe, for Best Performance by an Actor in 2004.[25] In Two for the Money, Pacino works as a sports gambling agent and mentor for Matthew McConaughey, alongside Renee Russo. The film was released on October 8, 2005 and received mixed reviews. Desson Thomson wrote in The Washington Post, “Al Pacino has played the mentor so many times, he ought to get a kingmaker’s award (…) the fight between good and evil feels fixed in favor of Hollywood redemption.”[26]Pacino starred as Shylock in Michael Radford‘s 2004 film adaptation of The Merchant of Venice, choosing to add empathy to a character that had usually been played as a straight villain.[3] On October 20, 2006, the American Film Institute named Pacino the recipient of the 35th AFI Life Achievement Award.[27] On November 22, 2006, the University Philosophical Society of Trinity College, Dublinawarded Pacino the Honorary Patronage of the Society.[28] Pacino starred in Steven Soderbergh’s Ocean’s Thirteen alongside George Clooney, Brad Pitt, Matt Damon, Elliott Gould and Andy García as the villain Willy Bank, a casino tycoon targeted out of revenge by Danny Ocean and his crew. The film received generally favorable reviews.[29] 88 Minutes was released on April 18, 2008 in the United States, having already been released in various other countries in 2007. The film co-starred Alicia Witt and was critically panned,[30] although critics found the fault to be in the plot instead of Pacino’s acting.[31] In Righteous Kill, Pacino and Robert De Niro co-star as New York detectives searching for a serial killer; rapper 50 Cent also stars in it. The film was released to theaters on September 12, 2008. Although it was an anticipated return for the two stars, it was not well received by critics. Lou Luminick of The New York Post gave Righteous Kill one star out of four, saying: “Al Pacino and Robert De Niro collect bloated paychecks with intent to bore in Righteous Kill, a slow-moving, ridiculous police thriller that would have been shipped straight to the remainder bin at Blockbuster if it starred anyone else.”[32] Pacino played Dr. Jack Kevorkian in an HBO Films biopic entitled You Don’t Know Jack, which premiered April 2010. The film is about the life and work of the doctor-assisted suicide advocate. The performance earned Pacino his second Emmy Award for lead actor [33] and his fourth Golden Globe award.[15] Pacino and Robert De Niro are reportedly set to star in the upcoming project The Irishman, that will be directed by Martin Scorsese and co-star Joe Pesci.[34] Personal life While Pacino has never married, he has three children. The first, Julie Marie (b. October 16, 1989), is his daughter with acting coach Jan Tarrant. He also has twins, Anton James and Olivia Rose (b. January 25, 2001), with actress Beverly D’Angelo, with whom he had a relationship from 1996 until 2003.[35][36] Pacino also had a relationship with Diane Keaton, his co-star in the Godfather Trilogy. The on-again, off-again relationship ended following the filming of The Godfather Part II.[37][38] Other relationships he has had over the years include Tuesday Weld, Marthe Keller, Kathleen Quinlan and Lyndall Hobbs.[3] Filmography
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Doha, Qatar. Born in New York City in 1943 to two accomplished painters, Robert De Niro grew up in Little Italy and was attracted to acting from a very young age. He studied with Stella Adler and Lee Strasberg, and at age 20 made his first movie with director Brian De Palma, "The Wedding Party," which was not released until 1969. He has since appeared in more than 100 films, winning two Academy Awards, while earning the accolade of the finest actor of his generation. By CBSNews.com senior producer David Morgan "Hi, Mom" One of Robert De Niro’s earliest starring roles was in the comedy “Hi, Mom” (1970), directed by Brian De Palma and co-starring Jennifer Salt. "Bang the Drum Slowly" One of Robert De Niro’s most acclaimed performances was as a dying baseball player in “Bang the Drum Slowly” (1973). Michael Moriarty co-starred as the pitcher who tries to conceal his teammate’s struggle against Hodgkin’s Disease. "Mean Streets" Harvey Keitel, Amy Robinson and Robert De Niro in "Mean Streets" (1973), Martin Scorsese's electrifying story of New York criminals that put the filmmaker and his stars onto the world cinema map. Keitel plays Charlie, an ambitious young mobster whose rise is hampered both by his devout Catholicism and his friendship with the flailing young punk Johnny Boy, played by De Niro. "Mean Streets" Robert De Niro as Johnny Boy in Scorsese’s “Mean Streets.” The actor told CBS News’ Lee Cowan that his attraction to the profession may have come in part from his reserve. “Yeah, part of me is shy, I guess,” he said. “You know the old story that actors are shy, then they get behind the character they play, you know? There’s truth to that.” "The Godfather Part II" For the 1974 sequel "The Godfather Part II," De Niro stepped into the character created by Marlon Brando in the original "Godfather," a young Vito Corleone, who in the film's flashback sequences is seen slowly building what will become a criminal empire. A curious piece of trivia: De Niro had auditioned for the role of Sonny Corleone in the original film, and was hired to play "button man" Paulie Gatto, but he asked to be let out of his contract when Al Pacino's role in "The Gang That Couldn't Shoot Straight" became available (because Pacino had been hired to play Michael Corleone). By not playing a character in "The Godfather," De Niro was then free to take over Brando's character in the sequel. "The Godfather Part II" Robert De Niro as Vito Corleone, murdering the “Black Hand” mobster Fanucci, in “The Godfather Part II.” Accepting the Best Supporting Actor Academy Award for De Niro, director Francis Ford Coppola said, “I think this is a very richly-deserved award. I think Robert De Niro is an extraordinary actor, and he is going to enrich films that are made for years to come.” "Taxi Driver" De Niro reteamed with Martin Scorsese for one of his most indelible characters, cabbie Travis Bickle in “Taxi Driver” (1976). Written by Paul Schrader, the film was a violent character study of a troubled loner who strives to find a purpose to his life. The film’s shocking violence and nihilism witnessed or perpetrated by Bickle turned off many, but the film was immediately hailed as a cinematic masterpiece of urban isolation, winning top prize at the Cannes Film Festival. "Taxi Driver" Harvey Keitel as the pimp Sport, and Robert De Niro in “Taxi Driver.” "Taxi Driver" Director Martin Scorsese portrayed one particularly disturbing passenger in the cab of Robert De Niro’s Travis Bickle in “Taxi Driver.” "1900" Dominique Sanda and Robert De Niro in Bernard Bertolucci’s historical epic “1900,” about the political turmoil in Italy in the first decades of the 20th century. The film also starred Donald Sutherland, Gerard Depardieu and Burt Lancaster. "The Last Tycoon" Director Elia Kazan (left) directs Ingrid Boulting and Robert De Niro in “The Last Tycoon,” a Hollywood drama based on F. Scott Fitzgerald’s last, uncompleted novel. "New York, New York" Liza Minnelli and Robert De Niro in “New York, New York” (1977), a post-war musical drama that Martin Scorsese saw as an escape from the gritty realism of his previous movies. The downer ending didn’t help the picture find an audience, and the film was cut down and re-released. In 1981 the film was reissued with deleted scenes restored, including for the first time the complete musical number “Happy Endings.” "The Deer Hunter" Robert De Niro as a Pennsylvania steel worker who goes off to war in Vietnam, encountering captivity and the deaths of friends, in Michael Cimino’s Oscar-winning drama “The Deer Hunter” (1978). The film co-starred Best Supporting Actor Oscar-winner Christopher Walken, John Cazale, John Savage and Meryl Streep. "The Deer Hunter" De Niro in “The Deer Hunter.” The film’s harrowing depiction of a prisoner of war camp and the soldier’s re-assimilation back home were among Hollywood’s first serious instances tackling the experiences of Vietnam War veterans. De Niro received his third Academy Award nomination, for Best Actor. "Raging Bull" Martin Scorsese’s “Raging Bull” (1980), about boxer Jake LaMotta, was a meticulously crafted character study of a violent man who could not keep the violence within the boxing ring. De Niro showed tremendous ability as a fighter in his boxing scenes, and just as realistically gained an enormous amount of weight for scenes depicting LaMotta as an aged, overweight has-been. The performance won him an Oscar for Best Actor. "Raging Bull" De Niro told CBS News’ Lee Cowan that the production set aside time in shooting of about three to four months, during which he transformed himself into the older LaMotta, which was not easy. “It wasn’t. The first 15-20 pounds, you know, you eat and overindulge, to say the least. And then after that, it’s just pure drudgery,” De Niro said. Academy Awards From left: Best Actor Oscar-winner Robert De Niro (“Raging Bull”); Best Actress Sissy Spacek (“Coal Miner’s Daughter”); and Ronald L. Schwary and Robert Redford, the producer and director of the Oscar-winner “Ordinary People,” backstage at the Academy Awards in Los Angeles, March 31, 1981. "True Confessions" In the murder mystery “True Confessions” (1981), directed by Ulu Grosbard, Robert De Niro played a Los Angeles monsignor caught up in the investigation of a murdered woman. Robert Duvall co-starred as his brother, a homicide detective. "The King of Comedy" Robert De Niro’s Rupert Pupkin, a celebrity hound and wanna-be standup comic, fantasizes appearing on the late-night talk show hosted by his idol, Jerry Langford (Jerry Lewis), in Martin Scorsese’s “The King of Comedy” (1983). "Once Upon a Time in America" Director Sergio Leone, renowned for his spaghetti Westerns of the 1960s, helmed the epic gangster saga “Once Upon a Time in America” (1984), tracing the lives of New York street toughs as they grow into leaders of criminal syndicates and politics. Co-starring with Robert De Niro was James Woods (right) and Elizabeth McGovern. "Falling in Love" Robert De Niro and Meryl Street star as two married New Yorkers who meet and begin a romance in the 1984 drama “Falling in Love.” "Brazil" Robert De Niro as heating engineer Harry Tuttle in Terry Gilliam’s dark comedy “Brazil” (1985). "The Mission" In Roland Jaffe’s “The Mission” (1986), a story of missionaries in 18th century South America, Robert De Niro plays a mercenary and slave trader who seeks penance as a member of the Jesuit order. "Angel Heart" In “Angel Heart” (1987), Mickey Rourke plays a private eye hired by a mysterious client with a Satanic air (Robert De Niro). "The Untouchables" For Brian DePalma’s “The Untouchables” (1987), Robert De Niro was memorable as Chicago mob boss Al Capone, who maintained control over the Windy City through bribery and violence, including a deftly-wielded baseball bat. "Midnight Run" The action-comedy “Midnight Run” (1988), by writer-director Martin Brest, starred Charles Grodin as an accountant being transported by Robert De Niro’s bounty hunter, all the while being chased by competing interests from the FBI and the mob. "Stanley & Iris" Jane Fonda and Robert De Niro starred in the romantic drama, “Stanley & Iris” (1989), directed by Martin Ritt. "Jacknife" Robert De Niro and Ed Harris as Vietnam veterans in “Jacknife” (1989), an emotional, low-key drama written by Stephen Metcalfe and directed by David Jones. "Guilty By Suspicion" In Irwin Winkler’s drama “Guilty by Suspicion,” set during the years of the Hollywood blacklist, Robert De Niro starred as a director who finds he will only be allowed to work if he implicates colleagues as Communists. "Goodfellas" “Goodfellas” (1990), based on on Nicholas Pileggi’s book “Wiseguy,” told the true story of Henry Hill (Ray Liotta), a member of New York’s Lucchese crime family who was involved in the 1978 Lufthansa heist that netted about $5 million. Hill ultimately turned state’s evidence against Jimmy Conway (De Niro), thus ignoring the mob’s creed: “Never rat on your friends. Hill’s prize? The federal witness protection program. "Awakenings" Based on a memoir by Dr. Oliver Sachs, “Awakenings” (1990) is the true story of a neurologist’s successful treatment of patients who are “awakened” after years spent in a catatonic state. Robert De Niro earned an Academy Award nomination as a man who is given a new lease on life, and then fights against the restrictions of his hospital confinement. "Backdraft" Robert De Niro as an arson investigator in Ron Howard’s “Backdraft” (1991). "Cape Fear" Robert De Niro as Max Cady, an ex-con who returns to exact revenge on Sam Bowden (Nick Nolte), the lawyer he holds responsible for his imprisonment years earlier, in Martin Scorsese’s 1991 remake of the thriller “Cape Fear.” "Cape Fear" The cast of “Cape Fear”: Robert De Niro, Jessica Lange and Nick Nolte. Although De Niro has portrayed a wide spectrum of personalities on screen, he is most acclaimed for his work with Scorsese. De Niro’s portrayal of Max Cady drew comparisons to their earlier collaborations, particularly Travis Bickle from “Taxi Driver.” But Cady does not stand apart from others, pretending to be unaffected by the horror and degradation that surrounds him, something on which Bickle prided himself. “There’s no doubt De Niro and I are attracted to similar characters that we’ve dealt with before,” Scorsese told David Morgan. “They’re similar -- they’re not the same. There’re different angles in each one. It’s almost like trying to find out how many more sides you can find to a character like Travis or Max, or Jake LaMotta, or Jimmy Doyle.” "Night and the City" In the 1992 remake of Jules Dassin’s “Night and the City,” Robert De Niro played Harry Fabian, a lawyer of little repute who seeks to recreate himself as a boxing promoter. His “Rocky”-like quest for success supplants the original’s film noir theme involving a test of one’s moral strength. Screenwriter Richard Price described Fabian as someone convinced he deserves heretofore elusive success -- that he believes in a sort of Destiny (or at least a payback), but it is a selfish Destiny, one that merely suits himself. “The character De Niro plays is very different than the character he plays in ‘Mad Dog and Glory,” said Price, who also wrote that 1993 film. “In ‘Mad Dog’ he plays a guy who’s a loner and introverted, kind of plodding and methodical; Here he’s basically playing a mouse who thinks he’s a cat. It’s like a very different metabolism.” "Mad Dog and Glory" Robert De Niro, Uma Thurman and Bill Murray starred in the comedy-drama “Mad Dog and Glory” (1993), about a Chicago police officer and a mob boss, and the young lady caught between them. "This Boy's Life" Leonardo diCaprio and Robert De Niro starred in “This Boy’s Life” (1993), based on the memoir by Tobias Wolff, about a young boy and his abusive prospective stepfather. "A Bronx Tale" Robert De Niro’s directorial debut was the 1993 “A Bronx Tale,” adapted from Chazz Palminteri’s one-man stage play about growing up under the sway of a local underworld figure in New York City. De Niro played a bus driver and father of young Calogero Anello, who is earning tips from Sonny LoSpecchio (Palminteri), setting up a confrontation between the criminal figure and a concerned dad. In 1993 De Niro told David Morgan that getting backing for the project might have been easier had he played the mob part, but opted instead for the father. “It’s a good part for me to play, because I’d never done that type of thing; you always expect me to do the part that Chazz is playing.” He said he has conferred with other actors, like Jack Nicholson and Danny DeVito, who had taken on directing chores, “so I could get a better idea from them about what their problems were, what they were surprised by, or not surprised by. . . . When you’re acting in something, you have to be a little more concentrated in another way. So that adds another kind of pressure.” "Mary Shelley's Frankenstein" Following the success of Francis Ford Coppola’s “Bram Stoker’s Dracula,” remakes of horror classics were the rage. Kenneth Branagh directed the 1994 version of “Mary Shelley’s Frankenstein,” in which he starred as the scientist who creates a monster (Robert De Niro). It did not fare well with critics. "Casino" Robert De Niro as Sam “Ace” Rothstein, sent by the mob to run its Las Vegas operations, in Martin Scorsese’s 1995 drama “Casino.” The film was based on Nicholas Pileggi’s non-fiction book about Vegas underworld figure Frank Rosenthal, who ran several casinos in the 1970s and 1980s. "Heat" Although Michael Mann's crime thriller "Heat" (1995) had many qualities, it was most heralded for its first-ever pairing on-screen of Al Pacino and Robert De Niro. Pacino played a Los Angeles detective on a personal mission to take down the master thief played by De Niro. HANNA (Pacino): "We're sitting here like a coupla regular fellas. You do what you do. I do what I gotta do. What happens if I am there and I got to put you away? (pause) I won't like it. But, if it's between you and some poor bastard whose wife you're going to make into a widow, brother, you are gonna go down. 'Cause you don't have to be there. You coulda gone and been a... a mailman." McCAULEY (De Niro): "There's a flip side to that coin. What if you got me boxed in and I gotta put you down? 'Cause no matter what, you will not get in my way. But now that we been face to face, I would not feel good about that. But I won't hesitate. Not for one second." "Marvin's Room" Meryl Streep and Robert De Niro starred in the family drama “Marvin’s Room” (1997), which also featured Diane Keaton and Leonardo DiCaprio. It was the third film in which Streep and De Niro appeared together. "Wag the Dog" Barry Levinson’s 1997 comedy “Wag the Dog” starred Anne Heche and Robert De Niro as political consultants who hire a Hollywood producer (Dustin Hoffman) to orchestrate a fake war (with Albania!) in order to divert media attention from a looming White House scandal. Hoffman and co-writers Hilary Henkin and David Mamet received Oscar nominations. "Jackie Brown" Robert De Niro and Samuel L. Jackson plays former cellmates in Quentin Tarantino’s crime drama “Jackie Brown” (1997), adapted from Elmore Leonard’s “Rum Punch.” "Great Expectations" Jeremy James Kissner as young Finn, and Robert De Niro as Arthur Lustig in a contemporary dramatization of Charles Dickens’ “Great Expectations” (1998), transposed to 1990s New York. "Ronin" A return to form for suspense director John Frankenheimer, “Ronin” (1998) starred Robert De Niro as the leader of a team of mercenaries paid to retrieve a mysterious package, with no small arsenal getting in their way. "Analyze This" Just as Tony Soprano first began spilling his guts to a psychiatrist in the HBO drama "The Sopranos," Robert De Niro played a mobster who seeks help for his panic attacks from Billy Crystal in the comedy "Analyze This" (1999). Of De Niro's nine Golden Globe nominations, three were in the category of comedy, including "Analyze This," "Midnight Run" and "Meet the Parents." "Flawless" Robert De Niro plays a conservative cop and Philip Seymour Hoffman is his drag queen-neighbor in “Flawless” (1999). "The Adventures of Rocky & Bullwinkle" The 2000 comedy “The Adventures of Rocky & Bullwinkle” mixed animation with live action in bringing the immortal 1960s cartoon stars to the big screen. Playing the bad guys: Robert De Niro as Fearless Leader, Jason Alexander as Boris Badenov, and Rene Russo as Natasha Fatale. "Men of Honor" Robert De Niro as a Navy diver in “Men of Honor” (2000). "Meet the Parents" For the younger generation of moviegoers, De Niro is perhaps best known for his role as Jack Byrnes, Ben Stiller’s militant father-in-law in the “Fockers” franchise. At left: De Niro, a retired CIA officer, questions his daughter’s boyfriend in “Meet the Parents.” De Niro scoffed at critics who lamented such roles were beneath an actor of his stature. “They can criticize whatever and they could be right -- why this, why that. You can’t please everybody all the time, or even part of the time.” "The Score" Nearly three decades after they played the same character in different films, Robert De Niro and Marlon Brando appeared together on screen, in “The Score” (2001), about a safecracker hired for a $4 million job. "City By the Sea" Directed by Michael Caton-Jones, "City By the Sea" (2002) starred De Niro as a veteran cop who struggles to save his drug-addicted son who is caught in a web of violence. The film also starred James Franco and Frances McDormand. Tribeca Film Festival After the 9/11 attacks, Robert De Niro helped found the Tribeca Film Festival as a means to aid the economic and cultural revitalization of Lower Manhattan. Left: Ewan McGregor shakes hands with Robert De Niro, as Bono (2nd from right), Renee Zellweger, and American Express Vice President John Hayes look on, during opening ceremonies for the Tribeca Film Festival in lower Manhattan, New York, May 6, 2003. "The Bridge of San Luis Rey" The 2004 film “The Bridge of San Luis Rey” was the third feature based on Thornton Wilder’s novel about the aftermath of a disaster in the Peruvian mountains. Robert De Niro starred as the Archbishop of Lima, head of a council investigating the victims of the tragedy. "The Good Shepherd" Robert De Niro directed the 2006 spy film “The Good Shepherd,” loosely based on true events, about the Central Intelligence Agency’s history of counter-intelligence. De Niro played William “Bill” Sullivan (based on William Donovan). Also starring were Matt Damon, Angelina Jolie, Alec Baldwin, Keir Dullea, Timothy Hutton, William Hurt and Joe Pesci. "Stardust" In the romantic fantasy “Stardust” (2007), Claire Danes starred as Yvaine, a beauty conjured from a fallen star. Robert De Niro played Captain Shakespeare, a pirate who helps her in her journey. With Ricky Gervais. "What Just Happened" In Barry Levinson’s “What Just Happened” (2008), Robert De Niro starred as a fading Hollywood producer trying to get another film off the ground. At left: De Niro with costar Kristen Stewart. "Everybody's Fine" Robert De Niro and Drew Barrymore in the drama “Everybody’s Fine” (2009), about a father whose visits with his children may stir up painful secrets. Academy Awards Adrien Brody (left) and Robert De Niro during the presentation of the Academy Award for Best Actor, at the Kodak Theatre in Hollywood, Calif., February 22, 2009. Kennedy Center Honors President Barack Obama shakes hands with singer-songwriter Bruce Springsteen, as actor-director-producer Robert De Niro looks on, during a reception for the Kennedy Center Honorees December 6, 2009 in the East Room of the White House in Washington, D.C. "Limitless" Robert De Niro starred with Bradley Cooper in the thriller “Limitless,” adapted from Alan Glynn’s “The Dark Fields,” about a young man whose consumption of an experimental drug expands his mind, turning him into a financial wizard -- and a political threat. Cannes Film Festival Robert De Niro, president of the jury, poses with his wife Grace Hightower on the red carpet at the 64th Cannes Film Festival, May 14, 2011 in Cannes. Cannes Film Festival Actor and president of the jury Robert De Niro and actress Uma Thurman pose on the red carpet before the opening ceremony and the screening of “Midnight in Paris,” at the 64th Cannes Film Festival on May 11, 2011 in Cannes. De Niro and Thurman co-starred in “Mad Dog and Glory.” "Being Flynn" Paul Dano and Robert De Niro star as a young man reunited with his father, a delusional, once-promising writer, in Paul Weitz’s “Being Flynn” (2012), based on Nick Flynn’s memoir. "Silver Linings Playbook" Robert De Niro and Bradley Cooper were re-teamed in David O. Russell’s “Silver Linings Playbook,” about a father’s efforts to cope with his emotionally disturbed son, newly-released from a mental institution. De Niro and Cooper both received Academy Award nominations for their performances, as did costars Jennifer Lawrence and Jacki Weaver. AACTA International Awards Actor Robert De Niro and Russell Crowe attend the Australian Academy Of Cinema And Television Arts’ 2nd AACTA International Awards, at Soho House in West Hollywood, Calif., January 26, 2013. Screen Actors Guild Awards Robert De Niro, right, presents Jennifer Lawrence with the Screen Actors Guild Award for Best Actress for “Silver Linings Playbook,” onstage during the 19th Annual SAG Awards, at The Shrine Auditorium on Jan. 27, 2013, in Los Angeles. "Last Vegas" Kevin Kline, Morgan Freeman, Robert De Niro and Michael Douglas sow some still-ripe oats, as a quartet of seniors who head to Las Vegas for a bachelor party in the comedy, “Last Vegas” (2013). "The Intern" In the Nancy Meyers comedy “The Intern” (2015), Robert De Niro brings some hard-won experience (and coffee!) to an e-commerce startup run by Anne Hathaway. "Joy" In “Joy” (2015), David O. Russell’s biopic of Miracle Mop entrepreneur Joy Mangano, Elisabeth Röhm, Jennifer Lawrence and Robert De Niro are members of a somewhat dysfunctional family. "Hands of Stone" Edgar Ramírez as boxer Roberto Durán and Robert De Niro as trainer Ray Arcel in “Hands of Stone.” When asked why the sport of boxing resonates so much in movies, De Niro told “CBS This Morning,” “It’s an ultimate match between two people. Nothing is going to go past that. “But, I was interested -- it wasn’t so much the fighter thing. Of course, Durán, his story is he’s a great fighter. I just happened to have known him during that period also, spent a little time together during the no mas period, before that. I like the story. The father/son-type thing with Edgar Ramirez and that relationship, I think, is very important.” "Joker" In "Joker" (2019), Robert De Niro played late-night TV host Murray Franklin, whose monologue and taunts attacking wannabe standup comic Arthur Fleck (Joaquin Phoenix) triggers Fleck during an appearance on Franklin's show. "The Irishman" In 2019 De Niro reteamed with Scorsese, Al Pacino and Joe Pesci for the real-life mob epic "The Irishman," adapted from Charles Brandt's 2004 bestseller, "I Heard You Paint Houses." De Niro played Frank Sheeran, a hit man who got in close with the controversial leader of the Teamsters Union, Jimmy Hoffa. "The Irishman" Sheeran (Robert De Niro) assassinates mob boss "Crazy Joe" Gallo (Sebastian Maniscalco) at Umberto's Clam House in New York City, in "The Irishman." "The Irishman" The movie makes substantial use of CGI effects as part of a "de-aging" process that allows its lead actors' performances to span decades. De Niro himself is seen from age 20 (killing German soldiers in World War II Italy) to his 80s. "I used to joke, it'll add 30 years to my career!" De Niro laughed. "Casino" In 2013 De Niro told CBS News' Lee Cowan that his success came down to luck: "I'm lucky that I have whatever I had that makes me have a successful career, if you will." "It's got to be a little more than luck," said Cowan, "because the amount of work that you would put into characters ... " "Well, then I'm lucky I have the drive to do the work. But you're always lucky." By CBSNews.com senior producer David Morgan
915	yago	2	5	https://www.panix.com/~dangelo/look.html	en	Looking for Richard			[]	[]	[]	[ "" ]	null	[]	null					null	Looking for Richard (Al Pacino) Rating: 1/2 (out of **)
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"Stefan Pape", "Mark Grassick" ]	2020-10-03T06:00:38+00:00	From Michael Corleone to Serpico and Scorsese's The Irishman: Here's Why We appreciate the genius and pure talent of Al Pacino.	en	https://hotcorn-cdn.fra1…icon-150x150.png	The HotCorn	https://hotcorn.com/en/movies/news/al-pacino-godfather-irishman/	In 1985, Al Pacino – one of the most famous screen actors in the world – starred in Revolution, a historical drama set at the time of the American Revolution. It was a big budget film, boasted a talented award winning director Hugh Hudson and it flopped harder than Oliver Hardy from a high diving board. Released earlier, Brian DePalma’s Scarface had also been mauled by the critics. Pacino decided he’d had enough. He retired from the screen for four years, concentrating on his theater work. Some thought that he was done. Even Pacino himself recently commented: “I stopped and I don’t know that I would have gone back except I got broke”. But return he did. With Sea of Love in 1989 and then an Oscar- nominated cameo in Dick Tracy the next year, Pacino was soon back in his groove. However the four year hiatus neatly bisects Pacino’s career. There’s the fresh faced, nervy actor who can be quiet and calm and deadly. And then there’s totally different actor, who paints in broad hoo-ha! shaped brushstrokes. There’s that handsome face, the one Diane Keaton describing as the most entertaining face in Hollywood. And then there’s hollowed out craggier version. The soft nuanced voice to the rasp and bark of later years. And then there’s the Golden Raspberry winning appearance in Adam Sandler’s Jack and Jill, God help us all. Alfredo Pacino was born in Harlem 80 years ago, April 25. As a youngster he was a street kid, playing basketball, smoking cigarettes and hating school. He trained as an actor first in the HB Studio and then in the famous Actor’s Studio under Lee Strasberg. By his twenties, Al Pacino was getting regular stage work off Broadway and he began auditioning for film parts. He made his first big role in The Panic in Needle Park, a story of heroin users in New York. Al Pacino plays Bobby, a young thief and addict who falls in love with Helen (Kitty Winn), an innocent homeless girl who soon shares his life and addiction. It’s an underrated masterpiece. Gritty and realistic, and with a screenplay by Joan Didion and John Dunne, empathetic and intelligent. Pacino is dazzling. Watching him realize Helen has used for the first time is a quiet moment of emotional implosion. The role led directly to Francis Ford Coppola’s decision to cast him in the role of Michael Corleone in The Godfather, in the face of studio pressure to fill the role with an established actor and beating off competition from the likes of Robert De Niro. Over the first two parts, Al Pacino gave one of the most intense character portraits in American cinema: the incremental corruption of a soul from an idealistic young man to a shark eyed mobster to an anonymous corporate man. In a series of brilliant performances, Al Pacino showed his range throughout the Seventies. Watch Scarecrow from 1973, a kind of updated Of Mice and Men with Pacino as the innocent sidekick alongside Gene Hackman’s cynical bluster. Or Serpico in which he takes on the role of the undercover cop who took on the corrupt police force. Or Sidney Lumet’s Dog Day Afternoon featuring Pacino’s explosive performance as a doomed bank robber. But Pacino’s golden streak came to an end with Bobby Deerfield, a Formula One movie that gets stuck in a melodramatic pit stop. William Friedkin’s Cruising also missed with audiences. Accused of homophobia in its depiction of a murderer stalking the gay nightclub scene, it has since gained a cult status. Then came the mauling of Scarface and Revolution and the retreat. Al Pacino’s return was understated at first. Sea of Love is one of many ho-hum erotic crime thrillers that cluttered up the early Nineties and his Oscar-winning performance in Scent of a Woman felt sentimental and awards-baity. His return as Michael Corleone in the ill-judged Godfather Part III only emphasized the distance from the glory days. But Pacino always produces interesting working and whether it was an inspired cameo in David Mamet’s Glenn Gary Glen Ross or starring roles in Donnie Brasco and The Insider Pacino evolved into a character actor of huge power when given the right material. His enthusiasm for the right material could also be seen in Looking for Richard, a documentary he directed about his passion for Shakespeare and Richard III. Last year proved to be one of his most productive years yet. Having already gone toe to toe with Robert De Niro in Michael Mann’s Heat, Pacino once more met up with his contemporary in Martin Scorsese’s The Irishman, giving a witty and touching portrayal of Jimmy Hoffa. He had a small but remarkable role in Quentin Tarantino’s Once Upon a Time in Hollywood and he’s also appeared in an Amazon series The Hunters. Returning to his passion, he’ll also be starring in Michael Radford’s King Lear. From Michael Corleone to King Lear, the range is a tribute to the actor and hopefully there a few more accomplishments to come.
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He was born April 25, 1940 in Manhattan, New York City, to Italian-American parents, Rose (nee Gerardi) and Sal Pacino. They divorced when he was young. His mother moved them into his grandparents' home in the South Bronx. Pacino found himself often repeating the plots and voices of characters he had seen in the movies. Bored and unmotivated in school, he found a haven in school plays, and his interest soon blossomed into a full-time career. Starting onstage, he went through a period of depression and poverty, sometimes having to borrow bus fare to succeed to auditions. He made it into the prestigious Actors Studio in 1966, studying under Lee Strasberg, creator of the Method Approach that would become the trademark of many 1970s-era actors. After appearing in a string of plays in supporting roles, Pacino finally attained success off-Broadway with Israel Horovitz's "The Indian Wants the Bronx", winning an Obie Award for the 1966-67 season. That was followed by a Tony Award for "Does the Tiger Wear a Necktie?" His first feature films made little departure from the gritty realistic stage performances that earned him respect: he played a drug addict in Panik im Needle Park (1971) after his film debut in Ich, Natalie (1969). The role of Michael Corleone in Der Pate (1972) was one of the most sought-after of the time: Robert Redford, Warren Beatty, Jack Nicholson, Ryan O'Neal, Robert De Niro and a host of other actors either wanted it or were mentioned, but director Francis Ford Coppola wanted Pacino for the role. Coppola was successful but Pacino was reportedly in constant fear of being fired during the very difficult shoot. The film was a monster hit that earned Pacino his first Academy Award nomination for Best Supporting Actor. However, instead of taking on easier projects for the big money he could now command, Pacino threw his support behind what he considered tough but important films, such as the true-life crime drama Serpico (1973) and the tragic real-life bank robbery film Hundstage (1975). He was nominated three consecutive years for the "Best Actor" Academy Award. He faltered slightly with Bobby Deerfield (1977), but regained his stride with ... und Gerechtigkeit für alle (1979), for which he received another Academy Award nomination for Best Actor. Unfortunately, this would signal the beginning of a decline in his career, which produced flops like Cruising (1980) and Daddy! Daddy! Fünf Nervensägen und ein Vater (1982). Pacino took on another vicious gangster role and cemented his legendary status in the ultra-violent cult film Scarface (1983), but a monumental mistake was about to follow. Revolution (1985) endured an endless and seemingly cursed shoot in which equipment was destroyed, weather was terrible, and Pacino fell ill with pneumonia. Constant changes in the script further derailed the project. The Revolutionary War-themed film, considered among the worst films ever made, resulted in awful reviews and kept him off the screen for the next four years. Returning to the stage, Pacino did much to give back and contribute to the theatre, which he considers his first love. He directed a film, The Local Stigmatic (1990), but it remains unreleased. He lifted his self-imposed exile with the striking Sea of Love - Melodie des Todes (1989) as a hard-drinking policeman. This marked the second phase of Pacino's career, being the first to feature his now famous dark, owl eyes and hoarse, gravelly voice. Returning to the Corleones, Pacino made Der Pate 3 (1990) and earned raves for his first comedic role in the colorful adaptation Dick Tracy (1990). This earned him another Academy Award nomination for Best Supporting Actor, and two years later he was nominated for Glengarry Glen Ross (1992). He went into romantic mode for Frankie und Johnny (1991). In 1992, he finally won the Academy Award for Best Actor for his amazing performance in Der Duft der Frauen (1992). A mixture of technical perfection (he plays a blind man) and charisma, the role was tailor-made for him, and remains a classic. The next few years would see Pacino becoming more comfortable with acting and movies as a business, turning out great roles in great films with more frequency and less of the demanding personal involvement of his wilder days. Carlito's Way (1993) proved another gangster classic, as did the epic crime drama Heat (1995) directed by Michael Mann and co-starring Robert De Niro. He directed the film adaptation of Shakespeare's Al Pacino's Looking for Richard (1996). During this period, City Hall (1996), Donnie Brasco (1997) and Im Auftrag des Teufels (1997) all came out. Reteaming with Mann and then Oliver Stone, he gave commanding performances in Insider (1999) and An jedem verdammten Sonntag (1999). In the 2000s, Pacino starred in a number of theatrical blockbusters, including Ocean's 13 (2007), but his choice in television roles (the vicious, closeted Roy Cohn in the HBO miniseries Engel in Amerika (2003) and his sensitive portrayal of Jack Kevorkian, in the television movie Ein Leben für den Tod (2010)) are reminiscent of the bolder choices of his early career. Each television project garnered him an Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie. Never wed, Pacino has a daughter, Julie Marie, with acting teacher Jan Tarrant, and a set of twins with former longtime girlfriend Beverly D'Angelo. His romantic history includes Jill Clayburgh, Veruschka von Lehndorff, Carole Mallory, Debra Winger, Tuesday Weld, Marthe Keller, Carmen Cervera, Kathleen Quinlan, Lyndall Hobbs, Penelope Ann Miller, and a two-decade intermittent relationship with "Godfather" co-star Diane Keaton. He currently lives with Argentinian actress Lucila Solá, who is 36 years his junior. As of 2022, Pacino is 82-years-old. He has never retired from acting, and continues to appear regularly in film. Michael B. Jordan, the middle of three children, was born in Santa Ana, California and raised in Newark, New Jersey. He is the son of Donna (Davis), a high school counselor, and Michael A. Jordan. His middle name, Bakari, means "noble promise" in Swahili. (He is not related to, or named after, basketball legend Michael Jordan.) Jordan has starred in three of the most critically acclaimed television dramas of the past decade. First, Jordan played the hard-shelled but softhearted Wallace in HBO's dramatic hit series The Wire (2002). He then went on to star as quarterback Vince Howard on Friday Night Lights (2006) (NBC), before playing a recovering alcoholic, Alex, on NBC's Parenthood (2010). Jordan successfully took on his first major leading film role when he starred as Oscar Grant in Nächster Halt: Fruitvale Station (2013). The film is an account of Oscar's controversial slaying by police officers on a San Francisco train platform. The cast includes Octavia Spencer and Melonie Diaz, and was produced by Forest Whitaker (Significant Films). It premiered at the 2013 Sundance Film Festival where it received the Grand Jury Prize and Audience Award for U.S. Dramatic Film. It also screened at the 2013 Cannes Film Festival in the Un Certain Regard category. The has garnered many awards including Best First Feature at the 2014 Independent Spirit Awards, Outstanding Independent Motion Picture at the 2014 NAACP Image Awards and the 2014 Stanley Kramer Award from the Producer's Guild of America. The 2013 New York Film Critics Circle honored it with Best First Film and the picture was also chosen as one of the Top Ten Films at the 2013 National Board of Review Awards, where Jordan took home the award for Breakthrough Actor. Jordan also won the 2013 Gotham Award for Breakthrough Actor and was nominated for an Independent Spirit Award for Best Lead Actor. In 2015, Jordan starred in Josh Trank's Fantastic Four (2015), playing the role of 'Johnny Storm' aka 'The Human Torch', opposite Miles Teller, Jamie Bell, and Kate Mara for 20th Century Fox. The film was released on August 7th 2015. Jordan previously starred in 20th Century Fox's box office hit Chronicle - Wozu bist du fähig? (2012) (which was also directed by Trank), a supernatural thriller that follows three Portland teens (MBJ, Dane Dehaan, and Alex Russell) as they develop incredible powers after exposure to a mysterious substance; That Awkward Moment (2015) opposite Zac Efron and Miles Teller for Focus Films; and the George Lucas produced film Red Tails (2012), the story of the first African American pilots to fly in a combat squadron during WWII aka The Tuskegee Airmen. Jordan reunited with Ryan Coogler for Creed: Rocky's Legacy (2015), starring alongside Sylvester Stallone and Tessa Thompson. The film was released on Thanksgiving 2015 by MGM and Warner Brothers. A devoted fan of comic books growing up, Jordan starred as the villain, Eric Killmonger, in the 2018 box office smash Black Panther (2018). In 2018, he is also starring as Guy Montag in the HBO adaptation of Ray Bradbury's science fiction classic Fahrenheit 451 (2018). He resides in Los Angeles, where he supports the charity Lupus LA. Sylvester Stallone is an athletically built, dark-haired American actor/screenwriter/director/producer, the movie fans worldwide have been flocking to see Stallone's films for over 40 years, making "Sly" one of Hollywood's biggest-ever box office draws. Sylvester Stallone was born on July 6, 1946, in New York's gritty Hell's Kitchen, to Jackie Stallone (née Labofish), an astrologer, and Frank Stallone, a beautician and hairdresser. His father was an Italian immigrant, and his mother's heritage is half French (from Brittany) and half German. The young Stallone attended the American College of Switzerland and The University of Miami, eventually obtaining a B.A. degree. Initially, he struggled in small parts in films such as the soft-core Randy - Die Sexabenteuer des Sylvester Stallone (1970), the thriller Klute (1971) and the comedy Bananas (1971). He got a crucial career break alongside fellow young actor Henry Winkler, sharing lead billing in the effectively written teen gang film Brooklyn Blues - Das Gesetz der Gosse (1974). Further film and television roles followed, most of them in uninspiring productions except for the opportunity to play a megalomaniac, bloodthirsty race driver named "Machine Gun Joe Viterbo" in the Roger Corman-produced Frankensteins Todesrennen (1975). However, Stallone was also keen to be recognized as a screenwriter, not just an actor, and, inspired by the 1975 Muhammad Ali-Chuck Wepner fight in Cleveland, Stallone wrote a film script about a nobody fighter given the "million to one opportunity" to challenge for the heavyweight title. Rocky (1976) became the stuff of cinematic legends, scoring ten Academy Award nominations, winning the Best Picture Award of 1976 and triggering one of the most financially successful movie series in history! Whilst full credit is wholly deserved by Stallone, he was duly supported by tremendous acting from fellow cast members Talia Shire, Burgess Meredith and Burt Young, and director John G. Avildsen gave the film an emotive, earthy appeal from start to finish. Stallone had truly arrived on his terms, and offers poured in from various studios eager to secure Hollywood's hottest new star. Stallone followed Rocky (1976) with F.I.S.T. - Ein Mann geht seinen Weg (1978), loosely based on the life of Teamsters boss "Jimmy Hoffa", and Vorhof zum Paradies (1978) before pulling on the boxing gloves again to resurrect Rocky Balboa in the sequel Rocky II (1979). The second outing for the "Italian Stallion" wasn't as powerful or successful as the first "Rocky", however, it still produced strong box office. Subsequent films Nachtfalken (1981) and Flucht oder Sieg (1981) failed to ignite with audiences, so Stallone was once again lured back to familiar territory with Rocky III - Das Auge des Tigers (1982) and a fearsome opponent in "Clubber Lang" played by muscular ex-bodyguard Mr. T. The third "Rocky" installment far outperformed the first sequel in box office takings, but Stallone retired his prizefighter for a couple of years as another series was about to commence for the busy actor. The character of Green Beret "John Rambo" was the creation of Canadian-born writer David Morrell, and his novel was adapted to the screen with Stallone in the lead role in Rambo (1982), also starring Richard Crenna and Brian Dennehy. The movie was a surprise hit that polarized audiences because of its commentary about the Vietnam war, which was still relatively fresh in the American public's psyche. Political viewpoints aside, the film was a worldwide smash, and a sequel soon followed with Rambo II - Der Auftrag (1985), which drew even stronger criticism from several quarters owing to the film's plot line about American MIAs allegedly being held in Vietnam. But they say there is no such thing as bad publicity, and "John Rambo's" second adventure was a major money spinner for Stallone and cemented him as one of the top male stars of the 1980s. Riding a wave of amazing popularity, Stallone called on old sparring partner Rocky Balboa to climb back into the ring to defend American pride against a Soviet threat in the form of a towering Russian boxer named "Ivan Drago" played by curt Dolph Lundgren in Rocky IV - Der Kampf des Jahrhunderts (1985). The fourth outing was somewhat controversial with "Rocky" fans, as violence levels seemed excessive compared to previous "Rocky" films, especially with the savage beating suffered by Apollo Creed, played by Carl Weathers, at the hands of the unstoppable "Siberian Express". Stallone continued forward with a slew of macho character-themed films that met with a mixed reception from his fans. Die City-Cobra (1986) was a clumsy mess, Over the Top: Mein Daddy schlägt sie alle (1987) was equally mediocre, Rambo III (1988) saw Rambo take on the Russians in Afghanistan, and cop buddy film Tango und Cash (1989) just did not quite hit the mark, although it did feature a top-notch cast and there was chemistry between Stallone and co-star Kurt Russell. Philadelphia's favorite mythical boxer moved out of the shadows for his fifth screen outing in Rocky V (1990) tackling Tommy "Machine" Gunn played by real-life heavyweight fighter Tommy Morrison, the great-nephew of screen legend John Wayne. Sly quickly followed with the lukewarm comedy Oscar - Vom Regen in die Traufe (1991), the painfully unfunny Stop! Oder meine Mami schießt! (1992), the futuristic action film Demolition Man (1993), and the comic book-inspired Judge Dredd (1995). Interestingly, Stallone then took a departure from the gung-ho steely characters he had been portraying to stack on a few extra pounds and tackle a more dramatically challenging role in the intriguing Cop Land (1997), also starring Robert De Niro and Ray Liotta. It isn't a classic of the genre, but Cop Land (1997) certainly surprised many critics with Stallone's understated performance. Stallone then lent his vocal talents to the animated adventure story Antz (1998), reprised the role made famous by Michael Caine in a terrible remake of Get Carter - Die Wahrheit tut weh (2000), climbed back into a race car for Driven (2001), and guest-starred as the "Toymaker" in the third chapter of the immensely popular "Spy Kids" film series, Spy Kids 3: Game Over (2003). Showing that age had not wearied his two most popular series, Stallone has most recently brought back never-say-die boxer Rocky Balboa to star in, well, what else but Rocky Balboa (2006), and Vietnam veteran John Rambo (2008) will reappear after a 20-year hiatus to once again right wrongs in the jungles of Thailand. Love him or loathe him, Sylvester Stallone has built an enviable and highly respected career in Hollywood, plus, he has considerably influenced modern popular culture through several of his iconic film characters. Joshua Ryan Hutcherson was born on October 12, 1992 in Union, Kentucky to Michelle Fightmaster, who worked for Delta Air Lines, and Chris Hutcherson, an EPA analyst. He has one younger brother, Connor Hutcherson. From the age of four, Josh knew that he wanted to be an actor. In order to pursue his goal, Josh and his family moved to Los Angeles when he was nine-years-old. In 2002, Josh landed his first acting role in the TV film, House Blend (2002), with Amy Yasbeck, Dan Cortese and Sean Faris. The same year, Josh was cast in the pilot, Becoming Glen (2002), but Fox did not order it to series (though, several years later, it was reconfigured as the short-lived series, The Winner (2007), starring Rob Corddry, and co-written/produced by Seth MacFarlane). Toward the end of 2002, Josh appeared on an episode of Emergency Room: Die Notaufnahme (1994). Josh made his big-screen debut, in 2003, with a bit part in the Oscar-nominated American Splendor (2003). His career began its measured ascent in 2005 with a supporting slot as one of Will Ferrell's kids in Fußballfieber - Elfmeter für Daddy (2005), a co-starring role in the indie hit Little Manhattan (2005), and another co-starring role in Zathura - Ein Abenteuer im Weltraum (2005), which was originally conceived as a sequel to Jumanji (1995). Despite underperforming at the box office, "Zathura" helped earned for Josh his first Young Artist Award for "Leading Young Actor". 2006 saw bigger returns for Josh's burgeoning film career with a role as one of Robin Williams' sons in the modest hit, Die Chaoscamper (2006). The following year, he landed his first breakthrough role in Brücke nach Terabithia (2007), the kid-approved adaptation of Katherine Paterson's novel that co-starred AnnaSophia Robb, whose career was also taking off at this time. Josh starred as Brendan Fraser's nephew in another family-film hit, Die Reise zum Mittelpunkt der Erde (2008), and he had a smaller role in the Crash-like drama, Fragments (2008), though by now his face and name were being used in movie-marketing materials. Though it wasn't a hit, Josh's character in Mitternachtszirkus - Willkommen in der Welt der Vampire (2009) served as a major plot device early in the story. In 2010, Josh co-starred in the critically-acclaimed film, The Kids Are All Right (2010), alongside Annette Bening, Julianne Moore, Mark Ruffalo, and Mia Wasikowska. The film received several awards and four Academy Award nominations, including Best Picture. Josh's performance as the youngest child in a family, led by two mothers, earned him acclaim from audiences and the industry, alike. Josh followed up with an expanded role in Die Reise zur geheimnisvollen Insel (2012), which saw Dwayne Johnson take over as the main character from Brendan Fraser. Between the star power and the allure of 3D, the sequel was a worldwide hit and a third installment is in development. With the announcement that he would portray the beloved "Peeta Mellark" in Die Tribute von Panem - The Hunger Games (2012), the film adaptation of the best-selling novel written by Suzanne Collins, Josh became an instant celebrity. In the wake of the movie's massive worldwide success, Detention - Nachsitzen kann tödlich sein (2011), a horror/comedy that Josh made before "The Hunger Games", was released. Josh was also an executive producer on that feature. Before Josh reprises his role as "Peeta" in Die Tribute von Panem - Catching Fire (2013), we will see him in the long-delayed remake of Red Dawn (2012); the omnibus 7 Tage in Havanna (2011) (aka "7 Days in Havana") (Josh's segment was directed by Benicio Del Toro); Farben der Liebe (2012) opposite Lauren Bacall, Alfred Molina, and Hayden Panettiere; and the animated Epic - Verborgenes Königreich (2013) from Ice Age (2002) co-director (and voice of "Scrat"), Chris Wedge. American actor and producer Matthew David McConaughey was born in Uvalde, Texas. His mother, Mary Kathleen (McCabe), is a substitute school teacher originally from New Jersey. His father, James Donald McConaughey, was a Mississippi-born gas station owner who ran an oil pipe supply business. He is of Irish, Scottish, German, English, and Swedish descent. Matthew grew up in Longview, Texas, where he graduated from the local High School (1988). Showing little interest in his father's oil business, which his two brothers later joined, Matthew was longing for a change of scenery, and spent a year in Australia, washing dishes and shoveling chicken manure. Back to the States, he attended the University of Texas in Austin, originally wishing to be a lawyer. But, when he discovered an inspirational Og Mandino book "The Greatest Salesman in the World" before one of his final exams, he suddenly knew he had to change his major from law to film. He began his acting career in 1991, appearing in student films and commercials in Texas and directed short films as Chicano Chariots (1992). Once, in his hotel bar in Austin, he met the casting director and producer Don Phillips, who introduced him to director Richard Linklater for his next project. At first, Linklater thought Matthew was too handsome to play the role of a guy chasing high school girls in his coming-of-age drama Confusion - Sommer der Ausgeflippten (1993), but cast him after Matthew grew out his hair and mustache. His character was initially in three scenes but the role grew to more than 300 lines as Linklater encouraged him to do some improvisations. In 1995, he starred in Texas Chainsaw Massacre: Die Rückkehr (1994), playing a mad bloodthirsty sadistic killer, opposite Renée Zellweger. Shortly thereafter, moving to L.A., Matthew became a sensation with his performances in two high-profile 1996 films Lone Star (1996), where he portrayed killing suspected sheriff and in the film adaptation of John Grisham's novel Die Jury (1996), where he played an idealistic young lawyer opposite Sandra Bullock and Kevin Spacey. The actor was soon being hailed as one of the industry's hottest young leading man inspiring comparisons to actor Paul Newman. His following performances were Robert Zemeckis' Contact (1997) with Jodie Foster (the film was finished just before the death of the great astronomer and popularizer of space science Carl Sagan) and Steven Spielberg's Amistad - Das Sklavenschiff (1997), a fact-based 1839 story about the rebellious African slaves. In 1998, he teamed again with Richard Linklater as one of the bank-robbing brothers in Die Newton Boys (1998), set in Matthew's birthplace, Uvalde, Texas. During this time, he also wrote, directed and starred in the 20-minute short The Rebel (1998). In 1999, he starred in the comedy EDtv (1999), about the rise of reality television, and in 2000, he headlined Jonathan Mostow's U-571 (2000), portraying officer Lt. Tyler, in a WW II story of the daring mission of American submariners trying to capture the Enigma cipher machine. In the 2000s, he became known for starring in romantic comedies, such as Wedding Planner - verliebt, verlobt, verplant (2001), opposite Jennifer Lopez, and Wie werde ich ihn los in 10 tagen (2003), in which he co-starred with Kate Hudson. He played Denton Van Zan, an American warrior and dragons hunter in the futuristic thriller Die Herrschaft des Feuers (2002), where he co-starred with Christian Bale. In 2006, he starred in the romantic comedy Zum Ausziehen verführt (2006), and later as head coach Jack Lengyel in Sie waren Helden (2006), along with Matthew Fox. In 2008, he played treasure hunter Benjamin "Finn" Finnegan in Ein Schatz zum Verlieben (2008), again with Kate Hudson. After playing Connor Mead in Der Womanizer - Die Nacht der Ex-Freundinnen (2009), co-starring with Jennifer Garner, McConaughey took a two year hiatus to open different opportunities in his career. Since 2010, he has moved away from romantic comedies. That change came in 2011, in his first movie after that pause, when he portrayed criminal defense attorney Mickey Haller in Der Mandant (2011), that operates mostly from the back seat of his Lincoln car. After this performance that was considered one of his best until then, Matthew played other iconic characters as district attorney Danny Buck Davidson in Bernie - Leichen pflastern seinen Weg (2011), the wild private detective "Killer" Joe Cooper in Killer Joe (2011), Mud in Mud - Kein Ausweg (2012), reporter Ward Jensen in The Paperboy (2012), male stripper club owner Dallas in Magic Mike (2012), starring Channing Tatum. McConaughey's career certainly reached it's prime, when he played HIV carrier Ron Woodroof in the biographical drama Dallas Buyers Club (2013), shot in less than a month. For his portrayal of Ron, Matthew won the Best Actor in the 86th Academy Awards, as well as the Golden Globe Award for Best Actor, among other awards and nominations. The same year, he also appeared in Martin Scorsese's The Wolf of Wall Street (2013). In 2014, he starred in HBO's True Detective (2014), as detective Rustin Cohle, whose job is to investigate with his partner Martin Hart, played by Woody Harrelson, a gruesome murder that happened in his little town in Louisiana. The series was highly acclaimed by critics winning 4 of the 7 categories it was nominated at the 66th Primetime Emmy Awards; he also won a Critics' Choice Award for the role. Also in 2014, Matthew starred in Christopher Nolan's sci-fi film Interstellar (2014), playing Cooper, a former NASA pilot. Actor Ralph Nathaniel Twisleton-Wykeham-Fiennes was born on December 22, 1962 in Suffolk, England, to Jennifer Anne Mary Alleyne (Lash), a novelist, and Mark Fiennes, a photographer. He is the eldest of six children. Four of his siblings are also in the arts: Martha Fiennes, a director; Magnus Fiennes, a musician; Sophie Fiennes, a producer; and Joseph Fiennes, an actor. He is of English, Irish, and Scottish origin. A noted Shakespeare interpreter, he first achieved success onstage at the Royal National Theatre. Fiennes first worked on screen in 1990 and then made his film debut in 1992 as Heathcliff in Emily Brontë's Stürmische Leidenschaft (1992), opposite Juliette Binoche. 1993 was his "breakout year". He had a major role in the controversial Peter Greenaway film Das Wunder von Macon (1993), with Julia Ormond, which was poorly received. Later that year he became known internationally for portraying the amoral Nazi concentration camp commandant Amon Goeth in Steven Spielberg's Schindlers Liste (1993). For this he was nominated for the Academy Award for Best Supporting Actor and the Golden Globe Award for Best Supporting Actor. He did not win, but did win the Best Supporting Actor BAFTA Award for the role, as well as Best Supporting Actor honors from numerous critics groups, including the National Society of Film Critics, and the New York, Chicago, Boston, and London Film Critics associations. His portrayal as Göth also earned him a spot on the American Film Institute's list of Top 50 Film Villains. To look suitable to represent Goeth, Fiennes gained weight, but he managed to shed it afterwards. In 1994, he portrayed American academic Charles Van Doren in Quiz Show (1994). In 1996, he was nominated for the Academy Award for Best Actor for his performance as Count Almásy the World War II epic romance, and another Best Picture winner, Anthony Minghella's Der englische Patient (1996), in which he starred with Kristin Scott Thomas. He also received BAFTA and Golden Globe nominations, as well as two Screen Actors Guild (SAG) Award nominations, one for Best Actor and another shared with the film's ensemble cast. Since then, Fiennes has been in a number of notable films, including Strange Days (1995), Oscar und Lucinda (1997), the animated Der Prinz von Ägypten (1998), István Szabó's Sunshine - Ein Hauch von Sonnenschein (1999), Neil Jordan-directed films Das Ende einer Affäre (1999) and Der Dieb von Monte Carlo (2002), Roter Drache (2002), Manhattan Love Story (2002), Der ewige Gärtner (2005), Brügge sehen... und sterben? (2008), Der Vorleser (2008), co-starring Kate Winslet, Kathryn Bigelow's Oscar®-winning Tödliches Kommando - The Hurt Locker (2008), Kampf der Titanen (2010), Mike Newell's screen adaptation of Charles Dickens'Große Erwartungen (2012), with Helena Bonham Carter and Jeremy Irvine, and Wes Anderson's Grand Budapest Hotel (2014). He is also known for his roles in major film franchises such as the Harry Potter film series (2005-2011), in which he played the evil Lord Voldemort. His nephew, Hero Fiennes Tiffin played Tom Riddle, the young Lord Voldemort, in Harry Potter und der Halbblutprinz (2009). Ralph also appears in the James Bond series, in which he has played M, starting with the 2012 film Skyfall (2012). In 2011, Fiennes made his directorial debut with his film adaptation of Shakespeare's tragedy political thriller Coriolanus (2011), in which he also played the title character, opposite Gerard Butler and Vanessa Redgrave. Fiennes has won a Tony Award for playing Prince Hamlet on Broadway. In 2015, Fiennes played a music producer in Luca Guadagnino's A Bigger Splash (2015), starring opposite Tilda Swinton and Matthias Schoenaerts, and in 2016, Fiennes starred in Joel and Ethan Coen's Hail, Caesar! (2016). Since 1999, Fiennes has served as an ambassador for UNICEF UK. Christian Charles Philip Bale was born in Pembrokeshire, Wales, UK on January 30, 1974, to English parents Jennifer "Jenny" (James) and David Bale. His mother was a circus performer and his father, who was born in South Africa, was a commercial pilot. The family lived in different countries throughout Bale's childhood, including England, Portugal, and the United States. Bale acknowledges the constant change was one of the influences on his career choice. His first acting job was a cereal commercial in 1983; amazingly, the next year, he debuted on the West End stage in "The Nerd". A role in the 1986 NBC mini-series Anastasia (1986) caught Steven Spielberg's eye, leading to Bale's well-documented role in Das Reich der Sonne (1987). For the range of emotions he displayed as the star of the war epic, he earned a special award by the National Board of Review for Best Performance by a Juvenile Actor. Adjusting to fame and his difficulties with attention (he thought about quitting acting early on), Bale appeared in Kenneth Branagh's 1989 adaptation of Shakespeare's Henry V. (1989) and starred as Jim Hawkins in a TV movie version of Die Schatzinsel (1990). Bale worked consistently through the 1990s, acting and singing in Die Zeitungsjungen (1992), Swing Kids (1993), Betty und ihre Schwestern (1994), Portrait of a Lady (1996), Der Geheimagent (1996), Metroland (1997), Velvet Goldmine (1998), All the Little Animals (1998), and Ein Sommernachtstraum (1999). Toward the end of the decade, with the rise of the Internet, Bale found himself becoming one of the most popular online celebrities around, though he, with a couple notable exceptions, maintained a private, tabloid-free mystique. Bale roared into the next decade with a lead role in American Psycho (2000), director Mary Harron's adaptation of the controversial Bret Easton Ellis novel. In the film, Bale played a murderous Wall Street executive obsessed with his own physicality - a trait for which Bale would become a specialist. Subsequently, the 10th Anniversary issue for "Entertainment Weekly" crowned Bale one of the "Top 8 Most Powerful Cult Figures" of the past decade, citing his cult status on the Internet. EW also called Bale one of the "Most Creative People in Entertainment", and "Premiere" lauded him as one of the "Hottest Leading Men Under 30". Bale was truly on the Hollywood radar at this time, and he turned in a range of performances in the remake Shaft - Noch Fragen? (2000), Corellis Mandoline (2001), the balmy Laurel Canyon (2002), and Die Herrschaft des Feuers (2002), a dragons-and-magic commercial misfire that has its share of defenders. Two more cult films followed: Equilibrium (2002) and Der Maschinist (2004), the latter of which gained attention mainly due to Bale's physical transformation - he dropped a reported 60+ pounds for the role of a lathe operator with a secret that causes him to suffer from insomnia for over a year. Bale's abilities to transform his body and to disappear into a character influenced the decision to cast him in Batman Begins (2005), the first chapter in Christopher Nolan's definitive trilogy that proved a dark-themed narrative could resonate with audiences worldwide. The film also resurrected a character that had been shelved by Warner Bros. after a series of demising returns, capped off by the commercial and critical failure of Batman & Robin (1997). A quiet, personal victory for Bale: he accepted the role after the passing of his father in late 2003, an event that caused him to question whether he would continue performing. Bale segued into two indie features in the wake of Batman's phenomenal success: The New World (2005) and Harsh Times - Leben am Limit (2005). He continued working with respected independent directors in 2006's Rescue Dawn (2006), Werner Herzog's feature version of his earlier, Emmy-nominated documentary, Flucht aus Laos (1997). Leading up to the second Batman film, Bale starred in Prestige - Die Meister der Magie (2006), the remake of Todeszug nach Yuma (2007), and a reunion with director Todd Haynes in the experimental Bob Dylan biography, I'm Not There (2007). Anticipation for The Dark Knight (2008) was spun into unexpected heights with the tragic passing of Heath Ledger, whose performance as The Joker became the highlight of the sequel. Bale's graceful statements to the press reminded us of the days of the refined Hollywood star as the second installment exceeded the box-office performance of its predecessor. Bale's next role was the eyebrow-raising decision to take over the role of John Connor in the Schwarzenegger-less Terminator: Die Erlösung (2009), followed by a turn as federal agent Melvin Purvis in Michael Mann's Public Enemies (2009). Both films were hits but not the blockbusters they were expected to be. For all his acclaim and box-office triumphs, Bale would earn his first Oscar in 2011 in the wake of The Fighter (2010)'s critical and commercial success. Bale earned the Best Supporting Actor award for his portrayal of Dicky Eklund, brother to and trainer of boxer "Irish" Micky Ward, played by Mark Wahlberg. Bale again showed his ability to reshape his body with another gaunt, skeletal transformation. Bale then turned to another auteur, Yimou Zhang, for the epic The Flowers of War (2011), in which Bale portrayed a priest trapped in the midst of the Rape of Nanking. Bale earned headlines for his attempt to visit with Chinese civil-rights activist Chen Guangcheng, which was blocked by the Chinese government. Bale capped his role as Bruce Wayne/Batman in The Dark Knight Rises (2012); in the wake of the Aurora, Colorado tragedy, Bale made a quiet pilgrimage to the state to visit with survivors of the attack that left theatergoers dead and injured. He also starred in the thriller Auge um Auge - Out of the Furnace (2013) with Crazy Heart (2009) writer/director Scott Cooper, and the drama-comedy American Hustle (2013), reuniting with David O. Russell. Bale will re-team with The New World (2005) director Terrence Malick for two upcoming projects: Knight of Cups (2015) and an as-yet-untitled drama. In his personal life, he devotes time to charities including Greenpeace and the World Wildlife Foundation. He lives with his wife, Sibi Blazic, and their two children. Christoph Waltz is an Austrian-German actor. He is known for his work with American filmmaker Quentin Tarantino, receiving acclaim for portraying SS-Standartenführer Hans Landa in Inglourious Basterds (2009) and bounty hunter Dr. King Schultz in Django Unchained (2012). For each performance, he won an Academy Award, a BAFTA Award, and a Golden Globe Award for Best Supporting Actor. Additionally, he received the Best Actor Award at the Cannes Film Festival and a Screen Actors Guild Award for his portrayal of Landa. Christoph Waltz was born in Vienna, Austria, into a theatrical family, his mother Elisabeth Urbancic, an Austrian-born costume designer, and Johannes Waltz, a German-born stage builder. He has three siblings. His maternal grandmother was Viennese Burgtheater actress Maria Mayen, and his step-grandfather was fellow Burgtheater actor Emmerich Reimers. His maternal grandfather, Rudolf von Urban, was a psychologist and psychiatrist who wrote the 1949 book "Sex Perfection and Marital Happiness". Waltz attended the Theresianium and Billrothstrasse in Vienna. Upon graduation, he attended the Max-Reinhardt-Seminar before going to New York to the Lee Strasberg Institute. While in New York, Christoph met his first wife, and moved back to Vienna, then to London. During the 80s, Christoph worked primarily in theatre, commuting from his home in London to Germany. Slowly Waltz began to work in TV, taking one-off roles in series, and TV movies. Film roles soon followed. Attempts to break into English-speaking film and TV were, however, unsuccessful. Waltz has expressed his gratitude to have been able to make a living and support his family through acting. For thirty years he worked steadily, tirelessly, in this manner. It was not until he met Quentin Tarantino that his career in Hollywood took off. The role of Colonel Hans Landa in Inglourious Basterds (2009) catapulted Waltz from a lifetime working in German TV/film to the new life of an international superstar and Academy Award-winning actor. He won 27 awards for his performance as Hans Landa, including the Cannes prix d'interpretation Masculin for 2009, the Golden Globe for Best Supporting Actor, the BAFTA Best Supporting Actor award, and the Academy Award for Best Supporting Actor (which he won again for 2012's Django Unchained (2012)). He also has portrayed computer genius Qohen Leth in the film The Zero Theorem (2013), American plagiarist Walter Keane in the biographical film _Big Eyes (2014), and 007's nemesis and head of SPECTRE Ernst Stavro Blofeld in _Spectre (2015)_. In Quentin Tarantino's 2009 film Inglourious Basterds, Waltz portrayed SS-Standartenführer Hans Landa, aka "The Jew Hunter". Clever, courteous, and multilingual - but also self-serving, cunning, implacable, and murderous. Waltz played gangster Benjamin Chudnofsky in The Green Hornet (2011). That same year, he starred in Wasser für die Elefanten (2011), Roman Polanski's Der Gott des Gemetzels (2011), and a remake of Die drei Musketiere (2011). He played German bounty hunter Dr. King Schultz in Quentin Tarantino's Django Unchained (2012), a role Tarantino wrote specifically for Waltz. Waltz resides in Berlin and Los Angeles. His wife is costume builder Judith Holste. When hunky, twenty-year-old heart-throb Heath Ledger first came to the attention of the public in 1999, it was all too easy to tag him as a "pretty boy" and an actor of little depth. He spent several years trying desperately to sway this image, but this was a double-edged sword. His work comprised nineteen films, including 10 Dinge, die ich an Dir hasse (1999), Der Patriot (2000), Ritter aus Leidenschaft (2001), Monster's Ball (2001), Gesetzlos - Die Geschichte des Ned Kelly (2003), Brothers Grimm (2005), Dogtown Boys (2005), Brokeback Mountain (2005), Casanova (2005), Candy - Reise der Engel (2006), I'm Not There (2007), The Dark Knight (2008) and Das Kabinett des Doktor Parnassus (2009). He also produced and directed music videos and aspired to be a film director. Heath Ledger was born on the fourth of April 1979, in Perth, Western Australia, to Sally (Ramshaw), a teacher of French, and Kim Ledger, a mining engineer who also raced cars. His ancestry was Scottish, English, Irish, and Sephardi Jewish. As the story goes, in junior high school it was compulsory to take one of two electives, either cooking or drama. As Heath could not see himself in a cooking class he tried his hand at drama. Heath was talented, however the rest of the class did not acknowledge his talent. When he was seventeen he and a friend decided to pack up, leave school, take a car and rough it to Sydney. Heath believed Sydney to be the place where dreams were made or, at least, where actors could possibly get their big break. Upon arriving in Sydney with a purported sixty-nine cents to his name, Heath tried everything to get a break. His first real acting job came in a low-budget movie called Blackrock (1997), a largely unimpressive cliché; an adolescent angst film about one boy's struggle when he learns his best mate raped a girl. He only had a very small role in the film. After that small role Heath auditioned for a role in a T.V. show called Sweat (1996) about a group of young Olympic hopefuls. He was offered one of two roles, one as a swimmer, another as a gay cyclist. Heath accepted the latter because he felt to really stand out as an actor one had to accept unique roles that stood out from the bunch. It got him small notice, but unfortunately the show was quickly axed, forcing him to look for other roles. He was in Home and Away (1988) for a very short period, in which he played a surfer who falls in love with one of the girls of Summer Bay. Then came his very brief role in P.C. - Ein Genie auf vier Pfoten (1997), a film which existed solely to cash in on guitar prodigy Nathan Cavaleri's brief moment of fame, where he was the hottest thing in Australia. Heath played a student in the film, involved in a stage production of a Shakespeare play, in which he played "Oberon". A very brief role, this offered him a small paycheck but did nothing to advance his career. Then came Two Hands (1999). He went to the U.S. trying to audition for film roles, showcasing his brief role in Conor, der Kelte (1997) opposite then unknown Vera Farmiga. Then Australian director Gregor Jordan auditioned him for the lead in Two Hands (1999), which he got. An in your face Aussie crime thriller, Two Hands (1999) was outstanding and helped him secure a role in 10 Dinge, die ich an Dir hasse (1999). After that, it seemed Heath was being typecast as a young hunk, which he did not like, so he accepted a role in a very serious war drama Der Patriot (2000). What followed was a stark inconsistency of roles, Ledger accepting virtually every single character role, anything to avoid being typecast. Some met with praise, like his short role in Monster's Ball (2001), but his version of Gesetzlos - Die Geschichte des Ned Kelly (2003) was an absolute flop, which led distributors hesitant to even release it outside Australia. Heath finally had deserved success with his role in Brokeback Mountain (2005). For his portrayal of Ennis Del Mar in in the film, Ledger won the New York Film Critics Circle Award for Best Actor and Best International Actor from the Australian Film Institute, and was nominated for the BAFTA Award for Best Actor in a Leading Role and for the Academy Award for Best Actor. Ledger was found dead on January 22, 2008 in his apartment in the Manhattan neighborhood of SoHo, with a bottle of prescription sleeping pills near-by. It was concluded weeks later that he died of an accidental overdose of prescription drugs that included pain-killers, sleeping pills and anti-anxiety medication. His death occurred during editing of The Dark Knight (2008) and in the midst of filming his last role as Tony in Das Kabinett des Doktor Parnassus (2009). Posthumously, he shared the 2007 Independent Spirit Robert Altman Award with the rest of the ensemble cast, the director, and the casting director for the film I'm Not There (2007), which was inspired by the life and songs of American singer-songwriter Bob Dylan. In the film, Ledger portrayed a fictional actor named Robbie Clark, one of six characters embodying aspects of Dylan's life and persona. A few months before his death, Ledger had finished filming his performance as the Joker in 'The Dark Knight (2008). His untimely death cast a somber shadow over the subsequent promotion of the $185 million Batman production. Ledger received more than thirty posthumous accolades for his critically acclaimed performance as the Joker, the psychopathic clown prince of crime, in the film, including the Academy Award for Best Supporting Actor, a Best Actor International Award at the 2008 Australian Film Institute Awards (for which he is the second actor to win an acting award posthumously after Peter Finch who won an Oscar for Network (Best Actor 1977)), the 2008 Los Angeles Film Critics Association Award for Best Supporting Actor, the 2009 Golden Globe Award for Best Supporting Actor - Motion Picture, and the 2009 BAFTA Award for Best Supporting Actor. Gary Oldman is a talented English movie star and character actor, renowned for his expressive acting style. One of the most celebrated thespians of his generation, with a diverse career encompassing theatre, film and television, he is known for his roles as Sid Vicious in Sid & Nancy (1986), Drexl in True Romance (1993), George Smiley in Dame, König, As, Spion (2011), and Winston Churchill in Die dunkelste Stunde (2017), among many others. For much of his career, he was best-known for playing over-the-top antagonists, such as terrorist Egor Korshunov in the 1997 blockbuster Air Force One (1997), though he has reached a new audience with heroic roles in the Harry Potter and Dark Knight franchises. He is also a filmmaker, musician, and author. Gary Leonard Oldman was born on March 21, 1958 in New Cross, London, England, to Kathleen (Cheriton), a homemaker, and Leonard Bertram Oldman, a welder. He won a scholarship to Britain's Rose Bruford Drama College, in Sidcup, Kent, where he received a B.A. in theatre arts in 1979. He subsequently studied with the Greenwich Young People's Theatre and went on to appear in a number of plays throughout the early '80s, including "The Pope's Wedding," for which he received Time Out's Fringe Award for Best Newcomer of 1985-1986 and the British Theatre Association's Drama Magazine Award as Best Actor for 1985. Before fame, he was employed as a worker in assembly lines and as a porter in an operating theater. He also had jobs selling shoes and beheading pigs while supporting his early acting career. His film debut was Remembrance (1982), though his most-memorable early role came when he played Sex Pistol Sid Vicious in the biopic Sid & Nancy (1986) picking up the Evening Standard Film Award as Best Newcomer. He then received a Best Actor nomination from BAFTA for his portrayal of '60s playwright Joe Orton in Das stürmische Leben des Joe Orton (1987). In the 1990s, Oldman brought to life a series of iconic real-world and fictional villains including Lee Harvey Oswald in JFK: Tatort Dallas (1991), the title character in Bram Stokers Dracula (1992), Drexl Spivey in True Romance (1993), Stansfield in Léon: Der Profi (1994), Jean-Baptiste Emanuel Zorg in Das fünfte Element (1997) and Ivan Korshunov in Air Force One (1997). That decade also saw Oldman portraying Ludwig van Beethoven in biopic Ludwig van B. - Meine unsterbliche Geliebte (1994). Oldman played the coveted role of Sirius Black in Harry Potter und der Gefangene von Askaban (2004), giving him a key part in one of the highest-grossing franchises ever. He reprised that role in Harry Potter und der Feuerkelch (2005) and Harry Potter und der Orden des Phönix (2007). Oldman also took on the iconic role of Detective James Gordon in writer-director Christopher Nolan's Batman Begins (2005), a role he played again in The Dark Knight (2008) and The Dark Knight Rises (2012). Prominent film critic Mark Kermode, in reviewing The Dark Knight, wrote, "the best performance in the film, by a mile, is Gary Oldman's ... it would be lovely to see him get a[n Academy Award] nomination because actually, he's the guy who gets kind of overlooked in all of this." Oldman co-starred with Jim Carrey in the 2009 version of A Christmas Carol in which Oldman played three roles. He had a starring role in David Goyer's supernatural thriller The Unborn, released in 2009. In 2010, Oldman co-starred with Denzel Washington in The Book of Eli. He also played a lead role in Catherine Hardwicke's Red Riding Hood. Oldman voiced the role of villain Lord Shen and was nominated for an Annie Award for his performance in Kung Fu Panda 2. In 2011, Oldman portrayed master spy George Smiley in the adaptation of John le Carré's Dame, König, As, Spion (2011), and the role scored Oldman his first Academy Award nomination. In 2014, he played one of the lead humans in the science fiction action film Planet der Affen: Revolution (2014) alongside Jason Clarke and Keri Russell. Also in 2014, Oldman starred alongside Joel Kinnaman, Abbie Cornish, Michael Keaton, and Samuel L. Jackson in the remake of RoboCop (2014), as Norton, the scientist who creates RoboCop. Aside from acting, Oldman tried his hand at writing and directing for Nil by Mouth (1997). The movie opened the Cannes Film Festival in 1997, and won Kathy Burke a Best Actress prize at the festival. Oldman has three children, Alfie, with first wife, actress Lesley Manville, and Gulliver and Charlie with his third wife, Donya Fiorentino. In 2017, he married writer and art curator Gisele Schmidt. In 2018 he won an Oscar for best actor for his work on Die dunkelste Stunde (2017). Jack Nicholson, an American actor, producer, director and screenwriter, is a three-time Academy Award winner and twelve-time nominee. Nicholson is also notable for being one of two actors - the other being Michael Caine - who have received an Oscar nomination in every decade from the '60s through the '00s. Nicholson was born on April 22, 1937, in Neptune, New Jersey. He was raised believing that his grandmother was his mother, and that his mother, June Frances Nicholson, a showgirl, was his older sister. He discovered the truth in 1975 from a Time magazine journalist who was researching a profile on him. His real father is believed to have been either Donald Furcillo, an Italian American showman, or Eddie King (Edgar Kirschfeld), born in Latvia and also in show business. Jack's mother's ancestry was Irish, and smaller amounts of English, German, Scottish, and Welsh. Nicholson made his film debut in a B-movie titled The Cry Baby Killer (1958). His rise in Hollywood was far from meteoric, and for years, he sustained his career with guest spots in television series and a number of Roger Corman films, including Kleiner Laden voller Schrecken (1960). Nicholson's first turn in the director's chair was for Drive, He Said (1971). Before that, he wrote the screenplay for The Trip (1967), and co-wrote Head (1968), a vehicle for The Monkees. His big break came with Easy Rider (1969) and his portrayal of liquor-soaked attorney George Hanson, which earned Nicholson his first Oscar nomination. Nicholson's film career took off in the 1970s with a definitive performance in Five Easy Pieces - Ein Mann sucht sich selbst (1970). Nicholson's other notable work during this period includes leading roles in Roman Polanski's noir masterpiece Chinatown (1974) and Einer flog über das Kuckucksnest (1975), for which he won his first Best Actor Oscar. The 1980s kicked off with another career-defining role for Nicholson as Jack Torrance in Stanley Kubrick's adaptation of Stephen King's novel Shining (1980). A string of well-received films followed, including Zeit der Zärtlichkeit (1983), which earned Nicholson his second Oscar; Die Ehre der Prizzis (1985), and Die Hexen von Eastwick (1987). He portrayed another renowned villain, The Joker, in Tim Burton's Batman (1989). In the 1990s, he starred in such varied films as Eine Frage der Ehre (1992), for which he received another Oscar nomination, and a dual role in Mars Attacks! (1996). Although a glimpse at the darker side of Nicholson's acting range reappeared in Departed: Unter Feinden (2006), the actor's most recent roles highlight the physical and emotional complications one faces late in life. The most notable of these is the unapologetically misanthropic Melvin Udall in Besser geht's nicht (1997), for which he won his third Oscar. Shades of this persona are apparent in About Schmidt (2002), Was das Herz begehrt (2003), and Das Beste kommt zum Schluss (2007). In addition to his Academy Awards and Oscar nominations, Nicholson has seven Golden Globe Awards, and received a Kennedy Center Honor in 2001. He also became one of the youngest actors to receive the American Film Institute's Life Achievement award in 1994. Nicholson has six children by five different women: Jennifer Nicholson (b. 1963) from his only marriage to Sandra Knight, which ended in 1966; Caleb Goddard (b. 1970) with Five Easy Pieces - Ein Mann sucht sich selbst (1970) co-star Susan Anspach, who was automatically adopted by Anspach's then-husband Mark Goddard; Honey Hollman (b. 1982) with Danish supermodel Winnie Hollman; Lorraine Nicholson (b. 1990) and Ray Nicholson (b. 1992) with minor actress Rebecca Broussard; and Tessa Gourin (b. 1994) with real estate agent Jennine Marie Gourin. Nicholson's longest relationship was the 17 nonmonogamous years he spent with Anjelica Huston; this ended when Broussard announced she was pregnant with his child. Gary Oldman is a talented English movie star and character actor, renowned for his expressive acting style. One of the most celebrated thespians of his generation, with a diverse career encompassing theatre, film and television, he is known for his roles as Sid Vicious in Sid & Nancy (1986), Drexl in True Romance (1993), George Smiley in Dame, König, As, Spion (2011), and Winston Churchill in Die dunkelste Stunde (2017), among many others. For much of his career, he was best-known for playing over-the-top antagonists, such as terrorist Egor Korshunov in the 1997 blockbuster Air Force One (1997), though he has reached a new audience with heroic roles in the Harry Potter and Dark Knight franchises. He is also a filmmaker, musician, and author. Gary Leonard Oldman was born on March 21, 1958 in New Cross, London, England, to Kathleen (Cheriton), a homemaker, and Leonard Bertram Oldman, a welder. He won a scholarship to Britain's Rose Bruford Drama College, in Sidcup, Kent, where he received a B.A. in theatre arts in 1979. He subsequently studied with the Greenwich Young People's Theatre and went on to appear in a number of plays throughout the early '80s, including "The Pope's Wedding," for which he received Time Out's Fringe Award for Best Newcomer of 1985-1986 and the British Theatre Association's Drama Magazine Award as Best Actor for 1985. Before fame, he was employed as a worker in assembly lines and as a porter in an operating theater. He also had jobs selling shoes and beheading pigs while supporting his early acting career. His film debut was Remembrance (1982), though his most-memorable early role came when he played Sex Pistol Sid Vicious in the biopic Sid & Nancy (1986) picking up the Evening Standard Film Award as Best Newcomer. He then received a Best Actor nomination from BAFTA for his portrayal of '60s playwright Joe Orton in Das stürmische Leben des Joe Orton (1987). In the 1990s, Oldman brought to life a series of iconic real-world and fictional villains including Lee Harvey Oswald in JFK: Tatort Dallas (1991), the title character in Bram Stokers Dracula (1992), Drexl Spivey in True Romance (1993), Stansfield in Léon: Der Profi (1994), Jean-Baptiste Emanuel Zorg in Das fünfte Element (1997) and Ivan Korshunov in Air Force One (1997). That decade also saw Oldman portraying Ludwig van Beethoven in biopic Ludwig van B. - Meine unsterbliche Geliebte (1994). Oldman played the coveted role of Sirius Black in Harry Potter und der Gefangene von Askaban (2004), giving him a key part in one of the highest-grossing franchises ever. He reprised that role in Harry Potter und der Feuerkelch (2005) and Harry Potter und der Orden des Phönix (2007). Oldman also took on the iconic role of Detective James Gordon in writer-director Christopher Nolan's Batman Begins (2005), a role he played again in The Dark Knight (2008) and The Dark Knight Rises (2012). Prominent film critic Mark Kermode, in reviewing The Dark Knight, wrote, "the best performance in the film, by a mile, is Gary Oldman's ... it would be lovely to see him get a[n Academy Award] nomination because actually, he's the guy who gets kind of overlooked in all of this." Oldman co-starred with Jim Carrey in the 2009 version of A Christmas Carol in which Oldman played three roles. He had a starring role in David Goyer's supernatural thriller The Unborn, released in 2009. In 2010, Oldman co-starred with Denzel Washington in The Book of Eli. He also played a lead role in Catherine Hardwicke's Red Riding Hood. Oldman voiced the role of villain Lord Shen and was nominated for an Annie Award for his performance in Kung Fu Panda 2. In 2011, Oldman portrayed master spy George Smiley in the adaptation of John le Carré's Dame, König, As, Spion (2011), and the role scored Oldman his first Academy Award nomination. In 2014, he played one of the lead humans in the science fiction action film Planet der Affen: Revolution (2014) alongside Jason Clarke and Keri Russell. Also in 2014, Oldman starred alongside Joel Kinnaman, Abbie Cornish, Michael Keaton, and Samuel L. Jackson in the remake of RoboCop (2014), as Norton, the scientist who creates RoboCop. Aside from acting, Oldman tried his hand at writing and directing for Nil by Mouth (1997). The movie opened the Cannes Film Festival in 1997, and won Kathy Burke a Best Actress prize at the festival. Oldman has three children, Alfie, with first wife, actress Lesley Manville, and Gulliver and Charlie with his third wife, Donya Fiorentino. In 2017, he married writer and art curator Gisele Schmidt. In 2018 he won an Oscar for best actor for his work on Die dunkelste Stunde (2017). English film actor, director and author Andy Serkis is known for his performance capture roles comprising motion capture acting, animation and voice work for such computer-generated characters as Gollum in The Lord of the Rings film trilogy (2001-2003) and Der Hobbit: Eine unerwartete Reise (2012), the eponymous King Kong in the 2005 film, Caesar in Planet der Affen: Prevolution (2011) and Planet der Affen: Revolution (2014), Captain Haddock / Sir Francis Haddock in Steven Spielberg's Die Abenteuer von Tim und Struppi - Das Geheimnis der Einhorn (2011) and Supreme Leader Snoke in Star Wars - Episode VII: Das Erwachen der Macht (2015). Serkis earned a Golden Globe Award nomination for his portrayal of serial killer Ian Brady in the British television film Die Moormörderin von Manchester (2006), and was nominated for a BAFTA Award for his portrayal of new wave and punk rock musician Ian Dury in the biopic Sex & Drugs & Rock & Roll (2010). In 2015, he had a small role in Avengers: Age of Ultron (2015). Serkis has his own motion capture workshop, The Imaginarium Studios in London, which he will use for his directorial debut, Mogli: Legende des Dschungels (2018). Andrew Clement G. Serkis was born April 20, 1964, in Ruislip Manor, West London, England. He has three sisters and a brother. His father, Clement Serkis, an ethnic Armenian whose original family surname was Serkissian, was a medical doctor working abroad, in Iraq; the Serkis family spent time around the Middle East, and for the first ten years of his life, Andy traveled between Baghdad and London. His mother, Lylie (Weech), who is British-born, was busy working as a special education teacher of handicapped children, so Andy and his four siblings were raised with au pairs in the house. Young Serkis wanted to be an artist; he was fond of painting and drawing, and visualized himself working behind the scenes. He attended St. Benedict's School, a Roman Catholic School for boys at the Benedictine Abbey in London. Serkis studied visual arts at Lancaster University in the north-west of England. There, he became involved in mechanical aspects of the theatre and did stage design and set building for theatrical productions. Then, Serkis was asked to play a role in a student production, and made his stage debut in Barrie Keeffe's play, "Gotcha"; thereafter, he switched from stage design to acting, which was a real calling that transformed his life. Instead of going to an acting college, Serkis, in 1985, began his professional acting career at the Duke's Playhouse in Lancaster, where he was given an Equity card and performed in fourteen plays, one after another, as an apprentice of Jonathan Petherbridge. After that, he worked in touring theatre companies, doing it for no money, fueled by a sense of enthusiasm, moving to a new town every week. He has thus appeared in a host of popular plays and on almost every renowned British stage. In 1989, he appeared in a stage production of William Shakespeare's "Macbeth", so beginning his long association with the Royal Exchange Theatre, Manchester, where he would return many times, to appear in "She Stoops to Conquer", "Your Home in the West" and the "True Nature of Love", among other plays. In the 1990s, Serkis began to make his mark on the London stage, appearing at the Royal Court Theatre as "The Fool" in "King Lear", making his interpretation of "The Fool" as the woman that "Lear", a widower, could relate to - a man, in drag, as a Victorian musician. He also appeared as "Potts" in the hit play, "Mojo", playing in front of full houses and earning huge critical success. In 1987, Serkis made his debut on television, and he acted in several major British TV miniseries throughout the 1990s. In 1999, Andy Serkis landed the prize role of "Gollum" in Peter Jackson's epic film trilogy based on J.R.R. Tolkien's saga, "The Lord of the Rings". He spent four years in the part and received awards and nominations for his performance as "Gollum", a computer-generated character in Der Herr der Ringe: Die Rückkehr des Königs (2003), which won 11 Oscars. "Gollum" was the collaborative team's effort around Serkis's work in performance capture - an art form based on CGI-assisted acting. Serkis's work was an interactive performance in a skin-tight CGI suit with markers allowing cameras to track and register 3D position for each marker. Serkis' every nuance was picked up by several cameras positioned at precisely calculated angles to allow for the software to see enough information to process the image. The images of Serkis' performances were translated into the digital format by animators at Weta Digital studio in New Zealand. There, his image was key-frame animated and then edited into the movie, Serkis did have one scene in "The Return of the King" showing how he originally had the ring, killing another hobbit to posses it after they found it during a fishing trip. He drew from his three cats clearing fur balls out of their throats to develop the constricted voice he produced for "Gollum" and "Sméagol", and it was also enhanced by sound editing in post-production. Serkis spent almost two years in New Zealand and away from his family, and much of 2002 and 2003 in post-production studios for large periods of time, due to complexity of the creative process of bringing the character of "Gollum" to the screen. Serkis had to shoot two versions for every scene; one version was with him on camera, acting with (chiefly) Elijah Wood and Sean Astin, which served both to show Wood and Astin the moves so that they could precisely interact with the movements of "Gollum", and to provide the CGI artists the subtleties of Gollum's physical movements and facial expressions for their manual finishing of the animated images. In the other version, he'd go the voice off-camera, as Wood and Astin repeated their movements as though "Gollum" were there with them; that take would be the basis for inserting the CGI Gollum used in the released movie. In post-production, Serkis was doing motion-capture wearing a skintight motion capture suit with CGI gear while acting as a virtual puppeteer redoing every single scene in the studio. Additional CGI rotomation was done by animators using the human eye instead of the computer to capture the subtleties of Serkis' performance. Serkis also used this art form in his performance as "Kong" in King Kong (2005), which won him a Toronto Film Critics Association Award (2005) for his unprecedented work helping to realize the main character in "King Kong", and a Visual Effects Society Award (2006) for Outstanding Animated Character in a Live Action Motion Picture. Apart from his line of CGI-driven characters, Serkis continued with traditional acting in several leading and supporting roles, such as his appearances as "Richard Kneeland" opposite Jennifer Garner in 30 über Nacht (2004), and "Alley" opposite David Bowie in Prestige - Die Meister der Magie (2006), among other film performances. On television, he starred as 'Vincent Van Gogh' in the sixth episode of Simon Schama's Power of Art (2006), the BBC2 series about artists. Serkis is billed as "Capricorn" in the upcoming adventure film, Tintenherz (2008). At the same time, he continued the development of performance capture while expanding his career into computer games. He starred as "King Bothan" in the martial arts drama, Heavenly Sword (2007), a Playstation 3 title, for which he provided a basis for his in-game face and also acts as a dramatic director on the project. Andy Serkis married actress and singer Lorraine Ashbourne, and the couple have three children: daughter Ruby Serkis (born in 1998), and two sons Sonny Serkis (born in 2000) and Louis Ashbourne Serkis (born on 19 June 2004), who is now also a movie star. Away from acting, Andy Serkis is an accomplished amateur painter. Since his school years at Lancaster, being so close to the Lake District, Serkis developed his other passion in life: mountaineering. He is a pescetarian. Serkis has been active in charitable causes, such as The Hope Foundation, which provides essential life-saving medical aid for children suffering from Leukemia and children from countries devastated by war. In October 2006, he was a presenter at the first annual British Academy Video Games Awards at the Roundhouse, London. Andy Serkis lives with his family in North London, England. Critically hailed for his forceful, militant, authoritative figures and one of Hollywood's most talented and versatile performers, Laurence (John) Fishburne III has been the recipient of numerous awards, including a number of NAACP Image honors. Born in Augusta, Georgia on July 30, 1961, to Hattie Bell (Crawford), a teacher, and Laurence John Fishburne, Jr., a juvenile corrections officer. His mother transplanted her family to Brooklyn after his parents divorced. At the age of 10, the young boy appeared in his first play, "In My Many Names and Days," at a cramped little theater space in Manhattan. He continued on but managed to avoid the trappings of a child star per se, considering himself more a working child actor at the time. Billing himself as Larry Fishburne during this early phase, he never studied or was trained in the technique of acting. In 1973, at the age of 12, young Laurence won a recurring role on the daytime soap Liebe, Lüge, Leidenschaft (1968) that lasted three seasons. He subsequently made his film debut in the ghetto-themed Cornbread, Earl and Me (1975). At 14 Francis Ford Coppola cast him in Apocalypse Now (1979), which filmed for two years in the Philippines. Laurence didn't work for another year and a half after that long episode. A graduate of Lincoln Square Academy, Coppola was impressed enough with Laurence to hire him again down the line with featured roles in Rumble Fish (1983), Cotton Club (1984) and Der Steinerne Garten (1987). Throughout the 1980s, he continued to build up his film and TV credit list with featured roles despite little fanfare. A recurring role as Cowboy Curtis on the kiddie show Pee-wee's Playhouse (1986) helped him through whatever lean patches there were at the time. TV guest appearances at this time included "Trapper John," "MASH," "Hill Street Blues," "Miami Vice," "Spenser: For Hire" and "The Equalizer." With the new decade (1990s) came out-and-out stardom for Laurence. A choice lead in John Singleton's urban tale Boyz n the Hood - Jungs im Viertel (1991) catapulted him immediately into the front of the film ranks. Set in LA's turbulent South Central area, his potent role as a morally minded divorced father who strives to rise above the ignorance and violence of his surroundings, Laurence showed true command and the ability to hold up any film. On stage, Laurence would become invariably linked to playwright August Wilson and his 20th Century epic African-American experience after starring for two years as the eruptive ex-con in "Two Training Running." For this powerful, mesmerizing performance, Laurence won nearly every prestigious theater award in the books (Tony, Outer Critics Circle, Drama Desk and Theatre World). It was around the time of this career hallmark that he began billing himself as "Laurence" instead of "Larry." More awards and accolades came his way. In addition to an Emmy for the pilot episode of the series "Tribeca," he was nominated for his fine work in the quality mini-movies Die Ehre zu fliegen - Tuskegee Airmen (1995) and Miss Evers' Boys - Die Gerechtigkeit siegt (1997). On the larger screen, both Laurence and Angela Bassett were given Oscar nominations for their raw, seething portrayals of rock stars Ike and Tina Turner in the film What's Love Got to Do with It? (1993). To his credit, he managed to take an extremely repellent character and make it a sobering and captivating experience. A pulp box-office favorite as well, he originated the role of Morpheus, Keanu Reeves' mentor, in the exceedingly popular futuristic sci-fi Matrix (1999), best known for its ground-breaking special effects. He wisely returned for its back-to-back sequels. Into the millennium, Laurence extended his talents by making his screenwriting and directorial debut in Mit aller Härte (2000), in which he also starred. The film is based on his own critically acclaimed play "Riff Raff," which he staged five years earlier. In 1999, he scored a major theater triumph with a multi-racial version of "The Lion in Winter" as Henry II opposite Stockard Channing's Eleanor of Acquitaine. On film, Fishburne has appeared in a variety of interesting roles in not-always-successful films. Never less than compelling, a few of his more notable parts include an urban speed chess player in Das Königsspiel (1993); a military prisoner in Ein fremder Klang (1990); a college professor in Singleton's Die Rebellen (1995); a CIA operative in Bad Company (1995); the title role in Othello (1995) (he was the first black actor to play the part on film); a spaceship rescue team leader in the sci-fi horror Event Horizon - Am Rande des Universums (1997); a Depression-era gangster in Hoodlum (1997); a dogged police sergeant in Clint Eastwood's Mystic River (2003); a spelling bee coach in Akeelah ist die Größte (2006); and prominent roles in the mainstream films Predators (2010) and Contagion (2011). He returned occasionally to the theatre. In April 2008, he played Thurgood Marshall in the one-man show "Thurgood" and won a Drama Desk Award. It was later transferred to the TV screen and earned an Emmy nomination. In the fall of 2008, Fishburne replaced William Petersen as the male lead investigator on the popular CBS drama CSI: Vegas (2000), but left the show in 2011 to refocus on films and was in turn replaced by Ted Danson. Having since had a regular role as "Pops" in the comedy Black-ish (2014), he has also been seen on the bigger screen in the Superman movies Man of Steel (2013) and Batman v Superman: Dawn of Justice (2016) as Daily Planet chief Perry White; played a hired assassin in the thriller Standoff - Die einzige Zeugin (2016); portrayed a minister and former Vietnam War vet in Last Flag Flying (2017); and essayed the role of a revengeful prison warden in Imprisoned (2018). Fishburne has two children, Langston and Montana, from his first marriage to actress Hajna O. Moss. In September 2002, Fishburne married Cuban-American actress Gina Torres.
915	yago	0	77	https://shakespearenetwork.net/media-room/media-menu/movies-videos/shakespeare-on-film-trailers/richard-iii-looking-for-richard-al-pacino-winona-ryder-kevin-spacey-trailer-i-1996-4k	en	Richard III - Looking for Richard - Al Pacino - Winona Ryder - Kevin Spacey - Trailer I - 1996 - 4K			[ "https://shakespearenetwork.net/templates/yootheme/cache/shakespeare_network_logo-6ae29f3a.png", "https://shakespearenetwork.net/templates/yootheme/cache/shakespeare_network_logo-6ae29f3a.png", "https://shakespearenetwork.net/templates/yootheme/cache/shakespeare_network_logo-6ae29f3a.png" ]	[ "https://www.youtube.com/embed/HIqhh5D5AM8" ]	[]	[ "Al Pacino", "Shakespeare", "Richard III", "Looking for Richard", "1996", "Kevin Spacey", "Trailer", "Official Trailer", "4K", "Maximianno Cobra", "Misanthropos", "William Shakespeare", "Winona Ryder", "Alec Baldwin" ]	null	[]	2022-08-11T10:38:07+00:00	Richard III - Looking for Richard - Al Pacino - Winona Ryder - Kevin Spacey - Trailer I - 1996 - 4K	en	/images/Shakespeare_Network/favicon.png		null	Posted in Shakespeare On Film - Trailers OFFICIAL TRAILER - FOX - Home Video - Looking for Richard is a 1996 American documentary film directed by Al Pacino, in his directorial debut. It is a hybrid film, including both a filmed performance of selected scenes of William Shakespeare's Richard III and a documentary element which explores a broader examination of Shakespeare's continuing role and relevance in popular culture. The film was featured at the Sundance Film Festival in January 1996 and it was screened in the Un Certain Regard section at the 1996 Cannes Film Festival. Al Pacino won the Directors Guild of America Award for Outstanding Directing – Documentaries. CAST Al Pacino as Richard III Penelope Allen as Queen Elizabeth Harris Yulin as King Edward Kevin Spacey as Buckingham Winona Ryder as Lady Anne Kevin Conway as Lord Hastings Julie Moret as Mistress Shore Estelle Parsons as Queen Margaret Alec Baldwin as Clarence Aidan Quinn as Richmond This recording is for educational purposes only and is covered under Fair Use doctrine - Copyright - All rights reserved to their respective owners. Read the unabridged plays online: [ LINK ] Support Us - Donate Now ! Enter Amount: £ Why Donate? Donations to Shakespeare Network help sustain free knowledge and educational programs on Shakespeare Network and our ecosystem of Shakespeare Network projects. Your contributions ensure these resources remain accessible and valuable for all. Thank you. 25% Direct support to website: Keeping the Shakespeare Network websites online is about more than just servers. It also includes ongoing engineering improvements, product development, design and research, and legal support. 25% Administration and governance: We manage funds and resources responsibly to recruit and support skilled, passionate staff who advance our communities and values. Our operating budget: Transparency is core to our organization. The Shakespeare Network develops our annual plan and operating budget through open processes, which are subject to feedback from our volunteers and Board approval. 50% Direct support to communities: Shakespeare Network projects exist thanks to the communities that create and maintain them. We strengthen these communities through grants, projects, and training programs. Contact us for further info.
915	yago	3	59	https://www.indiewire.com/gallery/martin-scorsese-unmade-movies/	en	Martin Scorsese’s Unmade Movies: 15 Films the Oscar Winner Almost Directed	https://www.indiewire.co…990824.jpg?w=650	https://www.indiewire.co…990824.jpg?w=650	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.indiewire.com/wp-content/uploads/2023/06/GettyImages-1491990824.jpg?w=3000&h=1687&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/06/MMDHOKI_EC002.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2024/06/MCDBLRU_EC011.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2024/06/MSDSERP_EC019.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2024/06/MSDGOPA_EC020.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2024/06/MSDYAKU_EC001.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2023/06/Scorsese-High-and-Low-.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2023/06/Scorsese-Sinatra-.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2023/06/Scorsese-Dino-.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2023/06/Scorsese-Jerusalem-.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2023/06/Scorsese-Jesus-.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2023/06/Scorsese-Frederico-Fellini-.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2023/06/Scorsese-Ramones-.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2023/06/Scorsese-Bury-my-heart-.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2023/06/Scorsese-Frankie-the-machine.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2023/06/Scorsese-Gershwin-.jpg?w=300", "https://www.indiewire.com/wp-content/uploads/2024/08/MCDALRO_H3002_2e389b.jpg?w=3000&h=1687&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/MCDCROW_LG017.jpg?w=3000&h=1243&crop=1", "https://www.indiewire.com/wp-content/uploads/2022/08/larry-david_1.jpg?w=1000&h=667&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/Emily_in_Paris_n_S4_00_18_22_01RC.jpg?w=1920&h=1081&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/GettyImages-2166098301.jpg?w=3000&h=2800&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/MCDSKIN_IF022.jpg?w=3000&h=1344&crop=1", "https://www.indiewire.com/wp-content/uploads/2023/11/higher_res_best_films-1.png?w=300&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2023/11/Best-TV-shows-2023.jpg?w=300&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2023/11/first-features.png?w=300&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/GettyImages-2165613612.jpg?w=300&h=300&crop=1", "https://www.indiewire.com/wp-content/uploads/2024/08/rev-1-BEJU-T2-0022r_High_Res_JPEG.jpeg?w=300&h=300&crop=1", "https://variety.com/wp-content/uploads/2024/08/GettyImages-2162460183.jpg?resize=232,175", "https://www.rollingstone.com/wp-content/uploads/2024/08/Mens-Dress-Shoes-Featured.jpeg?resize=232,175", "https://deadline.com/wp-content/uploads/2024/08/fp_720572_31530.jpg?resize=232,175", "https://tvline.com/wp-content/uploads/2024/08/fbi-katherine-renee-kane-leaving.jpg?resize=232,175", "https://www.sportico.com/wp-content/uploads/2024/08/GettyImages-2166661792-e1724096815225.jpg?resize=232,175", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Christian Zilko", "Marcos Franco" ]	2023-10-18T01:00:21+00:00	Martin Scorsese's film career could have looked very different if he had directed these 15 movies. A list of his incomplete projects.	en	https://www.indiewire.co…favicon.png?w=32	IndieWire	https://www.indiewire.com/gallery/martin-scorsese-unmade-movies/	Martin Scorsese is cinema’s giant among giants. In addition to directing some of the most beloved films of his generation, he is one of the most vital advocates for the preservation of his art form. From his work to preserve rare international films through his World Cinema Project to his public evangelizing for the continued study of old masters like Fellini and Kurosawa, the film industry is a richer place because of his efforts. Scorsese’s fight for artful cinema has not always found sympathetic audiences. He has often had to fight to finance his films and made enemies with his refusal to compromise his creative vision. It took a long time for his bold filmmaking to find anything resembling a consistent commercial audience, and in an era dominated by streaming he sometimes still struggles to find backers willing to accommodate his massive theatrical releases. While film history will always love Scorsese, his commercial struggles resulted in a massive list of unmade projects. Every director has to deal with films that fall apart at the last minute, but Scorsese’s propensity to shun commercial opportunities in favor of more esoteric projects makes him more susceptible to that problem than most. His unrealized films reveal the themes that have fascinated Scorsese throughout his career. Scorsese is not a man who gives up easily: He has been known to continue developing projects for decades and films like “Silence” and “The Irishman” ultimately found financing after years of false starts. So while this list contains films that the Oscar-winning auteur didn’t make on his preferred timeline, that doesn’t mean never. Keep reading for our list of Martin Scorsese’s 15 most interesting unmade movies, updated ahead of the release of “Killers of the Flower Moon.” With editorial contributions by Wilson Chapman.
915	yago	1	40	http://archives.news.yale.edu/v28.n15/story8.html	en	Yale Bulletin and Calendar			[ "http://archives.news.yale.edu/v28.n15/yalebullcal.gif", "http://archives.news.yale.edu/v28.n15/whitespace.gif", "http://archives.news.yale.edu/v28.n15/whitespace.gif", "http://archives.news.yale.edu/v28.n15/transpixel.gif", "http://archives.news.yale.edu/v28.n15/story8a.jpeg", "http://archives.news.yale.edu/v28.n15/story8b.jpeg", "http://archives.news.yale.edu/v28.n15/story8c.jpeg", "http://archives.news.yale.edu/v28.n15/story8d.jpeg", "http://archives.news.yale.edu/v28.n15/whitespace.gif", "http://archives.news.yale.edu/v28.n15/whitespace.gif", "http://archives.news.yale.edu/v28.n15/red_dot.gif", "http://archives.news.yale.edu/v28.n15/whitespace.gif", "http://archives.news.yale.edu/v28.n15/transpixel.gif", "http://archives.news.yale.edu/v28.n15/red_dot.gif", "http://archives.news.yale.edu/v28.n15/whitespace.gif", "http://archives.news.yale.edu/v28.n15/transpixel.gif", 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"http://archives.news.yale.edu/v28.n15/whitespace.gif", "http://archives.news.yale.edu/v28.n15/whitespace.gif", "http://archives.news.yale.edu/v28.n15/whitespace.gif", "http://archives.news.yale.edu/v28.n15/whitespace.gif", "http://archives.news.yale.edu/v28.n15/whitespace.gif", "http://archives.news.yale.edu/v28.n15/whitespace.gif" ]	[]	[]	[ "" ]	null	[]	null					null	The following edited and excerpted observations were made by Academy Award-winning actor Al Pacino during his question-and-answer session with students following the screenings of his latest feature film "The Insider" and the documentary "Looking for Richard," which he starred in, directed and produced. ... How he was drawn to acting. "When I was younger, my mother took me to the movies, and I'd act out the parts the next day. It started there. ... "I never wanted to be an actor. Then in school, I found out it was a good way of getting out of class. Because I got into the plays I didn't have to do all that other stuff, and I said, 'All right, I'll be an actor.' I knew it was an impossible dream, but I had encouragement when I was in eighth grade. My eighth-grade acting teacher came to my home and said she thought that my grandmother should encourage me. This actually left my memory until later on in life, and I thought, 'Gee, it was this teacher, this eighth-grade teacher, who changed my life.'" ... Acting in Shakespearean plays. "Shakespeare was alien to me growing up. It was something that I wasn't familiar with. It was always communicated to me that you had to be a certain type, you had to have a certain education, to be a certain way, in order to do Shakespeare -- that some kid from the South Bronx, which I was, was unable to do Shakespeare. It had nothing to do with my life, with what I know. "But later on, I got into classes and I started responding to this material. Then I started learning Shakespeare in a way, the only way really that an actor can -- that is, to engage in a role and by doing that, to learn the play in that personal, intimate way. I don't think that most of you who are not actors have that opportunity to really learn the play in that way. I think once you do, things unfold: You hear things and you see things in the play that you never would on first hearing. "If I were to teach a course in Shakespeare to non-actors, I'd have them act because I think they would get inside the play in that way. " ... Directing a film. "Making 'Looking for Richard' made me relate to film in a way that I never had done before. I do recommend making a film if you want to learn. ... I don't see myself as a director. A director sees material as something he wants to direct; I see the material as something I want to act." ... "Method" acting. "Although I never had a formal training in certain method exercises, I would be close to being a method actor, if that means anything. Not that it really is a method. Everyone has one, and ours really is simply, I guess, living. ... If I'm playing a cook, I have to do a quick study of a cook. It's like finding someone who speaks a certain language. There's just so much you can absorb with the language. You have to find these key things that set you up. When I'm playing a cook, I go and hang out in the kitchen. What I hope will happen is that I'll absorb unconsciously some of these things. ... What stays with me is what I use. I admire very much the way he flips an egg, but that doesn't stay with me later. Another thing stays with me -- the way he wipes a counter ... "There's this story about Michael Chekhov, the great acting teacher, who was portraying a character going to the guillotines in a play and he was just terrified. Everyone was asking him, 'What are you thinking about, the guillotine? Having your head chopped off?' No, he was thinking about a cold shower. It worked for him. That's method. It's not always that you're just imagining yourself at the guillotine. That's not going to do it. Sometimes it's a little more personal than that, you think about that shower because in the end that's what you're thinking about anyway. You're relating to something. If you're terrified, you're relating to something real, even if you're not conscious of it." ... His favorite role. "It's hard for me to pick one out. They're racing through my mind as I talk. I think 'Scarface' comes out. [Applause and cheers from the audience.] I'm very happy about that movie, because when it first came out it was a scandal. ... At the time I knew it wasn't getting what I thought it deserved. It seemed to be speaking about something." ... His most challenging role. "The first 'Godfather.' It was the most challenging because I didn't know how I could sustain this kind of guy and then turn into that later part. ... I remember spending many, many weeks -- months -- just thinking about how I would make this kid into what he becomes." -- By Dorie Baker
915	yago	2	15	https://www.pomoculture.org/2013/09/21/looking-for-richard-in-looking-for-richard-al-pacino-appropriates-the-bard-and-flogs-him-back-to-the-brits/	en	Looking for Richard in Looking for Richard: Al Pacino Appropriates the Bard and Flogs Him Back to the Brits			[]	[]	[]	[ "Kim Fedderson and J.M. Richardson Department of English Lakehead University Kim.Fedderson@Lakeheadu.ca Mike.Richardson@Lakeheadu.ca Looking for Richard. Dir. Al Pacino. Twentieth Century Fox", "1997. Al Pacino’s Looking for Richard opens with the words “King Richard” appearing first on the screen with the other syllables necessary for completing the title being added gradually. This device […]", "Volume 8 - Number 2 - January 1998" ]	null	[]	2013-09-21T00:00:00	Kim Fedderson and J.M. Richardson Department of English Lakehead University Kim.Fedderson@Lakeheadu.ca Mike.Richardson@Lakeheadu.ca Looking for Richard. Dir. Al Pacino. Twentieth Century Fox, 1997. Al Pacino’s Looking for Richard opens with the words “King Richard” appearing first on the screen with the other syllables necessary for completing the title being added gradually. This device […]	en	https://www.pomoculture.org/favicon.ico		https://www.pomoculture.org/2013/09/21/looking-for-richard-in-looking-for-richard-al-pacino-appropriates-the-bard-and-flogs-him-back-to-the-brits/	Kim Fedderson and J.M. Richardson Department of English Lakehead University Kim.Fedderson@Lakeheadu.ca Mike.Richardson@Lakeheadu.ca Looking for Richard. Dir. Al Pacino. Twentieth Century Fox, 1997. Al Pacino’s Looking for Richard opens with the words “King Richard” appearing first on the screen with the other syllables necessary for completing the title being added gradually. This device not only highlights the name “Richard III,” the protagonist of the Shakespearean source for Pacino’s film, it also enlists and then encourages us to search for Richard within the film. And when we go looking for Richard, we can, if we look hard, find him, but not where we had expected and, more tellingly, not where we seem to be directed to look. While it gives us innumerable glimpses of Richard–the documentary frame of the film allows us to see Richard in America, in the Cloisters, in England, at the Globe, in theatrical rehearsal and performance, in cinematic rehearsal and performance–Pacino’s film, like Shakespeare’s humpbacked dissembler, harbors a “secret, close intent,” making Richard far more difficult to locate than his conspicuousness in the film would suggest. And once he is glimpsed, we should begin to question the film’s motives. While Pacino claims that his goal is to make Shakespeare more accessible to his public, what he, in fact, does under this typically American anti-elitist and democratic ruse is to appropriate the cultural commodity that Shakespeare has become and then use it to establish American dominance within the global market in which this commodity is distributed. Pacino does this by first undermining the hold that England has had on Shakespeare’s work, in effect repossessing the work, and then reforming it to his taste so that it may be marketed at home and ultimately abroad. In this cautionary tale about coming to America, Pacino not only hijacks the bard, but then he also audaciously offers him for sale back to his original owners. Indeed, it is only within the film’s conflict with itself, in the division between what it actually does and what it appears to do, that the character of Shakespeare’s smiling villain comes clearly into our view. One of the things this film purports to do and in fact does is to provide us with an iteration of Shakespeare’s Richard III. That Richard III offers a narrative comprised of four phases: 1) an initial state of sovereignty, presented as “true and just” and represented by King Edward IV, comes to an end as Edward sickens and dies; 2) this is followed by an act of legitimate succession as sovereignty passes into the hands of the legitimate heir, who because of his youth, is assigned a protector; 3) this in turn is disrupted by an act of illegitimate succession as the protector turns usurper, “subtle, false and treacherous,” has the rightful heir murdered, and assumes sovereignty himself; 4) finally, the usurper is displaced and dispatched and a new legitimate sovereignty is restored. Pacino’s Looking for Richard presents only a selection of scenes from the Shakespearean original, yet these scenes are carefully chosen so as to represent these major narrative phases: hence, the sickness and death of Edward IV (Harris Yulin) is enacted; the young prince inherits his sovereignty but is forced to relinquish it to the Protector (Pacino), who has his charge murdered and so succeeds illegitimately; and finally, the usurper is replaced by the new legitimate monarch, Henry Richmond (Aidan Quinn). While the major phases of the narrative of Shakespeare’s Richard III are represented in Pacino’s selection of incidents to dramatize in his Looking for Richard, the film itself, as a totality, is as conflicted as “divided York and Lancaster.” The principal source of this conflict is the film’s form. Pacino, as director of the film Looking for Richard, wraps his episodic and fragmentary performances of Shakespeare’s play in a documentary frame, in which Pacino, in the role of dramatized director of the film, explores how Richard III, which the film contends has become lost and mired in tradition, might be made “accessible to the people out there, the people on the street.” This documentary frame contains two distinct narratives, both of which replicate much of Shakespeare’s story about Richard III, but which suppress its tragic implication. The two narratives of Pacino’s frame, when taken together, create an unsettling dissonance within Looking for Richard, one which should cause us to question the film’s happy democratic sense of itself as a film that merely attempts to make Shakespeare’s play more accessible to the American public. Like Shakespeare’s character, the film may ask us to regard it as a “marv’lous proper man” (I.ii.254), but there is no mistaking that it cannot so regard itself. The first of these narratives, and strongly foregrounded at that (both in the film and in its publicity, the press kit, and interviews with Pacino, so that it has become quite clear that this is what we are expected to go looking for), is a quest romance called “Looking for Richard” in which the “authentic spirit” of the play (and of Shakespeare himself), the holy grail as it were, has been lost but is found and renewed, recovered in effect, by the modern hero, Al Pacino. The keeper of the text of the play is analogous to King Edward IV and is as responsible for maintaining the currency and vitality of Shakespeare’s text as the king is for maintaining peace and prosperity in the realm. Like King Edward, the traditions of performance have become moribund. The evidence for the death of the king/death of the text is presented via interviews with “the man on the street,” demonstrating that the American public has, by and large, no liking for, patience with, or understanding of Shakespeare. Historically, of course, the keepers of this text have been British actors and scholars–many of whom are represented in the film. The argument, then, of the manifest narrative in the film is that, in essence, these British traditions of performance and scholarship have, like Edward IV, sickened and died, lost their power to maintain Shakespeare’s vitality, leaving the artistic equivalent of a power vacuum. Pacino, the dramatized director-as-character within the film’s fictional space, offers himself as the new keeper of the text, the man who can make Shakespeare accessible once again to Everyman. This aspirant, from the young nation of America, is analogous to the Princes in the Tower, the future hope for the realm. And as the young princes have backers such as Hastings (Kevin Conway), the dramatized director also has his in the form of Derek Jacobi and, especially, Sir John Gielgud. The latter is with him throughout and, most importantly, at the end of the film is presented as Pacino’s protector and approving witness to his claim. (We know this convention from Star Wars: Obi Wan and Luke Skywalker–an aged Brit who is clearly a part of the tradition sanctions the passing on of the force to an American.) This story mobilizes many of the narrative elements and characters of Richard III, but emplots them comedically, creating a version of Richard III in which no usurper threatens the rightful claims of the new generation. Unlike this manifest narrative (the film as it wishes to be seen; the film fashioned as Richard fashions himself for Anne, to “woo” us) the second, repressed narrative is the product of a Ricardian “dissembling nature” and, like Richard himself, harbors “a secret, close intent.” This buried narrative operates with no delusions about its motives. A couple of lines from the film serve as a nice gloss on its modus operandi: “The text is just a means for expressing what’s behind the text” and “Irony is really only hypocrisy with style.” Like the first narrative, the second one represents the British traditions of performance and scholarship as moribund; the legitimate inheritors, represented by Sir John Gielgud, Kenneth Branagh, Peter Brooks, Emrys Jones, are ineffectual. Indeed Kenneth Branagh, a powerful young Prince, exiting the film like Lear’s fool, is quickly shunted offstage and Sir Ian McKellen, whose own Richard III makes him a formidable rival, is simply not mentioned at all. Pacino as dramatized director, in essence, removes or co-opts the opposition to his claims to sovereignty just as Shakespeare’s Richard does, metaphorically killing off Branagh, McKellen, Trevor Nunn, Derek Jarman, Peter Greenaway, etc. He impudently installs himself within the vacancy he himself has created, offering himself as the protector/successor, the one who should command from the throne of the Globe Theatre. Like Richard, Pacino as dramatized director is an unlikely prospect for the elevation he seeks: Richard’s physical and moral deformities become Pacino’s less than polished accent and speech, the baseball cap worn reversed, and the generally unkempt appearance. As an apparently improbable claimant to the throne, Pacino, in this narrative, must address two problems not inherent in the manifest narrative discussed above, but that are to be found in the Shakespearean original: 1) the quasi-legalistic problem of establishing the legitimacy of his claim on the Shakespearean text: By what right does the future of the Shakespearean play fall to this American actor? Where does he stand in the “proper” (i.e., obvious, expected) line of succession? and 2) the essentially political problem of winning over the public to his side, of having them shout, “The king is dead! Long live the king!” On the matter of legitimacy, Pacino’s solution is not unlike Richard’s: Richard has Buckingham imply the bastardy of the Princes in the Tower; Pacino undermines the imputed British claim to exclusive dominion over Shakespeare by a variety of tactics. First, he argues that those with the most obvious claims are the very ones that have allowed the plays to falter. The film implies that the British tradition–both its actors and its scholars–has turned the body of the bard’s play into an inaccessible, irrelevant, antiquated corpse. If Shakespeare’s fortunes flag it is because of the elitist pedantry of British scholars, and the technically precise, but inauthentic and insincere, classical dramatic training of British actors. Pacino further delegitimizes the British claimants by dissociating the play from the specificity of its language. For it is in the British sway over the language of the plays, a language that is obsessively referred to within the film as an obstacle for American actors and audiences alike, that the British contenders find their strongest argument. Masterfully co-opting his opposition, Pacino gets one of the British scholarly authorities in the film to argue that “the text is just a means for expressing what’s behind the text,” thus legitimizing the claim that Shakespeare’s essence exists separately from Shakespeare’s language. Once Shakespeare can be shown to exist outside of the Englishness of his language, the corollary can then be advanced that the essence of Shakespeare may not be English at all, but could indeed be American. A homeless man, one of the many mechanicals Pacino peoples his new world with, extols the bard’s virtues and his relevance to contemporary problems. Pacino himself argues that Richard is just like the American-style gangsters with whom he made his reputation. Once we get past the irksome “prithees” and “post-hastes,” it turns out that Shakespeare has, in fact, been hiding out in Poughkeepsie looking for Pacino. On the matter of public approbation: as Richard and Buckingham manipulate the commoners to make them cry for Richard as king, so Pacino interviews his fellow New Yorkers and foregrounds those who clearly need someone to reclaim Shakespeare for them, and then, like Richard, offers himself as the necessary successor. In this version, there is no Richmond to challenge Richard because the usurper gets away with it. He successfully eliminates his rivals by displacing Branagh, effacing McKellen, and assuming a familial coziness with Gielgud, and, finally, ascends the throne. If the play is to be reanimated, the “Barons” of Branagh and Gielgud will have to, and indeed do, pay allegiance to Pacino (while “pretenders” like McKellen apparently “flee the scene”), thus authenticating Pacino’s assertion of legitimate succession. This ironic narrative offers no fifth act because the audience fails to recognize that its smiling, redeeming hero can also be regarded as its usurping villain. And to do this, Pacino must pull off the improbable feat of seducing all and not be seen seducing any. The analogue for this achievement is Richard’s seduction of Lady Anne (Winona Ryder): just as she is seduced into transferring her affections from her dead father and husband to Richard, their murderer, so Pacino, an unlikely Shakespearean whose American “deformities” would seem to preclude his being the last best hope of the text, asks us to accept him as the one who can save the bard for us, now that the British tradition has died off. Having pried Shakespeare loose from the British tradition of performance (a tradition which has always made Americans feel themselves culturally inferior to their former colonial masters), it can now be remade to American tastes, or more precisely, to the usurping Pacino’s tastes, since the version that prevails must be his own. Pacino’s satisfaction at having taken Shakespeare to the people is compromised by the liberties these very same people will take with the bard’s texts. Interpretations proliferate: one commoner talks about talmudic Shakespeare, another talks about a rock n’ roll Lady Macbeth, and a Hamlet who’s like every kid. Pacino, dismayed by the license the commoners allow themselves, complains, “You must get me out of this. It’s gone too far. I want to be king.” Here we see that Pacino’s goal is not to bring just any Shakespeare to the people. The bard that is enthroned in majesty must be his. The scene which follows this is entitled, significantly, “Now to take the crown.” And it is charged with a double resonance: it refers to Pacino as Richard taking the crown within the performance of the play, and to Pacino as dramatized director within the frame assuming sovereignty over the text. Having displaced the opposition and staked his claim to Shakespeare, Pacino is then able to repatriate the Bard. The implicit claim goes something like this: Shakespeare, having been freed from what the film claims are the ossifying traditions of British performance, is restored to his pristine essence in America, and now, in addition to being a marketable commodity able to meet foreign competition–Branagh, Luhrmann, McKellen et al.–within the domestic economy, can also be exported and marketed abroad. Thus, in the film’s most deliciously vertiginous moment, Pacino installs himself center stage at Sam Wannamaker’s restored Globe theatre–the new American-sponsored Euro-Shakespeare theme park–and intones the opening soliloquy of the play. The frame’s two narratives (the happy manifest narrative of legitimate succession and the ironic and repressed narrative of successful usurpation) taken together create a dissonance within Looking for Richard. It is within this dissonance that Pacino the undramatized narrator looks for Shakespeare’s Richard: the frame’s doubled narrative enacts the duplicitous split between seeming and being that constitutes Richard’s character; he is both the saint of the delusionary manifest narrative and the devil of its repressed other. Richard, then, is not Pacino playing the crookbacked monarch imposter in the staged scenes, but the smiling villain, the beguiling dramatized director making the film Looking for Richard. The dramatized scenes in the film look for and find Shakespeare’s play; the film itself, however, looks for and finds its titular character, and makes him a victorious usurper. The implicit premise of the film–that Shakespeare’s work is in need of resuscitation–is, of course, completely wrong: never before have Shakespeare’s works been made so accessible to the American public–largely due to Branagh and Nunn, the imaginatively modernized productions of McKellen and Baz Luhrmann, and the experimental work of Greenaway and Jarman. The tradition is anything but ossified, and foreign Shakespeares now compete at the box office with major Hollywood productions; in short, the endeavour to persuade the American audience that the bard of tradition is dead is necessary in order to protect the domestic market from foreign competition. The key question is not whose Shakespeare, or which style of Shakespearean production, but rather who gets to keep the financial and cultural profits. If the analogy between Lady Anne and the American audience holds, Pacino/Richard’s line, echoed chorically throughout the seduction scene–“I’ll win her, but I’ll not keep her long”–speaks volumes concerning their intentions; namely, both will move on to more profitable affairs when they have had their way with the current ones. Having legitimized himself and having seduced America with his Shakespeare, he can now return to his old standbys. Thus, he appears next in Donnie Brasco and currently in The Devil’s Advocate, a film in which he finally gets to play the ultimate seducer.
915	yago	1	17	https://kids.kiddle.co/Al_Pacino	en	Al Pacino facts for kids	https://kids.kiddle.co/i…401544240%29.jpg	https://kids.kiddle.co/i…401544240%29.jpg	[ "https://kids.kiddle.co/images/wk/kids-robot.svg", "https://kids.kiddle.co/images/wk/kids-search-engine.svg", "https://kids.kiddle.co/images/thumb/3/3e/Al_Pacino_2016_%2830401544240%29.jpg/300px-Al_Pacino_2016_%2830401544240%29.jpg", "https://kids.kiddle.co/images/thumb/5/56/Al_Pacino_-_Hummel.jpg/230px-Al_Pacino_-_Hummel.jpg", "https://kids.kiddle.co/images/thumb/0/03/Al_Pacino_with_James_Caan.jpg/230px-Al_Pacino_with_James_Caan.jpg", "https://kids.kiddle.co/images/thumb/d/d7/Pacino_as_Serpico_in_1973.jpg/230px-Pacino_as_Serpico_in_1973.jpg", "https://kids.kiddle.co/images/thumb/d/d6/Al_Pacino_Cannes_1996.jpg/230px-Al_Pacino_Cannes_1996.jpg", "https://kids.kiddle.co/images/thumb/9/98/Al_Pacino.jpg/230px-Al_Pacino.jpg", "https://kids.kiddle.co/images/thumb/e/e8/Manglehorn_03_%2815272211442%29.jpg/230px-Manglehorn_03_%2815272211442%29.jpg", "https://kids.kiddle.co/images/thumb/3/33/CMiks_-_The_Irishman_table_-_CCA_2020_01_12.jpg/300px-CMiks_-_The_Irishman_table_-_CCA_2020_01_12.jpg", "https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png", "https://kids.kiddle.co/images/wk/kids-search-engine.svg" ]	[]	[]	[ "" ]	null	[]	null	Learn Al Pacino facts for kids	en	/images/wk/favicon-16x16.png		https://kids.kiddle.co/Al_Pacino	"Pacino" redirects here. For the medieval Italian painter, see Pacino di Buonaguida. For the American football player, see Pacino Horne. Alfredo James Pacino ( pə-CHEE-noh; Italian: [paˈtʃiːno]; born April 25, 1940) is an American actor. Considered one of the greatest and most influential actors of the 20th century, Pacino has received numerous accolades including an Academy Award, two Tony Awards, and two Primetime Emmy Awards, achieving the Triple Crown of Acting. He has also received four Golden Globe Awards, a BAFTA, two Screen Actors Guild Awards, and was honored with the Cecil B. DeMille Award in 2001, the AFI Life Achievement Award in 2007, the National Medal of Arts in 2011, and the Kennedy Center Honors in 2016. A method actor, Pacino studied at HB Studio and the Actors Studio, where he was taught by Charlie Laughton and Lee Strasberg. Pacino went on to receive the Academy Award for Best Actor for his role in Scent of a Woman (1992). His other Oscar-nominated roles were in The Godfather (1972), Serpico (1973), The Godfather Part II (1974), Dog Day Afternoon (1975), ...And Justice for All (1979), Dick Tracy (1990), Glengarry Glen Ross (1992), and The Irishman (2019). His other notable roles include The Panic in Needle Park (1971), Scarecrow (1973), Cruising (1980), Scarface (1983), The Godfather Part III (1990), Carlito's Way (1993), Heat (1995), Donnie Brasco, The Devil's Advocate (both 1997), The Insider, Any Given Sunday (both 1999), Insomnia (2002), Ocean's Thirteen (2007), Once Upon a Time in Hollywood (2019), and House of Gucci (2021). On television, Pacino has acted in multiple productions for HBO, including Angels in America (2003) and the Jack Kevorkian biopic You Don't Know Jack (2010), winning a Primetime Emmy Award for Outstanding Lead Actor in a Miniseries or a Movie for each. Pacino starred in the Amazon Prime Video series Hunters (2020–23). He has also had an extensive career on stage. He is a two-time Tony Award winner, winning Best Featured Actor in a Play in Does a Tiger Wear a Necktie? (1969) and Best Actor in a Play for The Basic Training of Pavlo Hummel (1977). Pacino made his directing debut with the documentary Looking for Richard (1996); Pacino had played the lead role on stage in 1977. He has also acted as Shylock in a 2004 feature film adaptation and 2010 stage production of The Merchant of Venice. Pacino directed and starred in Chinese Coffee (2000), Wilde Salomé (2011), and Salomé (2013). Since 1994, he has been the joint president of the Actors Studio. Early life and education Alfredo James Pacino was born in the East Harlem neighborhood of Manhattan, New York City, on April 25, 1940, the only child of Sicilian Italian-American parents Rose (née Gerardi) and Salvatore Pacino. His parents divorced when he was two years old. He then moved with his mother to the South Bronx to live with her parents, Kate and James Gerardi, who were Italian emigrants from Corleone. Pacino's father was from San Fratello and moved to work as an insurance salesman and restaurateur in Covina, California. In his teenage years, Pacino was known as "Sonny" to his friends. He had ambitions to become a baseball player and was also nicknamed "The Actor". He attended Herman Ridder Junior High School, but soon dropped out of most of his classes except for English. He subsequently attended the High School of Performing Arts, after gaining admission by audition. His mother disagreed with his decision and, after an argument, he left home. To finance his acting studies, Pacino took low-paying jobs as a messenger, busboy, janitor, and postal clerk, as well as once working in the mailroom for Commentary. ..... Growing up in the South Bronx, Pacino got into occasional fights and was considered somewhat of a troublemaker at school. He acted in basement plays in New York's theatrical underground but was rejected as a teenager by the Actors Studio. Pacino joined the HB Studio, where he met acting teacher Charlie Laughton, who became his mentor and best friend. In this period, he was often unemployed and homeless, and sometimes slept on the street, in theaters, or at friends' houses. In 1962, Pacino's mother died at the age of 43. The following year, his maternal grandfather also died. Pacino recalled it as the lowest point of his life and said, "I was 22 and the two most influential people in my life had gone, so that sent me into a tailspin." After four years at HB Studio, Pacino successfully auditioned for the Actors Studio. The Actors Studio is a membership organization of professional actors, theater directors, and playwrights in the Hell's Kitchen neighborhood of Manhattan. Pacino studied "method acting" under acting coach Lee Strasberg, who appeared with Pacino in the films The Godfather Part II and in ...And Justice for All. During later interviews he spoke about Strasberg and the Studio's effect on his career. "The Actors Studio meant so much to me in my life. Lee Strasberg hasn't been given the credit he deserves ... Next to Charlie, it sort of launched me. It really did. That was a remarkable turning point in my life. It was directly responsible for getting me to quit all those jobs and just stay acting." In another interview he added, "It was exciting to work for him [Lee Strasberg] because he was so interesting when he talked about a scene or talked about people. One would just want to hear him talk, because things he would say, you'd never heard before ... He had such a great understanding ... he loved actors so much." In 2000, Pacino was co-president, along with Ellen Burstyn and Harvey Keitel, of the Actors Studio. Stage career In 1967, Pacino spent a season at the Charles Playhouse in Boston, performing in Clifford Odets' Awake and Sing! (his first major paycheck: US$125 a week); and in Jean-Claude Van Itallie's America Hurrah. He met actress Jill Clayburgh on this play. They had a five-year romance and moved back to New York City. In 1968, Pacino starred in Israel Horovitz's The Indian Wants the Bronx at the Astor Place Theatre, playing Murph, a street punk. The play opened January 17, 1968, and ran for 177 performances; it was staged in a double bill with Horovitz's It's Called the Sugar Plum, starring Clayburgh. Pacino won an Obie Award for Best Actor for his role, with John Cazale winning for Best Supporting Actor and Horowitz for Best New Play. Martin Bregman saw the play and became Pacino's manager, a partnership that became fruitful in the years to come, as Bregman encouraged Pacino to do The Godfather, Serpico, and Dog Day Afternoon. About his stage career, Pacino said, "Martin Bregman discovered me ... I was 26, 25 ... he discovered me and became my manager. And that's why I'm here. I owe it to Marty, I really do". Pacino took the production of The Indian Wants the Bronx to Italy for a performance at the Festival dei Due Mondi in Spoleto. It was Pacino's first journey to Italy; he later recalled that "performing for an Italian audience was a marvelous experience". Pacino and Clayburgh were cast in "Deadly Circle of Violence", an episode of the ABC television series NYPD, premiering November 12, 1968. Clayburgh at the time was also appearing on the soap opera Search for Tomorrow, playing the role of Grace Bolton. Her father would send the couple money each month to help with finances. On February 25, 1969, Pacino made his Broadway debut in Don Petersen's Does a Tiger Wear a Necktie? at the Belasco Theater, produced by A&P Heir Huntington Hartford. It closed after 39 performances on March 29, 1969, but Pacino received rave reviews and won the Tony Award on April 20, 1969. Pacino continued performing onstage in the 1970s, winning a second Tony Award for The Basic Training of Pavlo Hummel and performing the title role in Richard III. In the 1980s, Pacino again achieved critical success on stage while appearing in David Mamet's American Buffalo, for which Pacino was nominated for a Drama Desk Award. Since 1990, Pacino's stage work has included revivals of Eugene O'Neill's Hughie, Oscar Wilde's Salome and in 2005 Lyle Kessler's Orphans. In 1983, Pacino became a major donor for The Mirror Theater Ltd, alongside Dustin Hoffman and Paul Newman, matching a grant from Laurence Rockefeller. The men were inspired to invest by their connection with Lee Strasberg, as Strasberg's daughter-in-law Sabra Jones was the founder and Producing Artistic Director of The Mirror. In 1985, Pacino offered the company his production of Hughie by Eugene O'Neill, but the company was unable to do it at the time due to the small cast. In October 2002, Pacino starred in Bertolt Brecht's The Resistible Rise of Arturo Ui for the National Actor's Theater and Complicite. Directed by Simon McBurney, the production starred a host of Hollywood names, including John Goodman, Charles Durning, Tony Randall, Steve Buscemi, Chazz Palminteri, Paul Giamatti, Jacqueline McKenzie, Billy Crudup, Lothaire Bluteau, Dominic Chianese and Sterling K. Brown. The production was a critical success in which "Pacino grabs and holds the attention like a coiled spring about to snap. He is all brooding menace and crocodile grimace, butchering his way to the top with unnervingly sinister glee." Pacino returned to the stage in the summer of 2010, playing Shylock in the Shakespeare in the Park production, The Merchant of Venice. The acclaimed production moved to Broadway at the Broadhurst Theatre in October, earning US$1 million at the box office in its first week. The performance also garnered him a Tony Award nomination for Best Leading Actor in a Play. Pacino starred in the 30th-anniversary Broadway revival of David Mamet's play, Glengarry Glen Ross, which ran from October 2012 to January 20, 2013. He starred on Broadway in China Doll, a play written for him by Mamet, which opened on December 5, 2015, and closed on January 21, 2016, after 97 performances. The previews were done in October 2015. Screen career Pacino found acting enjoyable and realized he had a gift for it while studying at The Actors Studio. However, his early work was not financially rewarding. After his success on stage, Pacino made his film debut in 1969 with a brief appearance in Me, Natalie, an independent film starring Patty Duke. In 1970, Pacino signed with the talent agency Creative Management Associates (CMA). 1970s ..... Although Jack Nicholson, Robert Redford, Warren Beatty, and the little-known Robert De Niro were tried out for the part, Coppola selected Pacino, to the dismay of studio executives who wanted someone better known. Pacino's performance earned him an Academy Award nomination, and offered a prime example of his early acting style, described by Halliwell's Film Guide as "intense" and "tightly clenched". Pacino boycotted the Academy Award ceremony, insulted at being nominated for the Supporting Acting award, as he noted that he had more screen time than co-star and Best Actor winner Marlon Brando—who also boycotted the awards, but for unrelated reasons. In 1973, Pacino co-starred in Scarecrow, with Gene Hackman, and won the Palme d'Or at the Cannes Film Festival. That same year, Pacino was nominated for an Academy Award for Best Actor after starring in Serpico, based on the true story of New York City policeman Frank Serpico, who went undercover to expose the corruption of fellow officers. In 1974, Pacino reprised his role as Michael Corleone in The Godfather Part II, which was the first sequel to win the Best Picture Oscar; Pacino was nominated a third time for an Oscar, this second nomination for the Corleone role being in the lead category. Newsweek has described his performance in The Godfather Part II as "arguably cinema's greatest portrayal of the hardening of a heart". In 1975, he enjoyed further success with the release of Dog Day Afternoon, based on the true story of bank robber John Wojtowicz. It was directed by Sidney Lumet, who had directed him in Serpico a few years earlier, and Pacino was again nominated for Best Actor. In 1977, Pacino starred as a race-car driver in Bobby Deerfield, directed by Sydney Pollack, and received a Golden Globe nomination for Best Actor – Motion Picture Drama for his portrayal of the title role. His next film was the courtroom drama ...And Justice for All. Pacino was lauded by critics for his wide range of acting abilities, and nominated for the Best Actor Oscar for a fourth time. He lost out that year to Dustin Hoffman in Kramer vs. Kramer—a role that Pacino had declined. During the 1970s, Pacino had four Oscar nominations for Best Actor, for his performances in Serpico, The Godfather Part II, Dog Day Afternoon, and ...And Justice for All. 1980s Pacino's career slumped in the early 1980s; his appearances in the controversial Cruising, a film that provoked protests from New York's gay community, and the comedy-drama Author! Author!, were critically panned. However, his performance in Scarface (1983), directed by Brian De Palma, proved to be a career highlight and a defining role. Upon its initial release, the film was critically panned due to violent content, but later received critical acclaim. The film did well at the box office, grossing over US$45 million domestically. ..... In 1985, Pacino worked on his personal project, The Local Stigmatic, a 1969 off-Broadway play by the English writer Heathcote Williams. He starred in the play, remounting it with director David Wheeler and the Theater Company of Boston in a 50-minute film version. The film was not released theatrically, but was later released as part of the Pacino: An Actor's Vision box set in 2007. His 1985 film Revolution about a fur trapper during the American Revolutionary War, was a commercial and critical failure, which Pacino blamed on a rushed production, resulting in a four-year hiatus from films. At this time Pacino returned to the stage. He mounted workshop productions of Crystal Clear, National Anthems and other plays; he appeared in Julius Caesar in 1988 in producer Joseph Papp's New York Shakespeare Festival. Pacino remarked on his hiatus from film: "I remember back when everything was happening, '74, '75, doing The Resistible Rise of Arturo Ui on stage and reading that the reason I'd gone back to the stage was that my movie career was waning! That's been the kind of ethos, the way in which theater's perceived, unfortunately." ..... The film earned solid reviews. 1990s Pacino received an Academy Award nomination for playing Big Boy Caprice in the box office hit Dick Tracy in 1990, of which critic Roger Ebert described Pacino as "the scene-stealer". Later in the year he followed this up in a return to one of his most famous characters, Michael Corleone, in The Godfather Part III (1990). The film received mixed reviews, and had problems in pre-production due to script rewrites and the withdrawal of actors shortly before production. In 1991, Pacino starred in Frankie and Johnny with Michelle Pfeiffer, who co-starred with Pacino in Scarface. Pacino portrays a recently paroled cook who begins a relationship with a waitress (Pfeiffer) in the diner where they work. It was adapted by Terrence McNally from his own off-Broadway play Frankie and Johnny in the Clair de Lune (1987), that featured Kenneth Welsh and Kathy Bates. The film received mixed reviews, although Pacino later said he enjoyed playing the part. Janet Maslin in The New York Times wrote, "Mr. Pacino has not been this uncomplicatedly appealing since his Dog Day Afternoon days, and he makes Johnny's endless enterprise in wooing Frankie a delight. His scenes alone with Ms. Pfeiffer have a precision and honesty that keep the film's maudlin aspects at bay." In 1993, Pacino won the Academy Award for Best Actor, for his portrayal of the irascible, blind U.S. Army Lieutenant Colonel Frank Slade in Martin Brest's Scent of a Woman. That year, he was also nominated for Best Supporting Actor for Glengarry Glen Ross, making Pacino the first male actor ever to receive two acting nominations for two movies in the same year, and to win for the lead role. Pacino starred alongside Sean Penn in the crime drama Carlito's Way in 1993, in which he portrayed Carlito Brigante, a gangster released from prison with the help of his corrupt lawyer (Penn) and vows to go straight. Pacino starred in Michael Mann's Heat (1995), in which he and Robert De Niro appeared on-screen together for the first time (though both Pacino and De Niro starred in The Godfather Part II, they did not share any scenes). In 1996, Pacino starred in his theatrical docudrama Looking for Richard, a performance of selected scenes of William Shakespeare's Richard III and a broader examination of Shakespeare's continuing role and relevance in popular culture. The cast brought together for the performance included Alec Baldwin, Kevin Spacey, and Winona Ryder. Pacino played Satan in the supernatural thriller The Devil's Advocate (1997) which co-starred Keanu Reeves. The film was a success at the box office, taking US$150 million worldwide. Roger Ebert wrote in the Chicago Sun-Times, "The satanic character is played by Pacino with relish bordering on glee." In 1997's Donnie Brasco, Pacino played gangster "Lefty" in the true story of undercover FBI agent Donnie Brasco (Johnny Depp) and his work in bringing down the Mafia from the inside. In 1999, Pacino starred as 60 Minutes producer Lowell Bergman in the multi-Oscar nominated The Insider opposite Russell Crowe, and in Oliver Stone's Any Given Sunday. 2000s Pacino won three Golden Globes since 2000; the first being the Cecil B. DeMille Award in 2001 for lifetime achievement in motion pictures. In 2000, Pacino starred alongside Jerry Orbach in a low-budget film adaptation of Ira Lewis' play Chinese Coffee, which was released to film festivals. Shot almost exclusively as a one-on-one conversation between two main characters, the project took nearly three years to complete and was funded entirely by Pacino. Chinese Coffee was included with Pacino's two other rare films he was involved in producing, The Local Stigmatic and Looking for Richard, on a special DVD box set titled Pacino: An Actor's Vision, which was released in 2007. Pacino produced prologues and epilogues for the discs containing the films. Pacino turned down an offer to reprise his role as Michael Corleone in the computer game version of The Godfather. As a result, Electronic Arts was not permitted to use Pacino's likeness or voice in the game, although his character does appear in it. He did allow his likeness to appear in the video game adaptation of 1983's Scarface, the quasi-sequel Scarface: The World is Yours. Director Christopher Nolan worked with Pacino on Insomnia, a remake of the Norwegian film of the same name, co-starring Robin Williams. Newsweek stated that "he [Pacino] can play small as rivetingly as he can play big, that he can implode as well as explode". The film and Pacino's performance were well received, gaining a favorable rating of 93 percent on the review aggregation website Rotten Tomatoes. The film did moderately well at the box office, taking in $113 million worldwide. His next film, S1m0ne, however, did not receive much critical praise or box office success. He played a publicist in People I Know, a small film that received little attention despite Pacino's well-received performance. Rarely taking a supporting role since his commercial breakthrough, he accepted a small part in the critical and box office flop Gigli, in 2003, as a favor to director Martin Brest. The Recruit, released in 2003, featured Pacino as a CIA recruiter and co-stars Colin Farrell. The film received mixed reviews, and has been described by Pacino as something he "personally couldn't follow". Pacino next starred as lawyer Roy Cohn in the 2003 HBO miniseries Angels in America, an adaptation of Tony Kushner's Pulitzer Prize winning play of the same name. For this performance, Pacino won his third Golden Globe, for Best Performance by an Actor, in 2004. Pacino starred as Shylock in Michael Radford's 2004 film adaptation of The Merchant of Venice. Critcs praised him for bringing compassion and depth to a character traditionally played as a villainous caricature. In Two for the Money, Pacino portrays a sports gambling agent and mentor for Matthew McConaughey, alongside Rene Russo. The film was released on October 8, 2005, to mixed reviews. Desson Thomson wrote in The Washington Post, "Al Pacino has played the mentor so many times, he ought to get a kingmaker's award … the fight between good and evil feels fixed in favor of Hollywood redemption." On October 20, 2006, the American Film Institute named Pacino the recipient of the 35th AFI Life Achievement Award. On November 22, 2006, the University Philosophical Society of Trinity College Dublin awarded Pacino the Honorary Patronage of the Society. Pacino starred in Steven Soderbergh's Ocean's Thirteen, alongside George Clooney, Brad Pitt, Matt Damon, Elliott Gould and Andy García, as the villain Willy Bank, a casino tycoon targeted by Danny Ocean and his crew. The film received generally favorable reviews. 88 Minutes was released on April 18, 2008, in the United States, after having been released in various other countries in 2007. The film co-starred Alicia Witt and was critically panned, although critics found fault with the plot, and not Pacino's acting. ..... The film was released to theaters on September 12, 2008. While it was an anticipated return for the two stars, it was not well received by critics. Lou Lumenick of the New York Post gave Righteous Kill one star out of four, saying: "Al Pacino and Robert De Niro collect bloated paychecks with intent to bore in Righteous Kill, a slow-moving, ridiculous police thriller that would have been shipped straight to the remainder bin at Blockbuster if it starred anyone else." 2010s Pacino played Jack Kevorkian in an HBO Films biopic titled You Don't Know Jack, which premiered April 2010. ..... The performance earned Pacino his second Emmy Award for lead actor and his fourth Golden Globe award. He co-starred as himself in the 2011 comedy film Jack and Jill. The film was panned by critics, and Pacino "won" the Golden Raspberry Award for Worst Supporting Actor at the 32nd ceremony. He was presented with Jaeger-LeCoultre Glory to the Filmmaker Award on September 4, 2011, prior to the premiere of Wilde Salomé, a 2011 American documentary-drama film written, directed by and starring Pacino. Its US premiere on the evening of March 21, 2012, before a full house at the 1,400-seat Castro Theatre in San Francisco's Castro District, marked the 130th anniversary of Oscar Wilde's visit to San Francisco, the event was a benefit for the GLBT Historical Society. Pacino, who plays the role of Herod in the film, describes it as his "most personal project ever". In February 2012, President Barack Obama awarded Pacino the National Medal of Arts. Pacino starred in a 2013 HBO biographical picture about record producer Phil Spector's murder trial, titled Phil Spector. He took the title role in the comedy-drama Danny Collins (2015). His performance as an aging rock star garnered him a Golden Globe Award for Best Actor – Motion Picture Musical or Comedy nomination. In 2016, Pacino received the Kennedy Center Honor. The tribute included remarks by his former costars Sean Penn, Kevin Spacey, Bobby Cannavale and Chris O'Donnell. In September 2012, Deadline Hollywood reported that Pacino would play the former Penn State University football coach Joe Paterno in the television film Paterno based on a 2012 biography by sportswriter Joe Posnanski. Paterno premiered on HBO on April 7, 2018. Pacino starred alongside Brad Pitt and Leonardo DiCaprio in Quentin Tarantino's comedy-drama Once Upon a Time in Hollywood, which was released on July 26, 2019. Later in 2019, Pacino played Teamsters chief Jimmy Hoffa, alongside Robert De Niro and Joe Pesci, in Martin Scorsese's Netflix film The Irishman, based on the 2004 book I Heard You Paint Houses by Charles Brandt; this was the first time Pacino was directed by Scorsese, and he received an Academy Award for Best Supporting Actor nomination. Pacino's performance received positive reviews. Peter Bradshaw described it as "glorious" in The Guardian. Justin Chang wrote, "De Niro, Pesci and Pacino are at the top of their game, in part because they aren't simply rehashing the iconic gangster types they've played before." 2020s In February 2020, Pacino starred as Meyer Offerman, a fictional Nazi hunter, in the Amazon Prime Video series Hunters. This is Pacino's first television series since Angels in America (2003). Hunters was renewed for a second season in August 2020. In 2021, Pacino played Aldo Gucci in Ridley Scott's House of Gucci. The film received mixed to positive reviews, with Pacino's performance being highlighted as a standout, along with Lady Gaga's and Jared Leto's. That same year, he played the lead defense attorney in American Traitor: The Trial of Axis Sally. In August 2022, Pacino was set to produce Modì, a film about Amedeo Modigliani, which he will co-produce alongside Johnny Depp and Barry Navidi. The film is based on a play by Dennis McIntyre, which was previously adapted for the 2004 film of the same name. Principal photography commenced in September 2023. On March 10, 2024, Pacino presented the Academy Award for Best Picture at the 96th Academy Awards. Personal life Relationships Pacino has four children. The eldest, Julie Marie (born October 16, 1989), is his daughter with acting coach Jan Tarrant. He has twins, son Anton James and daughter Olivia Rose (born January 25, 2001), with actress Beverly D'Angelo, with whom he had a relationship from 1997 until 2003. He has a son, Roman (born June 15, 2023) with his producer girlfriend Noor Alfallah, who is 54 years younger than he is. Pacino, at age 83, is one of the oldest fathers on record. He has never been married. Pacino had a relationship with his The Godfather Trilogy co-star Diane Keaton. Their on-again, off-again relationship ended after the filming of The Godfather Part III. Keaton said of Pacino, "Al was simply the most entertaining man... To me, that's, that is the most beautiful face. I think Warren [Beatty] was gorgeous, very pretty, but Al's face is like whoa. Killer, killer face." He has had relationships with Jill Clayburgh, Tuesday Weld, Marthe Keller, Veruschka von Lehndorff, Kathleen Quinlan, Lyndall Hobbs, and Penelope Ann Miller. Pacino had a ten-year relationship with Argentine actress Lucila Polak from 2008 to 2018. Acting credits and accolades For more details, see Al Pacino on stage and screen and List of awards and nominations received by Al Pacino Pacino has won and been nominated for many awards during his acting career, including nine Oscar nominations (winning one) and five BAFTA nominations (winning one) for his film work; 19 Golden Globe nominations (winning four) and seven SAG Award nominations (winning two), each recognizing both his film and TV work; three Primetime Emmy Award nominations (winning two) solely for his work on television; and three Tony Award nominations (winning two) for his stage work. In 2007, the American Film Institute awarded Pacino with a lifetime achievement award and, in 2003, British television viewers voted Pacino as the greatest film star of all time in a poll for Channel 4. See also
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https://images.plex.tv/photo?size=large-1920&scale=1&url=https%3A%2F%2Fmetadata-static.plex.tv%2Fextras%2Fiva%2F4196%2F334edbc76b66857190fe496b2784331c.jpg 1920w" ]	[]	[]	[ "" ]	null	[]	1996-07-05T00:00:00	Looking for Richard (1996) starring Al Pacino, Winona Ryder, Kevin Spacey and directed by Al Pacino.	en	/icons/favicon.ico		https://watch.plex.tv/movie/looking-for-richard	Director Al Pacino juxtaposes scenes from Richard III, scenes of rehearsals for Richard III, and sessions where parties involved discuss the play, the times that shaped the play, and the events that happened at the time the play is set. Interviews with mostly British actors are also included, attempting to explain why American actors have more problems performing Shakespearean plays than they do.
915	yago	1	56	https://journals.openedition.org/filmj/446	en	Adaptation, Experimentation, and Performance: Al Pacino’s Wilde Salome	https://www.openedition.…_vignetteter.jpg	https://www.openedition.…_vignetteter.jpg	[ "https://journals.openedition.org/filmj/custom/sitename.png", "https://static.openedition.org/images/cc/cc-by-nc.png", "https://journals.openedition.org/filmj/images/social-icons/facebook.png", "https://journals.openedition.org/filmj/images/social-icons/rss.png", "https://journals.openedition.org/filmj/docannexe/image/277/logoSercia-small120.png", "https://journals.openedition.org/filmj/images/logo-oej.png" ]	[]	[]	[ "" ]	null	[]	2020-04-01T00:00:00+02:00	Looking for Wilde Salome After Looking for Richard (USA, 1996) and Chinese Coffee (USA, 2000), Wilde Salome (2006-11) was the third film directed by Al Pacino, the star famous for his roles as Michael Corleone in Coppola’s Godfather trilogy (USA, 1972,1974, 1990) and Tony Montana in De Palma’s Scarface (USA, 1983). At around the time Pacino was embarking on this lengthy project, other stars were also becoming directors, like Emilio Estevez with Bobby (USA, 2006) and Anthony Hopkins with Slips...	en	https://static.openediti…ages/favicon.png		http://journals.openedition.org/filmj/446	Looking for Wilde Salome 1After Looking for Richard (USA, 1996) and Chinese Coffee (USA, 2000), Wilde Salome (2006-11) was the third film directed by Al Pacino, the star famous for his roles as Michael Corleone in Coppola’s Godfather trilogy (USA, 1972,1974, 1990) and Tony Montana in De Palma’s Scarface (USA, 1983). At around the time Pacino was embarking on this lengthy project, other stars were also becoming directors, like Emilio Estevez with Bobby (USA, 2006) and Anthony Hopkins with Slipstream (USA, 2007). But unlike his peers, Pacino has never directed mainstream feature films. Instead, he has involved himself in low-budget experimental projects – often partly self-funded – and always related to the theatre work which has accompanied his career in film. Where acting is concerned, at this point Pacino had just finished working on Avnet’s 88 Minutes (USA/Germ/Can, 2007), his previous film being Caruso’s Two for the Money (USA, 2005). During the shooting of Wilde Salome, Pacino flew to Las Vegas for a few days to play in Soderbergh’s Ocean’s Thirteen (USA, 2007). 2While Chinese Coffee was adapted from a play by Ira Lewis, Looking for Richard, adapted from Shakespeare’s Richard III, combines fiction and documentary in a more original way. This blending of genres is what Pacino chose once more for Wilde Salome. Although centuries apart in time, in the imagination of Pacino the worlds of Shakespeare and of Wilde share certain similarities. Herod, interpreted by Pacino, somehow resembles Shylock, at the same time a seducer and a buffoon, brow-beating and pathetic. And Wilde’s story can also be read through the fate of Shylock – whom Pacino had played in Michael Radford’s 2004 film version – with the dramatic legal turnaround he experienced: after suing his lover’s father for libel, he loses the case on appeal and is condemned. In addition to the oaths and contracts that bind an individual to his doom, Richard III and Salome have many motifs in common, such as a king coveting and then marrying his brother’s wife, and the promise to forsake one’s kingdom for a horse or for a dance. It is also the case that King Lear was mentioned several times as Pacino’s next possible project during the preparatory work for Salome. 3The basis for the story is to be found in the New Testament (Mark 6:17–29 and Matthew 14:3–11). Salome (played by Jessica Chastain), the step-daughter of King Herod (Pacino), falls in love with the prophet John the Baptist (played by Kevin Anderson), whom the King has imprisoned because of his ever more critical sermons (against Herod’s Kingdom, his politics and his decadent mores), and because of his growing popular renown. Herod’s wife Herodias, Salome’s mother (played by Roxanne Hart), would like to see the preacher executed because she considers him a dangerous activist, but the superstitious Herod refuses. Salome’s beauty is extraordinary and each and every man, from the ordinary soldier to the King himself, cannot stop staring at her; the captain of the guards even commits suicide out of jealousy. After a banquet, Herod begs his stepdaughter to dance, to which she eventually agrees once the King promises to give her in return everything she may ask for. After a highly sensuous ‘dance of the seven veils’, Salome requests the head of John the Baptist in order to wreak her revenge on the prophet who, totally dedicated to his spiritual and political mission, is the only man still impervious to her charms. Dismayed, Herod keeps his promise and orders the beheading of the prophet. When the head is delivered to her, Salome goes into a delirium of passion - before Herod, horrified, demands that she too be executed. 4Prior to Wilde’s play, the story of Salome had been a source of inspiration for many artists, painters (like Gustave Moreau) and writers (Gustave Flaubert with Hérodias in 1877 and Stéphane Mallarmé with Hérodiade in 1887). Wilde’s play, however, was banned when it was first published, and was presented only in private performances in the first years of the 20th Century before being performed publicly from the 1930s onwards (culminating in Steven Berkoff’s famous production in 1988, which Pacino mentions in the film). Wilde’s text also inspired Richard Strauss’s 1904 opera Salome, later performances of which range from Peter Hall’s memorable 1992 production at London’s Royal Opera House with Maria Ewing to Olivier Py’s 2017 production at Strasbourg’s Opéra National du Rhin - both of which involved full-frontal nudity. 5Cinema was also quick to take up the subject and there are many more or less faithful adaptations entitled Salome, from the Hollywood versions directed by Charles Bryant, starring Alla Nazimova (1923) and by William Dieterle, with Rita Hayworth (1953), to Carmelo Bene’s baroque interpretation starring Donyale Luna (Italy, 1972); in Spain in 2002, Carlos Saura even offered a flamenco version starring Aida Gómez. Other films quote in passing the famous scene of Salome’s dance, as when it constitutes a spectacle within the film that is watched by the characters at the beginning of Tod Browning’s The Show (USA, 1927). Salome even pervades a recent film like Stéphanie Di Giusto’s La Danseuse (Fr/Belg/Czech, 2016), in which Loïe Fuller (played by Soko) – a pioneer of modern dance (and also theatrical lighting) – appears as an admirer of Wilde’s Salome, a text that she has been repeatedly reading and enacting since her childhood; at one point in the film, the character is even framed in front of a painting of Salome holding the Baptist’s head. 9Chastain conveys the insanity of her character with an intensity that recalls Stanislavsky’s method acting and led Pacino to believe that she would be nominated for an Academy Award. In particular she supported the idea that her dance should end up in total nudity so as to both shock and arouse the viewer. Whereas the vapid Anderson may appear the weak point of the casting, lacking the necessary charisma to embody the man who leads Salome to damn herself, Chastain shines on screen. Through her inspired acting and her nude dancing, she brings an undeniable psychological and erotic intensity to the film; she endows her character with sensuality and animality, showing the young virgin as physically attracted to the Baptist, his voice, his body, the whiteness of his skin, the blackness of his hair, the redness of his mouth (which she will finally be able to kiss only after his beheading), and eventually losing her mind because of his disdain for her, as he rebuffs this “daughter of Babylon, daughter of Sodom”. The Actor as Auteur 12During the rehearsals for the stage reading of Salome, Pacino can even be seen contradicting the instructions of the stage director Estelle Parsons, although he is supposed to intervene only as an actor. As a compulsive creator (he shot dozens of hours of rushes over several years, only to keep a few minutes of them), he jealously maintains control of the entire artistic process. This even extended to financial matters insofar as he blocked the distribution of the film for nearly five years – even longer than for Looking for Richard, started in 1993 and released in 1996 – before finalising a commercial version of 90 minutes’ duration. He did this because he did not feel ready, and then thought it was not a good time (Pacino playing in one third-rate movie after the other and collecting bad reviews which could be detrimental to the film) until financial pressures finally forced him to release a version that, for him, still remains incomplete. All in all, the film went through dozens of provisional versions, some of which ran longer than three hours. From 2006 to 2011, Pacino continuously modified the edit to find the right balance between the extracts from the filmed play and the documentary sequences. 7 Pacino in Grobel, I Want you in My Movie!, pp. 253, 76. “We are just going to keep making this movie, expanding it. And that’s what it’s about. It’s about an obsession; it’s about striving to get somewhere. It’s never about the final product. It’s about the search. You can never quit.” As he also explains: “I made a mistake showing it to you. Someone said to me that I should never show a work in this state to anyone. And he’s right. I showed you something half complete. […] It’s very delicate stuff. Artists are very frightened people. They’re not robust. As an actor, I am, but not as an artist. It was too soon to show it. It’s not ready to be seen, not even by me. It’s like reading marginal notes to a poem.” 14If Pacino equates the film-maker with the poet or the painter, it should come as no surprise that painting is given prominence in Wilde Salome. Pacino visits art galleries (for instance the National Gallery of Ireland, since Pacino believes that Wilde drew inspiration from paintings such as Guercino’s Saint John the Baptist Visited in Prison by Salome (1625), in front of which Pacino poses), and his cinematographer, Benoît Delhomme, shows him pictures to help define the visual world and art direction of the film (in particular Gustave Moreau’s The Apparition/L’Apparition, that appears in the film and was painted in 1876, the same year as his Salome /Salome dansant devant Hérode). Pacino does not hesitate to compare himself to Picasso, to Dali (whom he was to embody in an Andrew Niccol film that he finally gave up since, in his opinion, his character in Wilde Salome was “already Dali”), and to Pollock: 8 Pacino in Grobel, I Want you in My Movie!, pp. 121 and 111. “I don’t know what my vision is yet. It reminds me of the way Jackson Pollock painted – trying to put different images together hoping that they connect in some way and give off a feeling. Film is the paint on my canvas.” Self-Portrait: The Story of an Obsession 16“This is the story of an obsession”, reads the epigraph that opens Wilde Salome (with the word “obsession” highlighted in red lettering). Obsession is indeed the central subject of the film: the obsession of the male characters with Salome’s body, of Salome with John the Baptist, of John the Baptist with his divine calling. But also the obsession of Pacino with Oscar Wilde, the true prime mover of the project as Pacino seeks to understand through this film why he feels so close to the Irish writer, as if in a fused relationship, “like half of each other”. Pacino expresses great admiration for the author and his words. He also discovers and is fascinated by some of Wilde’s other works, like The Ballad of Reading Gaol, the long poem about a convict sentenced to death that Wilde composed following his own release from jail – after his homosexuality saw him sentenced to a term of two years’ hard labour (1895-7) during which he wrote De profundis, excerpts from which are read by Pacino in the film. His preoccupation with Wilde also involves visits to the places associated with the writer (Dublin, where he was born; New York and London, where he resided; Paris where he died). 17Pacino interviews various Wilde experts and people who have been significantly influenced by the author – such as his descendants, gallery directors, scholars, and celebrities as disparate as Gore Vidal and Bono. For the film is also about the throes of creation: “It’s a movie about inspiration”, Pacino declares to his producer. Pacino seems to be possessed when he directs the actors (whispering the lines along with them whilst behind the monitor), when he places his camera, gives directions and sometimes orders to his crew - in turn elated, annoyed and dispirited. As an actors’ director, he is seen to direct with passion (notably for the scene of the young captain of the guard’s suicide). At once a documentary about Wilde, about the staging of a play and the shooting of a film, Wilde Salome is also a documentary about the actor and film-maker Pacino himself. Being in complete control of his project, Pacino is fully aware of this dimension, as when he films himself looking at rushes on a monitor; these shots foreground Pacino the film-maker observing the work of Pacino the actor, in a compelling narcissistic mise-en-abîme of his dual star persona. 18Wilde Salome proves even more radical than Looking for Richard, which had already elaborated on Pacino’s status as a tragedian (and was also a reminder of how much Scarface owes to Shakespeare’s Richard III). With Wilde Salome, Pacino proposes a self-reflexive examination of his acting career, a critical assessment of his star persona, and a reflection on fame. If Wilde Salome pays tribute to Wilde’s genius, it also shows that, even in Britain, the Hollywood star is much more famous than the author of The Importance of Being Earnest: in front of Wilde’s house in London Pacino signs an autograph, the former inhabitant of the building remaining clearly unknown to the fan, whilst in Ireland a student mimics shooting a machine gun in clear reference to the final scene in Scarface. His aim is also to acknowledge economic considerations that were missing from Looking for Richard. 19Filming behind the scenes of the singular creation such as a film – all the more so in that in this case it blends cinema and theatre – Wilde Salome also raises fundamental ontological questions to do with the similarities and differences between directing for the stage and for the screen, and concerning the broader relationships between art and industry. “Everything is money!” complains Pacino in one of his Brechtian asides – which are sometimes spiteful, sometimes mischievous. The actor exposes the conflictual relationships he has with his two producers – Robert Fox, the producer of the play, and Barry Navidi, the producer of the film – who oblige him to reduce the shooting schedule from five days to four: “The producers, fuck’em! How can they be so filmically ignorant?,” rants the star, who seems to liken the role of actors to that of prostitutes when he warns “You got me, my face, you didn’t get my soul”. He also believes that the ticket prices for the stage reading are too high and that the show’s promotion has cashed in on his name, trading on a claimed comeback by the star (“Pacino is back”), even though the actor has never stopped working either in cinema or on the stage. 20The film also offers an intimate portrait of the actor: he is filmed in Los Angeles with his children (the twins Anton and Olivia, who arrive with their father at the theatre for the rehearsals) and during an awards reception at Trinity College Dublin. As with Truffaut in La Chambre verte (Fr, 1978), in which the director, playing the lead character, pays tribute to his late friends and mentors by setting up a shrine, Wilde Salome gives Pacino the opportunity to gather together personalities (in this case all alive and kicking) who have played a significant part in his personal and professional world: his friend and biographer Larry Grobel, who was to play a leading role in the documentary part of the film but footage of whom was largely cut; Estelle Parsons, a distinguished member of the Actors Studio, who directed the stage reading and had already appeared in Looking for Richard; Barry Navidi, the producer of the film, who had already produced The Merchant of Venice (USA/It/Lux/UK, 2004), in which Pacino had been directed by Michael Radford; the French cinematographer Benoît Delhomme, who had also worked on The Merchant of Venice (and with whom Pacino was to work again on Dito Montiel’s The Son of No One (USA, 2011)). There is also a brief interview with the playwright Tony Kushner, whose play Angels in America was adapted into a TV mini-series by Mike Nichols in 2003, with Pacino in a leading role. 21As for the links that he establishes between Wilde and the play, Pacino blurs the frontiers between what happens on the set and behind the scenes. His character’s (Herod’s) rage when he hears Salome’s outrageous request is cross-edited with the fury of his other ‘character’ (Pacino the film- maker) while ranting at the producers. More generally, Pacino imposes his stamp through the idiosyncratic play-acting that can be seen in all his films, both major (Serpico) and minor (88 Minutes). The film thus displays a body language that is the actor’s hallmark: a propensity to ham it up, with his arms spread out; a tendency to hide his eyes with his right hand to punctuate the dramatic climaxes; to press his index on his brow and then on his lips to convey some intense reflection; and to raise his hands to his temples in moments of rage, with only half of his face lit so as to convey the dramatic quality of the sequence (or with his eyes shut, to signify introspection). 22Once again Pacino personifies a demiurge when he is filmed checking the image on the monitor, just like the other characters he played in front of such devices: from the undercover cop in Michael Mann’s Heat (USA, 1995), to the TV producer in Mann’s The Insider (USA, 1999), the producer-creator in Andrew Niccol’s S1mOne (USA, 2002), and the spy in Roger Donaldson’s The Recruit (USA, 2003). Salome furnishes Pacino with another regal role, with the actor adopting a majestic pose sitting on a throne, as in Scarface or the Godfather saga. He is also shown slumped in an armchair when he embodies Wilde after he has just learned that he will be sentenced to jail (which in turn recalls the fallen and slouching Pacino in Scarface and Mike Newell’s Donnie Brasco (USA, 1997)). Just before feeling faint, Herod even teeters like Michael Corleone in The Godfather, Part III. Other characteristic motifs recur throughout the film, like the mobile phone to which Pacino is hooked up (as in 88 Minutes), or the dialogues he has with his producer, filmed in over-the-shoulder shots while they are in the front seats of a parked car, which recalls the type of framing and editing of which the actor seems to be particularly fond (for example, the conversations with Russell Crowe in The Insider, and with Ryan O’Neal in Daniel Algrant’s People I Know (USA/Germ, 2003), systematically adopt this type of mise-en-scène). 23The film also tackles somewhat transgressive themes, like the bold sexuality of Salome (conveyed through the metaphor of the moon, whose paleness and fickleness characterise Salome, and which, to Herod, appears nude and sensual), or homosexuality, illegal in Wilde’s day. For Pacino, Wilde put a part of himself into every character in Salome: either through the transformation of an individual, with Salome discovering her sexuality just as Wilde asserted a lifestyle (homosexuality, progressive political ideas) deemed too scandalous for the polite society of the day or, in the case of John the Baptist, through the grim anticipation of the experience of imprisonment. Likewise, Herod’s bisexuality evokes Wilde’s own sexual ambivalence - Wilde was married but had several male lovers - and so do some of the characters interpreted by Pacino, including Sonny in Dog Day Afternoon to the cop in Friedkin’s Cruising (USA, 1980) and Roy Cohn in Angels in America who falls in love with a younger man (like Wilde with Bosie); not to mention the perhaps queer dimension of Scarface, namely the ambiguous emotional bond between Tony and Manny. 24In this respect, Pacino’s eccentric interpretation of Herod did not go unnoticed by critics: 10 Glenn Kenny, ‘Review: Al Pacino’s Journey With Wilde’s ‘Salome’, New York Times, 29 March 2018, htt (...) “Herod as a character is a figure balanced on the knife edge of Camp. […] Mr. Pacino interprets the character in an entirely uncharacteristic fashion. […] he does give Herod a fey, pansexually flirtatious side that one doesn’t normally associate with Mr. Pacino, who, in most performances, whether quiet or manic, is almost always masculine in a conventionally unambiguous way.” 25As in Looking for Richard, in Wilde Salome Pacino draws a self-portrait as much as depicting the great Oscar Wilde; the amalgamation of the two culminates with Pacino playing the part of Wilde in a short scene in which the playwright learns about his indictment for sodomy and gross indecency and decides to confront a bigoted society rather than to live a life on the run. Pacino’s Look 27Salome’s final speech of deranged passion, addressed to the severed head of John the Baptist, is itself preoccupied with the business of looking: 14 Wilde, Salomé, pp. 160-2. “But wherefore dost thou not look at me, Iokanaan? Thine eyes that were so terrible, so full of rage and scorn, are shut now. Wherefore are they shut? Open tine eyes! Lift up thine eyelids, Iokanaan! Wherefore dost thou not look at me? Art thou afraid of me, Iokanaan, that thou wilt not look at me? […] Thou didst put upon thine eyes the covering of him who would see his God. Well, thou hast seen thy God, Iokanaan, but me, me, thou didst never see. If thou hadst seen me thou hadst loved me. I saw thee, and I loved thee.” 28Salome thus contains all aspects of the desirous gaze, from the injunction to look to its interdiction. This motif was already part of the history of the play’s adaptation into cinema with the close-up vignette of Alla Nazimova’s enthralling gaze in Bryant’s Salome. It thus seems only appropriate that Pacino’s eyes should be the focus of the poster outside the Wadsworth Theatre in Los Angeles, in turn recalling the famous hand-drawn poster of Dog Day Afternoon, which shows only the upper part of the actor’s face. 29Wilde Salome is then a film about the scopic drive, about the obsession of looking and the desire it provokes. This theme relates not only to the actor’s career in cinema but also, and more broadly, to the history of the cinema itself, since the new medium built on the fascination with bodies in motion - and most specifically on dancing bodies (for example, the enthralling serpentine dances of Loïe Fuller, whom Edison filmed as early as 1894). Pacino stages a remarkable mirror effect when he films himself looking at Chastain through the monitor: the film-maker’s gaze, captivated by the actress’s performance, mirrors Herod’s fascination with Salome’s body. As Parsons recalls in voice- over early on, one must not forget that Pacino is quite familiar with the part of Herod. He had already played Salome twice on Broadway under the direction of Estelle Parsons (1992 and 2003). And it is no accident that the two Salome-like stories in Pacino’s film career (Pacino’s characters playing spectators who desire a woman’s nude body) are told just before (Garry Marshall’s Frankie and Johnny, USA, 1991) and just after (De Palma’s Carlito’s Way, USA, 1993) he played Herod at the Circle in the Square Theatre in New York (March to July 1992). In Frankie and Johnny, Johnny (Pacino), like Herod, begs Frankie (Michelle Pfeiffer) to allow him to look at her naked body, which he describes with analytical, quasi-naturalistic, precision: “Her eyes, her breast, her stomach …”, and which is hardly concealed by a diaphanous, veil-like dressing gown. 30In Carlito’s Way, Penelope Ann Miller plays a dancer falling prey to men’s lustful gazes, and recreates Salome’s famous scene when practising on the barre, wiggling on the dance floor of a nightclub, or in a strip club. When Carlito (Pacino) looks at the dancer he is thus reminiscent of the young Captain whose suicide Herod regrets thus: 15 Wilde, Salomé, p. 98. “I am sorry he has slain himself. I am very sorry. For he was fair to look upon. He was even very fair. He had very languorous eyes. I remember that I saw that he looked languorously at Salome. Truly, I thought he looked too much at her.” 31The page of Herodias had indeed repeatedly warned the young Syrian against the dangers of the look: 16 Wilde, Salomé, pp. 46, 50, 60. “You are always looking at her. You look at her too much. It is dangerous to look at people in such fashion. Something terrible may happen.”; “You must not look at her. You look too much at her.”; “Do not look at her. I pray you not to look at her.” 33The metaphor of the mirror, and the tragic fate awaiting those who have looked too much, are themes expounded upon by Herod at the end of the play: 18 Wilde, Salomé, pp. 48-150. “It’s true, I have looked at thee and ceased not this night. Thy beauty has troubled me. Thy beauty has grievously troubled me, and I have looked at thee overmuch. Nay, but I will look at thee no more. One should not look at anything. Neither at things, nor at people should one look. Only in mirrors is it well to look, for mirrors do but show us masks.” 34It seems that Pacino remained in a creative frenzy whatever his activity, and that the character of Herod was a persistent influence on his other roles in theatre and film. It is no accident either that the film for which the actor received an Academy Award (Martin Brest’s Scent of a Woman, USA, 1992) is a film almost entirely about the gaze. It may deal with the look of a blind man, but Pacino plays him with his eyes wide open. It is not only in Wilde Salome that Pacino will use the motif of a character staring from a distance at the object of his desire to epitomise that which remains inaccessible: in Chinese Coffee, for example, Pacino’s character, standing in the street, looks up dolefully at the window of the apartment of the woman who has left him. Method or Madness? 37In fact the star carried out this “insane” project on the basis of performance techniques inspired by the Method school of acting, based on improvisation and introspection. The film makes profuse reference to the famous studio in which Pacino was trained by Lee Strasberg at the end of the 1960s and to which he has remained faithful (he is one of the studio’s co-presidents). As though to remind us of the importance of this institution, Wilde Salome opened on the premises of the Actors Studio, in Manhattan, with a conversation between Pacino and Estelle Parsons, the director of the stage play; a former Artistic Director of the Studio, as well as a director and actress, she received an Academy Award for Best Supporting Actress for her role in Penn’s Bonnie and Clyde (USA, 1967).
915	yago	2	8	https://reviews.filmintuition.com/2008/02/looking-for-richard.html	en	Film Intuition: Review Database	https://blogger.googleus…ngforrichard.jpg	https://blogger.googleus…ngforrichard.jpg	[ "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAD79WqN2PCgR3zyaraZl93PCGH4p6UdiUzFY4maom2blkU59yYWPfIA9vjWNdwUA8D4io82Szb6yFSpu1dBiDO9F8zZgy62GJntFP8NDE4ygqgQlNeA-LgMa9QeofCgDcE2jX/s320/lookingforrichard.jpg", "https://www.blogger.com/img/icon18_email.gif", "https://resources.blogblog.com/img/icon18_edit_allbkg.gif", "https://1.bp.blogspot.com/-So8nbuLbvm8/YOka104P6pI/AAAAAAABOoM/keCMP_lZFOsZp0pwa16VzsuaNr_ICQS7ACLcBGAsYHQ/s232/filmintuition.png", "https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_sJ1b8Tuu952ayiKt7BR-jLGHeN_TzIlaBN8-g9wri49BJE6bJhJw29IOD69FiJotkGLkZQkJUSeHSf0XscqpkS0z2Dx3ku-s0OWATiMDBC1maKGpD_JA=s0-d", "https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_tVAPnyZ3WriiX-DnhU-Hf6tHnRw-4h7cpIV8GIzRZPSgaOv9J6yH9Ixb0hglrbvVKDel0rd_YZqHrEoirKFCvuE1wkU9xOb1P2C8kdOdewtCiETQ3GrFJ-tMRGww=s0-d", "https://cdn.ko-fi.com/cdn/kofi1.png?v=3", "https://3.bp.blogspot.com/-ZI8uKKwSptk/XnO3xGNt9SI/AAAAAAABNeA/pzTTTVa0MvAyzgpKKByuwECndaxg0gikQCK4BGAYYCw/s1600/become_a_patron_button%25402x.png", "https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_ssMtuiVGHds9BUoGLxStgXS005Tb02RAFDVZgDO6LoHuhC6ixyCe19aDAk83qC7bBArpDn8oDUec8akvMus87DWb4pLNiuveDtqKMWovY2zQI3kIvEevE5Qi5kDh6T6zxBlHDhzmUbe8_1dAUn=s0-d", "https://2.bp.blogspot.com/_SrxRt4fvC2Y/S42TH7AzMxI/AAAAAAAAHeE/R6PTHONlVnQ/S240/smallerflixster.gif", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLXOG-_92Xym88uJWL4o47CoPLsL8TFUAzwjteyItPgDVSgmoP-NRlgBuxzBxCoqOygxgKi48oXyHYbEv6IP8a4HJp6WzyVofTo5VIhU_AZv0FJMJzjYVbchOhdg-u2FYZpVrP8A/w72-h72-p-k-no-nu/Polish_20211124_102358348.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-M0JryCqXQQI_iseMcdg7pHKVCYjlVbrdNDku03469jiuXW-u57p7hc7Zin21Y_KNAcdvihc9XJVaaKVsBPF9zlDgGA6EH5dw8ReKgk1G0doIG2VNxHPcRSxOve4tni1vdMbX9w/w72-h72-p-k-no-nu/AmericanExitDVD.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-Qoo5N-a-KG91LpRmNnAXIjn2nSFQNXoBDTi04ptLrxulV2rX5BinYzXZz8JhsTnV_DCRKMqu52NuPMweP32qi7g-UVB02-d4yFWMikHeAK9uepH5Qcl2Z8kC-fPoR6Fq_MfUqw/w72-h72-p-k-no-nu/IMAGE_719.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7P-E8NGfLsZwT1Pog7JypLfHHoQzaVx2H7GGk9ESwkNNnyipt0ZktIpzCuz_afEUj2F6JEB6y7U9lhDs4JZ-esWo9EFJGtLCiWUqZhCXE-NhFYdNnRQkA1PbTpleDh_rtcdY7Ew/w72-h72-p-k-no-nu/IMAGE_442.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDsWo-Wtdao6NtqhET9BEUVOSZ53R_nqIex3CnVZZZuerTa-EbUa64gDsxb40ILl6ZBrpin_HCy9WD-_-bISHvJ6kLv9axdb3SOSICqr76PWqg9QzST5aAov6u4B_Xsm-eBRcU/w72-h72-p-k-no-nu/proof.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT3WEXxfR1S1zV_KlOh36nxdWd18NuDojyB41bHPqiuizLWJ9re7op8iGicYs3-wIDngvrxczMoIUTk4Eg6FI8nzTzA-xR87Sxfz79ENG1BYBAV-77KCEt5wY5AGhLj9QSvVMs/w72-h72-p-k-no-nu/venus.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_hvz8d4fxGH0Mh8_iJRnOvDCoweuQy_brYCWOnUAGdTrHe9RNtEcea7LYt9SRC6FtDao48FLf10sRtiuiqUV17Q6gqseraEkNBj8bc86tBbSrR9m1DCjnVB9w2Tt7kWqlOGB6oQ/w72-h72-p-k-no-nu/bella.jpg", "https://lh4.ggpht.com/_zlk53r2pxbk/Sk7DICmNoqI/AAAAAAAAA1s/fNIAyPALom4/w72-h72-p-k-no-nu/1000095767DVDLEF.JPG", "https://lh6.ggpht.com/_zlk53r2pxbk/S1jsgX9IEcI/AAAAAAAAHXw/gOFCgcrKzi8/w72-h72-p-k-no-nu/1000101129BRDLEF.JPG", "https://lh4.ggpht.com/_zlk53r2pxbk/SvoFQ2q2COI/AAAAAAAAE6s/qln6gOH-HkM/w72-h72-p-k-no-nu/37c4721bf6e9bc1f2f582f5d4af5cc5c.jpg", "https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaMqfpSjmhHpoQlk0DQ-nJ7CMyOewgh1WTA8t8xU9wWseC33ytuyLsV-bco9xKQEHeCXXzfgnJJzCZgKzXHzD4XBLm3n78LohfMssqrKw57f-9BsllQizzwOBJECMliKQ/s113/jenjohans.jpg", "https://4.bp.blogspot.com/-p3ev0jaBerc/W2QNrGG5zvI/AAAAAAABKHg/RIg_xIMb0XMMcBSrhBfrqTH8JQUR29zXQCK4BGAYYCw/s1600/letterboxd_1x.png", "https://lh4.googleusercontent.com/-HcOmWehXIv8/UxvVBzOZb6I/AAAAAAAATh4/kOj0cma65XI/s144/IMAGE_700.png", "https://lh4.googleusercontent.com/-HQ-3Q0klufQ/SP67WU9EepI/AAAAAAAAB2Q/EyQGwbPKars/s144/admitone.jpg", "https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_ulAVwQsxB4xqD6TH3AGQ_U3FMP7vJOdXnkC-qz9AobbzmBlkaONJ9Jufgabci9tdGjxL8MyRXZEOQwD8qQAPI4P7iAhe-gX0oTZc6L0Yj5xA2WVA=s0-d", "https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_t1ZjaDmBBncmdJDA3O3rF-6asqIu77dTVwl6dzDNeDlU11M5_BKzQIQB1CAhuB3TWALWYOee6JB-HHSA1PiCBgTes8DmcAYFlF3vGyRIslpFi36W3kofUGfnYg=s0-d" ]	[]	[]	[ "" ]	null	[ "View my complete profile", "Jen Johans" ]	null	Over 2,400 Film, Streaming, Blu-ray, DVD, Book, and Soundtrack Reviews by Jen Johans. Part of FilmIntuition.com.		https://reviews.filmintuition.com/favicon.ico		https://reviews.filmintuition.com/2008/02/looking-for-richard.html	By Jen Johans. Over 2,500 Film, Streaming, Blu-ray, DVD, Book, and Soundtrack Reviews. Part of https://www.filmintuition.com
915	yago	1	3	https://www.imdb.com/title/tt0116913/	en	Al Pacino's Looking for Richard (1996)	https://m.media-amazon.c…Mjpg_UX1000_.jpg	https://m.media-amazon.c…Mjpg_UX1000_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:140-6826475-7814113:07VBFTH58E6A34S8QF4V$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3D07VBFTH58E6A34S8QF4V:0", "https://m.media-amazon.com/images/M/MV5BNDliYWJkNzgtZDY4OS00ZTkyLWFjYzQtMjE4MjE0MDcxZDRjXkEyXkFqcGdeQXVyMTAyNjg4NjE0._V1_QL75_UY281_CR1,0,190,281_.jpg", "https://m.media-amazon.com/images/M/MV5BM2RkODRiNzEtMjU1Ny00NGIxLWI4OTctNThmYmNiZWRhOTkwXkEyXkFqcGdeQXRodW1ibmFpbC1pbml0aWFsaXplcg@@._V1_QL75_UX500_CR0,0,500,281_.jpg", "https://m.media-amazon.com/images/M/MV5BMTc4MTk1NzE2Nl5BMl5BanBnXkFtZTYwNjAyNjI5._V1_QL75_UX140_CR0,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BMTM2NDExOTI0MV5BMl5BanBnXkFtZTYwODI3NDY5._V1_QL75_UX140_CR0,0,140,140_.jpg", 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With Penelope Allen, Gordon MacDonald, Madison Arnold, Vincent Angell. Al Pacino's deeply-felt rumination on Shakespeare's significance and relevance to the modern world through interviews and an in-depth analysis of "Richard III."	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0116913/	The film was shot over four years during and around Al Pacino's filming schedule, also while he was not working on any major film projects. This is visible during the film because he is seen growing a beard and hair cut for the film Carlito's Way (1993) as one example. In discussion, Pacino and co. are studying the "G of Edward's heirs the murderer shall be," and decide, since it's supposed to refer to Clarence, that they'll change it to "'C" of Edward's heir's." The problem is, since characters in the play are referred to both by their name and by their title, the prophecy very deliberately refers to Richard, Duke of GLOUCESTER and GEORGE, Duke of Clarence. With "G" the prophecy is true. If you change it to "C" the prophecy becomes false, and can no longer refer to two people.
915	yago	1	16	https://www.facebook.com/photo.php%3Ffbid%3D677863845563984%26id%3D560420593974977%26set%3Da.620023778014658%26locale%3Dta_IN	en	Facebook	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico	[ "https://facebook.com/security/hsts-pixel.gif?c=3.2" ]	[]	[]	[ "" ]	null	[]	null	Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.	de	https://static.xx.fbcdn.net/rsrc.php/yv/r/B8BxsscfVBr.ico		https://www.facebook.com/login/
915	yago	2	14	https://www.timeout.com/movies/looking-for-richard	en	Looking for Richard	https://www.timeout.com/static/images/favicon.ico	https://www.timeout.com/static/images/favicon.ico	[]	[]	[]	[ "" ]	null	[]	2012-01-25T00:53:28+00:00	Pacino's first film as writer/director is a marvellously intelligent, witty and imaginative exploration of the problems faced by anyone wishing to act in Shakes	en	/static/images/favicon.ico	Time Out Worldwide	https://www.timeout.com/movies/looking-for-richard	Get us in your inbox Sign up to our newsletter for the latest and greatest from your city and beyond
915	yago	3	58	https://www.al.com/life/2021/04/al-pacinos-10-best-movies-ranked.html	en	Al Pacino’s 10 best movies ranked	https://www.al.com/resiz…=1280&quality=90	https://www.al.com/resiz…=1280&quality=90	[ "https://www.al.com/pf/resources/images/common/weather/small/02.png?d=1375", "https://www.al.com/pf/resources/images/common/weather/small/02.png?d=1375", "https://www.al.com/pf/resources/images/common/weather/small/02.png?d=1375", "https://www.al.com/pf/resources/images/al/logos/logo_main.svg?d=1375", "https://www.al.com/pf/resources/images/al/logos/logo_main_sm.svg?d=1375", "https://www.al.com/pf/resources/images/al/logos/logo_footer.png?d=1375", "https://www.al.com/pf/resources/images/common/icons/privacyoptions29x14.png?d=1375", "https://www.al.com/pf/resources/images/common/logos/ad-choices-arrow.png?d=1375", "https://www.al.com/pf/resources/images/common/logos/AdvanceLocal_horizontal.svg?d=1375", "https://www.al.com/pf/resources/images/common/logos/ad-choices-arrow.png?d=1375" ]	[]	[]	[ "" ]	null	[ "Ben Flanagan \| bflanagan@al.com", "Ben Flanagan", "bflanagan@al.com" ]	2021-04-25T15:00:37.577000+00:00	Does it get any better than "The Godfather?"	en	/pf/resources/images/al/favicon.ico?d=1375	al	https://www.al.com/life/2021/04/al-pacinos-10-best-movies-ranked.html	Al Pacino turns 81 today. The Oscar-winning star of “The Godfather” franchise remains one of the all-time greatest actors with countless masterful performances in some of Hollywood’s most beloved movies. He had a huge 2019 appearing in new films from Martin Scorsese and Quentin Tarantino, showing the world he still has the chops that made him a legend, ultimately earning his ninth Oscar nomination. He’ll next appear in Ridley Scott’s “House of Gucci,” due later this year. To wish the entertainment icon a happy birthday, we’ll share our 10 favorite films of his. Read our picks (and honorable mentions) below: 10) Scent of a Woman (1992) You might think Pacino’s lone Oscar win deserves a higher spot on the list, but let’s be honest, the man deserved an Academy Award long before he finally got it in 1992. Martin Brest’s drama follows a prep student who takes a job as an assistant to an irritable, blind, medically retired Army lieutenant colonel (Pacino). Seen as a sympathy Oscar and later mocked by impressionists because of “Hoo-ah!,” but it’s certainly more than that, with Pacino at his manic best. 9) Donnie Brasco (1997) Johnny Depp plays an FBI undercover agent who infiltrates the mob, getting cozy with Pacino’s sad sack Lefty, a gangster well past his prime. Bitter but seasoned, Pacino goes against type perfectly, a far cry from the excess of “Scarface.” 8) The Irishman (2019) Martin Scorsese seemingly stepped back into the wheelhouse of fast-paced and violent gangster stuff, only to bring us a more meditative look at mortality, sin and regret, with Pacino’s frantic take on Teamster leader Jimmy Hoffa at the center of his pal Robert De Niro’s moral dilemma. Worthy of Oscar, Pacino picked up his first nomination since his win in 1993. 7) Dick Tracy (1990) Buried under layers of Oscar-winning makeup, Pacino hammed it up more than ever as gangster Big Boy Caprice, foil to Warren Beatty’s Dick Tracy. Pacino perfectly embodies the comic strip spirit in Beatty’s vibrant and colorful adaptation, featuring an equally game all-star cast. Watching him teach Madonna how to sing and dance is something else. 6) Scarface (1983) “Over the top” doesn’t begin to describe Pacino’s madcap (and iconic) take on Cuban refugee Tony Montana who emigrated to 1980s Miami and became a powerful drug lord. Written by Oliver Stone and directed by Brian De Palma, the film earned cult classic status, thanks in large part to its soundtrack, violent shootouts and Pacino’s legendary delivery of lines like “Say hello to my little friend!” 5) Heat (1995) Michael Mann’s bank heist thriller marks one of the greatest crime films ever made, finally pairing Pacino with his longtime acting equal Robert De Niro on screen together. The long-anticipated, dialogue-heavy diner showdown more than lives up to the hype, with the heavyweights trading blows ahead of a big screen robbery and shootout for the ages. But beyond the bullets, Pacino’s anguished detective sells the story through his marital troubles and struggles with the brutality of police work. 4) The Godfather (1972) Marlon Brando rightly won an Oscar for his iconic turn as the Godfather himself, Vito Corleone, and James Caan and Robert Duvall certainly stole their seasons. But the heartbeat of Francis Ford Coppola’s gangster saga was Pacino’s calm and tragic transformation as Michael. The young war hero, who promised he’d never succumb to the lure of his family’s crime enterprise, ultimately takes a leap into the darkness he only thought he could avoid. 3) Dog Day Afternoon (1975) Sidney Lumet’s searing Brooklyn-set drama finds Pacino as a hopelessly desperate man attempting to rob a bank to pay for his lover’s sex reassignment surgery. Sharing intense, heartbreaking and often funny scenes with late screen legends like John Cazale and Charles Durning, Pacino proved few could match his energy as one of Hollywood’s most gifted leading men. 2) Serpico (1973) Pacino wears every ounce of paranoia and anxiety as honest New York undercover cop Frank Serpico who blows the whistle on rampant corruption in the force only to have his comrades turn against him. He didn’t take bribes or guff and nearly suffered the ultimate sacrifice for trying to do the right thing in Sidney Lumet’s brilliant biopic. 1) The Godfather Part II (1974) Vito Corleone was a vicious murderer whose business hurt people, but he masked it a geniality his son could not replicate. Once Michael fell down the criminal rabbit hole, his fate was cruelty and tragedy, becoming 10 times the monster his father was. Throughout Frances Ford Coppola 3-hour epic, Pacino barely feigns a smile as a crime boss who had every intention of avoiding this fate. His cold-blooded nature compromises the one thing his father valued most -- family -- losing his grip on it at every turn. Honorable mentions: Glengarry Glen Ross (1992), The Devil’s Advocate (1997), The Insider (1999), Insomnia (2002), Ocean’s Thirteen (2007), Jack and Jill (2011) RELATED: Arnold Schwarzenegger’s 10 best movies ranked Matt Damon’s 10 best movies ranked Tom Cruise’s 10 best movies ranked Tom Hanks’ 10 best movies ranked Nicolas Cage’s 10 best movies ranked Clint Eastwood’s 10 best movies ranked Bill Murray’s 10 best movies ranked Charlize Theron’s 10 best movies ranked Arnold Schwarzenegger’s 10 best movies ranked Sandra Bullock’s 10 best movies ranked Harrison Ford’s 10 best movies ranked Sylvester Stallone’s 10 best movies ranked
915	yago	1	41	https://www.hollywoodreporter.com/business/business-news/pacino-next-up-afi-nod-140301/	en	Pacino next up for AFI nod	https://www.hollywoodrep…icon-512x512.png	https://www.hollywoodrep…icon-512x512.png	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/24cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/24cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/uploads/2022/04/GettyImages-1146123695-H-2022.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2023/12/Julia-Ormond-Sundance-Film-Fest-GettyImages-632731656-H-2023.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Almin-Karamehmedovic-1.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/kerry.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/GettyImages-2167175200.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Anination-Guild-Rally.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://cdn.shopify.com/s/files/1/0238/6647/products/2019_37_540x.jpg", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Gregg Kilday", "The Associated Press" ]	2006-10-23T05:00:00+00:00	Al Pacino has been selected by the American Film Institute's board of trustees to receive the 35th AFI Life Achievement Award, the group's highest honor for a career in film.	en	https://www.hollywoodrep…cons/favicon.png	The Hollywood Reporter	https://www.hollywoodreporter.com/business/business-news/pacino-next-up-afi-nod-140301/	Al Pacino has been selected by the American Film Institute’s board of trustees to receive the 35th AFI Life Achievement Award, the group’s highest honor for a career in film. “Al Pacino is an icon of American film,” board chair Howard Stringer said Friday in announcing the award. “He has created some of the great characters in the movies — from Michael Corleone to Tony Montana to Roy Cohn. His career inspires audiences and artists alike, with each new performance a master class for a generation of actors to follow.” The award will be presented at a gala tribute June 7 in Los Angeles. USA Network will broadcast the tribute in June, with Bob Gazzle serving as executive producer and writer of the program. Established in 1973, the annual AFI Award is given to a film artist “whose talent has in a fundamental way advanced the film art; whose accomplishment has been acknowledged by scholars, critics, professional peers and the general public; and whose work has stood the test of time.” That criteria was extended in 1993 to include “individuals with active careers and work of significance yet to be accomplished.” No stranger to lifetime kudos, Pacino was honored last year with the 20th American Cinematheque Award. In 2000, he was honored by the Film Society of Lincoln Center with a gala tribute, and in 1996, he won the Lifetime Achievement Award from the Independent Feature Project at its 1996 Gotham Awards. An eight-time Academy Award nominee, Pacino won the Oscar for best actor for his performance as the blind Lt. Colonel Frank Slade in 1992’s “Scent of a Woman.” He also received best actor noms for “… And Justice for All,” “The Godfather Part II,” “Dog Day Afternoon” and “Serpico.” In addition, he has received three best supporting actor Oscar nominations for “The Godfather,” “Dick Tracy” and “Glenngarry Glen Ross.” As a director, Pacino has helmed “Looking for Richard” and “Chinese Coffee.” His most recent film credits include 2004’s “The Merchant of Venice,” in which he played Shylock, and the 2005 gambling tale “Two for the Money.” He next appears in two upcoming Warner Bros. Pictures releases, “88 Minutes” and “Ocean’s Thirteen.”
915	yago	0	76	https://ayearofshakespeare.com/category/the-plays/richard-iii/	en	A Year of Shakespeare	https://secure.gravatar.com/blavatar/7622ae09322c750cf8915f8aefbc68b91bc1b0b7cb5694f1b7e71f9a4dd1ff96?s=200&ts=1724146795	https://secure.gravatar.com/blavatar/7622ae09322c750cf8915f8aefbc68b91bc1b0b7cb5694f1b7e71f9a4dd1ff96?s=200&ts=1724146795	[ "https://ayearofshakespeare.com/wp-content/uploads/2014/02/red-pill-blue-2.jpg?w=340", "https://ayearofshakespeare.com/wp-content/uploads/2014/01/liar-kid.jpg?w=300&h=282", "https://ayearofshakespeare.com/wp-content/uploads/2014/01/under-the-bus.jpg?w=450", "https://ayearofshakespeare.com/wp-content/uploads/2014/01/richard-iii-parking-only.jpg?w=450&h=439", "https://0.gravatar.com/avatar/34abd79e689435e7206a0841510971e97585c2a5864d2999a073c2b2a1f50760?s=48&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D48&r=PG", "https://2.gravatar.com/avatar/2a031cd498a9f815c6eb6460a919b1f3875215fab69ba875da56605779a0736d?s=48&d=https%3A%2F%2F2.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D48&r=PG", "https://0.gravatar.com/avatar/3105500ad989f3b5bf705d4fb95b928282755647d5c66ff6cdf1e2d1adb65e8f?s=48&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D48&r=PG", "https://1.gravatar.com/avatar/7f9d6a2619b65081fe2e04283542863d36d5789ff2dab5818283b3b6515c087f?s=48&d=https%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D48&r=PG", "https://0.gravatar.com/avatar/c273d48f1f2993346480e6837573716dd736eb60072c6a4166df3c07901c0293?s=48&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D48&r=PG", "https://secure.gravatar.com/blavatar/7622ae09322c750cf8915f8aefbc68b91bc1b0b7cb5694f1b7e71f9a4dd1ff96?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/7622ae09322c750cf8915f8aefbc68b91bc1b0b7cb5694f1b7e71f9a4dd1ff96?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	null	Posts about Richard III written by mattermind	en	https://secure.gravatar.com/blavatar/7622ae09322c750cf8915f8aefbc68b91bc1b0b7cb5694f1b7e71f9a4dd1ff96?s=32	A Year of Shakespeare	https://ayearofshakespeare.com/category/the-plays/richard-iii/	Josephine Tey: The Daughter of Time Al Pacino: Looking for Richard When I was in high school, one of my English teachers did an amazing thing. After we finished Richard III, she had us read Josephine Tey’s “The Daughter of Time,” a modern mystery novel about you-know-who. Years later, I still remember being blown away by the case Tey made for Richard’s innocence, but for the life of me I could not recall her argument or why its effects had lingered. So it only seemed appropriate that I revisit the novel after completing the play in my year of Shakespeare. I wanted to know whether I would be moved again by the book, and if maybe now I could grab hold of it and retain more now that I had a better grasp of Shakespeare. Wherever you are, Mrs. James, thank you. Let that be a lesson for other teachers who wonder whether they are making an impact on students’ lives! I set aside a bit of time after finishing the play to re-read the novel and watch a documentary by Al Pacino called “Looking for Richard,” hoping they would shed more light on the mysteries Karla Tipton elucidated in a recent guest blog. I wanted to gather my own thoughts and weigh them against the story that Shakespeare presents. But I also had to ask myself how much historical veracity mattered. Does theater need to be accurate? Where should I draw the line when making aesthetic judgments? Tey wrote historic fiction – but was she telling the whole truth? Was Shakespeare aware that the story he told was perhaps riddled with lies? Right off the bat, Looking for Richard proved no help whatsoever. It might have been called, “Looking at Al Pacino Looking for Richard” since it basically amounted to a visual diary of Mr. Pacino seeking the best way to film the play, not investigate the truth behind it. I love Al Pacino. I found the film entertaining, if perhaps a little depressing since the “man on the street” interviews only confirmed the idea that most people know nothing substantial about the historical Richard and what they assumed turned out to be either cliché, trivial or flat-out wrong. Mr. Pacino, while attempting to render the play in the most dramatic manner possible, sought merely to reinforce the bias inherent in the text. If those are lies, then the actual truth just gets more deeply distorted and ultimately engulfed by the prevailing dogma. Josephine Tay (real name: Elizabeth Mackintosh) sets everything we presume to know about Richard on its head. If I found her argument compelling way back in high school, it became all the more riveting now. I doubt I’ll forget the gist of it this time, since I subscribe to the argument that Richard was innocent and slandered by the powers that shouldn’t have been – namely, the Tudors, who had zero claim to the throne. I have stated before that I do not wish for this blog to become a book report. So instead of recounting her entire argument, I will share what were for me her two most salient and convincing points: 1) Richard ascended to power legitimately via a document called Titulus Regius (“royal title” in Latin) which Wikipedia describes as: a statute of the Parliament of England, issued in 1484, by which the title of King of England was given to Richard III. It is an official declaration that describes why the Parliament had found, the year before, that the marriage of Edward IV of England to Elizabeth Woodville had been invalid, and consequently their children, including Edward, Richard and Elizabeth, were illegitimate and, therefore, debarred from the throne. Thus Richard III was proclaimed the rightful king. With this document in hand and having secured rule lawfully by declaration of Parliament, Richard had no reason to kill his nephews. None. Doing so would only have made him look bad at a time when England – aside from the Woodvilles and Lancastrians – embraced him as the new king. 2) Richmond/Henry VII had all the reason in the world to want the nephews dead. Why? Because in his desire to marry an empowered Elizabeth, he had the Titulus Regius revoked unread and expunged from the record. But by doing so, he inadvertently restored the two nephews who were far more entitled to the throne than Henry! The only way he could have it both ways was to disappear the two kids and blame it convincingly on Richard. I have condensed and highlighted what for me are the most powerful arguments. But there are others, including the dire fates of the the York children under Henry, how the murder “confession” came about twenty years too late and how the subsequent slanted history was written by Tudor loyalists and sycophants. It’s here that Tey’s reasoning grows gargantuan and viral, gobbling more than just Richard III, Henry VII, Thomas More and Shakespeare. For once her argument is absorbed and assimilated, we find ourselves like the lead character, Grant, proclaiming that we’ll never trust our history books again. Winners write history. Most of what we accept as fact comes with an implicit agenda. When we’re finished questioning Richard, we start to wonder about other myths that may have been handed down to us: George Washington and the cherry tree, Honest Abe, the League of Nations, the creation of the Federal Reserve, the Bay of Pigs, the assassinations of JFK, MLK, Bobby and Malcom X. Where does it end? How much of what we have been told can we — and should we — believe? Red pill or blue? Which will you take? Richard III, Act 5 Here it is at last, the payoff line that everybody remembers from Richard III. It seems that no matter what the play, Shakespeare had a knack for creating earworms, catchphrases that have become so familiar that they now sound to us like clichés. We need to remind ourselves that there was once a time before Shakespeare invented such expressions as: “Romeo, Romeo, wherefore art thou, Romeo?” “To be or not to be, that is the question,” and “Double, double, toil and trouble; Fire burn, and cauldron bubble!” Let’s face it. The man just had a knack. One wonders what he would have created in our cinematic age, and what he’d think of these: But what does this line in particular mean? And why has it, above all the others, been singled out by time from this play? In fact, I am more intrigued by what happens and what Richard says immediately after. He stands on the battlefield, surrounded by enemies, his mount having been slain, in grave and mortal danger. And thus he utters the famous line: RICHARD: A horse, a horse, my kingdom for a horse! Followed by a most curious exchange between Richard and Catesby: CATESBY: Withdraw, my lord. I’ll help you to a horse. RICHARD: Slave, I have set my life upon a cast, And I will stand the hazard of the die. What just happened there? Catesby urges him to remove himself from the fray and then he’ll help him find a horse. Sound advice offered to a man in dire straights. So why does Richard respond the way he does? “Slave,” he says, attacking Catesby for the very suggestion – what, that he’ll appear weak? But didn’t he just cry out for help? And then: I’ve thrown my lot in with this battle (and rise to the throne), and I’ll see it through to the end. Is that bravery? Foolishness? Stubbornness? Resignation? How can one line tell us so much about Richard’s character, yet leave so much unanswered? The highlight of Act 5, however, is not the battle scene, but the haunting dream sequence that precedes it. Both Richard and Richmond fall into a slumber, during which time they are both visited by the ghosts of all the men and women that Richard has killed who tell him, in no uncertain terms, to “despair and die.” The forces of justice and righteousness have aligned themselves squarely behind Richmond. Richard will not only have to fight his earthly opponents, but the spirits of those he has deviously murdered as well. After awakening, Richard attempts to shake off his foreboding dreams by saying: RICHARD: What do I fear? Myself? There’s none else by. Richard loves Richard; that is, I and I. Is there a murderer here? No. Yes, I am. Then fly! What, from myself? Great reason why: Lest I revenge. What, myself upon myself? Alack, I love myself. Wherefore? It’s a biting inner monologue that expresses the war of consciousness plaguing Richard as his mental state continues to deteriorate. We have seen subtle signs of this coming on. Shakespeare brilliantly has him forget his thoughts mid-sentence, ordering Ratcliff and Catesby to do his bidding and then wondering what he intended for them to do. Richard III, then is, the study of a man in mental breakdown from the weight of his consciousness burdened from the wrongs he has committed. The rationalist Richard does not subscribe to such theories about his soul or the invisible forces of guilt from right and wrong. His reality is strictly objective, a clash of power and position. Richmond, however, displays an entirely different model of humility both on the night before the battle against Richard and immediately afterward. Before he sleeps, he prays to God to assist him in doing what’s right and good: RICHMOND: O thou, whose captain I account myself, Look on my forces with a gracious eye. Put in their hands thy bruising irons of wrath, That they may crush down with a mighty fall The usurping helmets of our adversaries! Make us thy ministers of chastisement, That we may praise thee in thy victory! We intuit, by contrast, that what dooms Richard is not just his moral vacuum but his lack of humility. He suffers from the Greek fatal flaw of hubris. His vanity allows him to believe that he can manipulate history, alter destiny, destroy lives for his own gain and get away with impunity. But the ghosts of the dead, and Richmond’s desire to right the realm by uniting York and Lancaster – thus putting an end to the destructive War of the Roses – are much too strong. God, honor, justice and the future of England stand on Richmond’s side. As much as from his heinous crimes, then, Richard fails because he overlooks the cumulative magnitude of all the niggling details. Individual sins and moral failings don’t add up to much in his own mind. Until the end, that is, when his life and entire kingdom suddenly turn on the presence of a single horse. But by then Richard knows that it’s already too late. His die has been cast. He has chosen a path, made his bed a long time ago, and now he will now have to lie in it. His kingdom for a horse? Aye. Alas…he’s far too gone for that. Richard III, Act IV Up until now, Richard III has followed a fairly predictable course: treachery, betrayal, murder – lather, rinse, repeat. Which is not to say that the play is boring or doesn’t contain its share of arresting moments (the Anne “seduction” scene, for example), but on the whole, there hasn’t been much to elevate it to transcendental Shakespearean heights. Yes, the murder of the innocent, young nephews is memorable in its barbarity. And we take notice of Richard’s willingness to do just about anything to clear the way for his ascension, including the imprisonment and execution of rival factions (Rivers, Grey, Vaughan), the betrayal of close associates (Hastings, Buckingham), the death of his own brother (George, Duke of Clarence) and the disposal of his wife (Anne). He sets the bar high (or low, depending on how you look at it) for what a person will do to attain power. But a dialogue occurs within this act that changes everything. In fact, I would go as far as to say that it is – without question – one of the greatest verbal exchanges in all of literature. A bold statement, I know. But before I quote the passage at length, let me tell you why I believe it to be so monumental. The conversation between Richard and Queen Elizabeth has been set up by the earlier seduction scene between Richard and Anne. Almost beyond the limits of credibility, Shakespeare convinces us somehow that Anne can be won over to Richard’s sympathies despite his having killed both her husband and her husband’s father (King Henry VI). We have no choice to conclude – here and elsewhere – that Richard possesses an ability to sweet talk his way out of any difficulty or into any advantage. But this scene, coming late, serves as a payoff to that setup in which Richard is outwitted and undone by a woman who more than holds her ground against him. Now even more powerful as king, he attempts to woo Queen Elizabeth for her daughter’s hand – but she will have none of it. The words ricochet like ping pong balls or topspin forehands in an extended Wimbledon rally. What I love most about this scene is how witty and barbed the wordplay is, pushing and pulling at language as if words were swords and daggers drawn in a duel. I have highlighted key words in this long but utterly riveting citation. For me, this is as good as dramatic dialogue gets! QUEEN ELIZABETH: What were I best to say? Her father’s brother Would be her lord? Or shall I say her uncle? Or he that slew her brothers and her uncles? Under what title shall I woo for thee That God, the law, my honor, and her love Can make seem pleasing to her tender years? RICHARD: Infer fair England’s peace by this alliance. QUEEN ELIZABETH: Which she shall purchase with still-lasting war. RICHARD: Tell her the king, that my command, entreats. QUEEN ELIZABETH: That at her hands which the king’s King forbids. RICHARD: Say she shall be a high and mighty queen. QUEEN ELIZABETH: To veil the title, as her mother doth. RICHARD: Say I shall love her everlastingly. QUEEN ELIZABETH: But how long shall that title “ever” last? RICHARD: Sweetly in force unto her fair life’s end. QUEEN ELIZABETH: But how long shall her sweet life last? RICHARD: As long as heaven and nature lengthens it. QUEEN ELIZABETH: As long as hell and Richard likes of it. RICHARD: Say I, her sovereign, am her subject low. QUEEN ELIZABETH: But she, your subject, loathes such sovereignty. RICHARD: Be eloquent on my behalf to her. QUEEN ELIZABETH: An honest tale speeds best plainly told. RICHARD: Then plainly to her tell my loving tale. QUEEN ELIZABETH: Plain and not honest is too harsh a style. RICHARD: Your reasons are too shallow and too quick. QUEEN ELIZABETH: O no, my reasons are too deep and dead – Too deep and dead, poor infants, in their graves. RICHARD: Harp not on that string, madam, that is past. QUEEN ELIZABETH: Harp on it still shall I till heartstrings break. And this goes on for another two-and-a-half pages! Rapid-fire, blasting back and forth like tennis balls on the fabled grass at centre court. An utterly bravura performance by Shakespeare, who even at this early stage of his career proves that he’s got the stuff of the great masters. That he, indeed, is the greatest of them all. Richard III, Act III If Shakespeare were Sesame Street, today’s word of the day would be “dissembling.” It’s a word we don’t hear much today, either in its gerund form or its root verb, “to dissemble.” In fact, I had to look it up to make sure that its usage would not be listed as archaic. To my surprise, it remains very much in the active, English vocabulary. Here is the definition from my Encarta dictionary: dis·sem·ble [di sémb’l] (past dis·sem·bled, past participle dis·sem·bled, present participle dis·sem·bling, 3rd person present singular dis·sem·bles) verb 1. vi put on false appearance: to put on a false appearance in order to conceal facts, feelings, or intentions 2. vt give appearance: to put on the appearance of something not actually felt or true (formal) 3. vt hide by pretense: to hide real beliefs or intentions through misleading speech or behavior (formal) [15th century. From Old French dessembler “to be different,” from des- “dis-” and sembler “to seem” (see semblance).] –dis·sem·blance, noun –dis·sem·bler, noun Microsoft® Encarta® Reference Library 2005. © 1993-2004 Microsoft Corporation. All rights reserved. Now semblance is a word I know and use all the time. Why hadn’t I grasped the connection? As I learned with Othello, Shakespeare seems more than a little preoccupied by the gap between appearance and reality, that which can be seen and that which can remain concealed. For in that gap, a dishonest person may take ruthless advantage of the innocent, honest and trusting. Richard III fits a similar mold to both Othello and Titus Andronicus. In fact, I’m wondering how often Shakespeare resorts to the same device to drive his plots and motivate his villains. Or, to be even more blunt, now that I have discovered this trope running through all three plays read thus far this year, I hope I don’t get bored by the same ol’ pattern again and again and again. Did Shakespeare discover a winning formula that worked so well he only need repeat it? For in Othello we had Iago, the devious schemer. In Titus, Aaron the Moor filled that role. And now we have Richard, the dastardly power-grabber up to no good. Yet again, trust, devotion and honesty are played for fools. In Act III of Richard III, poor Hastings discovers too late that his faith in Richard’s word was misplaced. He had been better off listening to a friend’s foreboding dream: Woe, woe for England, not a whit for me, For I, too fond, might have prevented this. Stanley did dream the boar did raze our helms; But I did scorn it and disdain to fly. Hastings is not alone. Remember poor George, Duke of Clarence, murdered in the Tower, believing to the end that his brother was his friend. Then there is the nephew’s entourage, intercepted, betrayed and executed. And of course the two young nephews who are “disappeared” for the crime of standing in the way of Richard’s succession. Crimes and deceptions every which way you turn. For Richard, inauthenticity is a way of life. He’s such a conniving snake that he never presents himself with integrity – unless that too serves an ulterior purpose. He’s so adaptable and chameleon-like that I wonder to what extent he deceives himself. Does he trust anybody? Can anybody trust him? Is this the fatal flaw that will bite him in the end? Buckingham has been Richard’s closest ally and partner in crime thus far. Yet I keep expecting Richard to betray and sabotage him before long as well. Perhaps Act III is still too early. Buckingham serves a useful purpose, therefore Richard lets him linger. It reminds me very much of the brilliant opening to Christopher Nolan’s The Dark Knight Rises: How does the saying go? No honor among thieves. Richard has created a world in which he is the mastermind of dishonesty and deception. Yet in such a world he himself has nobody upon whom he can trust. Once he gets what he wants, will he discover that he has no solid ground upon which to stand? Was that not Margaret’s curse upon Richard? That he shall trust the deceitful and doubt the loyal? If that’s the case, a more fitting end could not be found for such a treacherous, back-stabbing double-crosser as Shakespeare’s master dissembler, Richard III. NOTE: The following is a guest post by historical novelist and Richard III Society member, Karla Tipton. I am reprinting it here in full with her permission from a simultaneous blog post on her site which may be accessed directly on the “Recommended Sites” tab to your right. In addition to being a tremendous, well-thought response to issues raised here and elsewhere concerning Richard III, her kind and generous submission also helps fulfill a deep desire that I have for this site, which is to open it up for others to expand and develop. If you would like to participate, please drop me a line. I will not censor for opinion or content, though certain aspects may require editing to fit the format of this blog. Without further ado, here’s Karla. Please visit her site at karlatipton.com and check out her novel on Amazon! Why did Shakespeare throw Richard under the bus? Some of the assumptions I make here may be false, however it is based on a fair amount of research, some of which I did while researching for my novel, Rings of Passage. I don’t claim to be a Shakespeare scholar. Experts out there – take issue, please, if you will. Let’s get this thing cleared up. Why did Shakespeare throw Richard III under the bus? Political fear Shakespeare wrote Richard III during the reign of Queen Elizabeth, and so his portrayal of Richard is sometimes shrugged off as “toeing the party line.” Elizabeth’s father Henry VIII dispatched Yorkists whenever he could get away with it. On flimsy charges, he beheaded Richard’s niece Margaret (countess of Salisbury, George, duke of Clarence’s daughter) when she was 68 years old. She was hardly a threat. He learned his hatred of Yorkists from his father, Henry VII, the founder of the Tudor dynasty, whose hate was grounded in the reasonable fear that his kingship was both undeserved and usurped. If you had Yorkist leanings during the reigns of Henry VII and Henry VIII, you had good reason to be afraid. Yet Elizabeth the First did not share the hatred of her father and grandfather. She was a moderate in government and tolerant in religion. She enjoyed the theater, earning the disapproval of the Puritans on her own counsel. According to Lisa Thyer, author of “Shakespeare Life and Times/Intro to Shakespeare’s life and Historical Context”: “Theater was often used as a covert forum for political criticism: …some may have remembered the swinish face of Henry VIII, and all in the audience knew that it was only under special circumstances that they could publicly share the thought that monarch was a swine.” Criticism of the Tudor dynasty embedded in a dramatic performance would not be cause enough for Elizabeth to eliminate a playwright, whose work she most likely enjoyed. To toe the line of the current political climate is not a convincing enough argument for Shakespeare’s trashing of Richard III. Chasing the fame How many tabloids have jumped on the bandwagon to destroy some celebrity’s career for the sheer purpose of selling more copies? Could the Bard’s motivation have been opportunistic? Although Richard III is one of Shakespeare’s earliest plays – “preceded only by the three parts of Henry VI and perhaps a handful of comedies,” according to Wikipedia – Richard had been dead a century by then, give or take a few years. Richard’s “dark” reputation had already been convincingly painted against the backdrop of the “Tudor Myth.” The rehashing of that old chestnut wouldn’t have gained a playwright much traction – unless he happened to be Shakespeare. Like all great writing, he took an old idea and told the story in such a compelling way that it became new again. It’s the universality of this theme, molded by the deft hand of a genius, that propelled Richard III to the top of the Elizabethan drama charts. If there was any bandwagon jumping, it was because Shakespeare knew he could use the legend of Richard’s evil to drive home the idea that, in the karmic scheme of things, crime doesn’t pay. Shakespeare was not adverse to cozying up to his audience’s preferences, however (more on that later). Poetic license By the time Shakespeare penned Richard III, he had already written three historical plays – Henry VI, parts I, II and III. While researching the intrigues of British royalty, Shakespeare wasn’t looking for truth. He was looking for drama. And something deeper. Shakespeare grew up on the morality plays popular at the time of his youth. These plays, and the classical dramatic tradition of unity and decorum learned as part of a grammar school education, provided the foundation for his work. Along with his contemporaries, Shakespeare blended old morality drama with classical theory to develop a new secular form for the English Renaissance. In a nutshell, this new form of drama resonated on an emotional level, but also incorporated themes dealing with the human condition and destiny. And despite its ambiguous themes and complexity, this new brand of drama should be universally understood, not only to the educated elite, but also to ordinary people. Because of the speed that authors had to produce plays at the time, and the Renaissance theory that tragic plots should be grounded in history, Shakespeare turned to source material typically used by playwrights of the time: Raphael Holinshed’s 1587 Chronicles of England, Scotlande, and Irelande. Among the sources Holinshed used for Richard III was Thomas More’s unfinished, The History of Richard III. Born in 1478, More was 7 years old when the Battle at Bosworth took place. As a boy, he lived for a time in the household of Dr. John Morton, who was Archbishop of Canterbury under Henry VII, and one of Richard’s bitterest enemies. Morton’s conspiratorial machinations against Richard eventually helped put Tudor on the throne. More’s account of Richard’s life was interpreted through the prism of Morton’s anti-Richard propaganda, which was then reiterated in Holinshed’s Chronicles, which provided the plot for Shakespeare’s play. Morton’s hatred filtered through Shakespeare’s pen dotted all the i’s and crossed all the t’s turning Richard into an evil and unredeemable monster who murdered children. In his quest for drama and theme, Shakespeare had no use for primary sources that proved otherwise. Even if Shakespeare knew that Richard III could not have perpetrated the crimes he was a accused of, he didn’t care. In Henry VI, Part II, Shakespeare has Richard killing the Duke of Somerset, when in actuality Richard was only three years old. In part three of Henry VI, Richard is seen participating in the Battles of Mortimer’s Cross and Towton. In fact, Richard was 8 years old and living in Burgundy. Shakespeare’s motivation was not to exonerate, but to exploit plot twists to amplify his theme. As with the character of “Vice” – of whom Elizabethan audiences would been familiar from the morality plays – the fates turned on Richard in the end. “Fate versus free will” was popular with audiences influenced by the growing Calvinism of the Elizabethan era. Inherent was the belief in historical fatalism, in which individual historical events are determined by God, who often punishes evil with (apparent) evil. Shakespeare used Richard’s “reputation” as the perfect vehicle for conveying this idea. Does that make him a toady to the Calvinists? I don’t think so. Still, he wasn’t beyond playing to the preferences of his audience. Yet it is done so brilliantly. Can’t we forgive him? I never really doubted that Shakespeare’s real motivation behind Richard III was artistic. I need not have taken the journey, just to come to the conclusion I had at the beginning. However, I have learned much, and do not regret the trip. And finally… Conspiracy theory In a nutshell, there are serious scholars who believe “William Shakespeare” was an identity assumed by a member of the nobility, Edward de Vere, the 17th Earl of Oxford, to enable him to write plays and sonnets anonymously. If Oxford was Shakespeare, he would have had strong motivation for painting Richard III’s reputation black. Prior to Richard’s reign, the de Vere family had been stripped of nearly all its land holdings, after John de Vere participated in the Battle of Barnet in 1471, against the Yorkists. Richard’s elder brother, King Edward IV, confiscated, and then turned around and granted to Richard, all of John de Vere’ s property. Was Shakespeare’s most famous play written by de Vere out of some kind of revenge? Food for thought. My Sources Wikipedia entries on William Shakespeare, William Shakespeare’s Plays, Richard III, and Tudor Myth. Richard III Foundation, specifically, “Richard III – Shakespeare’s Victim.” Shakespeare Oxford Society, specifically “The True Tragedy of Richard III: another Early History Play by Edward de Vere.” Lisa Thyer, “Shakespeare Life and Times/Intro to Shakespeare’s life and Historical Context.” Plus, a bubbling brain brew of information from multiple books and articles provided and discovered through my membership in the Richard III Society. Footnotes: Tudor Myth: Political propaganda promoting the Tudor period of the 16th century as a golden age of peace, law, order, and prosperity; and the Yorkist period of the15th century, including the Wars of the Roses, as a dark age of anarchy and bloodshed. ** Richard was God’s curse on England in punishment for the deposition of Richard II in 1399, which formed the basis for the conflict between the Yorkists and Lancastrians and sparked the Wars of the Roses. Richard III, Act II Richard III is the longest play in Shakespeare’s repertoire – and we feel it. For not only must we read the lines and make sense of a sprawling cast of characters, but also be familiar with a vast backstory that exerts a tremendous influence upon the actions within the play. Shakespeare wrote Richard III early in his career, yet that somehow doesn’t prevent it from being a sequel. Indeed, his history plays seem all-too familiar in a Hollywood landscape obsessed by prequels and sequels. To know Richard well, we have to rent Henry VI from our nearest Redbox. But to make sense of that, we’ll want to seek out the complete Henry series (IV, Parts I-III, V, VIII) in addition to Richard II. That’s a lot of work. Clearly Shakespeare found a rich bed of source material from which to draw his twisted plots — all of which seem to involve dubious lines of succession and scheming for the throne. Granted, I haven’t read much of the other histories. But methinks I spy a pattern here. More on that to come. Rather than recount the exhausting narrative, I’d rather focus on two prominent features thus far that capture my attention: 1) the use of CURSES as a means of foreshadowing and 2) the odd “Meanwhile…” dialogue among ordinary citizens in Act II, Scene 3. Curses have been issued in two notable instances: 1) when Anne unwittingly dooms herself by cursing the future wife of her husband and son’s killer and 2) the deposed Queen Margaret (widow of the dead Henry IV for those keeping score at home) who lowers the boom on just about everyone in Act I, Scene 3. Why is Shakespeare doing this? Without resorting to experts, I can only surmise that he sought to recreate the fateful atmosphere of ancient Greek dramas dominated by the forebodings of a chorus in the source material from which he derived his tragedic model. Yet it remains unclear to me whether Shakespeare intends to imply that the curses have anything whatsoever to do with the events that thereby unfold. In fact, he has Buckingham dispel Margaret’s tirade by saying: BUCKINGHAM: …curses never pass The lips of those that breathe them in the air. What forces then conspire against the characters? If not by the curses, can we say that tragedy results wholly from treacherous actions taken by individuals out of revenge, greed and villainy? Does the devil play a hand, or is it the private lusts and evil intentions lurking within men and women who seek their own fortune at whatever cost? Are they decoration then, invoked like dry ice to create a setting? Establish a mood? Cast a pallor? Cause viewers to meditate upon their own senses of fate and destiny? As for the “common man” scene, why is that here? Does it serve the plot in any way, or advance the characters? Do we gain a further understanding of the regal drama by viewing it from the cheap seats (as it were) of the public at large? What is Shakespeare suggesting by this? What does the presence of CITIZENS 1,2 and 3 reveal? At the minimum, it reminds us that Shakespeare views his plays from a full 360 degrees. Even when they don’t factor into the action proper, the townspeople and citizens of England – the majority of whom would be audience members at the play – occupy his thinking at all times. He is not removed from them, nor they from the story, simply because the plot concerns the machinations of the king. Unlike Las Vegas, what happens at court does not stay at court. Here we get to see how actions taken above impact the lives of ordinary subjects below. Nobody is exempt. And therefore, by implication, are we as well.
915	yago	3	23	https://www.nbcbayarea.com/news/national-international/hes-just-gettin-warmed-up-scorsese-dreams-of-pacino-as-sinatra/2097646/	en	HE'S JUST GETTIN' WARMED UP! Scorsese Dreams Of Pacino As Sinatra	https://media.nbcbayarea…ity=85&strip=all	https://media.nbcbayarea…ity=85&strip=all	[ "https://media.nbcbayarea.com/2024/04/KNTV-Dgtl-Oly-On-Dark.png?fit=510%2C120&quality=85&strip=all&w=170&h=40", "https://media.nbcbayarea.com/2019/09/Bay-Area-2.png?fit=2060%2C847&quality=85&strip=all&w=400&h=44&crop=1", "https://media.nbcbayarea.com/2024/04/SF-Bay-Area.png?fit=1177%2C91&quality=85&strip=all", "https://nbcu.tmsimg.com/assets/p25200545_b_h10_ab.jpg?w=960&h=540", "https://media.nbcbayarea.com/2024/08/108016225-1722867958858-img_3516.jpg?quality=85&strip=all&resize=100%2C56", "https://media.nbcbayarea.com/2024/08/SJFIRE12343.jpg?quality=85&strip=all&resize=100%2C56", "https://media.nbcbayarea.com/2019/09/Brush-Fire-Generic-504_3-1.jpg?quality=85&strip=all&resize=100%2C56", "https://media.nbcbayarea.com/2024/02/GettyImages-1477081099.jpg?quality=85&strip=all&resize=100%2C56", "https://media.nbcbayarea.com/2024/08/33774597149-1080pnbcstations.jpg?quality=85&strip=all&resize=100%2C56", "https://media.nbcbayarea.com/2024/05/KNTV-Dgtl-Oly-On-Light-1.png?fit=534%2C120&quality=85&strip=all", "https://sb.scorecardresearch.com/p?c1=2&c2=6035083&cv=2.0&cj=1", "https://media.nbcbayarea.com/2024/05/KNTV-Dgtl-Oly-On-Light-1.png?fit=534%2C120&quality=85&strip=all" ]	[]	[]	[ "" ]	null	[]	2010-05-25T05:12:21	And De Niro as Dean Martin! This would be so awesome if it were 20 years ago!	en	https://media.nbcbayarea…ity=85&strip=all	NBC Bay Area	https://www.nbcbayarea.com/news/national-international/hes-just-gettin-warmed-up-scorsese-dreams-of-pacino-as-sinatra/2097646/	I’m a big fan of movie projects so nascent that they aren’t even close to being in development yet. That’s when you really get to toy with the idea in your mind. You can cast it. You can pick the writer and the director. You can shoot it in black and white. You can design the costumes. It’s really when the micromanaging producer in every fanboy’s mind goes into overdrive. Like this: How about a Frank Sinatra biopic? Would you like that? Who would you get to play Ol’ Blue Eyes, besides Joe Piscopo? Did you say Al Pacino? No? Well, Martin Scorsese did. From The Hindu: The conversation veers towards his plans to do a film on the life of Frank Sinatra. “I've had it in mind for a long time. Even the initial script is ready. I'm yet to spot the actor who can bring back Frank Sinatra alive on screen. My choice is Al Pacino, and Robert De Niro as Dean Martin.” For a very long time, Scorsese was said to be involved in a Dean Martin biopic, but now he’s apparently shifted over to Sinatra (wise move), with this dream cast in mind. Let us now evaluate his choice of dream cast. PACINO AS SINATRA: I don’t know what to make of Al Pacino anymore. These days, he’s either overacting in crummy B-movies like “88 Minutes,” or he’s giving excellent performances in TV movies like “Angels In America.” The last truly great performance I saw him give was as both himself and Richard III in “Looking for Richard,” which I thought was one of the coolest movies ever. But he’s so much the PACINO persona now, that I have a hard time thinking of him morphing into Frank Sinatra. Speaking of people who can’t get out of their shell… DE NIRO AS DEAN MARTIN: De Niro has gone from the most respected actor in the world to a wooden actor who’ll happily frown for a paycheck. The last time De Niro did something truly good was “Casino,” which was directed by (you guessed it) Martin Scorsese. So perhaps re-teaming with Scorsese would bring the old De Niro back to the fore. Something tells me he’ll pass it up to star in “Godsend 2.” There’s also the matter of singing. These are musical roles. Can you picture Pacino or De Niro, great as they once were, as convincing singers? Eh…
915	yago	3	74	https://www.flavorwire.com/524328/lets-use-that-success-to-take-the-next-risk-david-gordon-green-on-his-odd-career-directing-legends-and-manglehorn	en	âLetâs Use That Success to Take the Next Riskâ: David Gordon Green on His Odd Career, Directing Legends, and âManglehornâ	https://imgix.bustle.com…rop=faces&fm=jpg	https://imgix.bustle.com…rop=faces&fm=jpg	[ "https://imgix.bustle.com/flavorwire/2015/06/manglehorn-banner.jpg?w=480&h=270&fit=crop&crop=faces&auto=format%2Ccompress 480w, https://imgix.bustle.com/flavorwire/2015/06/manglehorn-banner.jpg?w=480&h=270&fit=crop&crop=faces&auto=format%2Ccompress&q=50&dpr=2 960w, https://imgix.bustle.com/flavorwire/2015/06/manglehorn-banner.jpg?w=1080&h=608&fit=crop&crop=faces&auto=format%2Ccompress 1080w, https://imgix.bustle.com/flavorwire/2015/06/manglehorn-banner.jpg?w=1080&h=608&fit=crop&crop=faces&auto=format%2Ccompress&q=50&dpr=2 2160w" ]	[]	[]	[ "" ]	null	[ "Jason Bailey" ]	2015-06-23T17:00:27+00:00	For a journalist, thereâs nothing worse than a cell phone that craps out in the middle of an interview, and thatâs exactly what happened about five minutes into my conversation with David Gordon Green. First he started cutting out, in the midst ofâ¦	en	/assets/icon-ca7f8a6d76.png	Flavorwire	https://www.flavorwire.com/524328/lets-use-that-success-to-take-the-next-risk-david-gordon-green-on-his-odd-career-directing-legends-and-manglehorn	For a journalist, thereâs nothing worse than a cell phone that craps out in the middle of an interview, and thatâs exactly what happened about five minutes into my conversation with David Gordon Green. First he started cutting out, in the midst of talking about the âstrange kind of abstract themeâ thatâs appearing in his recent work, including his new Al Pacino vehicle Manglehorn, and then the line was dead. But he called back right away, and cut off my profuse apology with this explanation: âThatâs all right! I think it might have been my end, because I farted real loud, so it got a little nasty and sometimes that interferes with the cell reception.â Frankly, that mightâve been the most telling moment in an interview with a director who can be a bit of a puzzle. After all, how does a filmmaker go from the indie beauty of something like George Washington to the stoner dick-joke likes of Your Highness? But after spending some time talking with Green, I felt like I better understood that versatility; of course he can move between those extremes, because heâs the kind of guy whoâll make a goofy fart joke one moment and speak with great insight about modern masculinity in cinema the next. We talked about that versatility, the current state of indie filmmaking, and creating a âlove letterâ to one of his heroes. Flavorwire: Iâve wanted to talk to you for a while, because youâve got such a fascinating filmography, in terms of the movements of your career â you started out making these very small, personal films, and then moved kind of unexpectedly into mainstream comedy, and now youâre on this run of again making independent films, but with these marquee names in them. Are these phases mapped out, or is it just sort of coincidental, the way projects come to you? David Gordon Green: Itâs neither! Iâm pretty impulsive and I donât follow trends thatâd be more traditionally navigated by money producers and agents. I kind of just wake up in the morning and see what feels like a good idea. Nothingâs perfect when youâre working on an indie movie, especially these days; your American theatrical distribution is going to be very questionable. You have to achieve your romantic satisfaction on international film festivals and theatrical distribution in France and whatnot. Then you have to put $20 million into a marketing campaign. Studio experiences can be really exciting because you have the money to achieve some pretty ambitious things, not only in the production but in the exhibition of your movie. So thatâs really cool. Itâs hard to find the middle ground; I just kind of shake it up, I do a little of this and that. I make my living doing commercials and television shows, so I use my feature career to really only do exactly what I want, and sometimes thatâs very surprising to people, except those who know me really well. I just finished Manglehorn and Joe and [Prince] Avalanche, which were extremely low-budget, very eccentric, independent-minded character pieces. And Iâm down this week working on a Warner Brothers movie with Sandra Bullock about Bolivian politics. I like to surprise myself and really engage full throttle on something that I would never have even expected six months ago. How conscious were you, when you were putting Manglehorn together, that this would be a film that was compared to Joe â just in terms of a big star, whose recent work has been a little spotty, doing a small, character-driven film that really reminds us of what he can do? Inevitably thereâs these little threads that Iâve been doing over these last three movies, and I donât really know how itâs related. I think itâll happen in 15 or 20 years, when Iâm Manglehornâs age. I think it will come to me later, but right now Iâm looking with cultural curiosity at the roles of men, their expectations of themselves, or their fathers, or their wives and girlfriends, and I think thatâs a really interesting thing, of where we are now and where I am now in this world. So talk to me a little about working with Mr. Pacino â about how he came onboard, and your initial interactions with him, which I would imagine to be a little intimidating? I was doing the Chrysler commercial for the Super Bowl a couple of years ago, and they had asked me if Iâd go and meet with Al about potentially being a spokesperson for it. I sat down in a room with him, and over the course of two hours, it was just an amazing energy. I felt this whole range of emotions; I was smiling one minute and tearful the next and curious the next. I saw the complicated layers, from Scarface to The Godfather, all these iconic characters. And Iâm sitting in the room with him, he stands up and pushes the chair back, and heâs wearing a headband and I was like Who is this guy? This is amazing! It didnât work out on that commercial, and at the end of that meeting I went to him and was like, âHey man, Iâm sorry youâre not gonna want to do this, but a year from now Iâm gonna come back here and weâre going to make a movie together. Iâm going to find you again. Because not only are you a great actor that Iâve always admired, but I had an amazing idea in the room.â He just looked me and smiled and said, âI love it.â So literally I went to work and designed the role for him with Paul Logan, who is a writer and my neighbor in Austin. We just engineered something as a love letter to Al. Then to get his opinion on it, it was funny â his process was, âCome over to my house and weâll eat strawberries in my back yard and weâll talk about it.â So I ate a lot of strawberries. Weâd get friends of ours to come over and weâd sit in the back yard and read it out loud. For like eight months we workshopped this and we refined and edited it. You read about Mike Leighâs process of working with actors, which I thought sounded like a really cool idea, and it was a lot like that â at least of what Iâve read about his process, finding who you want to be in it and then writing it, workshopping it and then re-writing it. We did that for a long time, and there were versions of the scripts that had other characters in it and weâd find or refine them or lose them. It was a dream process, and I think the narrative took on a dreamlike tone, rather than following a traditional narrative. All of a sudden we started freestyling and I started to visualize the movie differently, just from sitting around watching him go over and over, and bringing different friends in to read different parts, females reading guy parts and vice versa. Weâd reimagine something in a different way, and thatâs really how the movie came about â just this beautiful creative process with one of my icons. So much of his characterâs inner life is wrapped up in those long, searching letters that we hear in voiceover. Where did those recording sessions fall in the process, and was that a different kind of collaboration? It was amazing, actually â they evolved quite a bit, because at one point they were really genuinely well written, and then we decided they should be like a 14-year-old writing a love letter to his girlfriend. We would change the vocabulary a lot, and in production, almost every day there would be a point were Al would say, âHey Dave, letâs go into my trailer and record letter number six.â And weâd do that same one 12 times during the movie â and itâs not like he would hear playback, he would just feel something and wanted to throw something back. I was very rarely even directing those parts. He would just feel something and sometimes thereâd be a generator outside, and we knew itâd be shitty sounding, but weâd use it anyway. It was a really bizarre: Weâd have 20 minutes between setups, âLetâs go into the back yard and throw down a love letter.â And sometimes, itâd be a very different selection from how he memorized it. I thought it would be different than it was, and it ended up that I loved the way that sometimes heâs reading, sometimes he memorized it, and sometimes heâs freestyling, mumbling it. We really used a wide variety of these opportunities we had during production. I will say this, none of it was done in a studio. Usually weâd be like, âWe donât have enough time during the production of this no-budget movie, letâs do that in a recording studio in post-production,â but I donât think we did any of that. Youâve now directed two really legendary, larger-than-life performers, in these roles that showcased their quieter sides. Do you think iconic actors like these get pigeonholed into certain kinds of roles, to the point where they almost have to do independent films just to do something different? I think at this point thereâs a wave. I mean, I can relate to this; I remember after I did Pineapple Express, I could do any comedy in the world that I wanted to do. People were like, âHereâs a lot of money to do any of these moviesâ â so that can become really exciting for a guy like me. Iâve worked a lot of minimum wage jobs that were very difficult and have seen the world through some challenging obstacles, so this opportunity to do something that youâve done successfully and have fun and make money is a pretty exciting thing. Most artists will jump on that for a bit, and if youâre Nicolas Cage or Al Pacino, these guys who have achieved so much phenomenal success, I can only imagine people want them to be that thing. Like theyâve climbed to the top of that mountain, and they want them to stay there and play, and then climb to the next mountain. But my point is, letâs use that success to take the next risk. If weâve gone to the top of the mountain on the last one, letâs dive to the bottom of the ocean with the next one and swim around with the alien fishes we didnât even know existed. I really want that to be what I do â at least in that wave of what Iâm doing now, to find people that trust me and have an appetite still. Because thereâs some guys who wonât, who arenât ready for it yet. Iâve approached some great actors that are in stride right now and Iâll say, âHey youâre doing really great work, are you ready to get a little weird?â And theyâre like, âNah nah nah, Iâm not going to fuck that up, Iâm not going to risk that.â Some actors are afraid of the rejection of their core audience, but theyâll mature past that, theyâll get tired of doing the same thing over and over again, because theyâre actors, they like to pretend to be different things. The great ones will always come back around to take these bold, challenging, small paychecks. Weâve talked a lot about Al Pacino, but Holly Hunter is also really remarkable in the movie â and almost unrecognizable. She really disappears into this woman. How did you land on her for that role? This might sound pretentious, but I look at Manglehorn as this black-and-white character in a colorful world, and we address that in production design and costume design, in the obvious places that you kind of make someone stand out by being less. And with Manglehorn, I wanted him to stand out by being less â not by being big and louder, but by being small and quieter. So with Holly I was really looking for someone where her voice and smile [are] irresistible, itâs adorable, but itâs not picture perfect. It doesnât feel so manicured and posedâ¦ and maybe itâs her Southern accent because Iâm from the South, but since Raising Arizona and Miss Firecracker and Broadcast News Iâve just really adored her. And with movies like The Piano, where so little is spoken but she says so much with her physicality, you really see the incredible range she has, with just one lookâ¦ When sheâs trying to hide her smile, is what gets me every time. I was sitting with Al and we were batting around names and she came up. I just jumped on it. I said, Iâm going to find this woman and Iâm going to be on the phone to her in 24 hours. Iâm going to find a way to make that happen. I didnât know anyone that knew her, it was just one of those things where I said, Iâm just going to throw Alâs name around and Iâm going to get to her in 24 hours. And I did! [Laughs] Well, congratulations on the movie, and lots of luck with it, I hope it does really well. Oh man, watch out Jurassic World, here we come.
915	yago	3	62	https://thedrunkenodyssey.com/2016/06/12/the-rogues-guide-to-shakespeare-on-film-29-richard-iii-1995/	en	The Rogue’s Guide to Shakespeare on Film #29: Richard III (1995)	https://thedrunkenodysse…akes-on-film.png	https://thedrunkenodysse…akes-on-film.png	[ "https://thedrunkenodyssey.files.wordpress.com/2023/03/cropped-header4.png?w=960", "https://thedrunkenodyssey.com/wp-content/uploads/2015/07/rogues-guide-to-shakes-on-film.png?w=800&h=400", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/richard-3-poster.jpg?w=1016&h=1500", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-5.jpg?w=1024&h=674", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-2.jpg?w=1200&h=786", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-12.png?w=1024&h=449", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-10.png?w=1024&h=451", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-9.png?w=1024&h=453", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-7.jpg?w=1024&h=528", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-3.jpg?w=1200&h=792", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-8.jpg?w=1396&h=900", "https://thedrunkenodyssey.com/wp-content/uploads/2016/06/r3-13.png?w=1024&h=449", "https://thedrunkenodyssey.com/wp-content/uploads/2012/05/1flip1.jpg?w=1704&h=2272", "https://1.gravatar.com/avatar/17378489a32f3c6fed9287d72c4a0ba8d4a035a1d0bcb34eeb130ebb6d4c69de?s=48&d=identicon&r=G", "https://thedrunkenodyssey.com/wp-content/uploads/2023/03/cropped-untitled-5.png?w=40", "https://thedrunkenodyssey.com/wp-content/uploads/2023/03/cropped-untitled-5.png?w=50", "https://thedrunkenodyssey.com/wp-content/uploads/2023/03/cropped-untitled-5.png?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2016-06-12T00:00:00	#29. Richard Loncraine's Richard III (1995) In Looking for Richard, Al Pacino seemed flummoxed by the possibility of coming to a basic understanding of Shakespeare, using the relatively obscure Richard III as his point of entry into the bard’s oeuvre. In a conspiracy of timing, Pacino must have been working on Looking for Richard around…	en	https://thedrunkenodysse…itled-5.png?w=32	The Drunken Odyssey	https://thedrunkenodyssey.com/2016/06/12/the-rogues-guide-to-shakespeare-on-film-29-richard-iii-1995/comment-page-1/#comments	#29. Richard Loncraine’s Richard III (1995) In Looking for Richard, Al Pacino seemed flummoxed by the possibility of coming to a basic understanding of Shakespeare, using the relatively obscure Richard III as his point of entry into the bard’s oeuvre. In a conspiracy of timing, Pacino must have been working on Looking for Richard around the same time, or just before, Richard Loncraine’s film of Richard III—starring Ian McKellen—was released. Ian McKellen found Richard easily. Besides having decades of experience acting Shakespeare, McKellen had more than a normal amount of rehearsal for the part, considering that the film production was adapted from a Royal National Theatre production that he had starred in. Unlike the relatively historically-accurate setting of Olivier’s film of R3, Loncraine’s film is a mid-twentieth century version that imagines Richard’s reign along the lines of fascism and World War II. At times, this seems hyperbolic, imagining the play as a brutal action film. (This predates a similar approach to Coriolanus and Macbeth.) The fulcrum for this vision, though, is Richard’s soliloquies, often delivered as confidential asides to himself, then when he notices us, delivered to us, the audience, bragging about the mischief he is accomplishing. Richard may be evil and a little crazy as he lies and murders his way to the crown, but he is charming, and the nuances of McKellen’s performance is glorious As the hunchbacked war veteran who fate in peacetime is to rot, ignored, as fourth in the line of succession, Richard’s motivations can be understood: And therefore, since I cannot prove a lover, To entertain these fair well-spoken days, I am determined to prove a villain And hate the idle pleasures of these days. But to understand his motivations is to pedantically miss the point. One he tries his hand at villainy, Richard likes being a villain. He is showing mastery over something he is good at. He is good at being a villain despite how everyone, based upon how he looks, expects him to be a villain. This spectacle can take the edge off of a brutal election season, I find. The cast of this R3 is a bit uneven. You have amazing Shakespearean talent such as Maggie Smith, Jim Broadbent, Jim Carter, and Nigel Hawthorne. Yet there are Hollywood actors like Annette Bening and Robert Downey, Jr. being not entirely persuasive next to them, along the lines of the heterogenous casting logic of Branagh. Bening plays Queen Elizabeth, Richard’s sister-in-law, and Downey plays Rivers, her brother. (Thus the Americans play in-laws.) Downey has almost no lines, and is not memorable when he has lines, and Bening’s performance is not quite strong, either. One gets the idea that for them the dialogue is a large mouthful, and Bening seems to be affecting an exaggerated enunciation that suggests a plebeian sense of pomp, although in fairness this may be her interpretation of the part. These two performances, despite my throat-clearing on the subject, are never outright bad. Into the mixture is Kristin Scott Thomas, of Four Weddings and a Funeral and The English Patient fame, as Lady Anne, one of the most confoundingly difficult parts in Shakespeare. While quite English, Thomas does not have a Shakespearean background, but manages the emotional acrobatics of the grieving widow wooed by Richard rather well. Unlike Olivier’s film, this Richard III dramatizes Lady Anne’s remorse at having been wooed by him. Of all of films made of Shakespeare’s work, Loncraine’s Richard III is a wonderfully cinematic vision, and the adaptation from stage to cinema was not rushed, but done with a remarkable sense of composition, cinematography, and editing. Despite a few flaws, too few to mention, this is among the very best film adaptations of Shakespeare. For newcomers who don’t mind a modern setting, this is a wonderful place to start. _______
915	yago	3	35	https://www.afi.com/afis-100-years-100-movies-10th-anniversary-edition/	en	AFI’S 100 YEARS…100 MOVIES — 10TH ANNIVERSARY EDITION	https://www.afi.com/imag…s/afi-social.jpg	https://www.afi.com/imag…s/afi-social.jpg	[ "https://www.facebook.com/tr?id=404753177081502&ev=PageView&noscript=1", "https://www.afi.com/wp-content/themes/AFI/images/search_close.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/05/AFI-Logo.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/05/AFI-Logo.png", "https://www.afi.com/wp-content/themes/AFI/images/search.png", "https://www.afi.com/wp-content/themes/AFI/images/white_search.png", "https://www.afi.com/wp-content/themes/AFI/images/search_close.png", "https://www.afi.com/wp-content/themes/AFI/images/search_white.png", "https://www.afi.com/wp-content/themes/AFI/images/toggle.png", "https://www.afi.com/wp-content/themes/AFI/images/white_toggle.png", "https://www.afi.com/wp-content/themes/AFI/images/loader.gif", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2020/02/Donate-to-AFI@2x.png", "https://www.afi.com/wp-content/themes/AFI/images/top.png", "https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/08/gdpr-logo.png" ]	[]	[]	[ "American Film Institute" ]	null	[]	null	AFI's 100 Years...100 Movies – 10th Anniversary Edition is an updated edition to AFI's 100 Years...100 Movies, a list of the top 100 greatest American films of all time. Honoring the 10th anniversary of this award-winning series, a jury of 1,500 film artists, critics and historians determined that CITIZEN KANE remained the greatest movie of all time. The television special AFI’s 100 Years…100 Movies – 10th Anniversary Edition originally aired June 20, 2007 on CBS.	en	https://prdaficalmjediwestussa.blob.core.windows.net/images/2019/09/favicon.ico	American Film Institute	https://www.afi.com/afis-100-years-100-movies-10th-anniversary-edition/	This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful. You can adjust all of your cookie settings by navigating the tabs on the left hand side.
915	yago	3	42	https://www.screenslate.com/articles/jerry-schatzberg-interview-panic-needle-park-al-pacino	en	Jerry Schatzberg on The Panic in Needle Park	https://www.screenslate.…pg?itok=4qwWDTrO	https://www.screenslate.…pg?itok=4qwWDTrO	[ "https://www.screenslate.com/sites/default/files/2021-10/Al-Pacino-Jerry-Schatzberg-Kitty-Winn-Panic-In-Needle-Park.jpg", "https://www.screenslate.com/sites/default/files/inline-images/Panic-In-Needle-Park-Al-Pacino-Kitty-Winn-Dog.jpg", "https://www.screenslate.com/sites/default/files/inline-images/Jerry-Schatzberg-Adam-Holender-Panic-In-Needle-Park.jpg", "https://www.screenslate.com/sites/default/files/inline-images/Faye-Dunaway-Puzzle-Of-A-Downfall-Child.jpg", "https://www.screenslate.com/sites/default/files/styles/teaser_image/public/2021-06/Projectionist.jpg?itok=9X_-zBZu", "https://www.screenslate.com/sites/default/files/styles/teaser_image/public/2021-09/Panic-In-Needle-Park.jpg?itok=V-wFMZ2e", "https://www.screenslate.com/sites/default/files/styles/teaser_image/public/2021-10/Eyes-Of-Laura-Mars-2.jpg?itok=R9weXkDd", "https://www.screenslate.com/sites/default/files/styles/teaser_image/public/2024-08/01.Some_.Came_.Running.1958.1080p.BluRay.00.38.41.jpg?itok=XMYemn6q", "https://www.screenslate.com/sites/default/files/styles/teaser_image/public/2024-08/image-w1280.jpg?itok=weXP7whS", "https://www.screenslate.com/sites/default/files/styles/teaser_image/public/2024-08/Executioner.jpg?itok=nt1OShH0" ]	[]	[]	[ "" ]	null	[ "A. S. Hamrah", "Carlos Valladares", "Justin LaLiberty", "Screen Slate", "Amalia Ulman" ]	null	Jerry Schatzberg’s second film, The Panic in Needle Park, came out in the summer of 1971 and was immediately both beloved and reviled by audiences and critics. The 20th Century Fox release was a kind of dividing point in the New Hollywood of the time, embraced for the immediacy and truth of its portrait of junkies living in the margins of New York City, congregating at 72nd Street and Broadway during a heroin shortage in the city.	en	/themes/custom/screenslate/favicon.ico	Screen Slate	https://www.screenslate.com/articles/jerry-schatzberg-interview-panic-needle-park-al-pacino	Jerry Schatzberg’s second film, The Panic in Needle Park, came out in the summer of 1971 and was immediately both beloved and reviled by audiences and critics. The 20th Century Fox release was a kind of dividing point in the New Hollywood of the time, embraced for the immediacy and truth of its portrait of junkies living in the margins of New York City, congregating at 72nd Street and Broadway during a heroin shortage in the city. At the same time, some prominent critics in magazines like The New Republic pronounced the film “rotten” and boring, two things no viewer would think of it today. However it was received, there is no doubt that it made Al Pacino a star. His portrayal of Bobby, an eight-time loser, petty thief, and semi-homeless addict, introduced him to the world. Kitty Winn, as Helen, a fledgling artist from Indiana who rejects her upbringing to become Bobby’s girlfriend, a fellow user, and a prostitute, was just as revelatory as Pacino, but her career did not take off the same way. Schatzberg, born in 1927, was a prominent fashion photographer who had made one previous film, 1970’s Puzzle of a Downfall Child, with his then-girlfriend Faye Dunaway in the lead role. Known also as a photographer for Bob Dylan album covers, Schatzberg seems to have gone into directing only reluctantly, which perhaps contributed to his originality and success. He never embraced the rules of conventional filmmaking, ignoring them in pursuit of a higher truth. To mark the film’s 50th anniversary, Film Forum is showing The Panic in Needle Park tonight in a digital restoration [alas, sold out ⁠–ed]. I spoke with Jerry Schatzberg by phone. Our conversation has been edited for length and clarity. A. S. Hamrah: Hey, Jerry. How are you? Congratulations on the 50th anniversary of The Panic in Needle Park. Jerry Schatzberg: Thank you. I'm only 35, so... ASH: It's amazing how that works. I rewatched The Panic in Needle Park last night. It’s such a remarkable film. There are three things that really make it so different. One is the story, which is still so potent and shocking. The other is the acting, and then the New York City locations. Watching it now, everyone and every place is so vivid and grimy and great. Everything is so alive, and it seems so effortless. JS: Well, half of the actors were recommended by Al [Pacino], so how can you go bad that way? These were his pals. These are the guys he used to hang out with. Anytime he could, he'd recommend one of his buddies for a part. ASH: Pacino is so amazing in this film. It must have been such a revelation for people to see him at the time. JS: It's in that period that he did The Godfather (1972). Francis [Ford Coppola] wanted him because Francis had seen him on the stage the same way I had seen him on the stage, and was impressed also. And, I don't remember who did it, was it Fox who did The Godfather? I don't remember, but they didn't want him. Oh no, it was Paramount. And they turned him down. Four times he screen-tested and they turned him down. But Francis knew that I was shooting Panic and he asked if he could get some footage. And I had put together a twenty-minute piece, and I sent it to him, and that's when Al got that part. ASH: Another actor that really impressed me this time was Richard Bright, as Pacino’s brother Hank. He has this truly menacing quality that just seems so real on screen. And his voice is so New York and just sounds evil, but also right and normal for the character. JS: Yeah. He was a good friend of ours and he lived near me. He lived about a block away from me and he was married to the nurse [Ruth Alda] at the beginning of the film. And I told these guys that—I guess there were a number of them that had been addicts—and I said, “I don't want any shooting up. If I find out, I'm liable to just take all your footage and throw it away and get somebody else.” Because I just thought it would become a problem. And I found out after the shoot, he was the only guy that was on drugs in the film, Richard was. He was able to handle it, but I just didn't want to get into a thing where I was dealing with drug addicts. It was bad enough dealing with actors. ASH: The shooting up in the film seems so real. How did you achieve that? There are all those close-ups with the actors themselves, it’s not faked. JS: We just shot up but we didn't shoot up drugs. We just shot up saltwater and things like that, that wouldn't harm them. We talked to a doctor and they said it was okay. Kitty [Winn] was a newcomer, but we had her shoot up also. But we just made sure we were protecting them in whatever way we could. I didn't know how to shoot this thing without showing that. I thought that was so horrendous. That and the dog. Everybody, every time they see the dog: “Oh!” ASH: That's such a terrible thing, a low point for the couple in the film. They go to the men's room together on the ferry to shoot up after they buy a dog on Staten Island. JS: All that attitude, all that behavior, that stuff is real. That's the way they are, how they lived. ASH: The film is shot by this cinematographer, Adam Holender, whose work I don’t know very well, except he shot Midnight Cowboy two years before The Panic in Needle Park. JS: He did four films for me. He was in school with [Roman] Polanski and I got him. I knew that he was here [in New York]. I was friendly with Polanski, and I asked Roman about him. And he said, “He's good guy.” ASH: His cinematography is so perfect for your film. Why did he not shoot more after your stuff? JS: I think he did. You may not know them and the films may not be that good, but no, if you look him up, he's done a number of films. ASH: He worked for Wayne Wang and Paul Auster in the '90s, I know. JS: Yeah. That sounds familiar. What films did he do? ASH: He did Blue in the Face and Smoke (both 1995), which are great New York films, too—especially Blue in the Face, I think. JS: For me he did The Seduction of Joe Tynan (1979), he did Puzzle of a Downfall Child (1970) right before The Panic in Needle Park. I liked his work. And I wanted somebody that I could depend on as a cameraman, because my problem before my first film was how would I be able to behave with the actors? I'd never taken a course in acting. I don't know what they're looking for, or what they want. It was not what I was into and I had started later in life. I did my first film when I was 40. And so I wanted somebody that I could depend on, on the camera. If I said, “Adam, we want this and this and this and this,” I didn't have to sit with him for an hour to explain why and all that. He'd just do it, so well. ASH: You had made Puzzle of a Downfall Child already, but then how did the script for The Panic in Needle Park by Joan Didion and John Gregory Dunne come to you? JS: They sent it to me because I was friendly with Dominick Dunne, who was the producer of the film. He was the brother of John Dunne and they had this script, and I don't know whether they had seen the screening of Puzzle, but they sent me the script and I turned it down. ASH: You turned it down? JS: I turned it down because the lab had scratched the last six minutes of my negative on Puzzle. I was very upset about that. I was new at this, and these kind of accidents were dramas to me, and to anybody who's new in the business. Luckily I made a copy negative, but the quality of the last six minutes was different than the rest of the film. And then when digital came along, we were able to make them the same. Digital helped us equalize the quality. And those things you have to learn, you have to put up with them. Most of us were learning because even the actors were fairly new to it. ASH: Why did this lab accident make you not want to direct another film? JS: Because I was just upset with what they did to my film. In my mind, I was going to do one film. And when I'd look at the end of the film I'd see the difference in quality, because I'm also a photographer, so I knew. It really upset me and it wasn't my fault, it was the lab's fault. Somebody just screwed up. Then when I read their script, and I had a lot of friends who were into drugs, and I didn't really know if I wanted to join that group of people. When I read the Life magazine article their script was based on, it was really a downer. And I had to think it out. ASH: The acting seems so real and natural, I was wondering how much of the screenplay was changed by the actors when you were shooting it, or did you stick closely to what Didion and Dunne had written? JS: No, I didn’t. I learned a lot fast. I had a lot of time to spend with Kitty and Al before we shot, because they weren't doing anything. So we just hung out together as much as we could. My whole thing in my art or whatever it is, is to go for the truth. I'm always looking for something honest, even in my stills. If you look at my stills, even when I'm doing fashion, I'm looking for something that makes it a little more real and a little more honest. And that's what I would count on, and here I had a whole world out there that I could investigate and use. One of my favorite films that I loved was The Battle of Algiers (1966). Do you know that? ASH: I do. JS: That was so real. But when I look at it now, I'm not sure it's as real as I thought it was back then. But for me at the time, that was real. The only drug film I knew at that time was The Man with the Golden Arm (1955). And it was so Hollywood and so corny in so many ways that I couldn't relate to. But Battle of Algiers, I felt, was a real happening. And Adam and I sat and watched it a number of times to see the honesty in it. ASH: The Hollywood film that The Panic in Needle Park reminded me of a little bit was The Days of Wine and Roses (1962). JS: That's because of the alcoholism, and Jack Lemmon was wonderful. A good actor is a good actor. And he was right for that. I probably wouldn’t have had a part for him in my film! ASH: It also kind of reminded me a little bit of Breathless (1960), watching it this time, because the scene near the end is like the scene that ends Breathless. JS: I didn’t get the title. ASH: Oh. Breathless. JS: Breathless? You say Breathless? ASH: Yeah. Breathless. JS: Breathless? With John-Paul Belmondo? ASH: Right. The end— JS: He died, I think this year. And I had met him a couple times in Lyon, when he was getting older. ASH: So your work with the actors did end up changing a lot of the screenplay, the dialogue? JS: Well, that's the way I work. If an actor says something in the script and it doesn't fit the character that has been created, I never change the meaning of what we're saying, but I may change the words because it doesn't fit the character for me. ASH: Some of Pacino's lines are so funny and they just seem so spontaneous: “I just flew in from Jersey City”; “This is UHF, you get everything on here”; “I know someone who shot paregoric and shoe polish.” JS: When I can get it from the actor, it's coming from the characters. They know how to make their character appealing. That's what they do. They create a character, and then you’ve got to stay consistent with it, and people sit in a room and watch it. And they weren't really experienced screenwriters, the Dunnes. They wrote wonderful essays, but they weren't screenwriters. They interviewed Joan Didion once when somebody was doing a documentary on some of my work. The interviewer said, "How did Jerry go for your dialogue?" And she said, "He didn't care for the dialogue, no. He didn't care for any dialogue.” I love that. Because, I think different people see truth in a different way. I looked at Man With the Golden Arm because it was a drug film and my God, it was so corny and Hollywood and that was our big drug film of the time. ASH: That movie was shot entirely on a soundstage on one big set. JS: Yeah. That's Hollywood. ASH: And that was an Otto Preminger film. Wasn't Faye Dunaway under some weird contract with Preminger when you made Puzzle of a Downfall Child? JS: Faye had a contract with him, a six-picture deal. Because when she did her first film, everybody wanted her and somebody else made deals for her. She had to buy her way out of that contract. But I had nothing to do with that. That was before Puzzle. ASH: I see. And that was before Needle Park, of course. JS: Now I don’t know how they will take Needle Park. I hadn't seen it in a while. But things are different now, in people’s lives. ASH: It’s hard to imagine an audience not responding to The Panic in Needle Park in a positive way. But it’s true that was a different New York. How is New York different now compared to then? Are we going back to that? Or is that something that's completely gone? JS: Drugs? ASH: Not just with drugs. The precarity of their lives. JS: The whole world is different. A different world. All of New York is different. New York is more women being part of it, more Blacks and Hispanics. When we live in it all the time, we don't see it. I'm old enough to have lived through different eras and I think of those things, but I'm sure if I were to make the film today, I would change certain things. ASH: That part of New York City is such a wealthy enclave now. JS: Where I shot it—I didn't shoot it actually in Needle Park. Needle Park is where the subway is and I was a block, a block and a half away from that. But I used the buildings around it and I felt it worked there, but today I would involve more women in a different way. ASH: I’m surprised to hear you say that about this particular film. It's a multiethnic film, really, and women are so prominent in it. That is one reason it holds up so well. It’s still relevant because it’s open to all these people smashed together for this one reason. Kitty Winn’s performance is a tour de force, and it was recognized that way at the time. JS: Drug addicts are not your normal people. They get pulled in by a boyfriend or by another girlfriend or something. They don't grow up. As time went on, we saw how many kids in school became drug addicts. Not because of my film! Maybe the article in Life magazine at first and it just became much more popular. When people can make money on it, they're going to publicize it to the degree that people can make more money on it. ASH: It's not exactly a film that makes you want to do heroin, I don't think. JS: No, not my film. I told you that I feared the whole idea of doing drugs. If you're in school and you go home and your mother says or your father says, "No. You can't do that.” They immediately, fifteen-, sixteen-year-olds, want to rebel against that. And they did.
915	yago	3	54	https://www.routemagazine.us/stories/a-conversation-with-andy-garcia	en	A Conversation with Andy Garcia			[ "https://www.facebook.com/tr?id=318173315467036&ev=PageView&noscript=1", "https://www.routemagazine.us/assets/stories/a-conversation-with-andy-garcia/opening-andy-garcia.jpg", "https://www.routemagazine.us/assets/stories/a-conversation-with-andy-garcia/andy-garcia.jpg", "https://www.routemagazine.us/assets/stories/a-conversation-with-andy-garcia/ah-gq-andy-garcia.jpg", "https://www.routemagazine.us/assets/miles-to-go-banner.jpg" ]	[]	[]	[ "" ]	null	[]	null	Andy Garcia known for his iconic roles in The Untouchables, The Godfather, Oceans Eleven among others, talks everything from his childhood in Cuba, his deep convictions, and most of all, his unwavering commitment to family	en			null	You came to America, from Cuba, when you were five. Have you been back since? Well, metaphorically, I did go back to the Guantanamo naval base in, I believe it was ‘93. When I went, there (were) 16,000 rafters, people who tried to leave Cuba by rafts that were picked up, and they had to ... for many years, up until the Clinton administration, if a rafter fleeing was picked up in the Florida straits in the middle of the ocean, or happened to land in Marathon Key or Key West or even in Miami ... They were seeking political asylum and they were taken in and processed and given permission to stay. But Clinton changed that law to what he called a “wet foot dry foot policy,” meaning that if you touched ground, then you were permitted. But if you were caught at sea, technically, they would send you back, which is, you know, sending you back to Cuba. Once you’ve tried to escape, you’re not going to receive a good reception. I know five is quite young, but do you have many memories of when you guys were first settling into Florida? Oh, five and a half. I have memories specifically of Cuba. I remember the day that my mother said we were leaving Cuba. She didn’t say we were leaving for good. You know, she just said we’re going to Miami. It was like a vacation. I remember leaving through the airport. They had a thing called the fish tank, which was basically a Checkpoint Charlie before you left, and you get put in this glass enclosed processing center. The people that were staying could see you go, and then in that processing center, there was the militia. And they would go through all your possessions, you were only allowed to take a bag, and whatever you had on. The Cuban government had betrayed the promise of democracy and declared themselves Marxists and so forth and so on. So, I remember that process, because they would strip you of everything, if you had anything on you that that was of any worth, whether it be a ring or watch. I have a lot of memories of that time — I guess your mind freezes them because there was some kind of a traumatic thing — and of course my time growing up in Miami Beach. I was very fortunate to land there in a predominantly Jewish American community. It was a really great place to land. Before fleeing Cuba, your dad was a lawyer. Did he consider trying to qualify in America? No, he would have [had] to take the bar again. And his English wasn’t very good. He never practiced law again, or farmed. He started doing odd jobs, like many exiles or immigrants to our country. You know, what’s the first job available when you land? Another Cuban exile said, “Well, there’s janitorial work at the Fontainebleau Hotel.” So he said,” Okay, I’ll be there.” And you go from there to another job, to another job, and selling sneakers from the back of a truck. And then [he] eventually [built] a company, a little wholesale company of hosiery, and building that up, and eventually, almost 17 years later, we started in [the] fragrance [industry.] I was working with him and my brother René at the time. And through my father’s contacts we started the fragrance side of the business, and that quickly became very lucrative, [but] my brother is really the one who carried and built that business. I chose, at that moment, when things were taking off, to pursue my life as an actor and move to LA. 10 years later my father passed away. Were you close to your dad? Yes, very much. He was 74 and was ill for a number of years with Myasthenia gravis, but we kept him alive as much as we could. There was no real cure for it at the time. I think now there’s more sustainable drugs for it, but in those days, it was just basically Prednisone, and it’s kind of a double-edged sword. We almost lost him two or three times, but he bounced back. And then eventually his body just gave out on him. I’m sorry to hear that, Andy. It is always very painful to lose a father. Is your mom still with us? Yeah, she is 98 years old! She is a very powerful lady. Is it true that Mickey Rourke was your Little League Baseball coach? Yes. (Laughs) He seems very intense. What was he like as a baseball coach? I would not say intense. I would say eccentric. He’s got kind of an easygoing eccentricity. As you can imagine, Mickey as he is now, that’s the way he was when he was 15. He’d call me slugger, and to this day when he sees me, he still calls me slugger, because I won the batting championship. Believe it or not, I played 647, which is an important number if you know about baseball. So, he would ask some of the kids that would go up before me to crowd the plate and make sure that they got hit by the ball, so that they could get on base, [and] I could come in and knock them [home.] He would have kids sacrifice themselves so they could get on base. (Laughs) You moved to Los Angeles in 1978 to pursue a career in film and TV. That was quite a decision. I only knew one person in LA, Steven Bauer, who was a friend from Florida, and I went and crashed at his house for two weeks, and then I didn’t want to intrude anymore so I found the worst storefront apartment in Los Angeles history, down on the corner of Fountain and Sycamore. It was a storefront apartment with a big living room. It was a studio, so all you had was a living room and a bathroom and a little kitchen, one divided up room. But it had floor to ceiling windows, and it was on the ground floor, so the people who walked on the sidewalk in front of the apartment, I could see their silhouettes at night. I was sleeping on the other side of the curtain, on a mattress on the floor. I just had a mattress, a Naked Crate, a small black and white TV, and my Conga drums. That was it. I just started to see if I could get an agent and figure out what to do to crack this thing. Did it take you long to find one? I sent out like a hundred photographs to all the franchise agents, and I got maybe four or five calls back. And the agents weren’t of any prominence. A couple of them said, “Well, I’ll send you out and see how you do.” And they’d asked me to bring in my resume, and they would stamp their name on [it.] But it was very rare that I got an opportunity to go out and audition. Maybe once, twice, three times a year. In those days, there weren’t a lot of opportunities, because there were only the five studios. There were three networks and then PBS would be a fourth. There was no cable or anything. So, there was a limited amount of work. And especially because my name was Garcia, there was not a lot of call for what they would consider Latin actors. The roles were mostly gang members. And the times that I would go in, they would look at me and say ... in the hallway to audition there were like, real gang members! And I’d go in and they’d go, “No, come on. You look like the diplomat’s son. Get out of here.” Yeah, the opportunities weren’t there. But I stayed in the game. I was doing improvisational theater. I was part of one of the house groups at the Comedy Store and we performed around town and in La Hoya. I was working on my craft, studying, and eventually, little by little, you know, people would see my work and, as time passed, I got a gig on Hill Street Blues. I ended up doing two or three other shows within the course of their seasons. I was able to get an agent who was a little bit better, that kind of thing. When you arrived it was suggested that you work on toning down your accent, did you have a very heavy accent? I did. I went to work with a speech therapist who pointed out where I was and where I needed to get away from. It took a while, but I developed an understanding for it. English is my second language. The city of Miami ... a lot of times you spoke Spanish in those days. Most agents wanted me to change my name, but I just couldn’t. I don’t pass judgment on people who do, I just couldn’t introduce myself as someone other than myself. I just couldn’t do that. Over time you landed a key role in a major film, The Untouchables. That was a major opportunity for you. It was kind of a long journey, though. I did a movie called The Mean Season with Kurt Russell and Mariel Hemingway. There was a role in there for a young Cuban detective who was investigating the case of this serial killer, played beautifully by Richard Jordan. So, I did that movie, and I got some attention. I was in a movie with a character that actually has something to do with the story, not just one scene or a waiter, but someone who’s integral to the narrative of the picture. And I got some attention, and I remember getting a call at the time, and my agent said, “They’re interested in you doing a reoccurring role as part of the new season of Cagney and Lacey?” But in those days, if you wanted to do film, television was kind of taboo. In those days, if you got stuck in that world, you could be there forever. At the time I was making a living doing what we call walla. It’s the groups of people that come in and do all the background voices and all the background sound in a movie for the mix. Like when you have crowd scenes or someone in a ballpark is selling hotdogs, or whatever, the walla groups would dub those voices. I was doing that two or three times a week, and, I was paying the rent well with that. I had a young child and decided to say no, that’s not why I came here. I wanted to roll the dice and see if I could get into another movie. Then shortly thereafter, there was an opportunity to audition for Hal Ashby and Lynn Stalmaster, one of the most important casting directors in the history of our business, for 8 Million Ways to Die. There was a part for the antagonist, and Lynn wouldn’t see me because he had seen me in The Mean Season and thought I was more like a diplomat’s son and they were looking for an urban tough guy. My agent pushed and I went there in character and I got the part. And I got a lot of attention for it. I got some heat, as they used to say. [Afterward,] Lynn was casting for The Untouchables. We got a call from him saying that they were interested in me playing the role of Frank Nitti, who was Capone’s killer. I got the script and I read it and I said, “No, I want to go after the role of George Stone.” I met with De Palma, and he wanted to know why George Stone. It became a whole process. I ended up reading for the part of George Stone and then I got it. I [share] that story because it was not like I was sitting at home and got a call for The Untouchables. It’s all connected. One thing leads to another to another. I mean, prior to all that I was a waiter for many years at the Beverly Hilton Hotel in the banquet room. I worked at the roadway docks loading trucks, 40 foot trucks or stripping them down with Bryan Cranston. I put shingles on roofs ... you do whatever. That is surreal, though, to go from doing whatever to pay the rent and then acting opposite Sean Connery. What was it like to finally meet him and work with him? It was a privilege to be there. That’s why I wanted to play George Stone, because I wanted to work with [Connery.] Sean was ... he was one of my heroes growing up, he was James Bond. That’s who I used to go to the matinees to see the double features of. I’d sit through them twice in the day and spend the entire day in the theater. So, it was a great privilege. And Sean was great, you know, but at the end of the day, you have to be responsible for why you’re there. Once the work starts ... you know, the boards is the great equalizer. If you don’t come prepared to do your thing, and you don’t get your character down, no matter who you are, the people who have their character down are gonna run circles around you. Sean’s ready all the time! I know it’s my responsibility to be ready all the time. So, we met as actors ... I mean, the tremendous amount of respect that I have for him, and I’m pretty laid back when it comes to [letting] the man who needs the focus and the respect have it. But when it’s time to do the work, then it’s time to do the work I’ve read in several places that in 1990, when you were doing Internal Affairs, that you and Richard Gere actually didn’t get along, and that some of the fight scenes were actually based on a lot of the antagonism that you guys had towards each other. Is that true? No, I liked Richard very much. But Richard was just looking after his character and I was looking after mine. So each brought intensity to it? Yeah, that was it, you know. So if [he] pushed a button, I’d have a response. And that just went on every day, as you see [in] the movie. It’s nothing personal to me, it’s nothing personal to Richard, at all. I’m looking after the character, I’m showing up, and I’m ready to go, and if you want to mess with me off book, or you want to improvise, then you also have to understand that there will be a response. That’s the nature of it. I’ve never disliked Richard as a person. We went to dinner. He’s my friend. There’s a different thing about the exploration of the material, and I learned this a lot when I worked with Jeff Bridges, in 8 Million Ways to Die. There was a very antagonistic relationship that we had. But me and Jeff, from day one, we held hands together through the whole process. The first thing that Jeff said to me was, “Hey man, you know, if you see anything I should be doing that’ll help, just let me know, alright?” And I said, “Likewise.” And I think there was so much love and respect for one another, that we became very good friends during the course of this antagonism that we went into it together. So, basically what happens is, the greater the love and respect, and generosity, the deeper you can go into the antagonism. Because you can permit each other to do things that, if you said, “I really don’t like you as a person, I really don’t like you as an actor,” then it stifles the exploration, because you’re not in a creative process together. So, I think that maybe people saw the energy that Richard and I created with one another on the set, or in a rehearsal or something, and they might have said, “Boy, those guys really don’t like each other.” Afterwards you were offered a key role in Godfather III. Were you a fan of the previous films? Oh, I would say that the reason I decided to become an actor was when I saw Godfather I Which is the best of the trilogy? One, because one is number one. And I don’t think there’s ever been a better sequel to a movie than Godfather II. That’s a hard one to pick, but one is one. Were you very nervous about entering such an iconic franchise and being a lead in the film? You know, I felt like I had been preparing for that part all my life. God gave me the stamina and opportunity to fulfill my dream. I was loading trucks [when] they announced that they were going [to] do this movie, and that there was a young part in it, and I thought to myself, that’s my part. That’s my part. But I didn’t have anything to show for that part, nor did I have an agent to submit me for that part, but I got lucky that the thing was delayed for 10 years, and then by the time it came back around, I had done The Untouchables, Dead Again, Black Rain, Internal Affairs. [During] Internal Affairs, Mr. Mancuso Sr. — the father of Frank Mancuso Jr. — was producing the movie, came to the set and said, “What are you doing in September? I want [you to] talk to Francis [Ford Coppola.] I want you to play Vincent.” I told him I’ll check my schedule and get back to him. (Laughs) And then it became a process. It was in May. And it became a process of meeting Francis. I think I met him in August. And then I was the last person to screen test on a Thursday, and I got a call on Saturday that I got the part. Rehearsals started on Monday. I don’t know man, I just ... that was my part. When you were doing the reading for it, did you know that De Niro and Stallone were also lobbying for the role? There were a lot of people, everybody wanted that part, you know? I’m sure Francis tested many actors. Listen, all those actors could play that part. I had met Al many times socially prior through Steven Bauer because they had done Scarface and Steven introduced me. We used to play paddle tennis together and throughout my life I’ve always gotten, “You know, you have a resemblance to Al Pacino? You remind me of Al Pacino.” And I said, “Yeah, I get that a lot.” Sometimes I would get Dustin Hoffman and sometimes I’d get Robert De Niro, you know, because it was like an urban sort. So I knew that physically, I could fit in the family. That’s important. If you don’t have that, then no matter how great of an actor you are, if you don’t fit in the visual frame of reference, then that’s working against you. In my case, that helped. You received an Oscar nod for Godfather III. What was your life like once you found out that you were being nominated? Well, I took my mother and my father to the Oscars, he was in a wheelchair at the time. So, that was amazing. You know, I have nobody in the entertainment business in my family. It’s not like my daughters, who are two actresses and a model. They know the pitfalls, they know what it takes or not to, you know, they understand because they grew up in the industry. I think about what my father’s process was ... it was harder for him. My mother was like, “You have wings, go. If you break a wing and you have to come back to mend it, come back, but you got to go.” My father was [more,] “What are you doing?” I can [imagine] his thought process was like, “He wants to be an actor. I love my son, but he’s not Humphrey Bogart.” They didn’t know that there’s an industry, that there are people around Humphrey Bogart. So, for him to be at the Oscars, that was pretty wild for him. It was kind of completely surreal, you know, for me too, but the onslaught of fame that comes with that kind of thing ... my choice, looking back, was to retreat from it. You know, to not get caught up in the hype of it. I felt that someone was going to chew me up and spit me out, and the next guy would come, you know? So, I tried to keep a low profile, limit the amount of interviews I did, just concentrate on the work. What was the first big purchase you made once you started making some real money? I had already bought a house in Sherman Oaks. So, that was the first thing that we bought when we had the money to invest. And we’re talking about a house, it costs $185,000, which I still have. My daughter’s living in it now. We were raising a family. I already had two kids. Once we were able to garner some investment money, we bought the house that I’m living in now, which you see, so everything was real estate for the family. The only indulgence was my instruments. I bought this little Steinway Upright from the turn of the century, which I have here. And then when I was doing Night Falls on Manhattan, I bought a Steinway B at the Steinway house in New York, you know, a grand piano. I don’t drive Bentley’s around. (Laughs) You and your wife Marivi have been married for almost 40 years. Yeah, we started dating around ‘75 and we got married in ‘82. You proposed to her the same night you met her? Yes. I didn’t have a ring or anything. I said, “Would you marry me?” And she said, “Yes.” So, I mean, that’s about as real as it gets. (Laughs) How did you know so quickly? Oh, I knew, right away. I just saw her. I just knew. You know, everything lined up right away. It was like, Michael Corleone seeing Apollonia. I know there’s no set recipe, but what do you attribute your success and longevity as a couple to? Well, you make a commitment to each other, and we have a commitment to our family and our children. And you live your life in respect to that commitment, and any disagreements or anything, you work them out. It’s kind of like a religious commitment, not that you have to be religious, but it takes that kind of focus. And respect, you need to make sure that you don’t disrespect the family. You have always chosen not to do love scenes. Have you gotten a lot of pushback in your career when you would ask for love scenes to be removed? It’s not my style as a filmmaker even, and it’s not what I would do, even if I was making the movie. So, they have seemed to work around that over the years. And if the movie was too overt, I would just say no. You’re a father to four kids. They’re all pretty much grown. The youngest is 18. Yep, off to college. An empty nest very soon. Yeah. Just when we remodeled the house. (Laughs) Are you looking forward to that? No, I’m not looking forward to it. What lessons have you learned from your father that you apply to being a dad? Work ethic, commitment to the family, unconditional love. Certainly his personality has rubbed off on me, as has my mother’s. You become a sponge. Like a magpie, you gather stuff — as actors, we gather stuff to it to put in our creative nest, you know? And as you grow up, your parents become part of that thing you emulate. Some kids have bad experiences with it and other people rebel from it. I don’t want to be anything like that, you know? In my case, I had nothing to rebel against because they were great role models. You’ve managed to be a relevant leading actor but kept the family together and away from falling into all of the distractions and pitfalls that come with being famous. It’s intentional. I wake up in the morning as a father, I don’t wake up as a celebrity actor. I wake up as a father, my duties as a father are first and foremost, my choices as an actor are first and foremost to provide for my family. Within that, you know, I try to make the creative choices that suit my sensibilities. There’s been many movies that I would have made if I was willing to leave for eight weeks to work and leave my family behind — because the kids were in school — and, you know, I would choose to say, no, I’m not gonna go for eight weeks and leave my [family.] So, there’s been those kind of choices, but it’s okay. It is what it is. So, that’s the commitment. It’s my responsibility to have a positive influence and set a positive example for my kids like my parents did for me. In 2005, you directed a film that was near and dear to your heart called The Lost City. It focused on the turbulent sociopolitical upheaval brought to Cuba by the transition from the dictatorial regime of Batista to the Marxist revolution led by Fidel Castro in the 1950s. It was a great picture and you attracted some Hollywood heavyweights like Bill Murray and Dustin Hoffman. How did that come about? I’ll tell you that story, it’s very funny. We were playing golf in a tournament at Pebble Beach, a program that we hadn’t played in for many years. In this particular year, we were in the same foursome for three days, and Bill said to me, “Hey, you know, we should work together,” and I said, “Bill, I’d be so honored to work with you. In fact, after 16 years of my life, I finally got the money to do this movie about Cuba and the revolution, and there’s a part in it that I couldn’t think of nobody else that could play it. I mean, that’s the part for you and me to do.” And he said, “Send it to me.” So, that was February, and about the last week in March, I was in Florida, I get a call on my cell phone. I go, “Hello?” he says, “Andy Garcia?” I go, “Yes.” He says, “Bill Murray.” And I go, “Hey, Bill, how are you?” “I’m fine. Enough with the small talk. I’ve read your script, it’s one of the most interesting scripts I’ve ever read. No one’s going to see this movie, but I’d like to be in it.” Only Bill Murray can deliver that line. I went on and said, “Well, like you know, Bill, we’re all working for scale. I can only pay your scale. It’s two weeks work.” He said, “Scale. What’s that?” I said, “I think it’s about, like, five grand a week. So, maybe ten grand and 10% for whoever you want here, because you don’t have an agent.” And he said, “Honey, he says there’s two weeks in the Dominican Republic. At scale.” She said, “Do it. He’s a good guy.” And he said, “I’m in,” and he hung up. And then — this shows you how great of a prince he was — we were getting the banking together, so I call him on his 800 number. He has an 800 number? Yeah! And you have to leave a message and maybe he calls you back, maybe he doesn’t. It’s a whole process. And I said, “Bill, you know, you have to sign your contract. Because if not, I can’t close the bank loan. It’s because you’re an essential element now in the movie, you need to have your contract signed.” And he said, “Likely story.” (Laughs) I said, “No, I’m serious, Bill.” He says, “Are you by a fax machine? Send me the signature page and wait.” I send the signature page of this document, and it’s like 30 pages long. And I send it off and I wait five or 10 minutes. And the page comes out with his signature on it. He never read the contract. He’s a prince. He was a prince to me. And we became, what I believe to be, close friends. I love the man. He was brilliant in the film. And then to complete it, Dustin Hoffman, there was a part of Meyer Lansky in the picture. And I said to Dustin at a Laker’s game, “Dustin, I’m doing this film. There’s two days of work as Meyer Lansky, it’s a movie about Cuba. I’d be honored if you would consider it.” We had worked together on Hero. So you know, we had our friendship. “[I’ll be] directing also, but you’d be doing those scenes with me.” And he said, “If I’m available, I’ll do it. Only on one condition.” I go, “What?” He says, “You have to come to my daughter’s wedding.” And I said, “I’m in.” Okay, so we started doing the movie. He’s in, his daughter’s wedding is on a Saturday in Los Angeles. And we’re wrapping on the following Tuesday. He works in the Dominican Republic on Monday and Tuesday. So I wrapped on Friday, track my way down back to LA. I go to the wedding. At the wedding, he says, “You see that gentleman over there? He has a private plane. If we give him a role in the movie, he’ll take us to the Dominican tomorrow.” And I said, “He can play one of your bodyguards.” So he tries to negotiate, but that didn’t work out. So we got on a plane on Sunday, flew back together, you know, commercial. Did work for two days with him and me and Bill, the three of us in the scene. And we wrapped and he said to me at the end, at the wrap party, “I haven’t had as much fun in the movie in a long, long time.” So those are my two heroes in that movie. They came to support the film, and they were two princes.
915	yago	1	36	https://www.facebook.com/photo.php%3Ffbid%3D786082828075418%26id%3D560420593974977%26set%3Da.620023778014658	en	Facebook	https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico	https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico	[ "https://facebook.com/security/hsts-pixel.gif" ]	[]	[]	[ "" ]	null	[]	null	Sieh dir auf Facebook Beiträge, Fotos und vieles mehr an.	de	https://static.xx.fbcdn.net/rsrc.php/yb/r/hLRJ1GG_y0J.ico		https://www.facebook.com/login/
915	yago	1	61	https://nypost.com/2024/03/11/entertainment/michelle-pfeiffer-misses-oscars-reunion-with-scarface-co-star-al-pacino-for-personal-family-reasons-report/	en	Michelle Pfeiffer misses Oscars, reunion with ‘Scarface’ co-star Al Pacino for ‘personal family reasons’: report	https://nypost.com/wp-co…710120398&w=1024	https://nypost.com/wp-co…710120398&w=1024	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6390601&c3=NYPOST&cj=1&cv=3.6&comscorekw=entertainment", "https://nypost.com/wp-content/uploads/sites/2/2023/02/button_3_bg-2.png?w=206", "https://nypost.com/wp-content/uploads/sites/2/2024/03/2074656682.jpg?w=683", "https://nypost.com/wp-content/uploads/sites/2/2024/08/87682687.jpg?quality=75&strip=all&w=171&h=114&crop=1", "https://nypost.com/wp-content/uploads/sites/2/2024/08/liza-minnelli-claims-2022-87142536.jpg?quality=75&strip=all&w=171&h=114&crop=1", "https://nypost.com/wp-content/uploads/sites/2/2024/07/oscar-statue-sparkles-sunlight-red-86444051.jpg?quality=75&strip=all&w=171&h=114&crop=1", "https://nypost.com/wp-content/uploads/sites/2/2024/03/1966753468A.jpg?w=733", "https://nypost.com/wp-content/uploads/sites/2/2024/03/2912394_Al-Pacino-in-Scarface.jpg?w=1024", "https://nypost.com/wp-content/uploads/sites/2/2024/03/25157623_MSDSCAR-EC046.jpg?w=1024", "https://nypost.com/wp-content/uploads/sites/2/2024/08/newspress-collage-uo550dfuq-1724114869654.jpg?quality=75&strip=all&1724100528&w=260&h=174&crop=1", "https://nypost.com/wp-content/uploads/sites/2/2024/08/yacht_2af24e.jpg?quality=75&strip=all&w=260&h=174&crop=1", "https://nypost.com/wp-content/uploads/sites/2/2024/08/Biden_9216fa.jpg?quality=75&strip=all&w=260&h=174&crop=1", "https://nypost.com/wp-content/uploads/sites/2/2024/08/newspress-collage-o74q5ochu-1724129220492.jpg?quality=75&strip=all&1724114831&w=260&h=174&crop=1", "https://nypost.com/wp-content/uploads/sites/2/2020/10/apple-podcast-badge402x.png", "https://pagesix.com/wp-content/uploads/sites/3/2024/08/87999673.jpg?quality=75&strip=all&w=1024", "https://nypost.com/wp-content/uploads/sites/2/2024/03/2074656682.jpg?quality=75&strip=all&w=683", "https://nypost.com/wp-content/uploads/sites/2/2024/03/1966753468A.jpg?quality=75&strip=all&w=733", "https://nypost.com/wp-content/uploads/sites/2/2024/03/2912394_Al-Pacino-in-Scarface.jpg?quality=75&strip=all&w=1024", "https://nypost.com/wp-content/uploads/sites/2/2024/03/25157623_MSDSCAR-EC046.jpg?quality=75&strip=all&w=1024", "https://nypost.com/wp-content/uploads/sites/2/2024/08/new-tom-cruise-katie-suri.jpg?quality=75&strip=all&crop=1&w=341&h=227 1x, https://nypost.com/wp-content/uploads/sites/2/2024/08/new-tom-cruise-katie-suri.jpg?quality=75&strip=all&crop=1&w=682&h=454 2x", "https://nypost.com/wp-content/uploads/sites/2/2024/08/Biden_9216fa.jpg?quality=75&strip=all&crop=1&w=341&h=227 1x, https://nypost.com/wp-content/uploads/sites/2/2024/08/Biden_9216fa.jpg?quality=75&strip=all&crop=1&w=682&h=454 2x", "https://nypost.com/wp-content/mu-plugins/vip-helpers/images/vip-powered-dark-small.png" ]	[]	[]	[ "Entertainment", "al pacino", "hollywood", "michelle pfeiffer", "oscars", "scarface" ]	null	[ "Richard Pollina" ]	2024-03-11T00:00:00	The stage was set for Al Pacino, 83, to appear with Michelle Pfeiffer, 65, to present Best Picture and all signs pointed to a reunion of 1983's smash hit "Scarface," which was released 40 years ago in December 2023.	en	https://nypost.com/wp-co…t/apple-icon.png	New York Post	https://nypost.com/2024/03/11/entertainment/michelle-pfeiffer-misses-oscars-reunion-with-scarface-co-star-al-pacino-for-personal-family-reasons-report/	There were no friends, little or large, joining Tony Montana at the Oscars Sunday night. The stage was set for Al Pacino, 83, to appear with Michelle Pfeiffer, 65, to present Best Picture and all signs pointed to a reunion of 1983’s smash hit “Scarface,” which was released 40 years ago in December 2023. However, audience members were shocked to see the Academy Award-winning actor take the stage solo to present the final award of the evening. Pfeiffer was kept from the ceremony for “personal family reasons” that prevented her from making it to Los Angeles, according to Deadline. The camera did, however, notice one of Pacino’s other notable costars from “The ‘Godfather” franchise and focused on Robert De Niro, cheering him on in the crowd. Without building much suspense, Pacino, who received a standing ovation as he took the stage, did not list any of the the 10 Best Picture nominees before announcing “Oppenheimer” as the winner. The pair had starred as Tony Montana (Pacino), a Cuban refugee turned drug kingpin, and Elvira Hancock (Pfeiffer), his cocaine-addicted girlfriend, in the remake of the 1932 film of the same name. “Scarface,” directed by Brian De Palma, never received any Oscar nominations after its release. Still, over the decades, it has become a cult classic and a must-watch for gangster movie lovers. Originally, Pacino, who made his bones in the industry for his 1972 portrayal of Michael Corleone in “The Godfather,” did not want the actress as his costar when it was announced, as she explained on “The Tonight Show Starring Jimmy Fallon” in 2017. “He didn’t particularly want me for the part,” Pfeiffer claimed. “My last credit before that was ‘Grease 2.’ Can you blame him?” Fortunately, Pfeiffer could show the actor she had the makings of a great actress during a “very long and drawn-out auditioning process.” “I was terrified, and I was really young, and I knew he didn’t want me, and as it went on, the worse I got because I just got so afraid,” Pfeiffer recalled, noting that de Palma, had been “rooting” for her to get the part. Unfortunately, after the initial audition, she was not offered the role. A month later, Pfeiffer said she got a call to come in to perform a screen test, and feeling she had “no shot” of landing the role, it “freed” her up to lay down a stellar performance. “We do the restaurant scene at the end where I, kind of, freak out at the end. I threw dishes, and everything went flying, and I broke things, I was in it,” she recalled. “There was blood everywhere. Everyone comes running over to me, checking me out for blood, where am I cut, they’re not finding anything, there are no cuts on me. I look over and Al is bleeding.” “I cut Al Pacino! … And that’s how I got the part.” Though the film never garnered either Pacino or Pfeiffer any Academy Awards, the 83-year-old did win Best Actor in 1993 for “Scent of a Woman” and has also been nominated nine times throughout his historic career. Pfeiffer has been nominated for three Oscars, with her most recent Best Actress nomination for “Love Field” also coming in 1993.
915	yago	3	78	https://www.thewrap.com/william-friedkin-why-atheist-couldnt-direct-exorcist-84886/	en	Director William Friedkin on Clashes With Pacino, Hackman and Why an Atheist Couldn’t Helm ‘Exorcist’	https://i0.wp.com/www.th…=640%2C334&ssl=1	https://i0.wp.com/www.th…=640%2C334&ssl=1	[ "https://i0.wp.com/www.thewrap.com/wp-content/uploads/files/main_image/exorcist-news.jpg?fit=640%2C334&ssl=1", "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2024/06/EM_06194_COVER_IR_JV4_X.jpg?fit=250%2C300&ssl=1" ]	[]	[]	[ "" ]	null	[ "Brent Lang", "www.facebook.com" ]	2013-04-12T10:16:00+00:00	During a candid conversation about his new memoir, the director of "The French Connection" recounts past conflicts with Al Pacino and Gene Hackman during filming.	en	https://i0.wp.com/www.th…it=32%2C32&ssl=1	TheWrap	https://www.thewrap.com/william-friedkin-why-atheist-couldnt-direct-exorcist-84886/	Few filmmakers have reached the professional heights or the career depths of William Friedkin. In the mid-1970s, he was the toast of the movie business, picking up an Oscar for “The French Connection” and topping box office charts with the blockbuster “The Exorcist.” By the end of the decade, he had washed out in spectacular fashion. “Sorcerer,” his big-budget remake of the French classic “The Wages of Fear,” cost a then unheard of sum of $22 million to make, and grossed roughly half of its production budget. It had the misfortune to hit movie theaters at the same time that “Star Wars” was electrifying audiences and is often cited as an end point in the kind of personal and challenging material that characterized the best of 1970s moviemaking. Friedkin recounts his own Icarus story with candor and grace in his new memoir “The Friedkin Connection,” which hits stores on April 16. The director is engaging company, taking readers through a Hollywood that for a brief moment believed that art and commerce could mix. Also read: William Friedkin’s Misunderstood 1977 ‘Sorcerer’ Getting Re-Release (Exclusive) At the same time, he is unflinching in depicting his own hubris and his struggles to adjust to life off the A-list. To be sure, Friedkin remains active, directing last year’s “Killer Joe” with Matthew McConaughey. He also has managed to direct other near-masterpieces, such as 1985’s galvanizing “To Live and Die in L.A.,” since those heady “Exorcist” days. His story, however, is a reminder that while great talents blaze brilliantly, their flame can be snuffed out quickly. Friedkin spoke with TheWrap about the ups and downs of his life in Hollywood and reflected on the state of the modern movie business. Why do you think ‘The Exorcist’ remains such an iconic horror film? I don’t consider ‘The Exorcist’ a horror film and I never spoke about it as such. It’s based on an actual case that has such incredible mystery and power and not just for people who believe in Catholicism. I was extremely fortunate in the cast, because they became almost inseparable from their roles. Linda Blair, Jason Miller, Ellen Burstyn, who was by no means the studio’s first, second or third or fifth choice, all came together and gelled and were sensational. It’s going to come back theatrically this year. We’ll have the first screening at the Smithsonian and there will be a Blu-ray release with an hour and a half of new extras. Do you think someone who was a religious skeptic could have directed “The Exorcist”? I think somebody who was an avowed atheist should not have directed the film. My personal beliefs are defined as agnostic. I’m someone who believes that the power of God and the soul are unknowable, but that anybody who says there is no God is not being honest about the mystery of fate. I was raised in the Jewish faith, but I strongly believe in the teachings of Jesus. You’re very hard on yourself in your book and you write candidly about your own arrogance and film failures. Was that difficult? When I agreed to do this book, I decided to be as honest as I could within the confines of my memory. I had no notes, so this is a book that was written from memory, although I interviewed a few people I worked with to get their takes on stuff we did together. But I wanted to write the truth as I recalled it, and only remove a lot of the personal and social stuff, so I could write a professional memoir. After an astounding run of early hits like “The Exorcist” and “The French Connection,” your career went off track. Do you think its time for a critical reevaluation of certain films you did that may not have been hits with audiences or reviewers? I really don’t live by what the critics write, although I was aware of the critical reception of all of my films. My own take on the films I’ve made is based on what I achieved versus what I set out to do. Take some of the films failures of their day — “Citizen Kane,” “Vertigo” — most of those films are now considered masterpieces. “Sorcerer,” your 1977 remake of “Wages of Fear,” was such a big flop that it almost ruined your career. What happened? The zeitgeist had changed by the time it came out. It came out at the time of “Star Wars,” and that more than any film that I can recall really captured the zeitgeist. I was offered the opportunity to produce it early, and I didn’t see it, but “Star Wars” went on to change everything we’ve seen since. I don’t think any filmmaker in history has had more of an effect than [George] Lucas. What about “Cruising?” That film was extremely controversial when it came out in 1980 for its depiction of a serial killer praying on gay clubgoers. Were the charges of homophobia fair? “Cruising” came out before the AIDS virus, but at a time that the gay community had made enormous strides. There had been the Stonewall riots a couple of years before. So this was not the best foot forward for the gay rights movement, but I never intended the film to be critical of gays. I just thought the S&M world would make a good backdrop for a murder mystery, but I did not in any way mean for it to reflect the gay lifestyle. I understood at the time that people who were trying to achieve gay rights were not going to appreciate such a tough picture. It’s still very tough, very hard edged and ambiguous. You clashed with the star of the film, Al Pacino. Have you reconciled? I have not seen him a lot. We never moved in the same circles. I wanted Richard Gere for the role. Having seen the film at special screenings, I’ve come to realize [Pacino] is still pretty damn effective in it, but he gave me a rough time for reasons other than the normal actor-director relationship. He wasn’t on time and often didn’t know what we were doing on a particular day. You also struggled with Gene Hackman in “The French Connection.” What was the root of that conflict? I put Gene in a ride around with Eddie Egan [the NYC detective who inspired Hackman’s character] to see how he worked, and Hackman came away with a negative feeling about him that he could not reflect in the movie. He had to play Egan without comment, but he thought he was the worst villain in history, and struggled to play him without judging him. A lot of the way Egan operated in the street disturbed Hackman, because he thought Eddie was a racist. Ultimately, Hackman got it, but I had a strained relationship with Gene. The important thing is he gave a damn good performance even though we had a rocky time of it. You have now adapted two of Tracy Letts’ plays for film, first “Bug” in 2006 and then “Killer Joe” in 2012. What appeals to you about his writing? He is this generation’s Tennessee Williams. He captures a certain region’s way of life and the stuff he writes just comes from somewhere unexpected and completely original. How have films changed since you broke into Hollywood in the 1970s? When I started there was more opportunities to make films about different subject matters and not everything needed to be a blockbuster. Studios knew how to keep costs down, and I don’t think it’s that way today. Now Hollywood throws money at the screen and hopes that will do it. They’re making these expensive tentpole pictures, but the important things like character and story get lost in the shuffle. At the same time, the independent film world has grown, because when I started it was [John] Cassavetes almost out there alone. Have you seen anything lately that gives you hope that there are still filmmakers sensitive to character and story? “End of Watch,” I felt was a very powerful examination of the LAPD and violence. “Compliance,” was…I don’t even know what the hell it was. It was way outside the studio system, but I was impressed at how it was told with clarity and simplicity even though it was about complex themes. “The Call” was a genre film, but it was really very well made and it echoes back to “Psycho” in many ways. There are still good films being made like “Silver Linings Playbook” and “Zero Dark Thirty,” but I have to really reach down.
915	yago	2	22	https://www.goldderby.com/gallery/best-al-pacino-movies-ranked/	en	Al Pacino movies: 25 greatest films ranked worst to best	https://www.goldderby.co…04/Al-Pacino.jpg	https://www.goldderby.co…04/Al-Pacino.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.goldderby.com/wp-content/uploads/2018/04/Al-Pacino.jpg?w=620&h=360&crop=1", "https://www.goldderby.com/wp-content/themes/vip/pmc-goldderby/assets/images/logo-white.png", "https://www.goldderby.com/wp-content/uploads/2018/04/Oceans-Thirteen.jpg?w=300", "https://www.goldderby.com/wp-content/uploads/2018/04/The-Merchant-of-Venice.jpg?w=300", "https://www.goldderby.com/wp-content/uploads/2018/04/Frankie-and-Johnny.jpg?w=300", "https://www.goldderby.com/wp-content/uploads/2018/04/The-Devils-Advocate.jpg?w=300", "https://www.goldderby.com/wp-content/uploads/2018/04/Sea-of-Love.jpg?w=300", "https://www.goldderby.com/wp-content/uploads/2018/04/The-Godfather-Part-III.jpg?w=300", 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"https://www.goldderby.com/wp-content/uploads/2018/10/dlm-profile-photo.jpg?w=450&crop=0px%2C0px%2C400px%2C400px&resize=40%2C40&strip=info", "https://www.goldderby.com/wp-content/uploads/2023/09/Profile-Photo.jpg?w=450&crop=0px%2C3px%2C297px%2C297px&resize=40%2C40&strip=info", "https://www.goldderby.com/wp-content/uploads/2018/10/dlm-profile-photo.jpg?w=450&crop=0px%2C0px%2C400px%2C400px&resize=40%2C40&strip=info", "https://www.goldderby.com/wp-content/uploads/2024/07/IMG_6788_9b19d5.jpeg?w=380&crop=57px%2C0px%2C245px%2C245px&resize=40%2C40&strip=info", "https://www.goldderby.com/wp-content/uploads/2023/09/Profile-Photo.jpg?w=450&crop=0px%2C3px%2C297px%2C297px&resize=40%2C40&strip=info", "https://www.goldderby.com/wp-content/themes/vip/pmc-goldderby/assets/images/mail.png", "https://pixel.quantserve.com/pixel/p-3fYA_jjXdhqZ-.gif" ]	[]	[]	[ "" ]	null	[ "Zach Laws", "Chris Beachum" ]	2024-04-20T00:48:16+00:00	Tour our photo gallery including 'The Godfather,' 'Dog Day Afternoon,' 'Serpico,' 'Heat,' 'Scent of a Woman' and more.	en	https://www.goldderby.co…vicon-1.png?w=32	GoldDerby	https://www.goldderby.com/gallery/best-al-pacino-movies-ranked/	Al Pacino is the Oscar-winning actor who has starred in dozens of classics throughout his nearly 50 year career, from his star-making breakthrough in “The Godfather” (1972) to his late-career triumph in “The Irishman” (2019). Tour through our photo gallery of Pacino’s 25 greatest films, ranked worst to best. Though an acting legend, it took Pacino 20 years and eight nominations to finally cash in his Oscar I.O.U. for “Scent of a Woman” (Best Actor, 1992). Prior to that he competed for “The Godfather” (Best Supporting Actor, 1972), “Serpico” (Best Actor, 1973), “The Godfather, Part II” (Best Actor, 1974), “Dog Day Afternoon” (Best Actor, 1975), “… And Justice for All” (Best Actor, 1979), “Dick Tracy” (Best Supporting Actor, 1990) and “Glengarry Glen Ross” (Best Supporting Actor, 1992), but he didn’t win any of those bids. Surprisingly, his 1992 noms for “Scent of a Woman” and “Glengarry Glen Ross” were followed by a long Academy drought, despite additional critically acclaimed performances in “Heat” (1995), “Donnie Brasco” (1997), “The Insider” (1999) and “Insomnia” (2002). During that time, he became a TV favorite with Emmy-winning turns in “Angels in America” (2003) and “You Don’t Know Jack” (2010), earning an additional bid for “Phil Spector” (2013). That all changed with Martin Scorsese‘s intimate mob epic “The Irishman,” in which he plays bombastic Teamsters leader Jimmy Hoffa. The role brought him his first Oscar nomination in 27 years, plus additional Supporting Actor bids at the Golden Globes, Critics Choice, BAFTA and SAG. As well, Pacino competed against himself that year in SAG Ensemble for both “The Irishman” and Quentin Tarantino‘s “Once Upon a Time in Hollywood.” Not bad for a guy who hadn’t been welcomed back into the academy’s loving arms for nearly three decades. Take a look through our gallery of Pacino’s greatest films, including a few for which he should’ve received Oscar nominations.
915	yago	3	39	https://www.newyorker.com/culture/the-front-row/watching-the-irishman-on-netflix-is-the-best-way-to-see-it	en	Watching “The Irishman” on Netflix Is the Best Way to See It	https://media.newyorker.…-TheIrishman.jpg	https://media.newyorker.…-TheIrishman.jpg	[ "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo.svg", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-header.svg", "https://media.newyorker.com/photos/59097b758b51cf59fc423c61/1:1/w_270%2Cc_limit/undefined", "https://media.newyorker.com/photos/5de57524f99e6400081e5a56/master/w_2560%2Cc_limit/Brody-TheIrishman.jpg", "https://media.newyorker.com/photos/59097b758b51cf59fc423c61/1:1/w_270%2Cc_limit/undefined", "https://media.newyorker.com/photos/5db0e1787508950008b22fcf/4:3/w_480%2Cc_limit/191104_r35262.jpg", "https://media.newyorker.com/photos/5db0e1787508950008b22fcf/4:3/w_480%2Cc_limit/191104_r35262.jpg", "https://media.newyorker.com/photos/5ddd5dc3296fcd000955f9a1/4:3/w_480%2Cc_limit/Movie_Decade_Final-2800x1600-Edit.jpg", "https://media.newyorker.com/photos/5ddd5dc3296fcd000955f9a1/4:3/w_480%2Cc_limit/Movie_Decade_Final-2800x1600-Edit.jpg", "https://dwgyu36up6iuz.cloudfront.net/heru80fdn/image/upload/c_fill%2Cd_placeholder_thescene.jpg%2Cfl_progressive%2Cg_center%2Ch_360%2Cq_80%2Cw_480/v1574288684/thenewyorker_introducing-new-yorker-cartoons-in-augmented-reality.jpg", "https://dwgyu36up6iuz.cloudfront.net/heru80fdn/image/upload/c_fill%2Cd_placeholder_thescene.jpg%2Cfl_progressive%2Cg_center%2Ch_360%2Cq_80%2Cw_480/v1574288684/thenewyorker_introducing-new-yorker-cartoons-in-augmented-reality.jpg", "https://media.newyorker.com/photos/669e77f990aa7bf4bbc7fc06/4:3/w_480%2Cc_limit/undefined", "https://media.newyorker.com/photos/669e77f990aa7bf4bbc7fc06/4:3/w_480%2Cc_limit/undefined", "https://www.newyorker.com/verso/static/the-new-yorker/assets/logo-reverse.svg" ]	[]	[]	[ "movies", "movie reviews", "netflix", "streaming", "martin scorsese", "robert de niro", "al pacino" ]	null	[ "Richard Brody", "Anthony Lane", "Justin Chang", "Condé Nast" ]	2019-12-02T17:03:02.299000-05:00	Richard Brody reviews Martin Scorsese’s “The Irishman,” starring Robert De Niro, Al Pacino, and Joe Pesci, and makes a case for streaming the film at home on Netflix.	en	https://www.newyorker.com/verso/static/the-new-yorker/assets/favicon.ico	The New Yorker	https://www.newyorker.com/culture/the-front-row/watching-the-irishman-on-netflix-is-the-best-way-to-see-it	Having seen it both ways, I can attest that “The Irishman,” which I first experienced on the big screen, at its New York Film Festival première, is even more satisfying, even more thrilling, when viewed at home on Netflix. The reasons for my preference have to do with the specifics of the artistry and the choices of the director, Martin Scorsese, and also with the emotions and ideas that home viewing left me with. “The Irishman” is three and a half hours long, and, watching it at home, I took breaks for reasons other than banal practicalities: I found myself overwhelmed by feelings and thoughts and sheer beauty, and I often stopped the movie to savor the moment, back up a bit, and watch a scene again. Viewed this way, the movie stretched out closer to five hours—a day very well spent. One reason for the pausing and the savoring is the majestic intricacy of the tale’s construction. “The Irishman” is the story of Frank Sheeran (Robert De Niro), who was, around 1950, a Philadelphia-based driver of a refrigerated meat truck for a supermarket chain. While hanging around in a tough-guys’ bar, he got inspired to steal sides of beef in order to ingratiate himself with a local gangster (Bobby Cannavale), and was then recruited by a big-time Mob boss, Russell Bufalino (Joe Pesci), to do strong-arm work. A series of steps and missteps lead Frank to become a hit man (or, in the code of the trade, a “house painter”—think blood on the walls), and then the bodyguard and right-hand man to the labor leader Jimmy Hoffa (Al Pacino), who disappeared in 1975 and hasn’t been seen since (and Frank has something to say about that). The story (from a script by Steven Zaillian) is told in three ingeniously intertwined movements: the elderly Frank’s reminiscences from a nursing home, which give rise to two layers of flashbacks, one centered on a 1975 road trip that he took with Russell, and the other going back to his first meeting with Russell and moving ahead until it catches up with and continues past the 1975 events. “The Irishman,” rather self-evidently, is filled with the subtle and deadly half-tone negotiations and whispered hints on which the bloodily decisive realm of the Mob is formed. The real-life Hoffa (as the movie makes clear) was a major political and cultural figure of the time, the head of the Teamsters union and a crucial player in both gangland politics and the actual practical politics of the day, and the movie’s key through line is the inseparability of those two realms. “The Irishman” is a sociopolitical horror story that views much of modern American history as a continuous crime in motion, in which every level of society—from domestic life through local business through big business through national and international politics—is poisoned by graft and bribery, shady deals and dirty money, threats of violence and its gruesome enactment, and the hard-baked impunity that keeps the entire system running. Yet on a second viewing—and a closeup one—the grim political implications of the story took a back seat to its near-metaphysical ones. Scorsese presents not merely one skein of interlocking scandals but an existential vision of society, the very immoral essence of humankind, looked in the face and wearing suits. “The Irishman” struck me, this time, as the most perversely secular of Scorsese’s religious films (or vice versa), as a mighty fresco of temptation and damnation—and, as such, a companion piece to the best of Scorsese’s later films, “The Wolf of Wall Street,” from 2013. That wild ride, about a financial fraudster’s rise, fall, and scaled-down return, ends with one of the most ingenious scenes in the modern cinema, one that turns the movie’s themes of greed and desire around to implicate the audience, the public at large, in its consuming frenzy. In “The Irishman,” Scorsese does something similar, and he does so by way of a set of gestures that play an exceptional and forcefully significant role in the drama and, above all, by way of a character who, in the sweep of the action, seems diminished by its emphases—yet who, in home viewing, with the power of the proximity to a smaller screen and the power to rewatch, comes devastatingly to the fore. The gesture is silence—specifically, the silent gaze—and the character is Peggy, one of Frank’s four daughters with his first wife, Mary (Aleksa Palladino). Peggy is played as a child by Lucy Gallina and as a teen-ager and an adult by Anna Paquin. Much has been made of the fact that Peggy, who’s prominent throughout the film—and whose ultimate rejection of Frank is a wound that he never gets over—has very few lines of dialogue. That’s certainly true; the question of what purpose Peggy’s (relative) silence serves is something else altogether, and that purpose, that context, and the extraordinary role that Peggy plays in the movie’s thematic web struck me when I watched “The Irishman” at home. What’s more, the spotlighting of Peggy results from crucial artistic choices made by Scorsese that particularly invite and reward the intimacy and the repetition afforded by a home viewing. Early in the film, sometime in the late nineteen-fifties, the young Peggy is at the center of a sequence that scars her for life. After she accidentally made a mess in a corner grocery story, the grocer shoved her. Learning of this, Frank takes Peggy by the hand, brings her to the store, and, so that she can see, pushes the grocer through his own glass door and kicks him in the head and repeatedly stomps on his hand, audibly breaking it—on the sidewalk, in front of Peggy and other passersby who look on in mute horror (and it’s quite certain that their horror will remain mute, because they know what they’d get for snitching). Peggy’s own sense of horror is manifested, soon thereafter, in her aversion to the cagey and calculating Russell, who’s a frequent presence in the Sheeran family (and whose increasingly transparent efforts to ingratiate himself with her grow all the more hopeless). Her sense of principle is displayed in her affinity for Hoffa, who also spends time with the family, and whose public role as a labor leader whose celebrated achievements for Teamsters members (wage increases, pensions, medical benefits) endear him to her (as does his expansive personality). She doesn’t talk much—not in Frank’s presence, and it’s never clear what she has to say when she’s not around him. But it’s pretty clear what she thinks—and, above all, what she knows. Peggy not only knows that her father and his associates are violent monsters; she is a sharp observer, who is present at key moments throughout the film and who detects and discerns—even more than do other gangsters, let alone union officials, politicians, and law-enforcement officers—what’s being planned behind the scenes and what will ultimately be done with deadly and devastating effect. She isn’t just sitting on the sidelines looking frontally but askance at the ruthless and violent people in her midst; she is one of them. No, she’s certainly not violent. But she has the same temperament—the same insight, the same steely clarity of observation, the same acumen—as they do. (There’s a crucial banquet scene that she dominates without saying a word—she solves it visually, as if it were an equation.) Her powerfully penetrating gaze, however, isn’t alone; it’s not in dramatic isolation. Rather, Peggy’s silences are merely the counterpart of other silences. The crucial moments of understanding in “The Irishman,” the crucial bond of trust between the criminals at its center, are moments of silence—and Peggy’s silences are of exactly the same kind, exactly the same caliber, exactly the same level of insight as Frank’s and Russell’s silences, as well as those of other gangsters whose communications must take place in code and in silence for the purpose of legal deniability. (Even the euphemism of “house painting” suggests the deceptions at the story’s core.) Peggy is aware; she is part of the same regime of power—the regime of silence—as Frank and Russell. Hoffa is different—he is the opposite of silent—not only is he a literal speechmaker at the rostrum, he’s a running-off-at-the-mouth talker in private, in one-on-ones and “business” meetings. Peggy isn’t merely enticed by Hoffa’s political rhetoric; she has confidence in him precisely because he’s different—because he’s a talker. Though Frank tells, in a voluble voice-over and an on-camera narration, the story of his life and his, um, work, the crucial moments between Frank and Russell, the ones in which the hit man gets an assignment, are silences. It’s worth watching “The Irishman” for these silences; seen at home, they resound mightily. One of the moments that forges the bond between Frank and Russell involves Frank’s telling of his experiences as a soldier in the Second World War, fighting in Italy; there, too, he explains, a code of silence prevails—and leads to bloody outcomes. The movie’s silent gazes—whether the fearful silence that protects criminals whose retaliation would be devastating, or the loyal silence of criminals protecting each other, or the symbolic silence of criminals communicating with each other—are sublime to observe, and they’re the mark of Cain. Peggy’s silence, too, is a grim and tainted one, which she finally breaks—briefly, decisively, judgmentally, essentially, prosecutorially, and to devastating effect. Her ultimate rejection and repudiation of her father and his world is more than merely practical—it’s a sort of monastic renunciation. Endowed with the same talents, the same smarts, the same audacity as Frank, Peggy chooses the workaday life that he gave up for a life of crime. It’s depicted as a life behind glass, cut off from human contact. It’s as close to a repudiation of society at large as a functioning member of it can pull off. (For a further mark of the existential drama underlying the political, historical, and familial one of “The Irishman,” trace out the obsessive repetition of the line “It’s what it is.”) Scorsese clearly knows the power of these silent gazes—and the essential silence of implacable power. He knows their historical role in the history of cinema, and he brings them to the fore, making sure that they register with the viewer. (The movie’s editor, Thelma Schoonmaker, Scorsese’s longtime collaborator, has brilliantly honed these moments into razor-edged glints.) He does so, above all, in a scene (I won’t spoil the specifics) in which Russell orders Frank into a high-stakes and risky mission. The meeting takes place in a motel restaurant, in an early-morning quiet, and, at the decisive moment, Frank, who is staring intently at Russell, flicks his gaze straight into the camera; he does it again a few moments later. The gesture has the same cataclysmic power as the collective look into the camera of the striving and yearning crowd at the end of “The Wolf of Wall Street,” except that in “The Irishman” it’s not a look of desperate ignorance but of desperate knowledge—and of unfathomable solitude, the closest thing to a spiritual trial of which he’s capable. The telling details that overrun the sweeping narrative of “The Irishman” are all the more conspicuous, all the more thunderous, when watching the movie at home. Scorsese—consciously or not, but nonetheless conspicuously—has composed the film to reward repeated viewings—and, for that matter, to reward the kind of closeup, hands-on intimacy that laptop-watching affords. The movie places enormous weight on visual asides, of a sort that haven’t dominated Scorsese’s previous work. “The Irishman” isn’t a work of television; it’s a feature film, but one that, having been made for a studio that’s mainly in the business of streaming, derives particular benefits from the streaming experience. Only Netflix was willing to spend the money that it took to make “The Irishman” as it needed to be made—namely, with elaborate digital technology applied to De Niro, Pesci, and Pacino, so that they could play roles ranging over decades. (Scorsese is one of the great digital artists of the time; this film, no less than “The Wolf of Wall Street,” depends on digital technology and uses it more audaciously than anyone else does.) The decision does more than make sense; it’s definitive. The movie is populated by actors who, like the protagonists, are marked by the selfsame moments in history, the identical forces, the same tones and moods as the ones that it dramatizes; it turns the movie into a virtual documentary. “The Irishman” is a film of fear, of terror. It’s not merely a fear of the deadly threats of ruthless criminals but, rather, a fear that, by functioning and being shaped by a world dominated by such criminals, we are inescapably sharing in their sin. It’s a movie made by a filmmaker who fears not only for society, not only for humanity—but also for his soul.
915	yago	0	83	https://www.deseret.com/1996/1/27/19221574/pacino-takes-fest-by-storm-with-premiere-of-richard/	en	PACINO TAKES FEST BY STORM WITH PREMIERE OF `RICHARD'	https://www.deseret.com/…485ea&width=1200	https://www.deseret.com/…485ea&width=1200	[ "https://static.themebuilder.aws.arc.pub/deseretnews/1707933931353.svg", "https://www.deseret.com/resizer/v2/KM2ZBAOG5RBR5ERARGHVPAKN3Y.jpg?focal=0%2C0&auth=dd7fbc043dc8eee9b26093d147a94ca0346918046d5294aa07ab45b274ff20ee&width=350&height=196", "https://www.deseret.com/resizer/v2/SNAWEPGH7NBX3L7CNP7FCMWN6E.JPG?focal=0%2C0&auth=c5c16c2a6be76254de22312448a05d246e5580a3f7daabc2499ad2e063dcfd06&width=350&height=196", "https://www.deseret.com/resizer/v2/ESBCAZS7DRE2RJESNBDXWHLFL4.JPG?focal=0%2C0&auth=3e4f6fe953db1230ec7d9a340c3f3e5ede7f2824790d374966d3728ca65d0529&width=350&height=196", "https://www.deseret.com/resizer/v2/MYYW4UPVO5HIJARWXRVSF25PMY.jpg?focal=603%2C123&auth=518853e99a3491edbad8db11bc3b69c45a2ca807a686d5f7de6f3e4d281512b3&width=350&height=196", "https://www.deseret.com/resizer/v2/Q3ZJIDENX5GPLDJ2YAIXATFKCU.jpg?focal=0%2C0&auth=fea91aebe944dc019ed2588e8de9d01b8f09d9b949f6c383e6a9d819a043b2ab&width=350&height=196", "https://www.deseret.com/resizer/v2/5ZSUKOL465H5FBI3Y3KHPT7UMA.jpg?focal=1560%2C950&auth=59f1b1cac4ef089b4c297a4e88e50dee119497986f2e8ebf2409be99a366a698&width=350&height=196", "https://www.deseret.com/resizer/v2/MA7LBX4OFRCRDIJ5ADTJGAF57A.jpg?focal=1490%2C840&auth=5cee181b2cb2f0e4ba09ca1aa64e6e2a5fde031e11a3c907b36666f58a7164fe&width=350&height=196", "https://www.deseret.com/resizer/v2/LAJS467NDNGNFHBUBO6TO4TY6E.jpg?focal=1555%2C820&auth=94a4c5954775a06c7ef4fbc05acf7e10424f89a3af32e86eaf0e1f9d759a1f6b&width=350&height=196", "https://www.deseret.com/resizer/v2/YK37NS2UPFFOHGJUM6AHBIH3XI.jpg?focal=2217%2C377&auth=651f8c0f89515e3661fbd98bbbd2ffbb0b467366312767e5237792df1cd211db&width=350&height=196", "https://www.deseret.com/pf/resources/deseretnews/assets/images/deseret-logo-footer.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/newsletters.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/print.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/ios.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/android.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/marathon.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/twitter.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/facebook.svg?d=161", "https://www.deseret.com/pf/resources/deseretnews/assets/images/icons/instagram.svg?d=161" ]	[]	[]	[ "" ]	null	[ "Deseret News", "Chris Hicks, Movie Critic", "www.deseret.com", "deseret-news" ]	1996-01-27T00:00:00	Al Pacino told the audience at the world premiere of his new documentary, ``Looking for Richard,'' that the film is ``kind of a flier for `Richard III' - now you can go out and read the play, see the movie!'' The film is an attempt by Pacino to bring the work of William Shakespeare to mainstream audiences, and especially young people, he said at a Sundance Film Festival press conference Friday at the Shadow Ridge Hotel.	en	/pf/resources/deseretnews/favicon.png?d=161	Deseret News	https://www.deseret.com/1996/1/27/19221574/pacino-takes-fest-by-storm-with-premiere-of-richard/	Al Pacino told the audience at the world premiere of his new documentary, "Looking for Richard," that the film is "kind of a flier for `Richard III' - now you can go out and read the play, see the movie!" The film is an attempt by Pacino to bring the work of William Shakespeare to mainstream audiences, and especially young people, he said at a Sundance Film Festival press conference Friday at the Shadow Ridge Hotel.The snowfall was heavy and traffic on Main Street at a standstill as Pacino arrived at the Egyptian Theater Thursday night for the first public showing of his directing debut. But the place was packed with an overflow crowd, and those with standby tickets had braved the falling snow in line for 11/2 hours just to see the Oscar-winning actor introduce his film. It's not stretching the metaphor to say that Pacino took the festival by storm. Despite all the movie and TV stars in and around Park City during the previous seven days, it quickly became clear that Pacino was the big draw. He was introduced in the theater by Robert Redford to a blaze of flashes and TV camera lights. "The film that he has made is a model for (the festival's) purpose," Redford said. The official "Centerpiece Premiere" had played the night before, but Pacino's film handily took over as the festival's true centerpiece attraction. Pacino directed, co-produced, co-wrote and stars in "Looking for Richard," a unique documentary that explores his love of Shakespeare. The film features interviews with historians, people on the street and stars who have performed Shakespeare, ranging from Kenneth Branagh to James Earl Jones. There are also in-costume performances of scenes from "Richard III," with Pacino in the title role and a supporting cast that includes Alec Baldwin, Winona Ryder, Aidan Quinn and many others. "I could have picked an easier play for this kind of thing," Pacino said during Friday's press conference, acknowledging that "Richard III" is one of Shakespeare's most complicated and difficult works. "But it was a Shakespeare play that I was familiar with. I'm familiar with several of his plays. I've played Othello, and I've played Julius Caesar and I've played Hamlet," he said. "But I really knew Richard." Pacino said the seed of the film was planted in the late '70s when he toured colleges on the East Coast reading excerpts from plays and poetry to students, followed by question-and-answer sessions. "At every one of the schools, I would mention Shakespeare, that I was going to read some Shakespeare, and I was surprised at how few of the kids had read `Hamlet.' "And I would talk about the play and read an excerpt from it, and I would find that by doing that they would find the equinox of their world to Shakespeare; they would make the jump. "Years later, I was asked to do `Richard III' as a movie, and I just couldn't see myself doing it. Olivier did it. Then I got this idea that would be a way of doing it, and at the same time addressing the thing that happened in the schools." It took 31/2 years for Pacino to finish the film. He made three movies and performed in two plays in the interim. The resulting film, he said, is not really a documentary. "I don't know what it is." But it may be awhile before Pacino goes behind the camera again. "I don't think of myself as a director. I think that if I were to direct again, make a film again, it would probably be something that I'd have to have a strong feeling about in that way. Because I feel that it's a whole way of looking at things, a whole way of perceiving things - and I don't have that." Then, after a pause, he added, "But the good thing about it is the control."
915	yago	2	75	http://www.script-o-rama.com/movie_scripts/l/looking-for-richard-script-transcript.html	en	transcript from the screenplay and/or Al Pacino movie about the making of Richard III			[ "http://c1.statcounter.com/counter.php?sc_project=241274&java=0&invisible=1" ]	[]	[]	[ "Looking For Richard\n\n\n\n script", "Looking For Richard\n\n\n\n transcript", "quotes", "screenplay", "transcript", "movie", "dialogue", "monologue" ]	null	[]	null	Looking For Richard Script taken from a transcript of the screenplay and/or the Al Pacino movie about the making of Richard III				null	Looking For Richard Script - Dialogue Transcript Voila! Finally, the Looking For Richard script is here for all you quotes spouting fans of the Al Pacino movie about the making of Richard III. This script is a transcript that was painstakingly transcribed using the screenplay and/or viewings of Looking For Richard. I know, I know, I still need to get the cast names in there and I'll be eternally tweaking it, so if you have any corrections, feel free to drop me a line. You won't hurt my feelings. Honest. Swing on back to Drew's Script-O-Rama afterwards for more free movie scripts! Looking For Richard Script Our revels now are ended. These our actors, as I foretold you... ... were all spirits and are melted into air... ... into thin air. And, like the baseless fabric of this visión... ... the cloud-capp 'd towers... ... the gorgeous palaces... ... the solemn temples... ... the great globe itself... ... ye all which it inherit... ... shall dissolve... ... and, like this insubstantial pageant faded... ... leave not a wisp behind. We are such stuff as dreams are made on... ... and our little life is rounded with a sleep. Who's gonna say, "Action"? Should I say it, or should you? - You wanna say it? You can say it. - I don't want to. Say it. - You say it. - And action! - How do I look? I can't see anything. Are they out there? This is my entrance. Fuck. I'm actually reading Richard III... ...and I can't get on with it. I've been reading it for six months. You want to do it with your American accent? We're getting $ a day and all the doughnuts we can eat. Shakespeare? What the fuck do you know about Shakespeare? Arise, fair sun... ...and kill the envious moon. Like eager droppings into milk, it doth posset and curd. Some are born great, some achieve greatness... ...and some have greatness thrust upon them. Intelligence is hooked with language. When we speak with no feeling, we get nothing out of our society. We should speak like Shakespeare. We should introduce Shakespeare into the academics. You know why? Because then the kids would have feelings. - That's right. - We have no feelings. That's why it's easy for us to shoot each other. We don't feel for each other, but if we were taught to feel... ...we wouldn't be so violent. Shakespeare helps us? He did more than help us. He instructed us. Hi. You gonna see the play tonight? You're gonna see it, huh? Hello. How much it cost? It's for free. - Okay, I'm going. - Okay. - Thanks a lot. - Your first Shakespeare play? - Yeah. - It'll be interesting. Give it a try. - I saw Hamlet recently. - How did you feel about it? - Did you see it live? It what? - It sucked. - It what? - It sucked. I saw it live. - It sucked? - Yeah. Anything in Shakespeare that made you think it's not close to you... - ...or connected to you in any way? - Yeah, it's boring. A bank in England uses Shakespeare as... Cover my account number. See, it's a hologram. They use it as ID to prove it's a real card. What do you think of Shakespeare? He's a great export. Who's moving in on Shakespeare? The Japanese. Because they're kicking the Americans' ass. And they're all interested in Shakespeare. You know Shakespeare? William Shakespeare? We're peddling him on the streets. I remember our English teacher sent us to see... ...a local college production of King Lear. I went with my girlfriend... ...and after about minutes of these people: They were doing this kind of Shakespearean acting. I just tuned right out. We made out in the back row and left at intermissión. I was brought up in a school... ...where Shakespeare was taught very kind of... ...straightforwardly and dully, to be honest. We read it aloud and it made no sense, because there was no connection made. My own experience... ...was in the fields in Michigan, where I was raised on a farm... ...and an uncle, who was a Northern guy, black Northern guy... ...came out of the field one day and started narrating... ...Antony's speech, the funeral oration. - From Shakespeare's Julius Caesar? - Yeah. We'd heard stuff from the Bible... ...but my first time as a kid, I was hearing... ...great words having great meaning. What brings us to Montreal? To Paris? To London? What takes us into dungeons, to parapets... - To Japan next. - To Japan, maybe, is a quest. It has always been a dream of mine... ... to communicate how I feel about Shakespeare to other people. So I asked my friend Frederic Kimball, who is an actor and a writer... ... and also our colleagues Michael Hadge... ... and James Bulleit, to join me. And by taking this one play, Richard III... ... analyzing it, approaching it from different angles... ... putting on costumes, playing out scenes... ... we could communicate both our passión for it... ... our understanding that we've come to... ... and in doing that... ... communicate a Shakespeare that is about how we feel... ... and how we think today. That's the effort we're gonna give it here. We've done Richard three times. Twice. You did it at the Studio, we've done it in Boston and on Broadway. At least, the head start is that I've done it. You've done it. - But the problem, Frederic... The audience hasn't done it. - They haven't done it. - It's a difficult play. If someone were to ask you about Richard III... ...what would you remember about it? To be honest, I really don't remember that much, if anything at all. Did you know that Richard III had a deformed arm and a deformed back? - No, I didn't. - You didn't know that? The play, Richard III, about the guy with the humpback? - No. - You got me there. Mm-mm. He was a humpback? "A horse. A horse. My kingdom for a horse"? - That comes from Richard III. - It does, yes. I mean, nobody knows who Richard III is. - Nobody. - It's a tough play to get. The relationships between those characters. - Who can keep it straight? - Well, I think the question is... ...what is the understanding? I mean, the understanding is... It's a simply... Can you follow the story line and the plot? We've provided this kind of docudrama-type thing... ...to inform some of the scenes so you know where you are. For instance, there's an early scene with the queen... ... and her brother and her two sons... ... which is outside in an anteroom... ...waiting for the king to call them in because he is inside, sick. The queen is worried. She's afraid the king will die, who is her husband. And when he dies, the only... The only people left to inherit the throne are her two young sons... ...by the king himself. She has two sons by a previous marriage, which are in the scene. And she's afraid that the character I play, Richard III of Gloucester... ...is going to take hold of the situation... ...and somehow manipulate them into thinking... ...that they're, you know... That the kids are... I'm confused just saying it. I can imagine how you must feel... ...hearing me talk. It's confusing. I don't know why we even bother doing this at all. But we'll give it a little try. Let's see what we can come up with. First of all, let's get a smaller... Let's work out of a smaller book than this. This is hard to carry. - Excuse me, but look at this. "Hello?" - I think... "Yes. It's my entrance? Oh, I see." It's good sometimes that you open it, and it is Richard, it's not Hamlet. Sometimes in Shakespeare, there's a tendency... ...to confuse the plays. The first act is about a sick king, and everybody maneuvering... Sure. ...around. I wish that this play... ...could begin... ...on the body... On the sleeping king... ...Edward IV, your brother, in bed. Yeah. And it pans up and you are standing over him, looking at him. Yeah. - Yes, but he's alive, the king is alive. - Yes. I would prefer having him off in the distance. I'd like... - Good. You can watch him. - I'd like to walk... - Frederic? Can you get the other end? - Yeah. I'd like... Hi, how are you? Frederic and I decided to go to The Cloisters... ... a museum that has a medieval setting... ... which is good for us because the play takes place in this period. We thought we'd rehearse in this atmosphere. We're shooting him. We're shooting him. I'll be with you in a minute, if you can just wait for me out there. - So you're here. - Okay. Okay. - And here we are. - Okay. Now, you're Richard's brother, the sick king, and I'm Richard. Okay. Yes. I move this way, and you follow me. - Now... - How exciting to start with "now." You'd wake your audience up, wouldn't you? "Now!" Now... ...is the winter of our discontent... ...made... ...glorious summer... ...by this sun of York. It's a pun. The sun of York is the sun in the sky... ...over the English countryside of York. York is also your family name, and you are one of three sons of York. Let me say it again, then. Now... ...is the winter of our discontent... ...made glorious summer. I said the opening speech from Richard to a group of students... "Our discontent made glorious summer." Anybody know what that means? ...who were interested, because I meant something, didn't know what I meant. "Now is the winter of our discontent." What am I saying? He is referring to their part... To the Wars of the Roses. Before the play Richard III starts... ...we gotta know a little bit about what happened before. What happened is, we've just been through a civil war... ...called the War of the Roses... ...in which the Lancasters and the Yorks clashed. Two rival families, and the Yorks won. They beat the Lancasters, and they're now in power. Richard is a York. My brother Edward is the king now. And my brother Clarence... ...is not the king, and me, I'm not the king. I wanna be the king. It's that simple. Key word, clearly, is... Right from the start, is "discontent." So Richard, in the very opening scene of the play, tells us... ... just how badly he feels about the peacetime worid... ... he finds himself in and what he intends to do about it. Now is the winter of our discontent made glorious summer... ...by this sun of York. And all the clouds that lour'd on our house... ...in the deep bosom of the ocean buried. Part of the trouble is that the Wars of the Roses... ...the wars for the crown, are now over... ...because the crown has been won by the Yorks... ...which means that they can stop fighting. Now are our brows... ...bound with victorious wreaths. Our bruised arms hung up for monuments. Our stern alarum changed to merry meetings. What do they do when the fighting stops? Grim-visaged war... ...hath smooth'd his wrinkled front. And now, instead of mounting barbed steeds... ...to fright the souls of fearful adversaries, he capers... ...nimbly in a lady's chamber... ...to the lascivious pleasings of a lute. And you see lovemaking... ...and relations with the other gender... ...as what you translate your male aggressions into. But Richard III has a little problem here. But I... ...that am not shaped for sportive tricks... ...nor made to court... ...an amorous looking-glass. I, that am curtail'd of this fair proportion... ...cheated of feature by dissembling nature, deformed. - Deformed. - He was a hunchback. Deformed. Deformed. Unfinish'd... ...sent before my time into this breathing worid... ...scarce half made up... ...and that so lamely and unfashionable... ...that dogs bark at me as I halt by them. Why, I, in this weak piping time of peace... ...have no delight to pass away the time... ...unless to see my shadow in the sun... ...and descant upon mine own deformity. Shakespeare has exaggerated his deformity... ...in order to body forth dramatically... ...visually, metaphorically... ...the corruption of his mind. Therefore... ...since I cannot prove a lover... ...to entertain these fair well-spoken days... ...I am determined to prove a villain... ...and to hate the idle pleasures of these days. Richard's always saying: "Here's the situation and what I'll do. Watch this." Then he does it. Then they leave, he says: "Wasn't that good, or what? Did you see? This is fun." Plots have I laid... ...inductions dangerous... ...to set my brother Clarence and the king... ...in deadly hate the one against the other. And if King Edward be as true... ...and just as I am subtle, false and treacherous... ...this day should Clarence be mew'd up... ...about a prophecy... ...that says that G of Edward's heirs the murderer shall be. It's, "This day should Clarence be mew'd up... ...about a prophecy which says that G of Edward's heirs." - Right. - By "G," what does that mean? - Yes? - Clarence... George, Duke of Clarence. - His first name is really George. - Whose first name? Clarence's. That's why he's called "G." Yeah. I suggest you change it to "C." "This day should Clarence be mew'd up about a prophecy which says that... ...C of Edward's heirs the murderer shall be." C of Edward's heirs the murderer shall be. Dive, thoughts, down to my soul. Here Clarence comes. Cut. What we gotta do, what we should do, is get actors in here... ...not audition them, just get them in... ... and let them just sit around, just see and read. We'll have different people read different roles. Hopefully somehow... ...the role and the actor will merge. The actor will find the role. An actor will read one part... ... another actor reads another. Hopefully, the casting will get done. Who 's got Dorset? Who's got Dorset? How about Lord Grey? Richard will read Dorset. - He's gonna do Buckingham. - I thought Jim would do it. - He's doing Catesby. - What do I read? Dorset and Grey are the same people. Dorset and Grey are the same...? Yes. You two guys better sit on each other. We used two actors in the same part. It'll take us four weeks of rehearsal to figure out what parts we're playing. In more modern plays, we feel that we understand it. It's there for us. But in Shakespeare, you have an entire company on the stage... ...good actors not knowing where they're going. Where they are! As Americans, what is that...? That thing... ...that gets between us and Shakespeare? That makes some of our best actors just stop when it comes to Shakespeare? The problem with being an American in Shakespeare... ...is you approach it reverentially. We have a feeling, I think... ...of inferiority to the way it has been done by the British. I think Americans have been made to feel inhibited... ... because they've been told so long by their critics... ... by their scholars and commentators... ... that they cannot do Shakespeare. Therefore they think they can't, and you become totally self-conscious. American actors are not self-conscious. But they are when it comes to Shakespeare. Because they've been told they can't do it, and they foolishly believed that. Perhaps they don't go to picture galleries and read books as much as we do. I think it's the effect of how everyone looked and behaved... ...that one got a sort of Elizabethan feeling of period. Experienced classical actors... ...have a few things that they can use at a moment's notice. The understanding of iambic pentameter, for one thing. Everybody says, "lambic pentameter." What is that supposed to mean? Some say there are no rules. I say there are rules... ...like the iambic pentameter, that must be learned... ...and can be rejected once learned. "Pentameter" means "meter," and "pen," meaning "five." So there's five beats. Which, at its worst, sounds only like: "Why, so. Now have I done a good day's work." De-da de-da de-da de-da de-da. And iambic is where the accent goes. That's de-tum de-tum de-tum de-tum. And five of them: Da-da da-da da-da da-da da-da. Make a pentameter line, five iambs. An iamb is like an anteater. Very high in the back and very short, little front legs. Da-da! Shakespeare's poetry and his iambics... ...floated and descended through the pentameter of the soul. And it's the soul, the spirit of real, concrete people going through hell... ...and sometimes moments of great... ...achievement and joy. That is the pentameter you must focus on... ...and should you find that reality... ... all the iambics will fall into place. Dive, thoughts, down to my soul. Here Clarence comes. Brother, good day. What means this armed guard that waits upon your grace? His majesty tendering my safety, hath appointed this conduct... ...to convey me to the Tower. - Upon what cause? - Because my name is George. Clarence... ...what is the matter? May I know? Yea, Richard, as I know. But I protest as yet I do not. But, as I can learn... ...he hearkens after prophecies and dreams. And from the cross-row plucks the letter G. And says a wizard told him that by G... ...his children disinherited should be. And, for my name of George begins with G, it follows in his thought that I am he. These, as I learn, and such like toys as these... ...have moved his highness to commit me now. Why, so it is, when men are ruled by women. 'Tis not the king that sends you to the Tower, Clarence. 'Tis my Lady Grey his wife, 'tis she that tempts him to this extremity. We are not safe, Clarence. We are not safe. Now, if Richard's brother Edward was king, right? And then he dies... ...Clarence, his other brother, is next in line. No, the kids were next in line. After the king's kids came Clarence. So Richard figures, "I get rid of Clarence, then work out getting rid of the kids." Meantime, this deep disgrace in brotherhood... ...touches me... ...deeper than you can imagine. - I know it pleaseth neither of us well. - Your imprisonment shall not be long. I will deliver you, else lie for you. Meantime, have patience. - It's time, my lord. - I must perforce. - Must. - Farewell. It looks like Richard's plan is really starting to work. He got the king to put Clarence in the Tower... ... by poisoning the king's mind against him. So now he's got one brother locked up, the other brother, who 's king, is sick. So he's in good shape. He can move around. He can maneuver. He's got room. Go... ...tread the path thou shalt ne'er return. Simple, plain Clarence! I do love thee so... ...that I shall shortly send thy soul to heaven. Prisoner approaching. Prisoner Hastings exeunt. Who is this? The new-deliver'd Hastings? - Good time of day unto my gracious lord! - As much unto my good lord Hastings. Well are you welcome to this open air. How hath your lordship brook'd imprisonment? With patience, noble lord, as prisoners must. You can do something from Shakespeare... ...think that you're feeling it or whatever. Mm-hm. You love it. You think you're communicating it. And the person you said it to has not understood a word you said. You can't believe they didn't. "Thoust" and, you know... ...just the way it's worded, that confuses the people of, you know... ...this time period. Shakespeare used a lot of fancy words. You know? And it's hard to understand, to grasp them. They're not fancy words. That's where we get confused. But they're poetry. It's hard to grab hold of some rap slang too. It's hard to get hold of it until your ear gets tuned. You have to tune up. In a contemporary play, someone says: "Hey, you. Go over there, get that thing and bring it to me." That would be the line. Shakespeare says it: "Be Mercury, set feathers to thy heels... ...and fly like thought from them to me again." The King is weak and sickly... - ...and his physicians fear him mightily. - By Saint John, that news is bad indeed. O, he hath kept an evil diet long. You shouldn't have to understand every single word. Why? Do you understand every...? I mean, it's not important. It doesn 't matter. As long as you get the gist of it. Just trust it. You'll get it. And if he were dead... ...what would betide on me? No other harm but loss of such a lord. The loss of such a lord includes all harm. They're trying to soothe her because she is an hysteric. - She is way out of control. - But does that weaken... ...the reality of what's happening? It strengthens the incompetence of others... But why should they be incompetent? - Why make them weaker? - Because they went to Ludlow... ...with little train and got their heads cut off. But then it's no great deed on his part if you make them weak. They're not weak. They're not weak... ...nor do I think that they're stupid. I think... By diminishing their importance, you diminish his actions. - It's bound to happen. - It's a very human, familial thing to say: "Calm down. It will be all right." But underneath it... ...they know what the scoop is, and I keep throwing back at them: "Stop! You know damn well what's going on." And that's why I'm hysterical. You know it. If he dies, that's it. - Let's start the scene. - Have patience, madam. There's no doubt his majesty will soon recover his accustom'd health. In that you brook it ill, it makes him worse. Therefore, for God's sake, entertain good comfort. And cheer his grace with quick and merry... And that's the way you want me to behave, is that it? If he were dead, what would betide on me? No other harm, Mother, but loss of such a lord. The loss of such a lord... ...includes all harm. The heavens have bless'd you with a goodly son... - ...to be your comforter when he's gone. - Ah, he is young. His minority is put into the trust of Richard Gloucester. A man that loves not me... ...nor none of you. We gotta come up with ideas, direction. - We need a plan. - We've got to start writing prefaces... ...or, like, a list that says, "Today we'll do these scenes. I want you to talk about Lady Anne and what happens to her." How are you? How you doing? How do you feel about Shakespeare? This feels good. That's good. - William Shakespeare? - William Shakespeare, right. - Do you like him? - Of course. Did you ever see Shakespeare? - I never studied. - You've never seen? Never seen the show, but you still like him? Sometimes I see something good on TV. - Oh, TV. - I like it. But Shakespeare, you don't see? No. - That's too bad. - There's no Shakespeare on TV. No. Perfectly fine. Sometimes it comes on. "To be or not to be. That is the question," right? - Right. - That is the question. They do me wrong, and I will not endure it. I fear our happiness is at its height. Who is it that complains unto the king... ...that I, forsooth, am stern, and love them not? Because I cannot flatter... ...Iook fair, smile in men's faces... ...deceive, cog, duck with French nods and apish courtesy... ...I must be held a rancorous enemy. The worid they live in... ...the worid they exist in is privy to these kinds of... - Is internecine family quarrel. - That's right. They are clawing at each other for the throne. Brother Gloucester, we know your meaning. You envy my advancement and my friends'. God grant we may never have need of you! Meantime, God grants that I have need of you. Our brother is imprison'd by your means... ...myself disgraced... ...the nobility of the house held in contempt... ...while great promotions are daily given to ennoble those... ...that scarce, some two days since, were worth a noble. By Him that raised me to this careful height... ...from that contented hap which I enjoy'd... ...I never did incense his majesty against the Duke of Clarence. You're gonna say you are not the mean of my Lord Hastings' late imprisonment? You see? Richard's stirring the pot. The king is dying, so he's fearful and paranoid... ... and sending people to jail. This is a situation Richard loves. He can use the fear... ... the turmoil to his advantage. He knows they hate each other. He'll use their hatred to manipulate them. You know, to divide, then conquer. My Lord of Gloucester, I have too long borne... ...these blunt upbraidings and these bitter scoffs. By heaven, I will acquaint his majesty of these gross taunts. - I'd rather be a country servant... - What! Threat you me with telling of the king? Tell him, and spare not. Let me put it in your minds, if you forget... ...what you are ere this, and what you are. Withal, what I have been, and what I am. A murderous villain, and so still thou art. Well, it is a complicated play too. All those relationships and the wives, the Queen Margaret stuff is difficult. Hear me, you wrangling pirates, that fall out... ...in sharing that which you have pill'd from me! Margaret was the queen before the war. She was a Lancaster, and she was dethroned by the Yorks. She's a ghost of the past, haunting the Yorks with her curses. A husband and a son... Don't you think she rants and raves around the castle like this a lot? No! No? I don't think so. I think she just comes in this day... ...because it's a crisis time. She feels it. Give way, dull clouds, to my quick curses! It's primordial. She brings that kind of music into this experience. Poor painted queen. The day will come that thou shalt wish for me to help thee... ...curse this poisonous bunchback'd toad. Reading this play, as I take word by word... ...everything she says happens. Beware of yonder dog! Look. Have not to do with him, beware of him. Sin, death, and hell have set their marks on him... ...and all their messengers await on him. Thou hateful wither'd hag, have done thy charm. And leave out thee? Stay, dog, for thou shalt hear me. The worm of conscience still begnaw thy soul. Thou elvish-mark'd, abortive, rooting hog. Live each of you the subjects to his hate... ...and he to yours, and all of you to God's! We don't say a word. We let her go. The music... Literally, I mean the music... ... and the thoughts and the concepts... ... and the feelings have not been divorced from the words. In England, you've had centuries in which word has been totally divorced... ...from truth, and that's a problem for us actors. If we think words are things and have no feelings in words... ...then we say things to each other that mean nothing. But if we felt what we said, we'd say less and mean more. Spare some change? It'd be interesting to see where he... - Is that possibly...? - Where Shakespeare was born. I think that's Shakespeare up there in the window. Knock first. Knock, Frederic. Hello. Frederic, you've... Okay. - Where was William Shakespeare born? - There's the bed of birth. - You gotta be kidding. - I wouldn't kid about a thing like that. It's too late. It's a very, very small bed. I was expecting to have an epiphany... ...an outpouring of the soul upon seeing... - Go out and come in again. - Where he was born. If you're really an actor, you can come back and have an epiphany. I did. - Only... - Did you have one? - I did not see it. - I'm not showing it. It's an inner one. We're not alone. - Every once in a while... - There's a fire truck out there. - I think we tripped an alarm. - We should pause and think... You talked too loud and it set off an alarm. Fire alarm. I got the fire officer. We set it off. - There's a fireman. Oh, yes. - Hello. Unfortunately, the sensor head is here. There. That's going to be the problem. Yeah? What is it? Is it...? That's a real bummer. We come miles to see where he was born... It's the greatest period in British arts. This extraordinary development and maturing and death of drama. In years, Shakespeare's over. You have our greatest drama. And Shakespeare learns incredibly fast. Already, in this very early play, he's thinking about people as actors... ...and about the stage. And the imagination as a bit of life. Hey, Jimmy? How's the sandwich? We're gonna bite the bullet and do Act of the play. What we said was, we're gonna shoot Richard's death... - ...and murder of Clarence, and that's it. - No, the king makes peace. What are you saying? We got an end of a movie to shoot. "My horse..." "A horse. A horse. My kingdom for a horse." Fellas, the cops are here. Police say we need a permit. You said you'd take care of things. What, I need...? Why do I need a permit? We have to give up a meal like this? You have to go, guys. You have to go. Hope you like turkey. So, we are gonna get... ...a young Lady Anne. I want somebody very young. Very young. How young? As young as you can get... ...and be able to do Shakespeare and understand the scenes. Someone young enough to believe... ...in Richard's rap. The problem is, we need someone who can speak the part... ...which is why you always have an older actress... - ...because it takes maturity. - You know, we don't need... The problem of projecting the role... ...because it's a film, so we won't have the need for the actor to project. - We need a film actress. - Great, great. Someone like... We'll think of someone. Well... I will marry the beautiful Lady Anne. What though I kill'd her husband and his father? The readiest way to make the wench amends... ...is to become her husband and her father. This language is the language of thoughts. To do this in the theater, you must speak loud. There are very few actors who can speak loud and still be truthful. That's the actor's problem. Every actor knows the quieter he is, the closer he can be to himself. When you play Shakespeare... ...in close-up, in a film... ...and have a mike and can really speak the verse... ... as quietly as this, you are not going against the nature of verse. You're going in the right direction because you're allowing the verse... ...to be a man speaking his inner worid. Set down... ...set down your honourable load... ...if honour may be shrouded in a hearse. Was ever woman in this humour woo'd? Was ever woman in this humour won? I'll have her. I'll have her. But I will not keep her long. He says he'll have her... ...but he will not keep her long. You're asking why he wants her? Well, I think it's clear, he's out to get this girl. To take her... ...in her heart's extremest hate. He's killed her husband in the civil war. Tears in her eyes! And murdered her father-in-law. The bleeding witness of my hatred by. He's out to get her. To win her! Ha. I pour the helpless balm of my poor eyes. Her mourning is genuine because she loved... She goes out on the street, and is it an accident that she meets Richard... ...the man who killed this man and her husband? Is it not possible that if...? Did she have any idea... ...that if she went out with a corpse... ...making stops...? You don't like that? Does anybody have a better thing than Frederic on this? You just said that we didn't answer the question... ...that what was... Did that upset you? No. Then what did you say? You said you were gonna find a scholar... ...who'd speak directly into the camera and explain... ...what really happened with Richard and Anne. And I am telling you that that is absolutely ridiculous. You know more about Richard III... ...than any fucking scholar at Columbia or Harvard. - Fred. - This is ridiculous! You are making this documentary to show that actors... ...truly are the possessors of a tradition... ...the proud inheritors of the understanding of Shakespeare. Then you turn around and say, "I'm gonna get a scholar to explain it." - This is ridiculous! - I hereby knight you, Frederic. - Ph.D. - Ph.D. Of the realm. - Oh, God. Ridiculous. - No, but the point is this, Frederic. A person has an opinion. It's only an opinion. - It's never a question of right or wrong. - There's no right or wrong. It's an opinion. And a scholar has a right to an opinion as any of us. But why does he get to speak directly to the camera? I don't really know why he needed to marry her, historically. I simply don't know. Um, it's... Stay, you that bear the corse. Set it down. Villains, set down the corse. Or, by Saint Paul, I'll make a corse of him that disobeys. My lord, stand back, and let the coffin pass. Unmanner'd dog! Stand thou, when I command. Advance thy halbert... ...higher than my breast, or, by Saint Paul, I'll strike thee to my foot. Spurn upon thee, beggar, for thy boldness. Richard needs Anne... ... because he wants to be king. So he needs a queen. Anne is perfect for the job. Also, she needs protection. Because she was on the losing side of the War of the Roses. She's young, she has no husband. Basically, she has no future. For Richard, she's someone who 'd represent... ... the other side, the Lancasters coming to his side. It says to the public that Anne has forgiven him for killing her husband... ... therefore exonerating him from his crime. And thou unfit for any place but hell. Yes, one place else... ...if you'll hear me name it. Some dungeon. Your bed-chamber. I'll have her. Gentle Lady Anne... ...to leave this keen encounter of our wits... ...and to fall something into a slower method... ...was not the causer of the timeless deaths of these two men... ...Henry and Edward, as blameful as the executioner? Thou was the cause, and the accursed effect. Thy beauty was the cause of that effect. Thy beauty. That did haunt me in my sleep... ...to undertake the death of all the worid... ...that I might live one hour in your sweet bosom. Teach not thy lip such scorn. It was made for kissing, lady... ...not for such contempt. If thy revengeful heart cannot forgive... ...Io, here. Here... ...I lend thee this sharp-pointed dagger. If thou wish to hide in this true breast. And let forth the soul that adoreth thee... ...I lay it naked to the deadly stroke... ...and I humbly beg the death upon my knee. Nay, do not pause. For I did kill King Henry... ...but 'twas thy beauty that provoked me. Nay, now dispatch. 'Twas I stabbed Edward... ...but 'twas thy heavenly face that set me on. Take up the sword again, or take up me. Though I wish thy death, I will not be thy executioner. Bid me kill myself. I will do it. - I have already. - That was in thy rage. Speak it again... ...and, even with the word, this hand... ...which, for thy love, did kill thy love... ...will, for thy love, kill a far truer love. - I would I knew thy heart. - My heart is figured in my tongue. Well, put up your sword. Say, then, my peace is made. That shalt thou know hereafter. Shall I live in hope? All men, I hope, live so. Vouchsafe to wear this ring. To take is not to give. Look, how my ring encompasseth thy finger. Even so... ...thy breast encloseth my poor heart. Wear both of them... ...for both of them are thine. Leave these sad designs... ...to him that hath most cause to be a mourner. With all of my heart... ...and much it joys me too, to see you have become so penitent. Ha! - Tressel and Berkeley. - Yes, madam. Go along with me. Bid me farewell. Since you teach me how to flatter you... ...imagine that I will say farewell again. Was ever woman in this humour woo'd? Was ever woman in this humour won? I'll have her. But I will not keep her long! - We'll never finish this movie. - It's got to be what it is. How much more will we shoot? It's a movie about a play. We're making a documentary about making Shakespeare accessible to people. Those people, the people in the street. They're not gonna get Richard III. I can't even get it, it's too complicated. Then why is it Shakespeare's most popular play? - Wait, what did you say? - Who says it's popular? It is! It's performed more than Hamlet. So what? I run before my horse to market. Clarence still lives and breathes. Edward still reigns. When they are gone... ...then must I count my gains. But, soft! Here come my executioners. Are you going to dispatch this thing? We are, my lord. Come to have the warrant... ...that we may be admitted to where he is. Well thought upon. I have it here about me. But, sirs, be sudden in your execution. Do not hear him plead. For Clarence is well-spoken... ...and may move your hearts to pity if you mark him. Be assured we go to use our hands... ...not our tongues. I like you, lads. About your business straight. We will, my noble lord. Go, go, dispatch. Here's a place for the Clarence scene. Just get Clarence very tight... ...in here, and you have all of the dead pigeon feathers... ...and the guano and the texture... ...of the wall. Just imagine you're close in. It doesn't work. It's not just the pigeon stuff. It doesn't work. It has no sense of... - What are you...? When...? - No enclosure. Frederic, it's pointless. For God's sakes, it's a prison. - We need a place... ...where Clarence is being held prisoner. It's gotta be a... It's a prison. Aha. See the tower? It's going to be in the chamber... ...where the bell ringing unit is. It's a really beautiful space. It's got this shaft of white light coming down from the top. That's where we'd place that. This is nice. Nice light. Shall we stab him as he sleeps? No. He'll say it was done cowardly, when he wakes. He shall never wake until the great judgment-day. Faith, certain dregs of conscience are here within me. Remember our reward, when the deed is done. - Come, he dies. - Where's thy conscience now? In the Duke of Gloucester's purse. When he opens his purse to give us thy reward... - ...thy conscience flies out. - 'Tis no matter. - Few or none entertain it. - What if it come to thee again? I'll not meddle with it. It makes a man a coward. A man cannot steal, but it accuseth him. A man cannot lie, but it cheques him. A man cannot lie with his neighbor's wife... ...but it detects him. And any man that means to live well... ...endeavors to trust to himself and live without it. Come... ...shall we fall to work? While this is going on with Clarence, his brother is in the castle... ... trying to make peace. They've been summoned for the atonement meeting. That's why everybody is in the castle. The making peace. The king's family are in incredible conflict. He dares not die until he knows they won't pull the whole thing apart... ...as soon as he's dead. I every day expect an embassage from my Redeemer to redeem me hence. The king wants this peace to happen because he wants to make sure... ... that after he's gone his children will continue the reign. He and his wife must hope... ...that they will. We know that you have another agenda. Strike! No, we'll reason with him first. Where art thou, keeper? Give me a cup of wine. You shall have wine enough, my lord... ...anon. In God's name, what art thou? A man... ...as you are. - But not, as I am, royal. - Nor you, as we are, loyal. Who sent you hither? Wherefore do you come? To... To... - To murder me? - Ay. Ay. Wherein, my friends, have I offended you? Offended us you have not... ...but the king. I shall be reconciled to him again. Never, my lord. Therefore... ...prepare to die. Hastings. Rivers, take each other's hand. Dissemble not your hatred... ...swear your love. So prosper I... ...as I swear perfect love! And so swear I. Madam, yourself is not exempt from this. Wife, love Lord Hastings... ...let him kiss your hand. There, Hastings. I never more shall remember our former hatred... ...so thrive I and mine. Do they really believe all this? Do they really believe it when you say, "Take their hand"? It's a vow. A solemn vow. In this time, that's a solemn thing. Only people who want to go to hell would make vows and not keep them. If you are hired for meed... ...go back again, and I will send you to my brother Richard... ...who shall reward you better for my life... ...than Edward will for tidings of my death. Come, you deceive yourself. 'Tis he that sends us to destroy you here. It cannot be... ...for he bewept my fortune... ... and swore, with sobs, that he would labor my delivery. Touches me deeper than you can imagine. So he doth... ...when he delivers you from this earth's thraldom to the joys of heaven. Make peace with God... ...for you must die, my lord. Have you that holy feeling in your soul... ...to counsel me to make my peace with God? And are you yet to your own souls... ...so blind, that you wilt war with God by murdering me? O sirs... ...consider, those that set you on to do this deed... ...will hate you for the deed. What shall we do? Relent... ...and save your souls. Relent! No. 'Tis cowardly and womanish. Not to relent is brutish... ...savage... ...devilish. My friend... ...I spy some pity in thy looks. O, if thine eye be not a flatterer, come thou on my side, and entreat for me... ...as you would beg, were you in my distress. A begging prince what beggar pities not? Look behind you, my lord. Is Clarence dead? The order was reversed. But he, poor man, by your first order died. Have I a tongue to doom my brother's death? My brother killed no man. His fault was thought... ...and yet his punishment was bitter death. Who sued to me for him? Who kneel'd at my feet, and in my wrath, bid me be advised? Who spoke of brotherhood? Who spoke of love? The proudest of you all... ...have been beholding to him in his life. Yet not one of you would once beg for his life. O God, I fear thy justice will take hold on me, and you... ...and mine, and yours for this! Come, Hastings, help me to my closet. What is it in theater? Why do we want to do it? We want to do theater because of that personal presence. West Germany gave a billion dollars a year to the arts. I gave up a TV movie in France to do Richard III in Milwaukee. I was talking to my teacher, and she said, "You will benefit." Kevin Costner did that TV show. - You lost out. Look at his career. - He's afraid to do Shakespeare. No, he's in the other room practicing. The Anointed Shakespeare. "Annotated." It's got beautiful pictures. It's got beautiful pictures. That's what I like about Shakespeare, the pictures. He's dead. Okay. Okay. Well, what are we gonna do? - Okay. - I like it. What next? What do you mean, you like it? What time is it? : . What are they doing, do you know? Freddie said something about burying the king. Is that in the play? Here it goes. This is it. This is the crunch. Now we can say Richard is the most powerful man at this point... ...alive. All of us have cause to wail the dimming of our shining star. The crisis is... ...are they going to live by the words that they spoke to the king... ... or are they not? Is the peace going to hold? I hope the king made peace with all of us... ...and that compact is firm and true in me. - And so in me. - And so say I. Then go we to determine... ...who they shall be that shall post to Ludlow. Who is going to go to Ludlow to get the young prince... ...and bring him back to be king? Who 's gonna do it? And Buckingham says, "Whoever does do it... ...we go along too." Whoever journeys to the Prince, let not us two stay at home. Buckingham decides politically to align himself with Richard. He does everything for him in order to... ...help him, obviously wanting to help himself. When I am king... ...claim thou of me the earidom of Hereford... ...and the moveables whereof the king my brother was possess'd. Buckingham is like the secretary of state. Like the guys who did the Iran-Contra stuff, the dirty work. - Mm-hm. - Propped up the king. Without Buckingham, there's no Richard as king. - Right. He couldn't do it alone. - Mm-hm. But then, they never can. Shakespeare saw Richard Gloucester and Buckingham as gangsters. They were thugs. High-class, upper-class thugs. There's been no influence here, has there? No influence. What is thy news? Lord Rivers and Lord Grey are sent to Pomfret... ... and with them Sir Thomas Vaughan... ... prisoners. Who hath committed them? The mighty dukes Gloucester and Buckingham. You're a pretty smart guy. I can see it. I see the ruin of my house. Insulting tyranny begins to jet upon the innocent and aweless throne. I can see it... ...as in a map, the end of all. Now, Richard and Buckingham have betrayed everybody. They lied. They went to Ludlow to pick up this prince. They were supposed to be peaceful. They forced him out from under his uncle's arms... ...and they've stolen this kid. They're bringing him back. What they have really got there is the throne of England... ...in their arms. The future. They've got it. Now is the winter of our discontent... ... made glorious summer... ... by this sun of York. Welcome... ...to London. This is the first chance since s... ...to see the Globe Theatre. This is where Shakespeare... ...wrote his plays, where he acted. - Shakespeare owned it. So this is the spot? If you stand in the middle of it, what happens? It's like a sounding board, like a resonating chamber. - You can hear the wonderful acoustics. - I hear it already. Now is the winter of our discontent... ...made glorious summer... ...by this sun of York. And all the clouds that lour'd on our house... ...in the deep bosom of the ocean... - Hi. Are you working on this? - I am. I've been recording it since . - You've been recording this since ? - Yeah. The whole shebang. - Really? - And who is this? This is the son of one of the builders. Welcome, sweet prince, to London. My thoughts' sovereign. The weary way hath made you melancholy. - I want more uncles here to welcome me. - Sweet prince... ...those uncles which you want were dangerous. Your grace attended to their sugar'd words... ...but look'd not on the poison of their hearts. God keep you from such false friends! God keep me from false friends! But they were none. The mayor of London comes to greet you. Okay, now they got the kids. They got the young prince who 'll be king. - They got his brother. - Richard has a happy family. Yeah. Somebody's gotta go. Will't please you pass along? Myself and Buckingham entreat your mother to come... ...and welcome you at the Tower. What, will you go unto the Tower, my lord? - What should you fear at the Tower? - Nothing. Why has he put them in the Tower? He's going to kill them. The Tower is where they execute... They chop people's heads off. There are many rooms up there. So it can also go for meetings and different places. But there is one specific spot up there... ...where they... They do the... You know, do the thing. The one person who is in line is a child. What a wonderful opportunity for all of us to get what we want. - Of course. - I'll basically be running the country. One person 's standing in their way: Lord Hastings. Hastings loves this kid, the prince. He really wants him to be the next king. Though the kid's in the Tower, he believes he will be. He's tough. Tough Guy Hastings. He was the former king's closest friend. They even shared a mistress. Mistress Shore. Who is she? She's Shakespeare's device to connect Hastings and the king. - They share the same woman. - Good idea. Hastings is a great threat to Richard and Buckingham. He can stop them, so they have to stop him. What shall we do... ...if we perceive Lord Hastings will not yield to our complots? Chop off his head. What are you talking about, Richard? You mean Richard wear the crown? I think it's the only way. - Think about it. - Let me tell you something. I'll have this crown... ...this crown ripped off... ...and shoved into a cow's belly... ...before I would allow that scum to defile the crown... ...by putting it on his head. The text is only a means of expressing what's behind the text. If you get obsessed with the text... This is a barrier to American actors... ...who get obsessed with the British way of regarding a text. That isn't what matters. What matters is that you have to penetrate... ...into what, at every moment, it's about. So at this point, Hastings does not take the threat of Richard seriously? Absolutely not. Anything can go on. You think that this guy...? So now we've got Stanley. Lord Stanley. He's a friend of Hastings and he's trying to convince him... ... they should get out of the country because Richard's planning a takeover. Some treachery, at the council meeting... ... to pick the prince's coronation date. My noble lords. The cause why we are met is, to determine of the coronation. In God's name, speak. When is the royal day? - Is all things ready for the royal time? - It is, and wants but nomination. To-morrow, then, I judge a happy day. Tomorrow has been prepared as a great feast day... ...of coronation and requires only that we at this table say yes. We think we have been brought together just to rubber-stamp the prince. It's a fait accompli, the prince will be king. They're just there to pick the date. Who knows Richard's mind in all this? Who is the most inward with the noble duke? On the duke's behalf I'll give my voice... ...which, I presume, he'll take in gentle part. In happy time, here comes the gentle duke. My noble lords and cousins all, good morrow. I have been long a sleeper. But I trust... ...my absence doth neglect no design, which might have been concluded. Had you not come, my lord... ...William Lord Hastings had pronounced your part... I mean, your voice... ...for crowning of the king. Than no man might be bolder. His lordship knows me well, and loves me well. My lord of Ely! When last I was in Holborn... ...I saw good strawberries in your garden there... ...I do beseech you send for some of them. Marry, and will, my lord. Cousin of Buckingham, a word with you. Remember we talked the other day about a gathering of dons, in a way. There's a lot of suspición in this room. I think there's a danger to be in this room. All of us in one spot. And it's like somebody says, "Just wait here, I'll be back." Or, you know, "Wait in this room..." And it's been like, "What's going on?" It's simple. They have to cut out Hastings... ... and only Richard has the power to do it. He's royal, a York, but he must move fast. It's his last chance to stop Hastings from making the prince king. They'll suck in Hastings using his mistress, Jane Shore, as bait. Provoke him to say the wrong thing. Then everyone has to make a choice, either Richard or Hastings. Where is my lord, the Duke of Gloucester? I have sent for these strawberries. His grace looks cheerfully and smooth this morning. There's some conceit or other likes him well... ...with that he bids good morrow with such spirit. There's never a man in Christendom can lesser hide his love or hate than he. For by his face straight shall you know his heart. What of his heart perceive you by any livelihood he show'd to-day? Marry, that with no man here he is offended. For, if he were, you'd seen it in his looks. I pray you all... ...tell me what they deserve... ...that do conspire my death... ...with devilish plots of damned witchcraft... ...and that have prevail'd upon my body... ...with their hellish charms? The tender love I bear your grace, my lord, makes me most forward... ...in this princely presence to doom the offenders, whosoe'er they be. I say, my lord, they have deserved death. Then be your eyes the witness of their ill. Look... ...how I am bewitch'd. Behold mine arm... ...like a blasted sapling, wither'd up. And this is Edward's wife... ...that monstrous witch... ...consorted with the harlot strumpet Shore... ...that by their witchcraft... ...thus have marked me. - If they have done this deed... - If! If... ...thou protector of this damned strumpet... Talkest thou to me of "ifs"? Off with his head! Now, by Saint Paul... ...I swear, I will not dine until I see the same. Lovel and Ratcliffe, look that it be done. The rest, that love me... ...rise and follow me. Stan... Stanley! Stan... Woe for England! Not a whit for me. For I, too fond, might have prevented this. Come, dispatch. 'Tis bootless to exclaim. Bloody Richard! Hastings was the fly in the ointment. The path is clear for Buckingham and Richard. They got the inner circle. They've intimidated all the dukes and earis. So now... ... all that's left is winning the people. Every time there's an election in this country, whether for mayor... ... president or city council... ...the fact is people are tired of the way it's been and want a change. How now, how now, what say the citizens? Now, by the holy mother of our Lord, the citizens are mum. I expected them to be boisterous, and that they would come and rally. - Did they so? - No... ...so God help me, they spake not a word. But, like dumb statues, stared each other on, and look'd deadly pale. And did they so? No! What, are you deaf? I'm saying, whatever their reaction... - ...we had this plan. - We still had it. So they're being told... ... that here, right before your eyes, is the man who will make it better. And, see... ...a book of prayer in his hand, true ornaments... ...to know a holy man. Irony is really only hypocrisy with style. Here again, we love Richard's irony, in a way. We know he's as hard as nails, that he's only pretending to be religious. They canvass like politicians. Complete with lies and innuendo... ... they manage... ... to malign this young prince, who is the rightful heir to the throne. And they know it. Infer the bastardy of Edward's children. And they say he was a bastard... ... that his father was a bastard. It's an act, and these people buy it. It's a complete lie. We heartily solicit you... ...to take on the kingly government of this your land... ...not as protector, steward, substitute, or lowly factor for another's gain. But as successively from blood to blood... ...your right of birth, your empery, your own. Since you will buckle fortune on my back... ...to bear her burden, whether I will or no... ...I must have patience to endure the load. Long live Richard, England's worthy king! Long live King Richard! In the midst of these noble concepts, these treaties and diplomatic pacts... ...he was saying the truth beneath all this... ...is absolutely the opposite. The truth is that those in power... ...have total contempt for everything they promise... ...everything they pledge. And that's what Shakespeare's great play is about. The reason why Shakespeare is really important... ...is because, in the Talmudic theme... I've taken Lady Macbeth and put her in a rock 'n' roll context. She's singing the blues. Which is really a yin-yang or Chinese. Hamlet's like every kid who's freaked out... ...his mother, his father... The way to truly live is to hold both points of view at the same time. I have them singing the blues, doing the beat. But an American audience gets intimidated. They hear "Hamlet." They hear "Shakespeare." You must get me out of this. Get me out of this documentary. This idea was a bad idea. It's gone too far. - Take you away from all this? - I wanna go. I wanna... I want to be the king. I want to be king, Frederic. Make me king. Long live Richard, England's worthy king! Long live Richard, England's worthy king! As soon as he gets what he wants, Lady Anne, the crown... - ...then the whole thing... - The emptiness of it. - Cousin of Buckingham! - My gracious sovereign? Give me thy hand. Thus high, by thy advice and thy assistance... ...is King Richard... ...seated. But shall we wear these glories for a day? Or shall they last... ...and we rejoice in them? Still they live and for ever may they last! Buckingham... ...now do I play the touch. Young Edward lives. Think now what I would speak. Say on, my loving lord. Shall I be plain? I wish the bastards... ...dead. Why is it necessary now to kill them? You're king. What difference...? - It's... - But as long as they live. What sayest thou now? Speak suddenly. Be brief. Your grace may do his pleasure. Thou art all ice... ...thy kindness freezeth. Everybody may have a price... ...but for a lot of people, there is a fundamental decency. It takes a long time for them to reach that point. The action of the play, the sense of exciting movement... ...is Richard's finding out the point beyond which people won't go. Say, then that I have thy consent... ...that they shall die? It's an interesting question... ...about where Buckingham is... How far he's willing to go, where he's willing to draw the line. It's as if everything Buckingham does in the play... ...somehow manages to keep the blood off his hands. Give me some little breath, some pause, dear my lord... ...before I speak positively in this. I shall resolve you herein presently. The king is angry. None are for me... ...that look into me with considerate eyes. He is bound to be left alone... ...because nobody can love the king... ...beyond the degree of their own egoism or their own goodness. There will be a point. He has reached Buckingham's point. That deep-revolving... ...witty Buckingham... ...shall no longer be neighbor to my counsels. What? Hath he held out with me so long, untired... ...stops he now for breath? Well... ...so be it. When he went away, did he agree to do it, or was he gonna say: "I can't, but give me what you promised"? I think he's come back and says: "Okay. We have to do it, let's bite the bullet. Let's do it." But he's too late. My Lord, I have consider'd in my mind the late request... - ...that you did sound me in. - Well, let that rest. - Dorset is fled to Richmond. - I hear the news, my lord. Stanley. Yes, my sovereign? Richmond is your wife's son... ...Iook to it. My lord... ...I claim the gift... ...my due of promise... ...which your honor and your faith is pawn'd. The earidom of Hereford and moveables which you promised I shall possess. Stanley... ...look to your wife. If she convey letters to Richmond, you shall answer it. What says your highness to my high request? I do remember me, Henry the Sixth did prophesy... ...when Richmond was just a little boy that Richmond would be king. Perhaps. - Perhaps... - My lord! The earidom... Richmond! When last I was in Exeter... ...the mayor in courtesy show'd me the castle there... ...and call'd it Rougemont. At which name I started, because a bard of Ireland told me once... ...that I should not live long after I saw Richmond. - My Lord! - Ay, what's o'clock? I am thus bold to put your grace in mind of what you promised me. Ay, but what's o'clock? Upon the stroke of ten. - Let it strike. - Why let it strike? Because... ...that, like a Jack... ...thou keep'st the stroke, tick-tock... ...betwixt your begging... ...and my meditation. Tick-tock. I am not... ...in the giving vein to-day. May it please your grace... ...to resolve me in my suit? Thou troublest me. I am not... ...in the vein. Thou dost scorn me for my gentle counsel? And soothe the devil that I warn thee from? O, but remember this another day... ...when he shall split thy very heart with sorrow... ...and say poor Margaret... ...was a prophetess! And thus be it so? Repays me my deep service with such contempt... ...made I him king for this? O, let me think on Hastings, and be gone... ...to Brecknock... ...while my fearful head is on! You stand on brittle ground. Will it last, or will someone next week say: "Hey, they got a bum rap. Let's push the case of the kids"? The kids have got to go. Is thy name Tyrell? James Tyrell... ...and your most obedient subject. Darest thou resolve to kill a friend of mine? Please you. But I had rather kill two enemies. Thou hast it. Two deep enemies, foes to my rest and sweet sleep's disturbers... ...are they that I would have thee deal upon. Tyrell... ...I mean those bastards in the Tower. Let me have open means to come to them... ...and soon I'll rid you from the fear of them. Say it is done... ...and I will love thee, and prefer thee for it. I will dispatch it straight. I am so far in blood... ...that sin will pluck on sin. Tear-falling pity dwells not in this eye. Any production of Richard III, the last act dribbles out for me. - I'm gone. - For me, the last act... ... Richard is the most accessible because it's clear... ...that Richard has attained this power now. He's king and he's on the decline because as soon as he becomes king... ...they come at him from all sides. Richmond is attacking. This guy, Richmond, his family were the losers... ... in the War of the Roses. He had fled to France and was there raising an army... ... to get the throne back for the house of Lancaster. My gracious sovereign... ...now in Devonshire, as I by friends am well advertised. In Kent the Guildfords are in arms. Every hour more competitors flock to the rebels. Their power grows strong. Sir Thomas Lovel and Lord Marquis Dorset... - ...in Yorkshire are in arms. - Out, ye owls! Nothing but songs of death? Take thou that, till thou brings better news. He suspects everyone around him. He has no friends. I'm listening, I'm listening. Fellows in arms... ...and my most loving friends. Thus far into the bowels of land we march'd without impediment. And here receive we from our father Stanley... ...lines of fair comfort and encouragement. Ah... The wretched, bloody, and usurping boar... ... that spoil'd your summer fields and fruitful vines... ...this foul swine is now even in the centre of this isle. Every man's conscience is a thousand men... ...to fight against this guilty homicide. Then, in God's name, march. True hope is swift, and flies with swallow's wings. Kings it makes gods, and meaner creatures kings. - Well. - Am I dying? That's what I want to know. Am I dying? When are we gonna kill Richard? - I have a worse question. - Excuse me? I have a feeling... ...that your Richard will have earned his death... ...and we should think about a way to do it. Close... Close... Close the door. You're . . Put it under the tongue. Then it doesn't click. If I'm . then you're a Shakespearean actor. "On the nd of August, a battle was fought for the crown of England. A short battle, ending in a decisive victory. In that field, a crowned king, manfully fighting in the middle of his enemies... ...was slain and brought to his death." Here, pitch our tent, here... ...even here in Bosworth field. What is fascinating when you come to the last act... ...to the Battle of Bosworth, the battle itself goes for very little... ...apart from, "My horse. My horse. Kingdom for a horse." To me, the battle is really the ghost scene. The ghost scene is the battle. Richard is visited in his sleep by the ghosts of the people he's murdered. Give me another horse. Bind up my wounds. Give me another horse! Frederic and I decided to go to the actual theater... ... where Richard III was performed some years ago... ... and this ghost scene was acted on the stage here, in London. We thought we'd rehearse and see if we could get a sense... ... of those old spirits. Method acting-type stuff. I've always had trouble with this speech. It's good when an actor has trouble with a speech... ...and goes and tries to do it. I've heard you talking about Richard as a man who cannot find love. A person who finally, in the last scenes, knows... ... that he does not have his own humanity, that he's lost it. Tormenting dreams! He has let the pursuit of power totally corrupt him... ... and is alienated from his own body... ... and his own self. Dream on, of bloody deeds and death. Where are my children? - Toad! - Despair. Despairing. Death. - Give me another horse. - Where is thy brother, Clarence? Get me a horse! Get me a horse! Yet thou didst kill my children. - Despair. And die. - Bind up my wounds. Bloody Richard! Soft! I did but dream. Soft! I did but dream. O coward conscience... ...how dost thou afflict me! The lights burn blue. It is now... ...dead midnight. Cold fearful drops stand on my trembling flesh. Richard. Richard. What do I fear? Myself? There is none else by. Is there a murderer here? No. Yes, I am. Then fly! From myself? No. No. I love myself. Alas... ...I hate myself... ...for hateful deeds. Guilty. Guilty. Committed by myself. Guilty. I am a villain. I am a villain. Yet I lie. I am not. Fool, of thyself speak well. Fool... ...do not flatter. I shall despair. There is no creature loves me. When I die... ...no soul shall pity me. Wherefore should they... ...since that I myself... ...find in myself... ...no pity to myself? - My lord! - Who is there? Ratcliffe, my lord. 'Tis I. Well, get out of here. I'm working. - You got it. - Let's try it one more time. Catesby, my lord. 'Tis I. - Catesby. - The early village-cock... ...hath twice done salutation to the morn. Your friends are up... - ...and buckle on their armor. - Catesby. I've had a fearful dream. Catesby, I fear... Nay, nay, good my lord... ...be not afraid of shadows. By the apostle Paul, shadows to-night... ...have struck more terror in the soul of Richard... ...than can the substance of soldiers armed to proof... ...and led by shallow Richmond. Come, come with me. The silent hours steal on, and flaky darkness breaks within the east. Stanley, look to your wife. If she convey letters to Richmond, you shall answer. Prepare thy battle early in the morning... ...and put thy fortune to the test of bloody strokes and mortal-staring war. You have to give a speech in half an hour. - Maybe we should... - No, I got the general... ...gist of it. Got the gist of it. O Thou... ...whose captain I account myself... ...Iook on my forces with a gracious eye. Put in their hands thy bruising irons of wrath... ...that they may crush down with a heavy fall... ...the usurping helmets of our adversaries! What shall I say more than I have inferr'd? Remember whom you are to deal withal. A sort of vagabonds, rascals, and runaways... ...a scum of Bretons, and base lackey peasants... ...whom their o'er-cloyed country vomits forth... ...to desperate adventures and assured destruction. Make us thy ministers of chastisement. You sleeping safe, they bring to you unrest. You having lands, and blest with beauteous wives... ...they will restrain the one, distain the other. And who doth lead them but a paltry fellow? To thee I do commend my watchful soul... ...ere I let fall the windows of mine eyes. A milk-sop... ...one that never in his life felt so much cold as over shoes in snow? O, defend me still! Let's whip these stragglers o'er the seas again. Lash hence these overweening rags of France... ...these famish'd beggars, weary of their lives. If we be conquer'd... ...let men conquer us... ...not these bastard Bretons. Shall these enjoy our lands? Lie with our wives? Ravish our daughters? Hark! I hear their drum. Fight, gentlemen of England! Fight, bold yoemen! Draw, archers... ...draw your arrows to the head! Spur your proud horses hard, and ride in blood. Amaze the welkin with your broken staves! My horse! My horse! And in a bloody battle end thy days! Despair, and die! They withdraw. See? They're deserting him. A horse! A horse! My kingdom for a horse! Withdraw, my lord, withdraw... Slave, I set my life upon a cast, I'll stand the hazard of the die. There be six Richmonds in the field. - Five have I slain to-day. - My lord! Although he's frightfully clever... ... he is, at the same time, like a kind of boar... ... who has subsumed into himself all these frightful animal images... ... and all that the rest have got to do is to hunt the boar. And that's what they do, and they get him. A horse! A horse! My kingdom... ...for a horse! He's a hearty dude, and in the end, he's surrounded and he just goes... He'll give up anything for a horse. He's rich, a king, and he needs a horse. My kingdom for a horse. - I didn't mean it. - I love you, Frederic. I didn't mean it. I didn't mean it. He didn 't mean it. You kill me, after all I did for you. - Richard's dead. - Richard's... At last we can rest. God and your arms be praised, victorious friends, the day is ours... - ...the bloody dog is dead. - Dead! - Is this it? - I hope so. Are we done? This is it? If I told him about the rolls of film, he'd want to use it. I love the silence. I love the silence. After silence, what else is there? What's the line? - "The rest is silence." - Silences. Whatever I'm saying, I know Shakespeare said it. Our revels now are ended. These our actors, as I foretold you... ... were all spirits and are melted into air... ... into thin air. And, like the baseless fabric of this visión... ... the cloud-capp 'd towers... ... the gorgeous palaces... ... the solemn temples... ... ye all which it inherit... ... shall dissolve... ... and, like this insubstantial pageant faded... ... leave not a wisp behind. We are such stuff as dreams are made on... ... and our little life is rounded with a sleep. Special help by SergeiK
5407	dbpedia	2	7	https://alchetron.com/Simone-Kennedy-Doornbos	en	Simone Kennedy Doornbos	https://alchetron.com/cd…c-resize-750.jpg	https://alchetron.com/cd…c-resize-750.jpg	[ "https://alchetron.com/cdn/private_file_1517239952900eaa7af56-1e91-4a1f-99a7-83a80c00bac.jpg", "https://alchetron.com/cdn/simone-kennedy-doornbos-a3851eba-4db8-4d3f-b815-fddbe37945c-resize-750.jpg", "https://alchetron.com/cdn/simone-kennedy-doornbos-17698f80-41de-46f0-9eee-fac59f45c06-resize-750.jpg" ]	[]	[]	[ "" ]	null	[]	2017-08-18T08:30:48+00:00	S.J. (Simone) KennedyDoornbos (born 19 December 1970 in Kampen) is a Dutch politician of the ChristianUnion (ChristenUnie). She is also a tour operator and former translator. KennedyDoornbos has been a member of the municipal council of Amersfoort since April 2006, succeeding Hans van Daalen who h	en	/favicon.ico	Alchetron.com	https://alchetron.com/Simone-Kennedy-Doornbos	Local political activities Kennedy-Doornbos has been a member of the municipal council of Amersfoort since April 2006, succeeding Hans van Daalen who had become an alderman. In January 2011 she succeeded Menno Tigelaar as ChristianUnion fraction leader, who had also been chosen as an alderman. She focuses on matters of finance, economics, culture, mass media, tourism and the Bergkwartier, Leusderkwartier, Liendert and Rustenburg quarters. In the past she was list puller for the Reformed Political League (Gereformeerd Politiek Verbond) in the municipal election of 1994 of the city of Amsterdam. National political activities She has been a member of the trustee of the ChristianUnion think tank since 2004 and was participating in the ChristianUnion election manifesto committee for the general election of 2006 and the general election of 2010. In May 2011 she was a high-ranked candidate for the Senate election, but just missed a seat. Other activities Kennedy-Doornbos studied biology at the University of Amsterdam. From 1994 to 2003 she lived in the United States, where she worked at an American travel agency called Eurotrail and as a translator at the A. C. Van Raalte Institute of Hope College. Since her return to the Netherlands she is working on a freelance basis for Eurotrail. Personal life She is married to American historian James Kennedy, a Dutch history professor at the University of Amsterdam, and like her husband belongs to the Reformed Churches in the Netherlands (Liberated). Awards Dutch councillor of the year 2009
5407	dbpedia	1	58	https://ybogdanov.github.io/history-timeline/	en	Map of Contemporaries	https://ybogdanov.github…mg/og-image2.jpg	https://ybogdanov.github…mg/og-image2.jpg	[ "https://camo.githubusercontent.com/365986a132ccd6a44c23a9169022c0b5c890c387/68747470733a2f2f73332e616d617a6f6e6177732e636f6d2f6769746875622f726962626f6e732f666f726b6d655f72696768745f7265645f6161303030302e706e67" ]	[]	[]	[ "" ]	null	[]	null	The history of the world in famous people’s lifespans.	en	./public/favicon.ico	Map of Contemporaries	https://ybogdanov.github.io/history-timeline/
5407	dbpedia	3	41	https://www.gvltec.edu/news/2022/06/denas-list-presidents-list-honor-roll-announced.html	en	Academic awards and distinctions for Spring Semester 2022 announced	https://www.gvltec.edu/i…n_Campus-OG3.jpg	https://www.gvltec.edu/i…n_Campus-OG3.jpg	[ "https://www.gvltec.edu/_files/images/logo-horiz.png", "https://www.gvltec.edu/images/menu_images/about-menu-ad.jpg", "https://www.gvltec.edu/images/menu_images/admissions-menu-ad.jpg", "https://www.gvltec.edu/images/menu_images/admissions-menu-ad.jpg", "https://www.gvltec.edu/images/menu_images/Student-self-service_Mega_Menu-1140x641.jpg", "https://www.gvltec.edu/images/menu_images/Business-and-Industry-ad.jpg", "https://www.gvltec.edu/images/menu_images/community-menu-ad.jpg", "https://www.gvltec.edu/_files/images/gtc-logo-white.png", "https://www.gvltec.edu/_files/images/request-info-button.png", "https://www.gvltec.edu/images/printfriendly-pdf-email-button-notext-white-gtc.png", "https://www.gvltec.edu/images/SACSCOC-Stamp-Color-100.png", "https://www.gvltec.edu/_files/images/no-smoking.png", "https://www.gvltec.edu/academics_learning/images/Newsweek_US-TOC2023_Logo_Basic.png", "https://www.gvltec.edu/images/rotators/GTC-CPS-FALL-1140x705.jpg", "https://www.gvltec.edu/images/rotators/GTC-FALL-1140x705.jpg", "https://www.gvltec.edu/images/rotators/Payment-Plans_1140x705.jpg", "https://googleads.g.doubleclick.net/pagead/viewthroughconversion/964349522/?value=0&guid=ON&script=0" ]	[]	[]	[ "" ]	null	[]	null		en	../../../_files/images/favicon.ico		null	President’s List recipients were recently recognized at Greenville Technical College. To qualify for this honor, a student must earn a minimum of 12 semester credit hours or more in 100-level courses within a semester while achieving a grade point average of 4.0. President’s List recipients for Spring Semester 2022 include the following students: Daniel-Abare Aline-Abderhalden Eric-Abercrombie Johnathan-Ace Joshue-Acevedo-Sanchez Jocelynn-Adkins Aidan-Ahearn Caroline-Aho Omar-Alkelani Sara-Alkelani Myla-Allen Rachael-Allen Daffney-Alles Gisselle-Alvarez Lorenzo Nathan-Amidon Amber-Ashley Regan-Auger Julius-Awe Nathaniel-Bagwell Deborah-Ball Ainsley-Ballard James-Barnes Justin-Barnes Judith-Barr Philip-Barros Casey-Bartley Shana-Batchelor Haley-Beak Rylee-Bell Jennifer-Bennett John-Biediger Jared-Bishop Jennifer-Bishop Tkeyah-Blackmon Caroline-Blake Andrew-Boncorddo Maricielos-Bothi Bernard-Bozic Alexis-Bray Brendan-Bress Karson-Brown Kelly-Brown Luke-Brown Jennifer-Bulechek Caroline-Burgess Darick-Butman Kacie-Byrd Jaden-Cabral Joshua-Campbell Jamie-Carbone Edith-Cartwright Crystal-Casas Elisabeth-Casey Kali-Chapman Taylor-Chapman Monica-Chastain Harley-Cheeks Sydney-Clark Zachary-Clark Myra-Clark-Vinson Daniel-Cline Katilyn-Clobes Neleah-Clough Anna-Coleman Lorraine-Coleman James-Conversano Brent-Cooler Brent-Cox Courtney-Crocker Tyler-Crowe Cooper-Cruce Summer-Cudd Esther-Daily Tabatha-Dalton Bryan-Daniel Hallie-Daniel Nicholas-Daniels Michael-Davis Parker-Davis Javin-De la Torre Alexa-Deighton Krista-Deshields Amanda-Dewitz Eric-Dewyea Esgar-Diaz Augusta-Dixon Christopher-Dockery Elias-Dodge Maryana-Dombroski David-Doyle Carly-Driver Philip-Duke Denise-Dupon Donald-Eaton Allie-Effenberger William-Ellison Justin-Emery Zachary-English Kassidy-Enriquez Joy-Enslow Andrew-Etherton Alexander-Fargardo Damon-Farmer William-Field Jamie-Fletcher Deja-Foster Victoria-Foy Rebekah-Francis-Barnes Brandon-Frazier Kevin-Frederick Laura-Gaitan Meghan-Gamble Dana-Garrett Meredith-Garrett Michael-Gavaghan Yenli-Gaytan Benjamin-Gergely Margaret-Gergley Caden-Gerrity Lauryn-Gilbert James-Gill Stefani-Gillespie Stephanie-Gilstrap Travis-Ginn Mekayla-Gist Sharon-Gonzalez Iulia-Gotisan Cody-Graham Travanta-Grier Deanna-Guarino Jodi-Gunnells Valerie-Guzik India-Hagood Hussam-Haj Brianna-Hammersmith Karsyn-Harrison Trevyn-Harrison Amy-Hazlett Thomas-Hendricks Monica-Heng Gabriel-Hernandez Villagra Lillian-Highsmith Zaneta-Hill Madison-Hipps Daniel-Hlas-Ross Hannah-Hobbs Spencer-Hole Samantha-Hooker Jacob-Hoover Tamara-Houde Ian-Howard Braidee-Hull Chandler-Hurley Ariana-Hutcherson-Perry Nhu-Huynh Autumn-Hyatt Rachel-Iraheta Aaliyah-Jackson Shaela-Jakim Charity-Jeter Eric-Joerger Alyssa-Johnson Brayes-Johnson Jackson-Jones Jesse-Jones Jessica-Jones Zachary-Kain Hayden-Kaminsky Matthew-Kapuscinski Diana-Kashirets Anthony-Keaton Matthew-Keech Andrew-Keller Annamarie-Kellett Hayden-Kelley Asia-Kelly Campbell-Kemp Miranda-Kerr Esa-Khan Eric-King Nathaniel-Kingdom Yelizaveta-Kodovbetskaya Sarah-Kolarik Phillip-Lacourse Noorez-Lalani Mary Elizabeth-Lambert Aaron-Lamont Joseph-Lance Anna-Landen Brooke-Lane Ronnie-Leapard Andrew-Lee Emily-Levin Rutger-Lewis Yonghui-Liu Anna-Livchin Payton-Lovine Sheldon-Lynn Simmie-Maeshack Viktor-Makarov Russell-Manley Isaac-Maralit Kathleen-Maris Aliza-Martin Elson-Martinez Henry-May James-Mazza Coleman-McAbee Rebecca-McAbee Elizabeth-McCall Savannah-McCarstle Amanda-McCarter Antonio-McGilton Carson-McIntosh David-McNamara Ryan-Mehlem Isabella-Meisten Ivan-Mercado Alexis-Miller Abigail-Mills Sarah-Minsky Brooke-Mitchell Teena-Mitchell Jesse-Mixson Justice-Moore Matthew-Moore Katherine-Moreno Courtney-Morgan Jaymee-Morgan Melissa-Mosny Rachel-Mosteller Amanda-Mullen Noah-Mullenax Laura-Mullikin John-Myers Alexis-Nerpiol Minh-Nguyen Minh-Nguyen Ngoc-Nguyen Haven-Norris Mackenzie-Norris Rhed-Oliver Sean-O'Malley Lonnie-Orr Natalie-Ortega-Monroy Dayanna-Ortiz Gasca Ashton-Padgett Eric-Paluch Madison-Parker Shianne-Parker Abigail-Pendergraft Julia-Pendrys Juan-Penuela Ashton-Petersen Richard-Pfaltzgraff Emily-Pham Joshua-Phillips Zachary-Phillips Alexis-Poirier Corey-Politino Suzanne-Poston Wilson-Pruitt Kaylee-Raber Yasmeen-Rasasi Kayla-Richard Dylan-Richardson Nathan-Richardson Autumn-Roberts Michelle-Roberts Lillie-Robinson Vicki-Rodriguez-Sanchez Juan-Rodriguez-Tinajero Kevin-Romero Sharah-Romero Aubriennah-Royer Stacy-Ruiz Nicole-Ruiz Abrego Nicholas-Sacilowski Rebecca-Salinas Jacqueline-Sanchez Andy-Sanchez-Acevedo Rayta Binte-Sawkat Pamela-Sepulveda Stefania-Sepulveda Hannah-Shealy Ashley-Shennan Aiesha-Shields Jessica-Sipe Matthew-Smart Jasmine-Smit Alexus-Smith Daniel-Smith Sidney-Smith Spencer-Smith Sylvia-Smith Alexander-Sorrow Wyatt-Southard Gledis-Spada Katharine-Spooner Aidan-Spradley Anna-Stack Andrew-Stage Rachel-Stanley Joseph-Stevens Nicholas-Stewart Timothy-Stewart Sharon-Stone Stephen-Streit Danielle-Stubbs Magan-Sumeral Meghan-Sweatt Kyle-Swift Shannon-Talley Tracy-Talley Jessica-Tanumidjaja Morgan-Thelen Gavin-Thomas Tan'te-Thomas Jeremiah-Tobin David-Todd Kevin-Travers Madison-Trelinski Chandler-Tucker Amber-Tulk Courtney-Vance Karen-Vazquez Roberto-Vazquez Medina Steffen-Velez Vanessa-Velez Sandra-Verduzco Chelsea-Walters Kamden-Watkins Corbin-Weninger Marshall-Westbrook Jacob-White Jorden-White Travis-White Emily-Whitfield Joshua-Williams Kerrie-Williamson Michael-Willimon Amanda-Willis Simone-Witherspoon Alyssa-Wood Stacy-Woodard Emma-Woody Elijah-Worley Jarrett-Worthy Rachel-Wright Caroline-Young Natalie-Young Dean’s List students were also recognized. To qualify for this distinction, students who earn a minimum of 12 semester credit hours in 100-level courses and above must achieve a minimum grade point average of 3.4 (with no grade lower than “C”). Part-time students who earn a minimum of 6-11 semester credit hours in 100-level courses and above, and who achieve a minimum grade point average of 3.4 (with no grade lower than “C”), also qualify. Dean’s List recipients for Spring Semester 2022 include the following students: Yesmine Yaser Abdelfattah Sumaiyah Abdul-Malik Katie Madeline Abend Carmelita Nicole Abercrombie Sha'lera Nicole Abercrombie Courtney T Abney Tiyanna L Abney Savannah Mazen Abu-Shanab Fatemah Al-Zhraa Marwan Abushanab Ana Stephanie Acevedo-Sanchez L C John Acor Jessica Julia Acosta Amber N Adams Christy L Adams Samuel Matthew Adams Kaitlyn Adkins Asmae Afra Erika A Agnew Gerardo Aguilar Ana Patricia Agustin Reyes Abdullah Ali Ahmad Rayan Ahmed Camden James Aho Eric L Aiken Jashanti Antwanijah Aiken Emilee Nicole Akers Roba Al Homsi Heather Brooke Alaniz Paul Dominique Alaniz Samuel Alba Jr Christopher M Albert Alexis E Aldarelli Patricia Brooks Alden Amanda Nicole Alderman Malayna Karin Alexander Simone T Alimonti Caden Mekai Allen Dakota Page Allen Pace Katie Allgood Amber D Allman Briajah Chardai Alston Jailine G Alvarado Sergio Javier Alvarado Ruby Ann Alvizo Elizabeth Renee Amatangelo Griffin Chandler Amick Daniel Anaya Montalvo Amber Louise Andersen Chase Michael Anderson Emma G Anderson Jason M Anderson Karter Ridge Anderson Lindsay C Anderson Shaennon A Anderson Shareva S Anderson Lauren Grace Andrews Colton Wade Angell Donald N Annand Angelica Arango Eric Christopher Archibald Nicole Archundia-Lopez Avery Clara Arends Brandon D Argo Andre Jonathan Arias Michael Alejandro Arias Helena Aziz Arida Zackary John Armstrong Brian Robert Arnett Nathan Terry Lee Arnold Drake M Arrison Mackenzie Ray Arrowood Molly Joy Asher Noah Riley Asher Semya Kierra Ashmore Rheanna Leigh Atherton Amy M Atkins Joseph J Augustine Bruce Austin Jayda Allyce Austin Christopher Austing Ashley A Autrey Michael David Avery Rusty Avesada-Aguilar Naila A Avila Anel Ayala Gonzalez Marie Ashraf Adib Ayoub Arvell Derell Bagley Amanda M Bailey Dorian Barbara Bailey Karissa M Bailey Alexandria Bailley Samuel Porter Bair James C Baker Jeffrey Erick Baker Matthew Ryan Baker Rhys Ulrich Baker Valentina Borisovna Balanyuk Austin Wayne Baldwin William Matthew Baldwin Sabrina Jewel Ballard Natalie Gabriella Banda Abigail D Banks Alli B Barbare Cecily Dawn Barber Amber Noelle-Lillian Barker Tracy Lynn Barker Camryn Mary Barnes Jonathan A Barreto Kaitlyn Michelle Barrett Nate Lael Barrineau Ella James Barton Jack Riley Barton Jennifer Robin Barton Kassius B Barton Zachary R Barton Jackson Tyler Bass Rollin Erik Bass Micah Scott Bastoni Raithe D Bates Jack Thomas Batson Adam Batt Leeanna Renee Battaglia Elizabeth Ann Baxley David S Bayne Jacquelyn C. Beal Ethan W Beam Faith Elizabeth Beasley Caroline Kinsey Beckham Chris Robert Beckman Harvin Leann Bedenbaugh Samantha Bedoya Emi Beedham Lonnette R Beeks Tiffany J Beesley Catherine Marie Elizabeth Bell Norma J Bell Ronald William Bell Stephanie E Bellandi Christopher S Belli Susan Elaine Bellinger Andrew Carmine Bellino Kimberly A Bellis Jereme Richard Belmore Milagros Conchada Benefield Isabella Marie Benjamin Emily Grace Bennett Faith K Bennett Katie Marie Benson Luwam Sebhatu Berhane Kira Bernetich Janice J Berrios Grace Victoria Besser Charles Avery Biggerstaff Madison Paige Birkner Pratima Prasun Biswas Keith Bittinger Linda Mary Carmen Black Sarah Ashley Black Brian D Blackman Kevin Scott Blackmon Adam S Blackstone Virginia Grace Blackstone Heather Blair Carla M Blake Dillon A Blanchette Caitlyn Deanna Blankenship Tiffany Murray Blanton Grant L Blevins Hunter Nash Blevins Valerie Marina Blohm Diana Elaine Bloom Madelyne Grace Bobicz Sydney Lee Boe Dakota Leann Bogan Taylor Ann Bogan Andrea Nicole Boggs Macaila Marie Bogle Savannah Collett Bogle Tamekia S Bolden Garrett Preston Boling Vladislav Bondarchuk Kylie Elizabeth Boniface Lina Maria Bonnet Emily Ileane Boone Nathan Borges Caroline Emma Boroughs Emily Frances Boudle Wafa Bouzid Kayla Madison Bowes Alysa Reilly Bowles Kayla L Boyd Jessica A Brabazon Davis Camp Bradner Emily Nicole Brady Johnathan Dean Bragg Theodore Stephen Brandon Kristina Bratka Jacob Neil Bratton Deborah Braun Joshua Anderson Breeden Elizabeth Braxton Breeze Elizabeth R Brennan Madison L Brewer Zoe Brewer Meredith Lindsay Bridges Brittany Brigmon Leeann Nicole Brim Selena Marie Brinson Darel Sebastian Briso Douglas Woodrow Brister Logan Grant Broadus Carleigh A Brock Dayna Marie Brock Latiya Shantay Brockman Gabriella Nicole Brodsky Courtney Camille Brooks Noah Richard Brooks Alana Paige Brookshire Brendon S Brousseau Cameron Robert Brown Chase Murphy Brown Danny L Brown Delaney E Brown Destiny B Brown Emma Lauren Brown Ian Rilke Brown Lori R Brown Saxon Alexander Brown Timothy S Brunner Kathryn Bruns Hannah Lee Brushwood Anna Ruth Bryant Kelly Lyn Bryant Morgan K Bryant Addie James Buchanan Candice M Buchanan Christopher W Buchanan Donald Joe Buchanan Uriah Buckle Robert C Budzowski Bryson Buffington Charleigh Jordan Bugbee Samantha Grace Bull Ethan C Bullington Taimekia Y Bullock Sophia Marie Bunecke Casey Elizabeth Burdette Bradleigh Burgess Kerri Lynn Burgess Larry Ethan Burgess Robert J Burgos Paul Burick Jeremy Scott Lee Burwell Lindsey Lee Butler Marie Selah Butler Payten Olivia Buxbaum Taylor McKenzie Buxton Barry Robert Bynum Taylor Rawls Bynum Benjamin Levi Byrd Bryson Anthony Byrd Bonnie Faith Byrdic Cade J Cable Kayla R Caldwell Ashlyn Delaney Calliham Gamaliel Mora Camacho Ryan Michael Cameron Abigail Faith Campbell Emma Nicole Campbell Jamie Lynn Campbell Jessica Leigh Campbell Peyton Brianne Campbell Carlos Campos Samuel Campos Matthew Michael Canady Andrea E Candanoza Fatima Cano Patricia Cristina Carcamo Silvana Cardenas Rico Tanner Ames-Russell Carley Austin Gene Carman John S Carmichael Carolyn Forbes Carner Alisa Alexandria Carr Conor Carrigan Robert Carroll Emily Noelle Carson Addison Briggs Casey Hannah Shea Casey Erin Cash Ariel Casperson Zlata Steere Cass Gabriel A Castillo Scherezade Castillo Rosa Maria Castillo-Hernandez Samantha Castro-Rivera Taylor A Catalano Michelle Daniella Catsounis Abigail Rose Cavallo Rebecca Cazarin Maria F Celis Villagrana Josie Joann Cepek George Donald Cerimele Matthew Antonio Cerrato Adrianna Chaney Autumn Devadney Channer Joseph M Chapman Kylee Michelle Chapman Nicholas T Chapman Korey Allen Charves Ella Chasteen Anna Therese Chebowski Lauren E Cherrier Samuel A Chester Sarah J Chiffon Delaney Brooks Childers Erin Rose Childs James Chimalpopoca-Alvarez Phoenix Chimato Roger D Chinavare Kyle S Chisam Victoria Chmunevich Amber S Choice Danielle Nicole Christian Carolyn Elizabeth Christopher Kathleen Douglas Churches Ava Remelle Cianfarano Clara Evelyn Cianfarano Elodietta Maria Citeno Ashley K Clardy Madelyne Raye Clardy Daniel Ruffner Clark Jessica Ashley Clark Johnathon Douglas Clark Jorja Rae Clark Meghan Danielle Clark Myria Clark Olivia Clark Morgan Elizabeth Clarke Nicholas Christian Alexander Clay Cesilie White Cleland Lisa Marie Clement Madeline Brooke Cline Gary Dillon Clothier Jasmyn R Clough Logan Richard-Wayne Clough Audrey G Cobb Chelsea Bunch Cobb Lauren Elizabeth Cobb Christopher B Coffield Kayleigh K.C. Coker Jessica Leah Colaiano Marvin Leroy Colburn Audbree Ladel Coleman Lisa W Coleman Shaylie Michelle Coleman Orion Atreyu Collins Hayden Colquitt Sofia Elizabeth Condor Henry Thomas Coneybeer Grey Connor Mahala Celeste Connor Evelyn Hermione Conran Michael Joseph Constantino Jackson Edwin Cook Margaret Anne Cook Tashondia T Cook Taylor Constance Cook Shayna Cooney Brooklyn I Cooper Paola Rocio Cortes Vantajua Michele Cothran Wilton R Cothran Dameon Alan Cottrell Amanda S Cowen Dominique Mikal Cox Sarah Carson Cox Lindsey Kathryn Craig Skylar Elizabeth Craig Brandy M Crary John Thomas Crawford James Austin Crim Alyssa Brooke Crosby Lydia Marie Crosby Olivia Maria Cruz Paola Yael Cruz Chavez Daniela Andrea Cruz Gomez James J Cuber Eleanor Kynille Culbreth Stephanie Cummings Hazel Louise Curran Jenna Elizabeth Currie Sydni N Curry Dylan Ross Curth Ian L Curtis Madeline Curtis Allan Z Curup Bethany Pearl Cutler Silas Czapla Lucas EuzΘbio Da Rocha Ziyad Khaled Dakhlallah Kayla Dalton Chris Daney Samantha G Daniels Maya Grace Dantinne Darren Dale Darnell Joshua Andrew Darnell Seth Dauer Craig Ellison Davenport Marvin Anthony Davenport Jenna Leigh David Kirstin Marie Davidson Adrianne Y Davis Austin Lee Davis Brianna Ashley Davis Chelsea M Davis Emma Kate Davis Eric Dewayne Davis Madison Elizabeth Davis Sarah Michelle Davis Sherri A Davis Sydney Davis Demarcus B Dawkins Amelia G Dean James Carson Dean Matthew Dean David Tyler Dearman Danae Elyse Dechant Nicole E Dei Richard Andrew Delk Jordan Elizabeth Demartino Shalon M Demchuk Harry Dent Adam Denton Jill Boggs Denton Tristin Alan Dermid Christian James Derrer Anand B Desai Anjana Maulik Desai Elizabeth DeSerio Abby Suzanne Destefani David Anthony Destefani Sarah E Detwiler Laura Kathryn Grace Devenney Ethan William Dewey Tyler J Deyoung Jessica P. Diaz Caylin Alexis Dickerson Kennedy M Dicks David A Dickson Deanna Joan Dickson Michael James Dieschbourg Mary Norris Dill Joshua Phillip Dillard Kelly B Dillard Norsaahad N Dillard Anna Marie Dille Thuy K Dinh Katelynn Grace Dinicola Amber Renee Dixon Chase Alexander Dixon Timothy Charles Dixon Sarah Ashley Dobbs Letrender D Dobey Tracy Doby Justin Dion Dogan Riley Eve Dohse Erik Domingo-Baltazar Alexander Jay Dominguez Darik Doornbos Elizabeth Dorn Colin Louis Dorroh Sara Caroline Dorsey Daniela M Dotson James R Dotson Ashley M Douglas Ansley Loren Dowling Alzay Downs Margaret E Dozier Tibrea Shea Dresko Alexander T Drummond-Henking Lauren Elizabeth Dryden Lauren Olivia Duffy Alexis B Dukes Hannah Elizabeth Duncan Kirsten Elle Duncan Taylar M Duncan Jane Catherine Dunlap Debra Dunn-Brown Nicholas Duran Madison Mae Durham Timothy Joseph Durrell Tyman A Dye Allie Elizabeth Dyer Madison R Earl Loriann Lee Easler Desiree M Eason Albert Theodore Ebongue Olivia A Eckart Michael Tyler Edens Autumn Denise Edge Adam R Edwards Lori E Edwards Lucas Raymond Edwards Brooke E Egan Hannah Nicole Eggebraaten Kelly Anne Ehmke Sarah J Eisenstat Rachel Elliott Bailey M Ellis Kayla M Ellis Maria Andreina Elorza Neva Emerine Brandy Laine English Becca Marie Engstrom Alexandria L Erskine Duvan David Escorcia Sandoval Lizbeth Esparza - Jimenez Brian F Espinoza Micah Savannah Estevez Hope Tracey Etheridge Kassidy Ember Eubanks Hope Jasmine Eure Anna Marie Evancho Christina Marie Evans Stella E Faigin Jack Andrew Fairbairn Alisabeth Faircloth Melissa Marie Falci Kendal Ryan Fallaw Ryan Vincent Fanuele Farouk Ghazi Farhan Andrew S Farley Brittany Hammitt Farmer Shane T Farral Peyton Allen Farrant Donna L Farrar Katelyn Merrill Faucette Julian B Feliciano Jack Zachary Feltes Louis T Fennell Lucas Leroy Ferguson Tina Ferguson Grace Madeline Ferreira Jackson Lance Ferreira Jessica Lynne Ferreira Riley Sullivan Fesler Madeline Marie Fiema Cassandra J Figueroa David Manuel Figueroa Louis Angelo Fiorino Rachael Mary Fisher William I Fisher Hope A Fitch William P Fitzsimmons Lathan D'Lander Fleming Vance Grayson Fleming Johnandad Melvin Flemming Timothy Jay Fleury Noelia Flores Brenda Flores-Jacinto Morgan A Flounders Samuel Timothy Flounders Christina Marie Foley Cristopher Forbess Haylee Brooke Ford Javon Tykeith Ford Liam Michael Forde Emily M Forrest Andrea Michelle Foster Colby Brent Foster Lashonna R Foster Samantha Foster Teigen Mary Foster Bonnie K Fournier Jessica Diann Fowler Malachi Jamal Fowler Sheena Nicole Fowlkes Aaron Matthew Fox Heather Lynn Fraccalvieri Christina M Francisco Gabrielle Ema Frappier Darius Valerius Fratilescu Gretchen F Frayseth Arnesha Freeman Joey Freeman Kandice Jalen Freeman Tara Shea Freeman Madison Kathryn Freund Kate Madison Fricke Hillary Miriam Frilick Katelyn Patricia Fromme Leylani Fuentes Victoria Bizzell Fulbright Dmitry Grantland Fuller Conner Funk Derrick Anthony Furner Madison Cade Gabrel Kyle David Gafner Jordan P Gaines Mark Stephen Gallagher Brenda Gallegos Brenda Elida Gallo Allison Loudermilk Galloway Jada Kiana Galloway Kimberly Nicole Galloway Starr N Galloway Greta Gamberoni Marc Jacob Gans Ellie Grace Gantz Eduardo Isac Garcia Juan A Garcia Kiara Vanessa Garcia Yesenia Garcia-Santizo Madison Marie Gardinier Kayla Kelley Gardo Megan Brooke Garner Savannah Lynne Garrison Emily Nicole Garza Ellianna Kate Garzony Elnur Seymur Gasimov Elvin Seymur Gasimov Laura Anne Gaston Kenneth Bernard Gayten Landon J Gealy Maximilian Felix Geissler Bryce Allen Geistfeld Cara Faith Geloni Matthew K Gesing Tate R Gibson Casina Giella Brian Giles John Thomas Gill John Chase Gillespie Zachary T Gillespie Shane C Gilmore Jake Benjamin Gilstrap Samantha A Gilstrap Jennifer Leanne Gist Matthew Glass Lacaron Sheree Glenn Nataisha Lynn Goddard Madison Brooke Goforth Valerie Anne Goico Keri Michelle Golden Vannoy L Goldsmith Imri E Goldstein Fatima Yasmine Gonzalez Jair Gonzalez Kevin Gonzalez Rehana N Gonzalez Zayda Gonzalez Diana Laura Gonzalez-Carlos Rosana Estefani Gonzalez-Miranda Destiny A Goodman Jacob Goodson Ryan Andrew Goodwin Diego Martin Goslar Eva Gosnell Bailey A Goss Michael Andrew Goss Megan Elizabeth Goudy Draven M Grant Simon Clayton Grant Molly Bess Graves Brittney Alexus Gray Brandy Grayson Joshua Alexander Green Rodney Maurice Green Emily Adair Greene Melissa Greene Caroline Taylor Greer George A Greggs Lindsieh D Griebel Hiroko Griffin Kylie Morgan Griggs Valentina V Gubchak Rocio Guerrero Ramirez Hunter Caroline Guffey Cheyenne R Gunn Hannah Robin Gunter Jonathan Lee Gutermuth Lindsey Guthke Eliza Catherine Guthrie Micayla Guthrie Josue Gutierrez Yaneli Gutierrez Hinojosa Victoria Celine Guzman - Pierluissi Angelina Ening Gyabaah George Dalton Hadley Jenna Michelle Halbig Emma Grace Haley Julie Anna Hall Perry Allen Hall Isaiah Lamar Hallums Holly Rachel Hamby Lauren Renee Hammack McKenna Noelle Hammack Morgan Alexis Hammonds Abrianna Hampton Randi J. Handshoe Nathan Alan Haney Bebmarie Katrina Curada Hangad Kirsten Brooke Hansen Rebekah Grace Harbert Michael Connor Hardee Brianna M Harden Sarah Lynee Hardin Paul Hudson Hargette Laynie Marina Harley Kyaundrius Harmon Fletcher D Harris Gabrell Harris David Harrison Izaiah L. Harrison Veronica Zaneya Harrison Angelia Patrice Hart Tyler Bridges Hartley Chase Franklin Hartway Dylan Mitchell Harvey Rhiane Bailee Harvey Cassandra Riley Hatch Elizabeth A Hatherley Keazia Iyonia Hatten James D Haudricourt Elise C Haupt Harrison Taylor Hawkins Jessica Courtney Hawkins Mildresha Avalon Hawkins Tyler Hawley Jennifer Hawthorne Jessica Hatley Hawthorne Carrie Elizabeth Hayden Camlin Alicia Hayes Kaitlin Janae Hayes Morgan Elise Hayes Cassie L Haynes Kayla Hays Laurel Ashley Head Alyssa Ann Healy Alexander Chase Hearn Alexis Hedden Leila Heindel Abigail Katherina Heinz Cody Micheal Helmbrecht Matthew Augusto Helmeyer Robert Fred Helms Haley Rebecca Hemingway Jordan S Hemlinger Ashlyn Lenoir Henderson Breanna Sue Henderson Stephen Allan Henderson Ethan James Henson Breana Nicole Hernandez Diana America Hernandez Humverto Alexander Hernandez Jenny Grace Hernandez Mark Anthony Hernandez Samantha M Hernandez Valerie Hernandez Edgar Alonzo Hernandez Castillo Leilany Hernandez-Cruz Alyssa Herrin Caroline Paige Herring Mariah Danielle Hershberger Michelle Marie Hester Greg Hickman Samantha Deanna Hicks Irena Hidalgo Daphne N Hidalgo-Guinto Donald Lee Hiers Ashley L Higgins Carol Davee Highsmith Ann-Margaret Elizabeth Hill Christian Elijah Hill Gabrielle Hill Kyeisha Hill Rachel L Hill Tobi Tyanna Hill Brystol Malani Hines Abigail Elisabeth Hiott Katelyn Marie Hirons Danny Khanh Ho Cody Hobgood Jennifer Hockaday Julie Ann Walraven Hodnett Sharon Hoffman Cassidy Brooke Holcombe Kailee Holcombe Logan McKenzie Holcombe Sherri Miner Holeck Alexis Tyana Holland Jessica Leighann Holland Jake Hollingsworth Jessica Hollingsworth Margaret Asa Hollingsworth Saniya Cedora Holmes Jessica J Holmes Adams Garrison Charles Holupka Andrew W Hooper Jammie Christopher Hooper Sarah A Hoover Walter John Horin Jack Webster Howell Robert Garrett Hoxit London Reed Hoxworth Ge Huang Lexie Hubbard Timothy James Hubbard Kayden Edwards Hubert Samantha N Hucks Matthew L Hudson Melissa A Hughes Mara Nadine Hunt Kimberly Gail Hunter Latasha T. Hunter Melody Jaine Hunter Kaycee Lyn Hurless Leah Abigal Hurley Lacey M Hurst Stephen Benjamin Hurst Viviana Alejandra Hurtado Annabelle Christine Husek Madison Sierra Hutchens Kristen Kim Huynh Vy Khanh Huynh Melissa A Hyatt Anthony I Ibekwe Marlene Ignacio Alexandra Ingersoll Elola Starrett Inman Rahel Candace Irvin Lucy Noel Isaacs Alexandra Itehua Ryan T Ivester Caden Morgan Iwansky Heather Jean Izquierdo Allan Franklin Jackson Marissa Ann Jackson Matalyn M Jackson Natalie Boyd Jackson Thomas P Jacques Natasia Lashawn Jamerson Parker W James Elizabeth Byrnside Jansen Omar Jarquin-Jarquin Shantel Jean Philip Leah Jeffreys Aiyana Nicole Jenkins Kyle Jenkins Natalia Caroline Jenkins Nyla Kenye' Jenkins John Andrew Jennings Katherine Elizabeth Jennings Brianna N Jeter Orlando J Jimenez Allison Tamara Jimenez Amador Matarr Jobe Amariyah Shanaa Johnson Amber M Johnson Ja'mia Johnson Jane Johnson Jeannine Alelia Johnson Jenna Grace Johnson Julia Meredith Johnson Kiara A Johnson Laurin A Johnson Leah Marie Johnson Lindsey Blaire Johnson Lucas J Johnson Lyndsey Johnson Matthew J Johnson Meredith E Johnson Owen M Johnson Sophia Noelle Johnson Sydni Gabrielle Johnson Teona Johnson Corey P Jones Hunter Lee Jones Kenneth Z Jones Rachel Ann Jones Whitney A Jones Zachary Alan Jones Amy Marie Jordan Kamariana N Jordan Tisha Elaine Jordan Mackenzie Kaitlyn Joye Janet K Justice Alyssa Christine Kadrmas Melanie Michele Kalbach Shahed S Kamlah Landon Andrew Keeley Jackson Ford Keels Mikayla L Keitt Gabriel M Keller Jennifer N Keller Chaney Jane Lucile Kelley Dylan R Kelley Marquette Laquin Kelley Lynsey Renee Kelly Karl Joseph Kemp Jeremy Foy Kent Mariam Maria Khaddam Hanaa Ali Khan Ibrahim Imam Khan Khadija Zohra Khan Rahim Khan Ninhthorn Khianthalat Tawnia Kibby Andrew Kim Hannah Grace Kim Sung M Kim William Juneyoung Kim Janet Wairimu Kimani Christopher J Kimpell Jordan Todd King Madison C King Marshall Ellis King Tara Nicole Kinser Grayson N Kirkpatrick Tyler Kline Amanda J Klink Jessica Dawn Knepp Bodhi Xavier Knight Jason D Knight Philip Andrew Knight Davis Ronald Knope Eva Morison Knox Alicia Koch Nicholas Ryan Koch Samantha Jean Koon Ashley Kovalsky Jillian Mary Koves Elizabeth Krause Jordan Elizabeth Kuck Lauren Kulesz Ashley Elizabeth Kull Caroline Isabelle Kutcher Fatmata Esther Kutubu Caitlyn Towle Lameira Johanna Elise Lamont Justin D Lance Trent M Landreth Mylasia K Landrum Taylor Renaye Landrum Collin Michael Lane Quadaija Iriel Langley Jessica N Lanier FULL NAME Kelli Starr Lastimosa Lori K Lathrop Arianna Isabel Lauper Madalyne Elizabeth Lawton Murphy Outlaw Lawton Samuel Mark Layton Melanie Kay Lazar Anne Marie Lazureanu Ada Hue Le Ngan Ngoc Bao Le Tai-Nguyen C Le Genesis Carolina Leal Mia Leal Leigh McKee Learing Antony Leary Austin William Leavitt Samantha Lynn Leckrone Emily Dianne Ledbetter Devon Robert Lee Heather E. Lee Jasyma Monique Lee Justin Hansol Lee Michael Lawrence Lee Savannah Angela Lee Michael Patrick Lehon Karissa Frances Leiterman Leslye Kylee Lejarza Katelyn Lemley Lemley Joseph C Lemois Aaliyah Y Lemons Steven Lemus Corbin Lee Lennon Joshua Leonard Justin C Leopard James David Leroy Elizabeth D Letourneau Brenden S Levesque Eric Theodore Lewis Mary Carter Lewis Rianna N Lewis Michael Anthony Libretti Mary Malanie Liddell Ny'sheria A Lightner-Hearn Ioannis Lignos Chad Nehiemiah Ligon Jeffrey Sam Lim Cameron James Limbaugh Daelynne Sierra Limbaugh Josephine Adeline Linden Ariel A Lindsey Spencer Chase Lindsey Sarah Elizabeth Link Camilla Marie Linkin Elizabeth Allison Lipsey Alexandra Rosalie Little Jazzmine Little Makenna J Little Lailon Rose Little-Hogan Avanelle Addington Littlejohn Charlene Littlejohn Brian R Livingston Merveille Jacqueline Lobe Caroline Elizabeth Loewer Eric M Lofink Anna Grace Loftis Tonya A Loge Allison Lollis Korbin T London Angelica Michelle Looper Graziella Aguiar Lopes Marcus Vinicius Lopes Tilo Rolando Lopez Ivette Lopez-Perez Harper Ross Love Emily Jean Loveless Madison A Lowe Madison Zenobia-Michal Lowrance Mary Kathryn Loyola Hannah Grace Lube Tianna Sade Lucas Peyton Mae Ludwig Benjamin Elijah Luines Kimberly E Lukow Carter William Lumm Karen Nayeli Luna Mariela Luna-Melgar Noah Jonathan Luper Tonya J Lusk Jessica Vladimirovna Lutsyk Lydia Rhys Lyle Eliyah Christine Lynn Rebecca Hope Lynn Kelsey Lyons Abbi Elizabeth Mabbitt Dominic Vincent Macaluso Josiah David Mackey Jordan Ashleigh Maco Ivey Tierra Macomson Blake Christian Madak Alice Yamikani Madola Linda Kathleen Magaha Jaden Andrew Magg Alana Beth Maghan Laura Renee Mahaffey Ahmed Yasser Mahmoud Rachael Rhiannon Maiwald Brandon E Major Christian Jose Malave Joselyne Maldonado Sheyli Ivonne Maldonado Barahona Aidan M Malinowski Carla D Malsch Madina Mamontova Brendon Paul Maness Liliana Manjarrez Ethan Patrick Manley Thomas Phipps Manley Ashley Raquel Mann Jordann Mansell Teresa Ann Marchi Chloe Grace Margeson Nathaniel Markell Macy A Markwith Jerry Marquez-Ruiz Antoine Delmar Marshall Brent Michael Martin Dakota Mitchell Martin Kaelyn Annalee Martin Rachael F Martin Ty Austin Martin Isabel Adriana Martinez Savannah Martinez Andrew Akira Mashburn Christopher Dylan Mason Eric Micheal Mason Omar Iyad Masri Ikumi Masuko Michele L Mathewson Melanie Sue Mausser-Shaluly Isaac Andrew Mayernik Eleanor E Mayes Natalia M Mayley Bryana Marie Mays Herbert McAlister Steven Thomas McBride Logan Ansley McCaleb David L McCall Enjoli V McCaulley Morgan Elizabeth McClain Jocelyn McCloud Emily S McConnell Zaakhira McCoo Laura Grace McCord Robert Gage McCroskey Alexander C McCullough Jillian McCurdy Mikaela Simome McDaniel Ebony L McDonald Moffatt Grier McDonald Stephen Dalton McDowell Sarah Ann McElmurray Kathryn Elizabeth McGee Shamella T McGill Connor McGrath Joshua Aiden McGrath Dontrae McGrew Haley Ruth McKelvey Macy McKelvie Charity Gabrielle McKenzie Liam McKinney Ty C McKinney Sophia Ann McKowen Timothy R McMahon Aaron Matthew McMillan Matthew Wesley McMinn Natasha Ann McNeil Caitlyn Elizabeth McPoland Taylor Diane Meacham Joshua C Mealor Catherine Ruth Mecklenburg Kara Leanne Medlin Ismeni Y Medrano Lauren T Medvedev Jack Andrew Mehlem Mary Alexandra Meihls Taylor Grace Melzer John Willie Mena Yolanda M Mendenhall Dante R Mendoza Kenia Mendoza-Rodriquez Raziyah Shyere Menniefield Grace Isabella Merritt Christopher Lee Messick Andrew Clark Meyer Khy Joseph Meyers Lauren Rochelle Mickler Brody Jamison Miers Gabrielle Aileen Migliara Girgis Kamal Sami Mikhail Taylor Craig Milham Judy Adele Milla Abigail Miller Alexis Danielle Miller Brinkley Alyce Miller Bryson Gerald Miller Donovan Alexander Miller Faith Deanna Miller Hannah Faith Miller Robin L Miller Leslie Nichole Milligan Chelsey C Million Morgan B Mills William Wyatt Mills Joseph Douglas Millwood Elizabeth C Mira Bryce Alexander Mitchell Emily C Mitchell Thomas Edmond Mitchell Amanda Marie Mlinar Madison Eve Moates Willis Alejandro Modestti Marisa B Modrynski Levi Colby Moffitt Alexa Julienne Cahilog Mohammad Rafay Mohammad Brady McCarron Molloy Kalyn Monday John Lane Monroe Hayden Brice Moody Kendra Sharde Moore Nathan S Moore Sarah T Moore Tammie Shannon Moore Nicholas Daniel Morales Christina Marie Morgan Shane Robert Moriarty Christopher Ryan Morris Heidi Aline Morrow Damon Morse Ramonita S Morse Austin Cameron Morton Rachel Mosher Angela Lorena Moss Sofia Jane Mosteller Lauren Noelle Mueller Lucas James Mulcahy Logan Isaiah Mulkey Breonna Mullen Jenson Nathaniel Muller Patrick M Munoz Rossita Elizabeth Murcia Kristie Murphy William Oliver Murphy Kyla Adair Murray Mya Nichole Murray Brian L Muse Yusra Muhammad Naeem Nyssa Layne Nappari Reza Abbas Naqvi Emily Claire Nation Katelin M Nations Benjamin David Nazaruk Mame Darra Ndiaye Candace Neal Niema Neal Ekaterina Dimitrievna Nechayeva Laura Elizabeth Neely Hannah Bell Nelsen Lakecia A Nelson Mark M Nelson Eryn Christine Nesbitt Kelsey A Neves Jami Luann New Lauren Elizabeth Newell Tiffany Newkirk Julia A Newton Anh T Ngo Dalina Nguyen Dat Thanh Ngoc Nguyen Duc Hung Nguyen Katie Khanh Nguyen Khoa D Nguyen Linh Thi My Nguyen Michelle Thi Nguyen Thao M Nguyen Thien D Nguyen Sterling Lewis Nathan Nicholas Zachary Aaron Nichols Alex K Nielsen Garrett Alexander Nielsen Bennett Noelle Nix Victor Chikerendu Nnodim Sarah A Noel Tomoe Noell Leigha Jewels Norris Margo Norvell Kaitlyn Marie Norwood Chinelo Nwosuh Riley Elizabeth O'Bleness Aidan Thoms O'Boyle Jack Neal O'Connor Amiee D O'Neal Felicia Michelle O'Neal Michelle F O'Neal Preston Thomas O'Quinn Olivia Brianna O'Shields Genesis Michelle Ocon-Rosario Russell Odom Denise A. Oldeack Emily N Oldstrom Aiden C Oliver Ellison Alane Oliver Irving Zavaleta Oliver Vanda Lee Oliver Hayden Jack Ollis Zander James Ollis Timothy Alexander Olmert Marilyn Onyekaba Jacqueline Elizabeth Orman Cristian Ortiz Isabella Maria Ortiz Catherine Irene Osburn Stephanie Alice Osner-Hofmann Ivan David Ospina Nancy Aileen Ottenbreit Bonnie Elizabeth Owen Kimberly J. Owens Joshua William Pace Ryan Scott Pace Joselene Elizabeth Paez-Mejia Issabelle Lauren Pagan Billie J Page Courtney N Page Destiny C Page Morgan Lea Palmer Noah J Palmer Elizabeth Palomo Lydia A Palumbo Gavin Donald Pandori Tatyanna Giselle Parajon Charles Wayne Paris Dawon Park Julius Parker Ronasia La'niece Parker Jennifer D. Parks-Nesbitt Alison Leigh Parris Jasmine R Parrish Kassandra Ann Partlow Elizabeth Lynn Parton Tatyana Stepanovna Pashchuk Destin Michael Passwaters Joselyn Godinez Pastor Stephanie Pastor Alexa Lindsey Patel Arya Gaurangkumar Patel Avani Patel Krupali G Patel Mahi Ramesh Patel Mira S Patel Nishi Vipul Patel Praneshkumar D Patel Rushi Patel Shive P Patel David M Patterson Duncan R Patterson Abigail Eden Payne Tyangela Romera Peace Jacqueline Rene Pearson Nayeli Pedraza Vences Torri A Peloquin Sophie G Pendergraft Emily A Pennington Carlos Eduardo Perdomo Daniel Luis Perez Jennifer Godinez Perez Michael A Perez Benjamin Hugh Perkins Cory Nicholas Perron Jamie Nicole Perry Jessica Marie Perry Ion Dorel Petrea Yuko O Pfaff Tikeya Eugina Phifer Lauren Michelle Philbeck Claire Morgan Phillips Kyle Matthew Phillips Michael Wayne Phippen Kelli Rakel Piazza Jaime Leigh Picardy Joshua Matthew Picillo Macayla C Pierce Grace Piette Holly Anne Piltin Christopher Elliott Pimentel Rachel E Pinkel Cassidy Brooke Pinkerton Pablo De Jesus Pinzon Avalos Moriah Grace Pipkin Anna Karsten Pitman Roger Bailey Pittman Michael William Pizarro Theresa Elaina Plambeck Brittany Ann Plumblee Mackenzie Anne Plummer Andrew Larkin Plybon Olivia Emerson Plybon Charles Traynem Poe Shannen Malynda Polk Avery Lee Pollock Matthew William Polskin Alexis Poole Jackson Thomas Poole Joseph C Porter Joshua Ryan Porter Robert Edgar Potts Cody Judson Powell Nathaniel Powell Nicolas John Powell Sydney T Powell Laraimiah Powell-Griffin Collin J Poynter Nolan Kent Poynter Alex Joseph Pracht Jessica Kathleen Pressley Luis A Prestegui Kathryn Anne Preston Christopher M Price McAben Bryan Prince Kelsey Prior Katrina Rae Privado Kyle P Pruestel Amanda Ann Pruett Kaley Pruitt Seth Pruitt Lucas Matthew Pryor Danielle Puchel Davis Kent Puckett Grantham James Pulcini Emmaleigh M Pulley Raphael A Pupo Olivia J Purcell Heather Marie Queen Neil S Rabinovitch Avery M Ramirez David Robert Ramirez Kelly Jocelyn Ramirez Angiulli Malena Ramos Diana Laura Ramos Ingrid Ramos Sarah Parrish Ramseur Brittany Arrington Ramsey Casey M Ramsey Gregory A Ramsey Julie Lynn Ramsey Devang Nilesh Rana Kaylin Blaire Randolph Selena G Rangel Tamara Caresse Raphael Mohammad Maher Rasasi Ian A Rasha Brittany Rashad Nicholas Greydon Rauch Emily Rose Ray Martin Raymond-Onukogu Mary Catherine Ready Angela Ulrich Real Benjamin J Reaves McKenzie Chance Redding Carlee Rene Redko Matthew E Reed Brandon Drake Reese Timothy Aaron Regan Amy M Reich Hannah L Reid Peyton Celeste Reid Quanhong Ren Manon Renaud Jemirel Reyes Lorenzo Ismael Reyes Nicole Reyes Perla Julianna Reyes-Santos Anna Christine Reynolds Evie Marie Reynolds Kayla R Reynolds Hope Renee Rhodes Kimberly N Rhome Bradley Justin Rice Joseph Nathaniel Rice Alexis M Rich Amethyst J Richardson Arianna Jade Richardson Cassidy Brook Richardson Keri S Richardson Nicholas S Richey Stephanie Richter Hannah R Rickenbaker Kiara Shain Rieder Hannah Riley Erica B Riser Josh Ray Rising Kiersten Rist Kristen N Ritchie Genesis Rivera-Reyes Cesar Rivero Ibarra Desiree Charnece Rivers Madison Leigh Roberts Samuel Jules Roberts Ashley A Robertson Kenzie Reese Robertson Laquanza Monek Robinson Conner A Rodriguez Elizabeth Jane Rodriguez Juan Camilo Rodriguez Mayela Rodriguez-Acevedo Maria Alondra Rodriguez-Caballero Kelvin J Rodriguez-Cabrera Carly Elizabeth Rogers Jada Seymone Rogers Jon C Rogers Lillian M Rogers Patrick Dominic Rogers Samuel Rogers Chelsea Lauren Rohling Jonathan T Rollins Anna Elizabeth Romano Leslie Yamileth Romero-Carmona Brandon Christopher Rondeau Megan Leigh Ronk Nina Monique Ronson Ryan Robert Roper Cristy-Ann Bithiana Rosario Hayley Elizabeth Rose Katelyn Deanna Rose-Montane Shadia Tamasha Rosemond Thomas Roshoe Garrett Healy Ross Jessica Lee Rottach Rebecca M Round Michael Shaun Rountree Antowne Jamaine Rousseau John P Rowell Eden Rowland Aidan Emery Rucker Thanzat Daniel Rumthao Lily Katherine Runnion Alexis Paige Rupe Hunter Ransom Russell Kevin M Russell Trayce C Russell Micah J Russo Jacqueline F Ryan Amanda C Rybikowsky Andrew Rymer Christopher Allan Saari-Poulter Joel D Saddoris Elise Saintigny Katlynn Gabriela Salazar Sydney S Salgado Ivette Salinas Lachristian T Salter Kaeia Erazzo San Pedro Diana Antonia Sanchez Genaro Sanchez Lourdes Gisselle Sanchez Felix Alberto Sanchez Aguirre Aaliyha Sanders Ainsley Ruth Sanders Carter Elizabeth Sanders Elliot Sinclair Sanders Sadeen Mohammed Sarhan Alexander James Sauers Mark Alexander Schatz Nathan Reed Scheidly Jennifer Peek Schlecht Jaiden Michaela Schleimer Paul B Schmidt Austin C Schnee Kevin David Schoeppner Mark Alan Schofield Anthony W Scholtes Jason Ellis Schrader Jack Gilles Schreiber Michelle Jean Schultz Benjamin Joseph Sciarra Pascual Sebastian Dustin Sechrest Kelly M Segee Haley Brianne Seigler Hayden B Seigler Alexander Selner Bobbi Lynn Semberger Clint Serafino Layne M Serdah Norma M Sewell Cassandra Dru Seymore Dev Rikin Shah Jenell Sacred Shaw Evan Crosby Shealy Joshua D Sheck Kayla Nicole Sheehan Jason Alexander Shehan Yalonda Lashay Shell Hannah R Shepherd Aiya Tariq Shiblaq Omar Tariq Shiblaq Sam Christopher Shiffler Samuel Vernon Shoaf Jamie Blair Shoemaker Seraphim Panagiotis Sialmas Brandon L Simmons Catlyn Cody Simmons Rosman Jermaine Simmons Elena Margaret Simpson Jessica Brooke Simpson Jonathan Blaise Simpson Mary Kathryn Simpson Taylor R Sincavage Ava Elise Singh Chartasia Latia Singleton Clairissa Singleton Meredith Ellen Sipe Kira Greer Sitzman Brian Michael Skola Michael David Skytte Eric Michael Slacum Kelly Quinn Slama Michael David Slater Jason Thomas Slaughter Hannah Grace Sloan Christopher Scott Smathers Anna Elizabeth Smit Suzette Smit Abigail Nicole Smith Alicia M Smith Andrew Paul Smith Bree Kate Smith Cameron Smith Christina E Smith Christopher R Smith Clay Kennedy Smith Delaney Rae Smith Faith Elizabeth Smith Jennifer Katherine Smith Joshua Stephen Smith Justin Tyler Smith Kelsey Rexann Smith Presley Smith Regan Smith Timothy Jacob Smith Donna Snyder Morgan Avery Soard Katherine B Soignoli Chayce Lashon Solomon Raul A Solorzano Halit Ufuk Sonmez Tarik Sonmez Joseph Gowan Southerlin Leslie Ann Spahr Jacob Daniel Spangler Connor Spearman Jasmine Bailey Spelman Markeisha S Spencer Rachel Anne Spencer Ryan Nicholas Spencer Ashleigh Elizabeth Spillman Christopher James Spillman Haley N Spivey Riley E St.Pierre Rachel Sophia Stalin Daniel Edward Stamps Andrey N Stanziola Christopher James Thomas Starkey Veronica Starks Grace Linn Staton Zabrina Staub Emma Pauline Steckly Abigail Grae Stefanacci Kris Lee Steffensen Amber R Stephens Tiffany Ann Stephens Emery Elizabeth Stevenson Elana McAninch Stewart Emaylia Naomi Stewart Tyler Brad Stewart Jennifer L Stokes Devin Yvette Stone James Patrick Stone Jennifer Dawn Stone William Stone William Michael Stone Chloe Alana Storm Rodney Luke Stowe Carson L Strickland Jade Taylor Strickland Jonathan Mark Strickland Kylie Allison Strickland Tetyana Strong Zoe Rose Sturges Jay Wellington Styles Michelle Lynn Suddeth Lauren N Sullivan Erin Lynne Sumner Amanda Sunda Emmanuel Dante' Suttles Stacie M Sutton Kayla M Swain Ethan C Swanner Molly Elizabeth Swartz Sarah Elizabeth Swatts Steven Rowe Sweat Rex Swindoll Skylan Swindoll Mariam Afreen Syed Kailey Ann Szatkowski David Anakin Takeshita Kshiraj Vipul Talati Beverly Elaine Talley Jessica R Tamrack Ashley N. Tapperson Abigail Tatum Catherine Elaine Taylor Courtney Anne Taylor Emily Dolores Taylor Ialiyah Viola Taylor Madeline Rae Taylor Michelle Caitlin Taylor Meredith Nhai Teague Areln Ginel Tangalin Tejano Astrid Polet Tejeda Olivia Elisapeta Telea Charvarius Anton Telley Elizabeth Diane Tellez Sarah A Tellier Ella Kate Templeton Martina Templeton Riley L Templeton Ivette Ten Eyck Chanel E Teplik Millie L Terry Jonah William Tervo Lance Casey Tew Theodore Eugene Textor David James Teyler Leah R Teyler Mai Thai Rebecca L Theus Diana Lynn Thibeau Moore Aisha D Thomas Anaja Jo'kyla Thomas Cassonia F Thomas Chandler Christian Thomas Hannah Anastasia Thomas Jalisa Thomas Tensleigh A Thomas Aerial B Thompson Campbell Ray Thompson Chrislyn Machali Thompson Daystar Rebecca Thompson Ethan Zane Thompson Gabriel M Thompson Matthew Ian Thompson Wilhelmina Thompson Emily Thomson Joshua T Thoss Anthony L Thrasher Charley Ann Threatt Giovana Joy Throckmorton Christiana L Thrower Makayle Rae Tillman Ashlyn Nicole Tilton Kayle Morgan Tinsley Ethan Life Titus Morgan Olivia Todd Rachel Rae Todd Ervin Jackson Tomberlin Jennifer L Tomlin Kelly A Topper Chelsea Ebert Torres Juliana Estherina Maria Tosti Jonathan Tran Lam P Tran Ngan Ha Thi Tran Eden McKenna Travis John Trejo-Chavez Blaise Joseph Trent Hannah Marie Tull Brandon Craig Turbolski Taylor N Turck James Elliot Turner Molly Turner Sara L Turner Thomas Matthew Turner Shannon Rose Gacad Ty Rosanne Maude Udouj Jyoshikka Umasankar Jyoshita Umasankar Dana L Unger Chidera Cynthia Uzor Morgan Elizabeth Vafiadis Ester Valdez Eveling M Valdivia Centeno Jaiya Soleil Valentine German R Valverde Taipe Alexandra Kathleen Van Slyke Eliana Ansley Vanasse Rachel M Vance Grayson D Vandyke Millenium B Vang Solomon T Vang Andrew Micah Vanwingerden Jordan T Varda Manas Vishant Vashi Lillian Catherine Vaughan Hunter Vaughn Justin M Veatch Cristina Velasco Diego Denise Guadalupe Velazquez Hernandez Alaina D Venable Lesli Yomira Ventura Villegas Nicholas William Venuto Daniel Jose Vera Sophia Vieritz Marina Vihodet Dulce Maria Villavisencio Carter Harold Vinson Brice Connor Violette Sarah Vipperman Sergei Vlasenko Albert Vo Anh-Minh Dinh Vo Anh-Tai Dinh Vo Chau Thi Minh Vo Andi Vordermann William Tai Vuong Lindsey Anne Wagner Jacob Anthony Walker Rhonda L. Walker Steve A Walker Eden Elizabeth Wallace Grace Elizabeth Wallace Tysheva Latif Wallace William T Wallace Cory Edward Walling Hailey Diane Waluda Logan Matthew Wamsley Fenfen Wang Michaela Kae Ward Damon Paul Wasilewski Elizabeth Waters Finese Watkins Devon Watson Skyler Stone Watson Sydney Watson Marcus Watts Madison S Weaghington Faith Marie Weaver Lexi Star Weaver Mary A Weaver Sheena Weaver Braelyn Ruthann Webb Sydni Meagan Weed Lightsey Hall Welch Destiny Grace Wells Samantha L Wells Carter Alan Welton Miranda M Wenner Kevin D Werner Honey S Wheeler Sonya E Wheeler Cameron R White Harriet McNeil White Julina Yvonne White Elizabeth G Whiten Deshannon L Whiteside Janesia M Whiteside Jamie F Wicker Kendra Wien Julia Kelly Wiklacz Stephanie Ann Wildrick Amarria Wilkins Causey Stephens Williams Dana M Williams Deshaun Williams Devin James Williams Elena Kristen Williams Elizabeth Grace Williams Kristen Leanna Williams Matthew Douglas Williams Sarah N Williams Taylor Solange Williams Hannah Camille Williamson Daris Tymyais Williford Michael Eugene Willis Katherine Reynolds Wills Carolina Elizabeth Wilson Elizabeth Rose Wilson Ella Lorine Wilson India J. Wilson Jerruesha R Wilson Kathryn Danielle Wilson Shevona Shineka Wilson Nicole Laurane Wilton Austin Lance Wimberly Zachary J Wise Daniel L Withers Andrew Eric Witherspoon Candace O Wohn Michelle C Wolff Amberly Grace Womble Bridajia D Wood Charlotte Taylor Wood Christopher J Wood Grace Nicole Wood Joshua Adam Wood Zeb Vance Wood Kristin Woodall Owen Russell Woodall Markus David Woodbridge Daniel Keith Woodruff Jasmine Dawnasia Woodruff Grady Allen Woods Chloe Isabella-Elizabeth Woody Curtis L Wooten Jacob Cole Workman Stephanie Elaine Workman Matthew Dymitre Woznick Eythain Khole Wright Jasper Nathaniel Wright Kailey Elaine Wright Megan Dorothy Wright Hannah Elizabeth Wyant Lauren Wyatt Leia Alysha Wyatt Tian Xue Betsy Renee Yancey Dariya C Yann Jacob Ray Yates Madison Alyse Yeargin Sean Michael Yeary Edward Ridge Yeomans Candace A Young Iesha Young Kennedy Nicole Young Kenyetta A Young Sasha Kathleen Younginer Jonathan William Zambrano Megan Zeaser Fernando Manuel Zevallos Megan Leigh Zills Caleb Zimmerman Kimberly Tawana Zobel Melanie Powell Zwan Honor Roll with Distinction students were recognized for Spring Semester 2022. These are students who earned a minimum of 12 semester credit hours, took at least one Transitional Studies or College Skills course, and achieved a grade point average of 4.0. Annamarie Kellett Minh Nguyen Shianne Parker Kassidy Enriquez Fenfen Wang Alexus Smith Chau Vo Honor Roll students were also recognized for Spring Semester 2022. These are students who earned a minimum of six semester credit hours, took at least one Transitional Studies or developmental College Skills class, and achieved a minimum grade point average of 3.4 (with no grade lower than “C.”) Bobbi Semberger Logan McCaleb Bouchra Annich Alexandra Itehua Christopher Messick Andrea Boggs Naomi Rousseau Roba Al Homsi Mchael Avery Annamarie Kellett Kelvin Rodriguez-Cabrera Minh Nguyen Leslye Lejarza Joseph Millwood Harry Dent Madina Mamontova Arbrionna Fulton Shianne Parker Brandy Grayson Lam Tran Leslie Romero-Carmona Leilany Hernandez-Cruz Sarah Davis Imri Goldstein Yesmine Abdelfattah Kassidy Enriquez Daisy Colon Zaakhira McCoo Ivey Macomson Duvan Escorcia Sandoval Alexandria Erskine Lyndsey Johnson Fenfen Wang Alexus Smith Norma Sewell James Chimalpopoca-Alvarez Chau Vo Lesli Ventura Villegas
5407	dbpedia	0	14	https://jewishfuturepromise.org/see-who-signed/	en	See Who Signed	https://tools2.jewishfut…roll/feather.png	https://tools2.jewishfut…roll/feather.png	[ "https://jewishfuturepromise.org/wp-content/uploads/2023/12/JewishFuturePromise_Gradient_Stacked.png", "https://jewishfuturepromise.org/wp-content/uploads/2023/12/JewishFuturePromise_Gradient_Stacked.png", "https://tools2.jewishfuturepledge.org/public/pledger-roll/feather.png", "https://jewishfuturepromise.org/wp-content/uploads/2024/07/Picture-abe-copy.jpg", "https://jewishfuturepromise.org/wp-content/uploads/2024/06/Andrea-Leven-main-copy-1-1024x834.jpg", "https://jewishfuturepromise.org/wp-content/uploads/2024/05/Ilan-1.png", "https://jewishfuturepromise.org/wp-content/uploads/2023/12/certified-anti-alienation-training.png", "https://jewishfuturepromise.org/wp-content/uploads/2023/12/certified-anti-alienation-training.png", "https://www.facebook.com/tr?id=4042718085773301&ev=PageView&noscript=1&cd%5Bpage_title%5D=See+Who+Signed&cd%5Bpost_type%5D=page&cd%5Bpost_id%5D=443&cd%5Bplugin%5D=PixelYourSite&cd%5Buser_role%5D=guest&cd%5Bevent_url%5D=jewishfuturepromise.org%2Fsee-who-signed%2F" ]	[]	[]	[ "" ]	null	[]	2023-12-13T09:11:21+00:00	SEE WHO HAS SIGNED THE PROMISE MAKE YOUR PROMISE Search or Scroll to see who’s already joined the Promise. Click the icons to read why so many people have decided the Jewish Future Promise is for them. MAKE YOUR PROMISE Why I made the Promise: Voices from our community	en	https://jewishfutureprom…e_Icon-32x32.png	Jewish Future Promise	https://jewishfuturepromise.org/see-who-signed/	Search or Scroll to see who’s already joined the Promise. Click the icons to read why so many people have decided the Jewish Future Promise is for them.
5407	dbpedia	3	16	https://www.howtopronounce.com/simon-ekeno	en	How to pronounce Simon Ekeno	https://www.howtopronoun…end/og-image.png	https://www.howtopronoun…end/og-image.png	[ "https://www.howtopronounce.com/images/frontend/logo-dark.png?id=d5f581577f07831b3eb1", "https://www.howtopronounce.com/images/frontend/pronouncelayer.png?id=01cc6eec43af674dda58", "https://www.howtopronounce.com/images/frontend/pronounce.png?id=46e127f00494bb0fe649", "https://www.howtopronounce.com/images/frontend/pronounce.png?id=46e127f00494bb0fe649", "https://www.howtopronounce.com/images/frontend/play-animation.gif?id=3f048eaa7bed72c8cd6a", "https://www.howtopronounce.com/images/frontend/pronounce.png?id=46e127f00494bb0fe649", "https://www.howtopronounce.com/images/frontend/play-animation.gif?id=3f048eaa7bed72c8cd6a", "https://www.howtopronounce.com/images/frontend/pronounce.png?id=46e127f00494bb0fe649", "https://www.howtopronounce.com/images/frontend/play-animation.gif?id=3f048eaa7bed72c8cd6a", "https://www.howtopronounce.com/images/frontend/pronounce.png?id=46e127f00494bb0fe649", "https://www.howtopronounce.com/images/frontend/play-animation.gif?id=3f048eaa7bed72c8cd6a", "https://www.howtopronounce.com/images/frontend/pronounce.png?id=46e127f00494bb0fe649", "https://www.howtopronounce.com/{{quiz.quiz_image}}", "https://www.howtopronounce.com/{{quiz.quiz_image}}", "https://media.howtopronounce.com/question-assets/463502d33c8eea80ae949c9197240298.png?ops=wt213,ht112", "https://media.howtopronounce.com/question-assets/169cd145636c6c85dd004cf01396a69e.png?ops=wt213,ht112", "https://media.howtopronounce.com/question-assets/0be0848b89b98a5795bcaf8c9964a806.png?ops=wt213,ht112", "https://media.howtopronounce.com/question-assets/eafeb630545202f9af094dec595d77bf.png?ops=wt213,ht112", "https://media.howtopronounce.com/question-assets/ba5d9374c59af4b85877dd64acb1697d.png?ops=wt213,ht112", "https://media.howtopronounce.com/question-assets/cb01569a8eceb20d5cbf3cd7697bcddb.png?ops=wt213,ht112", "https://www.howtopronounce.com/{{comment[0].p_image}}", "https://www.howtopronounce.com/images/frontend/private_user.png?id=7f824f4a0a0d617584b2", "https://www.howtopronounce.com/{{reply.c_image }}", "https://www.howtopronounce.com/images/frontend/private_user.png?id=7f824f4a0a0d617584b2", "https://www.howtopronounce.com/images/frontend/loader.gif", "https://www.howtopronounce.com/images/frontend/loader.gif", "https://www.howtopronounce.com/images/frontend/loader.gif", "https://www.howtopronounce.com/images/frontend/loader.gif", "https://www.howtopronounce.com/images/frontend/loader.gif", "https://www.howtopronounce.com/{{app.userTrophy[app.userTrophyNo].picture_url}}", "https://www.howtopronounce.com/images/frontend/logo-white.png?id=a258499d635ad04a9b3b", "https://www.howtopronounce.com/images/frontend/loader.gif" ]	[]	[]	[ "" ]	null	[ "Julian Bernier" ]	2020-10-07T13:53:55	How to say Simon Ekeno in English? Pronunciation of Simon Ekeno with 1 audio pronunciation and more for Simon Ekeno.	en	/apple-icon-57x57.png		https://www.howtopronounce.com/simon-ekeno	You are not logged in.. Please Log in or Register or post as a guest You are not logged in.. Please Log in or Register or post as a guest You are not logged in.. Please Log in or Register or post as a guest You are not logged in.. Please Log in or Register or post as a guest You are not logged in.. Please Log in or Register or post as a guest
5407	dbpedia	0	43	https://github.com/AlanDeSmet/uniqueid/blob/master/soundex.data	en	uniqueid/soundex.data at master · AlanDeSmet/uniqueid	https://opengraph.githubassets.com/6c79ab7959190107128c665491ceb5289af189e7f30bf4a7380df4e3df4bcad0/AlanDeSmet/uniqueid	https://opengraph.githubassets.com/6c79ab7959190107128c665491ceb5289af189e7f30bf4a7380df4e3df4bcad0/AlanDeSmet/uniqueid	[]	[]	[]	[ "" ]	null	[]	null	Calculate various interesting numbers and codes, including some US driver's license numbers - uniqueid/soundex.data at master · AlanDeSmet/uniqueid	en	https://github.com/fluidicon.png	GitHub	https://github.com/AlanDeSmet/uniqueid/blob/master/soundex.data	We read every piece of feedback, and take your input very seriously. Include my email address so I can be contacted
5407	dbpedia	1	19	https://earth-planets-space.springeropen.com/highlighted-papers	en	Earth, Planets and Space	https://media.springerna…ournal/40623.jpg	https://media.springerna…ournal/40623.jpg	[ "https://pubads.g.doubleclick.net/gampad/ad?iu=/270604982/springer_open/earth-planets-space&sz=728x90,970x90&pos=LB1&pmc=G00002,G17002,G18009&", "https://earth-planets-space.springeropen.com/static/images/springeropen/logo-springer-open-d04c3ea16c.svg", "https://media.springernature.com/w110/springer-static/cover/journal/40623.jpg", "https://media.springernature.com/lw900/springer-cms/rest/v1/content/16935282/data/v1", "https://pubads.g.doubleclick.net/gampad/ad?iu=/270604982/springer_open/earth-planets-space&sz=160x600&pos=SKY1&pmc=G00002,G17002,G18009&", "https://earth-planets-space.springeropen.com/static/images/logo-springernature-acb40b85fb.svg" ]	[]	[]	[ "Earth", "Planets and Space", "Earth Sciences", "general", "Geology", "Geophysics/Geodesy" ]	null	[]	null	The Earth, Planets and Space (EPS) is a peer-reviewed open access journal published under the SpringerOpen brand. It provides a platform for scholars to ...	en	/static/img/favicons/darwin/apple-touch-icon.png	SpringerOpen	https://earth-planets-space.springeropen.com/highlighted-papers	Citation Impact 2023 Journal Impact Factor: 3.0 5-year Journal Impact Factor: 2.9 Source Normalized Impact per Paper (SNIP): 1.452 SCImago Journal Rank (SJR): 0.919 Speed 2023 Submission to first editorial decision (median days): 14 Submission to acceptance (median days): 162
5407	dbpedia	0	55	https://www.yumpu.com/en/document/view/3467076/heights-scottsdale-healthcare	en	Heights - Scottsdale Healthcare	https://www.yumpu.com/en…book/3467076.jpg	https://www.yumpu.com/en…book/3467076.jpg	[ "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/logo/Yumpu_Logo_RGB.png", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/account/document_privacy_modal/step1.png", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/account/document_privacy_modal/step2.png", "https://img.yumpu.com/3467076/1/500x640/heights-scottsdale-healthcare.jpg", "https://assets.yumpu.com/v4/img/avatar/female-200x200.jpg", "https://assets.yumpu.com/release/ou6ZPgO72P294QN/v5/img/logo/yumpu-footer2x.png", "https://assets.yumpu.com/v5/img/footer/worldmap-retina.png" ]	[]	[]	[ "shc.org", "robert", "scottsdale", "foundation", "john", "james", "healthcare", "michael", "william", "richard", "thomas", "heights", "www.shc.org" ]	null	[ "Yumpu.com" ]	null	Heights - Scottsdale Healthcare	en	https://assets.yumpu.com…icon-favicon.png	yumpu.com	https://www.yumpu.com/en/document/view/3467076/heights-scottsdale-healthcare	Attention! Your ePaper is waiting for publication! By publishing your document, the content will be optimally indexed by Google via AI and sorted into the right category for over 500 million ePaper readers on YUMPU. This will ensure high visibility and many readers! Inappropriate You have already flagged this document. Thank you, for helping us keep this platform clean. The editors will have a look at it as soon as possible.
5407	dbpedia	3	57	https://www.uncsa.edu/giving/campaign/impact-report.aspx	en	Campaign Impact Report	https://www.uncsa.edu/im…fault-social.png	https://www.uncsa.edu/im…fault-social.png	[ "https://www.uncsa.edu/performances/img/events/2024/08/0824-popsplaza.jpg", "https://www.uncsa.edu/performances/img/events/2024/09/0924-emilynewton.jpg", "https://www.uncsa.edu/performances/img/events/2024/09/0924-peter-laul.jpg", "https://www.uncsa.edu/performances/img/events/2024/06/0624-candelight-taylor-swift.jpg", "https://www.uncsa.edu/performances/img/events/2024/09/0924-symphony.jpg", "https://www.uncsa.edu/performances/img/events/2024/05/0524-candelight-vivaldi.jpg", "https://www.uncsa.edu/.ldp-images/.private_ldp/a288050/production/master/61749b47-ce36-4374-b0e4-927c4975f13d.jpg", "https://www.uncsa.edu/.ldp-images/.private_ldp/a288050/production/master/e35ba582-8143-4272-99d5-23b9a191e0d8.jpg", "https://www.uncsa.edu/.ldp-images/.private_ldp/a288050/production/master/d0e386f2-facc-4c4a-b168-e94f04248af2.jpg", "https://www.uncsa.edu/.ldp-images/.private_ldp/a288050/production/master/f3f2a087-c511-4769-80e7-bc2822c9e259.jpg" ]	[]	[]	[ "" ]	null	[]	null	Read about the impact of Powering Creativity: The Campaign for UNCSA - the university's largest fundraising effort in history.	en	/favicon.ico		https://www.uncsa.edu/giving/campaign/impact-report.aspx	Five years ago, UNCSA began its first major fundraising campaign in decades. With a lead gift from beloved Chancellor Emeritus Alex Ewing, Powering Creativity began quietly in 2016. Launched publicly in September 2019, the campaign was the most ambitious fundraising initiative in UNCSA history. With a goal of $65 million, it was poised to make a transformative impact on students, faculty, staff, and the wider community. Thanks to the generosity of thousands of supporters, Powering Creativity soared past its goal, and the funds received are already hard at work, helping our emerging artists reach new creative heights. VIEW THE CAMPAIGN IMPACT REPORT (PDF) Powering Creativity Donor List Alphabetical by last name
5407	dbpedia	2	60	https://nypost.com/2023/09/05/biden-rages-that-staff-treats-him-like-a-child-book/	en	Biden rages that staff treats him like a child, new book claims: ‘Was John Kennedy ever babied like that?’	https://nypost.com/wp-co…strip=all&w=1024	https://nypost.com/wp-co…strip=all&w=1024	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6390601&c3=NYPOST&cj=1&cv=3.6", "https://nypost.com/wp-content/uploads/sites/2/2023/02/button_3_bg-2.png?w=206", "https://nypost.com/wp-content/uploads/sites/2/2023/09/216032096_Russia-Ukraine-War-US-Europe.jpg?w=1024", "https://nypost.com/wp-content/uploads/sites/2/2023/09/81-uhsn214L.jpg?w=674", "https://nypost.com/wp-content/uploads/sites/2/2023/09/216168652_UKRAINE-CRISIS_KREMLIN-BIDEN.jpg?w=1024", "https://nypost.com/wp-content/uploads/sites/2/2024/08/luna-maga-swimsuit.jpg?quality=75&strip=all&1723682958&w=260&h=174&crop=1", "https://nypost.com/wp-content/uploads/sites/2/2024/08/newspress-collage-5h92e0naf-1723700243528.jpg?quality=75&strip=all&1723685911&w=260&h=174&crop=1", "https://nypost.com/wp-content/uploads/sites/2/2024/08/87797718.jpg?quality=75&strip=all&w=260&h=174&crop=1", "https://nypost.com/wp-content/uploads/sites/2/2024/08/87779317.jpg?quality=75&strip=all&w=260&h=174&crop=1", "https://pagesix.com/wp-content/uploads/sites/3/2024/08/87802333.jpg?quality=75&strip=all&w=1024", "https://nypost.com/wp-content/uploads/sites/2/2024/08/081324GLOBETROTTERSNYP_WP.jpg?quality=75&strip=all&w=260&h=174&crop=1", "https://decider.com/wp-content/uploads/2024/08/wwhl_1bcd0d.jpg?quality=75&strip=all&w=322&h=215&crop=1", "https://nypost.com/wp-content/uploads/sites/2/2024/08/Front-Cover_b9e1ab.jpg?quality=75&strip=all&w=180", "https://nypost.com/wp-content/uploads/sites/2/2024/08/Back-Cover_6670b0.jpg?quality=75&strip=all&w=180", "https://nypost.com/wp-content/uploads/sites/2/2023/09/216032096_Russia-Ukraine-War-US-Europe.jpg?quality=75&strip=all&w=1024", "https://nypost.com/wp-content/uploads/sites/2/2023/09/81-uhsn214L.jpg?quality=75&strip=all&w=674", "https://nypost.com/wp-content/uploads/sites/2/2023/09/216168652_UKRAINE-CRISIS_KREMLIN-BIDEN.jpg?quality=75&strip=all&w=1024", "https://nypost.com/wp-content/uploads/sites/2/2024/08/87788376.jpg?quality=75&strip=all&crop=1&w=341&h=227 1x, https://nypost.com/wp-content/uploads/sites/2/2024/08/87788376.jpg?quality=75&strip=all&crop=1&w=682&h=454 2x", "https://nypost.com/wp-content/uploads/sites/2/2024/08/87765755.jpg?quality=75&strip=all&crop=1&w=341&h=227 1x, https://nypost.com/wp-content/uploads/sites/2/2024/08/87765755.jpg?quality=75&strip=all&crop=1&w=682&h=454 2x", "https://nypost.com/wp-content/mu-plugins/vip-helpers/images/vip-powered-dark-small.png" ]	[]	[]	[ "US News", "Politics", "World News", "joe biden", "kyiv", "putin", "ronald reagan", "the pentagon", "ukraine", "ukraine war", "vladimir putin", "Volodymyr Zelensky" ]	null	[ "Caitlin Doornbos" ]	2023-09-05T00:00:00	Despite his status as the nation's oldest president in history, Joe Biden feels he is "babied" by his staff, setting off the 80-year-old's Irish temper, according to a new book peeling back the inner workings of the White House.	en	https://nypost.com/wp-co…t/apple-icon.png	New York Post	https://nypost.com/2023/09/05/biden-rages-that-staff-treats-him-like-a-child-book/	WASHINGTON – Despite his status as the nation’s oldest president in history, Joe Biden feels he is “babied” by his staff, setting off the 80-year-old’s Irish temper, according to a new book peeling back the inner workings of the White House. The gaffe-prone president’s staff regularly scrambles to mop up the messes Biden makes with off-script comments, but the efforts are not always appreciated, according to Franklin Foer’s “The Last Politician,” which went on sale Tuesday. That tension came to a head in the early days of Russia’s war on Ukraine when Biden, through excitement, bombed what otherwise would have been a triumphant speech supporting Kyiv, Foer writes. The March speech was critically important to Biden. Chief of the Joint Staff Gen. Mark Milley had “egged the president on” as he drafted it, according to the book by the Atlantic staff writer and the former editor of the New Republic. “This is your, ‘Mr. Gorbachev, tear down this wall’ speech,” Milley told Biden – a reference to former President Ronald Reagan’s impactful words near the end of the Cold War. Foer writes, “At this late stage in his career, [Biden] had largely stopped giving speeches with cadences and imagery that aspired to be described as Kennedyesque. “But, here in his moment, he strove for loftiness and built his speech to culminate in a grand exhortation about the moral imperative of thwarting authoritarianism.” Biden later said in his speech, “A dictator bent on rebuilding an empire will never erase a people’s love for liberty. “Brutality will never grind down their will to be free. Ukraine will never be a victory for Russia – for free people refuse to live in a world of hopelessness and darkness.” But instead of ending there as planned, the speech culminated with an off-the-cuff statement that sounded like Biden was calling for Russian President Vladimir Putin to be overthrown: “For God’s sake, this man cannot remain in power.“ The statement alarmed Americans and international US allies who worried it would spark retaliation and escalation from Putin — and his full arsenal of nuclear weapons. Upon leaving the stage, “Biden instantly knew that the White House would have to clarify his mistake,” according to Foer. No stranger to walking back comments made by the president, Biden’s staff quickly took the initiative to explain away the controversial statement. But they’d done so without consulting the president, which drew the octogenarian’s ire and resentment, according to the book. “By the time [he] piled into the motorcade leaving [the speech,] his aides had released a statement walking back his sentence,” Foer writes. “Suddenly, the press wasn’t marveling at his rhetoric or his diplomatic triumphs; it was back to describing him as a blowhard lacking in self-control.” The coverage enraged Biden – who Foer says “like Donald Trump … is a voracious consumer of television” – and he “left for home, ending his triumphalist tour, feeling sorry for himself.” Deep down, he “knew that he had erred” by making the comment in the first place, Foer says. But instead of taking responsibility for the flub, he “resented his aides for creating the impression that they had cleaned up his mess.” “Rather than owning his failure, he fumed to his friends about how he was treated like a toddler,” Foer writes. “Was John Kennedy ever babied like that?” Asked Tuesday to respond to the book’s allegation that Biden felt babied, White House Press Secretary Karine Jean-Pierre rebuked the question, calling the book’s revelation “a ridiculous claim. ““No one treats the President of the United States, the commander in chief, like a baby,” she said.
5407	dbpedia	0	5	https://m.famousfix.com/list/members-of-the-order-of-orange-nassau	en	Members of the Order of Orange	https://img3.bdbphotos.c…lt2.jpg?skj2io4l	https://img3.bdbphotos.c…lt2.jpg?skj2io4l	[ "https://static.famousfix.com/img/logos/famousfix_logo_search.png", "https://img4.bdbphotos.com/images/50x50/p/g/pglnr22391rk2n9l.jpg?skj2io4l", "https://static.famousfix.com/img/icons/thumbs_up.png", "https://static.famousfix.com/img/icons/thumbs_down.png", "https://img4.bdbphotos.com/images/230x300/e/n/enzvwg329c7b3w2g.jpg?skj2io4l", "https://static.famousfix.com/img/icons/thumbs_up.png", "https://static.famousfix.com/img/icons/thumbs_down.png", "https://img4.bdbphotos.com/images/230x300/9/m/9m851f98e6gv918f.jpg?skj2io4l", "https://static.famousfix.com/img/icons/thumbs_up.png", "https://static.famousfix.com/img/icons/thumbs_down.png", "https://static.famousfix.com/img/icons/thumbs_up.png", "https://static.famousfix.com/img/icons/thumbs_down.png", "https://static.famousfix.com/img/icons/thumbs_up.png", "https://static.famousfix.com/img/icons/thumbs_down.png", "https://img4.bdbphotos.com/images/500x250/m/r/mrvyubwz55w65w.jpg?skj2io4l", "https://static.famousfix.com/img/icons/thumbs_up.png", "https://static.famousfix.com/img/icons/thumbs_down.png", "https://static.famousfix.com/img/icons/thumbs_up.png", "https://static.famousfix.com/img/icons/thumbs_down.png", "https://static.famousfix.com/img/icons/thumbs_up.png", "https://static.famousfix.com/img/icons/thumbs_down.png", "https://static.famousfix.com/img/icons/thumbs_up.png", "https://static.famousfix.com/img/icons/thumbs_down.png", "https://img4.bdbphotos.com/images/230x300/r/i/riw4i8sqgscs.jpg?skj2io4l", "https://static.famousfix.com/img/icons/thumbs_up.png", "https://static.famousfix.com/img/icons/thumbs_down.png" ]	[]	[]	[ "" ]	null	[]	null			https://static.famousfix.com/img/ff/favicon.ico	FamousFix.com	https://www.famousfix.com/list/members-of-the-order-of-orange-nassau	Overview: Inge van Dijk (born 6 May 1975) is a Dutch politician, serving as a member of the House of Representatives since the 2021 general election. She represents the political party Christian Democratic Appeal ... Date of birth: 6 May 1975 Age: 49 Occupation: Politician Overview: Pieter "Peter" van Dijk (born 28 December 1952) is a Dutch politician, he served three terms in the Senate for the Party for Freedom in the period between 2011 and 2019. He is member of the States-Pro ... Date of birth: 28 December 1952 Age: 71 Occupation: Politician Overview: Giovanni Narcissus Hakkenberg (6 December 1923 – 15 February 2013) was a Dutch marine of Indonesian and European descent, and decorated war hero and knight of the Military Order of William. The Military ... Date of birth: 6 December 1923 Date of death: 15 February 2013 Age: 89 (age at death) Nationality: Dutch Occupation: Military Gender: Male Overview: Willemien Rieken (died 24 July 2020) was a Dutch woman who was in September 1945 one of the Flower Children after the Battle of Arnhem, aged 9. Children who lived near the scene of the fighting at the ... Date of death: 24 July 2020 Overview: Mark A.J. Snoeren (born 25 August 1974) is a Dutch politician, who served as a member of the House of Representatives between September 2020 and March 2021. He is a member of the People's Party for Freedom ... Date of birth: 25 August 1974 Age: 49 Occupation: Politician
5407	dbpedia	2	21	https://www.ask-oracle.com/birth-chart/ommo-doornbos/	en	Ommo Doornbos Age, Birthday, Zodiac Sign and Birth Chart	https://www.ask-oracle.c…808509_Small.jpg	https://www.ask-oracle.c…808509_Small.jpg	[ "https://www.ask-oracle.com/charts_cache/birth-chart/o/1916/bcw_wheel_ommo-doornbos.png", "https://www.ask-oracle.com/charts_cache/birth-chart/o/1916/bcw_aspect_ommo-doornbos.png", "https://www.ask-oracle.com/charts_cache/birth-chart/o/1916/bc__ommo-doornbos_D1.png" ]	[]	[]	[ "" ]	null	[]	2010-06-25T09:37:49+00:00	Astrology details of Ommo Doornbos such as age, birthday, zodiac sign, and natal chart. Analyze their birth chart and kundli to understand their personality and cause of death through astrology.	en	https://www.ask-oracle.c…04/favicon32.png	Ask Oracle	https://www.ask-oracle.com/birth-chart/ommo-doornbos/	Zodiac Sign (Western) Scorpio Sunsign, Tropical Zodiac Zodiac Sign (Vedic) Pisces Moonsign, Sidereal Zodiac Age (Today) 107 years, 9 months, 9 days Your next birthday is 82 days away. Birthday Monday, November 6, 1916 Place of Birth Unknown Time Zone - Chinese Zodiac Sign Dragon (龙) Birth Number 06 Life Path Number 7 Name Number (Chaldean) 59 => 5 Name Number (Pythagorean) 5 Meaning of the name - Ommo Unknown, potentially a variation of "Om" or a name with personal significance. Read Full Ommo Name Analysis November 6, 1916 Facts Generation Group Ommo Doornbos belongs to the GI Generation group. Place of Birth: Place of Death: Cause of Death: Educated At: Occupation: Spouses: Children: Employers: Awards Received: Astrology Analysis Western Astrology Chart North Indian Kundli Ephemeris for November 6, 1916 Note: Moon position is location and time sensitive. Planet Position (Tropical, Western) Transits on November 6, 2023 Secondary Progressions for November 6, 2023 Sun 13 Scorpio 58 14 Scorpio 1 2 Pisces 31 Moon 5 Aries 7 28 Leo 46 1 Pisces 57 Mercury 3 Scorpio 34 24 Scorpio 35 8 Aquarius 2 Venus 4 Libra 21 28 Virgo 10 16 Aquarius 29 Mars 11 Sagittarius 19 17 Scorpio 31 4 Pisces 4 Jupiter 28 Aries 13 9 Taurus 59 1 Taurus 17 Saturn 1 Leo 19 0 Pisces 29 25 Cancer 23 Uranus 15 Aquarius 47 21 Taurus 22 20 Aquarius 23 Neptune 4 Leo 54 25 Pisces 7 2 Leo 44 Pluto 4 Cancer 13 28 Capricorn 3 2 Cancer 25 Rahu 23 Capricorn 17 23 Aries 48 17 Capricorn 37 Ketu 23 Cancer 17 23 Libra 48 17 Cancer 37 More For Scorpio Free Horoscopes Love Compatibility Personality Traits Scorpio Man Scorpio Woman Chandra Kundali (Equal House, North Indian Diamond Chart) Astrology Transits Analysis for Year 2024 Note: Multiple transits occurring in close proximity often signify a major event in a person's life. Ommo Doornbos's 2024 Transits to Natal Planets Mars square Moon Exact: 11 January, 2024 Mars square Jupiter Exact: 10 February, 2024 Saturn square Mars Exact: 21 March, 2024 Jupiter opposition Sun Exact: 21 March, 2024 Jupiter trine Rahu Exact: 30 April, 2024 Mars aspects Sun Exact: 20 May, 2024 Mars square Ketu Exact: 30 May, 2024 Jupiter trine Venus Exact: 19 June, 2024 Mars opposition Sun Exact: 29 June, 2024 Jupiter opposition Mars Exact: 19 July, 2024 Mars opposition Mars Exact: 08 August, 2024 Rahu conjunction Moon Exact: 07 October, 2024 Mars conjunction Ketu Exact: 17 October, 2024 Mars opposition Rahu Exact: 17 October, 2024 Ketu conjunction Venus Exact: 17 October, 2024 Mars square Mercury Exact: 16 November, 2024 Saturn square Mars Exact: 16 November, 2024 Mars square Mercury Exact: 16 December, 2024
5407	dbpedia	1	0	https://www.wikidata.org/wiki/Q11252987	en	Simone Kennedy-Doornbos	https://upload.wikimedia…rnbos_-_2016.jpg	https://upload.wikimedia…rnbos_-_2016.jpg	[ "https://upload.wikimedia.org/wikipedia/commons/thumb/5/5f/Simone_Kennedy-Doornbos_-_2016.jpg/220px-Simone_Kennedy-Doornbos_-_2016.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://www.wikidata.org/static/images/footer/wikimedia-button.svg", "https://www.wikidata.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	null	Dutch politician, tour operator and translator	en	/static/apple-touch/wikidata.png		https://www.wikidata.org/wiki/Q11252987
5407	dbpedia	2	17	https://www.k-state.com/membership/lifemembers.php	en	K-State Alumni Association			[ "https://www.k-state.com/images/150%20Logo%20Website_-04.svg", "https://www.k-state.com/images/062623meganthumb.jpg" ]	[]	[]	[ "" ]	null	[ "K-State Alumni Association" ]	null		en	/_resources/img/favicon.ico		https://www.k-state.com/membership/lifemembers.php	Roger John Baalman `72 Donald Lee Babb `78 Samuel Martin Babb `76 Becky Jo Babcock Mary Jo Babcock `63 Nicholas D Babcock `98 Stephanie M Babcock `99 Sheryl A Baccarella `82 Amy Marie Baccus `00 Carol Mosier Bach `71 Michele B Bach `91 Bailey Borck Bachamp `11 Betty D Bachamp `92 Cole Ryan Bachamp `11 Mark Alan Bachamp `84 Stuart J Bachamp `03 Barbara Ann Bachman `81 Bernadine Marie Bachman `57 Bruce L Bachman `74 Byron J Bachman `00 Gregory Alan Bachman `78 Holly Claire Bachman `11 Karen Bachman Matthew Craig Bachman `80 Nicole L Bachman `99 Pamela S Bachman Ronald W Bachman `86 Ronald Eugene Bachman `84 Sharon M Bachman `84 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Baker `70 James J Baker `09 James Joseph Baker `68 Jeremy Charles Baker `04 John R Baker `80 Kathryn A Baker `78 Kay Ellen Baker `72 Kristi Ann Baker `79 Laura M Baker `71 Lesa Beck Baker `94 Lynne K Baker `87 Marc J Baker `86 Nancy Ann Baker `76 Ralph Eugene Baker `68 Randal Wayne Baker `76 Robert Lynn Baker `78 Roger Morse Baker `72 Ruth LoRee Baker `55 Twila E Baker `83 W Thane Baker `53 William Ernest Baker `73 Lee Raymond Bakker `03 William Roberts Bakker `06 Johna M Baldassaro `04 Ryan Michael Baldassaro `04 Mary Ann Balderson `71 S Clark Balderson `70 Carol Arlene Balding `54 Thad Paul Baldock `88 Allen V Baldwin `67 Althea Ann Baldwin `80 Collin Eugene Baldwin `08 Jessica L Baldwin `06 Roger A Baldwin `00 Russell Phillip Baldwin `98 Susan Baldwin `73 Teresa Myzer Baldwin `79 Thomas Frederick Baldwin `79 William Baldwin Bruce Merrill Bales `80 Florice Louise Bales `73 Larry D Bales `91 Cheryl L Bales-Inslee `01 Karen J Baliel `89 Alexander Sean Balk `08 Alesia Jane Ball `76 David James Ball `99 Jacqueline Renee Ball `06 James Dare Ball `66 Jamie Noelle Ball `10 Lois E Ball `72 Richard A Ball Sherrill Jeanne Ball `66 Thomas Ross Ball `04 Wendy Jo Ball `81 Lindsay C Ball-Lewis `01 Cynthia Sue Ballard `73 Hannah Paige Ballard `22 Janet Sue Ballard `68 Jared Patrick Ballard `07 Kay Patrick Ballard `77 Sheryl Lee Ballard `88 Shiloh Wade Ballard `20 Paul Lee Ballinger `73 Phillip Wayne Ballou `77 Rosanne L Ballou `57 Cortney Lee Bally `07 Matthew James Balsman `07 Kathilyn Balsmeier Bart Alan Balthazor `84 Connor Eli Balthazor `22 Erin Brunell Balthazor `98 Kurt Lee Balthazor `86 Jeffrey Jon Balthrop `95 Shannon Renee Balthrop `94 Karl M Baltzell `84 Roger Philip Balzer `63 Amy L Balzer-Baker `94 Brian Peter Bambara `07 Crystal Bradford Bamberger `05 Heath Michael Bamberger `04 Elizabeth Bambick-Sharp `81 Jaime M Bamford `99 W Marion Bamman `69 Margaret R Banach `18 Betty Banaka Jerry Banaka `69 Christopher Roos Bancroft `88 Cynthia Lynn Bancroft `90 Amy Leona 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`03 Patrick Steven Bean `75 Theodore A Bean `74 Nicole A Beard `23 Carol Jeannette Beardmore `74 Dave Hale Beardmore `77 Laura Beverly Beardmore `46 Pamela Jolene Beardmore `80 Christina Jane Beardsley `95 Craig Alan Beardsley `00 Constance J Bearnes `70 Edward Jackson Beashore `78 Kathleen L Beashore Amanda Kay Beasley `08 Jonathan Lee Beasley `01 Nona Lynne Beasley `75 Aaron J Beaton `01 Holly Marie Beaton `00 William Lee Beaton `72 Steven Charles Beatte `92 Robert Beattie `64 Margaret Beatty Baier `77 Jo Ann Beaty `81 Philip A Beaudoin `73 Darcy Lyn Beaver `91 David Bradley Beaver `94 Frank M Beaver `66 Judy Mae Bebermeyer `67 Elizabeth Lauren Bechard `13 Jarrod Brett Bechard `14 Kyle Steven Becher `17 Mary T Bechtel `92 Misty D Bechtel `96 Troy Lynn Bechtel `93 Ty Andrew Bechtel `96 Amy J Beck `96 David Wayne Beck `76 Douglas Martin Beck `88 George Edward Beck `59 Jill Ann Beck `75 Michael D Beck `83 Shannon M Beck Lela Sue Beck-Glatz `73 David Michael Beckenhauer `15 Dwane M Beckenhauer `78 Rita L Beckenhauer Ann Louise Becker `58 Dean David Becker `84 Diane Rene Becker `81 Lawrence P Becker `68 Loren Dale Becker `60 Mallory Christine Becker `07 Michael Thomas Becker `20 Michael Henry Becker `83 Richard Carl Becker `67 Robert Alan Becker `76 Roger Leon Becker `80 Roger Lee Becker `69 Samuel Leon Becker `92 Sarah Neustrom Becker `80 Sarah Ellen Becker `84 Sheryl Rae Becker `68 Steven James Becker `87 Susan Becker `98 Kristin Marie Becket `99 Elizabeth Anne Beckham `76 Kelly Patrick Beckham `76 Harry Carl Beckman `61 Marlene Sue Beckman `62 Samuel Karl Beckman `67 Leslie Ann Beckstrom `91 Anne Louise Becraft `70 Larry Ray Becraft `70 Margaret Sue Bedford `72 Peter A Bedford `70 Brian K Bednar `83 Lisa Kay Beebe `85 Bradley Beecher `88 Gwen G Beeley `92 Robert Leroy Beeley `91 Billy Eugene Beeman `63 Ed Beeman `85 James Preston Beeman `94 Janet E Beeman Jeanna Leann Beeman `93 Kathy Epler Beeman `84 Todd K Beemer Janet L Beene `95 Michael Douglas Beene `90 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Dixie L Bergmeier `60 Mike J Bergmeier `83 Alesha Marie Bergner `23 Bill C Bergner `89 Grant Thomas Bergner `12 Judi Bergner Lindsey Katherine Bergner `21 Shannon M Bergner `92 Thomas William Bergner `77 Michelle L Bergquist `95 Thomas Patrick Bergquist `96 Lamar Karl Bergsten `95 Pamela Lynne Bergsten `93 Reed Pearson Bergstrom `15 Jennifer Leigh Berka `03 Jeffrey Halvor Berke `78 Lisa Kay Berke `79 Mark Alan Berkley `63 Nancy Jo Berkley `84 Patricia Gail Berlin `70 Glenn William Berman `77 Mark Yale Berman `71 Gail Filbert Bermudez `67 F Richard Bernasek `69 Regina Bernasek `69 Steven Lynn Bernasek `71 Cherie Louise Berndt `86 Hunter Frederick Berndt `18 Loren K Berndt `86 Patti S Berney Rand Curtis Berney `77 Marcela L Berney-Brown `86 Darin Scott Bernhardt `10 David E Bernhardt `61 Max Wayne Bernhardt `71 R Gregory Bernica `78 Susan K Bernica `82 Christopher Justin Berning `95 Craig A Berning `09 Daniel R Berning `82 Duane Eugene Berning `74 Gary Lee Berning `76 Jennifer Denise Berning `93 Larry Allen Berning `76 Sharon Ann Bernitz `70 Cindy Kay Berquist `76 Roger Alan Berquist `76 Ann Thackrey Berry `51 Brianna Lu Berry `04 Sara J Berry-Herren `02 Janet Kay Berry-Oswalt `90 Douglas Jay Berryman `91 John R Berschied `70 Stanley D Bert `75 Dolores Bertrand `53 Elaine L Bertrand `74 Richard E Bertrand `52 Delva Kay Bertsch `68 John Christopher Besler `80 Linda L Besler Robert Karl Bessert `91 Reginald K Bessmer `65 Mackenzie Marie Best `16 Scott J Besthorn `84 Edwin A Betancourt `85 Christopher Mark Bethe `08 Jennifer Ann Betschart `01 Kourtney R Bettinger `06 Rebecca Kay Betz `68 William Deming Betz `67 Thomas G Betzen `80 Patricia May Betzold `08 Jaimee Christine Beugelsdijk `06 Samuel Allen Beugelsdijk `06 Pamela Sue Bevan `96 Dennis W Bever `79 Georgiana Beverly `76 Alan Harold Beyer `70 Andrea Lynn Beyer `10 Ken N Beyer `95 Margaret Mae Beyer `62 Richard Travis Beyer `12 Sue Ann Beyer `73 Robert Kendall Beymer `78 Tamara M Beymer `93 Timothy Brian Beymer `92 Ludwig Albert Bezemek `57 Snehal S Bhakta `96 Kowshik Bhat `95 Kristen Bhatti `83 Shahzad Bhatti `82 Judy Michelle Bible `75 Kent C Bible `75 Renee I Biby `92 Robert Dan Biby `93 Julia Christine Bichelmeyer `95 G Scott Bickel `84 Donald Gene Bickle `50 Emily Ann Biddler `69 Bruce N Bidwell Kactus K Bidwell `09 Patricia E Bidwell Robert S Bidwell `71 Natalie Anne Bieberle `13 R Kenneth Bieberly `70 Sue Goss Biederwolf `83 Chris Alan Biegler `79 Craig Robert Biegler `74 Judith Marie Biegler `76 Christopher J Bieker `98 Laura Beth Bienhoff `05 Mark William Bienhoff `76 Craig Stewart Biere `95 Charlene Irma Bierly `53 Bill P Biernacki `88 Maj-Beth Biernacki `88 Andrew Lloyd Biery `14 Andrew Joseph Biery `06 Jana Lauren Biery `09 Teresa Biery `76 Terry Lee Biery `66 Connie S Bietau `82 James Bigelow `78 Barton Lynn Bigge `63 Earl Derr Biggers `10 Bryan Eugene Biggs `75 Donald Eugene Biggs `52 Lou Ann Biggs `76 Michelle Elaine Biggs `00 Stanley Daniel Biggs `80 Bryon Scott Bigham `90 Jane Anne Bigler `69 Leanne Bigler Darci Lee Bilberry `00 Jeff Bilberry `01 John Paul Bilbrey `78 Kris S Bilbrey `93 Nicole Anne Bilbrey `97 Teresa Denise Bilbrey `17 Christopher Richard Bilder `96 Kimberly Peschka Bilder `00 Bernadette Ruth Bilderback `70 John Roger Bilderback `72 Bertram Robert Biles `63 Larry Eugene Biles `74 Richard E Bills `63 James William Billups `72 Larry Paige Bilotta `62 Julie Ann Bilson `79 Brian K Bilyeu `83 Jeff D Bina `90 Phyllis Binford `54 William K Binford `54 Wendy Ann Bingesser `93 Aaron Christopher Bingham `11 Elinor Ann Bingham `62 Jennifer Lauren Bingham `15 Kimberly Ann Bingham `96 Garrett Eugene Binns `20 Valerie Jean Binns `16 Alea Nicole Bird `23 Alvin Dale Bird `63 Amber Sue Bird `91 Beth Wilson Bird `61 Christopher Ryan Bird `10 Daniel Miller Bird `62 Donna Marie Bird `55 Elizabeth Stephens Bird `08 Gregory John Bird `77 Jason Thomas Bird `23 Kimberly Baccus Bird `08 Larry Dean Bird `64 Lisa Telthorst Bird `79 Marshall Ray Bird `80 Marshall Richard Bird `89 Nancy Jane Bird Thomas M Bird `85 Karissa Alexandra Birdsell `10 Melva Collins Birdwell `94 Bill D Birk `47 Jeffrey Phelps Birk `77 Laura Jane Birk `77 Jered Clinton Birkbeck `97 Mary Lou Birkbeck `64 Tony Raymond Birney `93 Dave A Bisagno `81 DeeAnn Bisagno `86 Dennis Dewayne Bisby `60 John David Bish `88 Denise L Bishop `76 Jillian Jalee Bishop `06 Russell Edward Bishop `73 Stacey Annette Bishop `92 Stephen R Bishop `09 Vicki Lynn Bishop `84 W Carol Bishop `58 David Lee Bisnette `81 Debra S Bisnette `86 Jeffrey A Bissey `91 Alberta Mae Bittel `71 Gary Glen Bitter `62 Cally Delane Bitterlin `08 Cody Alan Bitterlin `09 E Lane Bitterlin `81 Jared Ryan Bixby `01 Jennifer Susan Bixby `99 Rhonda Renee Bixby `89 Paul Bixel Timothy Allen Bizoukas `06 Ashley R Bjorklund Jon T Bjorklund Erica Courtney Blaauw-Crowley `09 Aaron Douglas Black `96 Christine Renae Black `94 Christopher Todd Black `96 Eric James Black `92 Joanne Elizabeth Black `56 Kimberly Michelle Black `04 Maria Consigli Black `96 Mitzi Lea Black `92 Pamela Joan Black `89 Stanley Cash Black `85 Tyson Karl Blackburn `08 Hala Blackman Rolando Antonio Blackman `81 Tamara Michelle Blackman `88 John H Blackwell `69 Nancy Jane Blackwell Douglas K Blackwood `71 Clint Michael Blaes `08 John Edward Blaesi `77 LaVon Fae Blaesi `72 Gretchen M Blain `05 Mary Susan Blain `72 Heidi Lynn Blair `92 Paula Bee Blair `69 Robert Wayne Blair `96 Cheryl Leigh Blake `81 Janet Lynn Blake `70 Mary Reeder Blake `72 Shelly Anne Blake `02 Timothy Dale Blake `02 Tony Douglas Blake `83 Cameron L Blakely `81 Elizabeth C Blakely `72 Jimmie Lee Blakely `65 Eric Kent Blakeslee `12 Julie D Blakeslee `80 Karen Marie Blakeslee `86 Kent George Blakeslee `79 Kyle John Blakeslee `17 Mackenzie Sue Blakeslee `13 Judith Bauman Blalock `79 David Blanchard Harry F Blanchard `54 Mary Elizabeth Blanchard `52 Joel Grimsley Bland `14 Shawna Mae Blanka `93 Mary Larson Blanke John David Blanken `75 Robert Dayton Blanken `88 Edward Elmer Blankenhagen `74 Louise Ann Blankenhagen Roxie Blankenhagen Ada M Blankenship `61 John E Blankenship `71 Michael Clay Blankenship `92 Richard E Blankenship `66 Shirley Rose Blankenship `71 Beverly Blankinship Paul H Blankinship `70 Sara May Blankley `97 Heather Mae Blanton `01 Jim Albert Blanton `72 Michele Blanton `75 Lorna Ann Blasche `05 Robert L Blaser `98 Sarah Lea Blaser `99 Bronson Richard Blasi `13 David Joseph Blasi `91 Joseph C Blasi `95 David Anthony Blasiar `90 Donna Joy Blaske `72 Michael James Blaske `72 Stephanie Ellen Blaufuss `95 Rita E Blauvelt `74 William A Blauvelt `69 Barbara A Blaylock `87 David Parker Bleakley `78 Sandra Kay Bleakley `78 Donald H Blecha `71 Keith Morey Blecha `71 Nancy Jo Blecha `70 Darrell Dean Bledsoe `71 Marilyn Jean Bledsoe `68 Steven Vogt Bleish `77 John C Blessing `02 Crystal Dawn Blin `07 Abby Sue Bliss `21 Arlene Amarita Bliss `69 Lindley T Bliss `96 Thomas Charles Bliss `70 Frederick H Blitz `69 Maryann Bliven Nicholas Robert Bloedow `15 David A Blood `95 Paula Ansay Blood `95 Baylee Ann Bloom `22 Ellen Marie Bloom `64 Fred Lee Bloom `79 John Lester Bloom `61 Kathy R Bloom `80 Melissa Ann Bloom `90 Richard Ward Bloom `91 Shawn M Bloom `87 Shala Lynn Bloomberg `04 Richard J Bloomer `75 Cedric James Blough `97 Philip Barry Blount `73 Terri Lynne Blount `83 David J Bloyd Sara Jane Blubaugh `55 Vernon Albert Bluhm `50 Harold Richard Blume `76 Paula L Blume Theresa Irene Blundell `99 Benjamin Colston Blunt `13 Aaron George Blush `10 Michelle A Blush `10 Marie M Blythe `64 Annette Marie Boardman `85 Daniel Brian Boatright `86 Marci Diane Boatwright `87 Joseph Harry Bobek `05 Kristi A Bobek `06 Bert Richard Bock `72 Curtis Lyle Bock `74 Jean Ann Bock `72 Sharon Elaine Bock `71 Vernon Lee Bockover `62 Elizabeth Marie Bode `08 Rachel M Boden `99 Scott Leon Boden `99 Shane Michael Boden `97 Daniel Gene Bodenhamer `75 Mary Kathleen Bodenhamer `76 Richard Lynn Bodenhamer `91 Steve F Boeckman `88 Todd Alan Boehlke `97 Katy J Boehm `07 Audrey Lynn Boeken `16 Teresa Kay Boeken `92 Andrew W Boettcher `94 Barbara E Boettcher `62 Beth L Boettcher `91 Brett Charles Bogan `89 Aaron Matthew Bogart `01 Amy Christine Bogart `03 Julia Ruth Bogart `52 Kevin A Bogart `99 Kim R Bogart `97 Gaylon Duane Boger `86 Rhonda L Boger-Linder `84 Barbara J Boggs `03 Marcia Lou Boggs `69 Matthew F Boggs `04 Terry Kristan Boggs `69 Jacquelyn Elizabeth Bogstad `14 Cynthia Lynn Bogue `74 Gregory Ellis Bogue `91 Paul Hill Bohannon `74 David Lee Bohl `69 Susan Bohlen `83 Twigg Vinton Bohlen `82 Caroline Diane Bohling `12 Kevin Lee Bohling `12 Shelia Rae Bohlken Pilger `67 Bethany Bohn `79 Jacqueline K Bohn `76 Jerald Lee Bohn `72 Julie Denise Bohn `72 Rodney Phillip Bohn `79 Gerald John Bohnen `71 Mary Joan Bohnen `71 Brenda Diane Bohnenblust `84 Jay Kent Bohnenblust `84 Jay Robert Bohning `58 Jose Bohorquez `95 Casey Justin Bohr `04 Debora Kay Bohr `79 Jennifer Anne Bohr `03 Chad E Boisseau `00 Gail Ann Boisseau Jenny L Boisseau `00 Justin L Boisseau `96 Melissa Mae Boisseau `97 Roger Ken Boisseau `75 Evelyn Bokelman Marc Jon Bokelman `86 Lois Marie Bol `71 Michael A Boland Julie A Bolander `96 Ira J Bolden `91 Willard K Boldenow `51 Madeline Rowene Bolding `11 Simon Ray Bolding `11 Larry Kevin Boldt `78 Frank Noel Bolduc `78 David Charles Boles `65 Diana M Boley `81 Judith Cowan Boley `64 Thomas Frank Boley `70 Margaret Ellen Bolick `96 Alex Christopher Bolin `14 Mark Louis Bolin `84 Megan Diane Bolin `16 Clayton Charles Bolinger `03 Melanie J Bolinger `01 Eric Laurent Bollier `80 Rene Philippe Bollier `80 Steven John Bollin `08 Allison Lea Bollinger `09 Brian Gerard Bollinger `09 Kevin Michael Bollinger `08 Lynn M Bollinger `59 Michael G Bollinger `77 Sarah Marie Bollinger `10 Nathan J Bolls `59 Nancy Fager Bolsen `81 Douglas John Bolt `61 Seth Alfred Bolte `94 Christopher Bolton Larry Arthur Bolton `65 Marilyn O'Neil Bolton `65 Elizabeth Marie Bolz `09 Susan Bommersbach `64 Mary Harris Bonczkowski `75 Gregory William Bond `79 Jeffrey Dean Bond `99 Morgan Michelle Bonds `07 Brian Patrick Bondurant `06 Jeffrey Daniel Bone `76 Donald Ralph Bonewitz `75 Karen Ann Bonewitz `75 Dan Rocky Bonine `65 Jannette Sue Bonine `66 Sierra E Bonjour `11 Morgan S Bonnell Timothy Kent Bonnell Timothy Joe Bonner `78 Elizabeth Waite Bono `89 Muriel Jean Bonsall `75 Chad Allen Bontrager `03 Cindy Ann Bontrager `80 Paul Stuart Bony `79 Daniel Paul Booe `94 Kristen Nicole Boomer `21 L Gary Boomer `67 Mary G Boomer Dorothy A Boone `60 Catherine I Boos `94 Julie M Boos `92 Steve P Boos `87 Daniel R Boose `84 Justin Alan Booth `03 Patricia J Booth `98 Raymond Garry Booth `59 Sharyl Lynne Booth `67 Steven R Booth `80 Thomas Benjamin Booth `74 Richard Mark Boranyak `72 Sharon Rae Boranyak `73 Jennifer Renee Borcherding `01 Caroline Beth Borchers `97 Misti Susan Borchers `03 Frederick George Borck `74 Lee Borck `70 Raquel Elizabeth Borck `16 Sherry E Borck Steven C Borell `68 Danielle Lynette Borg `16 Hunter Allen Borg `16 Dwight B Borger `64 James Timothy Borger `66 Mark W Borgerding `95 Martha Kay Borhani `81 Rahim Borhani `74 Jamie Lea Boring `84 Paul Boring Jennifer L Borkovich `87 Dennis Paul Borland `65 Mitch Milan Borota `69 Nancy G Borota Laura L Borsdorf `71 Eugenio Jesus Bortone `82 Brandon Stallone Bortz `08 Kathryn Louise Bortz `76 Carol Ann Bosch `80 Jamison Frederick Bosch `09 Jill M Bosch `03 John F Bosch `78 Katherine Dalene Bosch `12 Kimberly D Bosch `10 Ryan William Bosch `02 Pat Joseph Bosco `71 Susan Ellen Bosco `76 Barbara Susan Bosley Jones `72 Henry Cole Boss `73 Jenna Lynn Boss `11 Kathryn Kay Boss `73 Armon Bosse Austin Lee Bosse `10 Jamie A Bosse `04 Nadalie Sue Bosse `80 Rose Elizabeth Bosse `81 Weylan Joseph Bosse `03 Frank Alvonzo Bossi `59 John Warren Bossi `91 Julie D Bossi `97 Scott Alan Boster `77 Lisa Gerstner Boston `77 John S Bostwick `07 Alicia Lynn Boswell `06 Jeffrey Mark Boswell `10 Jean A Bosworth `76 Lynn S Botbyl `94 Richard E Botbyl James William Bothner `85 Vera Lynn Bothner `87 Natalie Kay Bothwell `75 Jeffery Scott Bottenberg `92 John C Bottenberg `66 Megan Jo Bottenberg `03 Betty C Bottom `50 Alana Michelle Bouchard `20 Rheal Joseph Bouchard `76 Jay M Boucher `84 Robert Ainsworth Boucher `75 Keith Edward Bouchey `73 Jennifer L Bouckaert Douglas Arthur Boudreau `92 Jennifer Leigh Boudreau `91 Kenton Wade Boughton `80 Katherine Elizabeth Boulanger `17 Darwin A Bouray Suzann Faye Bouray `01 Malissa Suzann Bourbina `07 Rebecca Ann Bourland `75 Ron Bourland Mary Annette Bourne `68 Anneke Taylor Bouska `22 Ronald D Bouska Janet Louise Bova `70 Broden Alan Bowell `17 Kenneth Lee Bowell `78 Rory Adam Bowell `19 Kacey Lea Bowen `11 Katie M Bowen `98 Kenneth Dale Bowen `75 Kevin Russell Bowen `09 Michelle Marie Bowen `01 Richard Eli Bowen `61 Sharron Gail Bowen Wesley D Bowen Craig Bower Sara Ann Bower `10 Sheree Lynn Bower `86 Thomas Leroy Bower `84 Glenn T Bowerman `74 George Alden Bowers `72 Jane Raymond Bowers `62 Jarrod Michael Bowers `04 Lindsay Jeanine Bowers `08 Gloria L Bowersox `75 Maurice Lee Bowersox `73 Leroy Max Bowery `49 Travis Jae Bowie `64 Jennifer Marie Bowles-Cavitt `86 Andrew John Bowman `11 Brent Alan Bowman `72 Brian E Bowman `94 Dennis Michael Bowman Gary Henry Bowman `65 Judith S Bowman `94 Kerri Louise Bowman `93 Mark Steven Bowman `83 Norma L Bowman Alisha M Bowser `11 Anne Elise Bowser `21 Barbara R Bowser `60 Cecelia Anne Bowser `82 Jarrod Michael Bowser `07 Lauren Jo Bowser `14 Marc Steven Bowser `12 Steven Marc Bowser `82 Zachary Lee Bowser `14 William Allan Bowsher `93 Aaron Patrick Bowyer `96 Christopher Michael Boxberger `12 Mark Alan Boxberger `83 Samantha Nicole Boxberger `15 Ann Marie Boyce `71 Larry Ray Boyce `70 Richard Earl Boyce `67 Barbara Jean Boyd `65 Cassandra L Boyd `06 Christopher E Boyd `08 Diane Boyd Garland Henderson Boyd `77 Jefferson John Boyd `01 Jodi L Boyd `91 Karen Sue Boyd `73 Lavon Francis Boyd `68 Lawrence Alexander Boyd `86 Mary Beth Boyd `59 Merilu Boyd `78 Michael Adam Boyd `00 Michael Douglas Boyd `06 Robert L Boyd Ryan Matthew Boyd `00 Thomas Melvin Boyd `90 Todd E Boyd Victoria Anne Boyd-Kennedy `81 Hillary Jade Boye `03 Noel C Boye Cassandra Lynne Boyer `08 Cheryl R Boyer Jane Lynn Boyer `74 Kathryn Elyse Boyer `72 Luann Kay Boyer `68 Michael Joe Boyer `79 Russell Paul Boyer `12 Lisa Sue Boyer-Nicholson `82 Dennis Mark Boyle `75 Thomas Leigh Boyle `71 Debra Kay Boyles `80 Kristene M Boyles Scott Britley Boyles `01 Cathryn Abigail Bozarth `23 Carole Grigsby Bozworth `71 Daniel L Brabec `82 Christopher Scott Bracelin `92 Jill S Bracelin Rodney G Bracelin `66 Sondra S Bracelin `66 Grace Marie Brack `09 Jayce Trenton Brack `19 Justin J Brack `96 Kim Effie Brack `75 Les Lee Brack `76 Martin M Brack `09 Rachel Ann Brack `19 Randall Craig Brack `80 Timothy Arlo Brackbill `92 Ann Waylan Brackenridge `97 Betty Rae Bradbury `56 Clint Michael Bradbury `05 Dana Anne Bradbury `78 Laura L Bradbury `95 Dianne Lou Braddock `55 M Leigh Braddock `73 William H Braddock `57 Debra Jo Braden Dennis L Braden Gregory Gene Braden `76 Jerry Ray Braden `73 Joni L Braden Sandra Denise Braden `80 Virginia Ward Braden `69 David Henry Bradford `95 Heather R Bradford `96 Joyce Dell Bradford `76 Kathryn Renee Bradford `87 Merl Robert Bradford `87 Amy Jo Bradley `83 Bev A Bradley `53 Brenda Lee Bradley `82 Christopher Thomas Bradley `15 Darcy L Bradley `98 J Caleb Bradley `01 Jamie D Bradley `97 John Scot Bradley `87 KayLonni Dawn Bradley `11 Kent Robert Bradley `88 Loretta Jody Bradley `71 Patricia C Bradley Roger Allen Bradley `80 Susan Diane Bradley `75 Thomas Lee Bradley `68 Tonya D Bradley William F Bradley `74 Andrew James Bradshaw `21 Kevin Joseph Bradshaw `88 Jeanne M Bradstreet `84 Janae Rachelle Brady `06 Janice E Brady `81 Lawrence L Brady `58 Lynda Weidner Brady `89 Michael Todd Brady `99 Patrick Shaun Brady `95 Sherry Evans Brady `76 Thomas J Brady `68 Leah Brittany Braet `08 S Taylor Braet `08 Karen Arnett Bragg `67 Thomas Braxton Bragg `71 Kelli Ann Brahler `82 Daniel Andrew Brakenhoff `09 Krista M Bramhall `18 F Robert Bramlage Lawrence Bramlage `75 Marilyn Sue Bramlage `74 J Aaron Brammer `95 Stephanie Marie Branca `73 Cheryl Jean Brand `81 James Gerard Brand `82 Sally E Brandeberry `55 Linda Sue Brandenburg `71 Walter James Brandenburg Larry Dale Brandhorst `74 Emily Irene Brandjord `06 Steven Andrew Brandjord `06 Belinda A Brandt `92 Douglas J Brandt `93 Gretchen M Brandt `66 Holly Richelle Brandt `95 Piper Noelle Brandt `20 Sue Ann Brandyberry `71 David Branham `86 Helen Louise Branham `59 Pamela Ann Branham `85 Bruce R Branson `66 Chance Alexander Branson `23 Keith Richard Branson `85 Natalie Claire Branson `24 Barry D Brant `96 Kristen Marie Brant `10 Linda Joan Brant `64 Richard Allen Brantingham `59 Jennifer Sue Brantley `12 Wayne D Brantley Amy L Brassfield `97 Patricia M Brassfield `46 David Arlen Braswell `69 Courtney L Bratkiv `93 Walter Bratkiv `92 Robert Norman Brauch `79 Lorie Ann Braud `77 Bryan J Brauer `85 Jolene E Brauer `85 Debra Braun James Stuart Braun `85 Jennifer L Braun `98 Lauren Katherine Braun `18 Marcel James Braun `18 Michael Thomas Braun `97 Steven Douglas Braun `83 Denise Braun Dommes `86 Bruce Allen Brecheisen `84 Lori Leann Brecheisen `85 John William Bredahl `75 Gage D Bredfeldt `09 Jillian M Bredfeldt `06 Bradley Allyn Breeden `76 Cheryl Disney Breeden `76 Everine Breeden `55 John Walter Breeden `84 Theresa Diane Breeden `83 Jacob Michael Breeding `97 Keri Marlean Breeding `98 Kale Devon Breer `07 Marlin Dee Breer `64 Gary Walter Breipohl `78 Sandra K Breipohl `80 Aaron Joseph Breitenbach `98 Joni Jeanette Breitenbach `93 Ted Michael Breitenstein `01 Clint Allen Breithaupt `95 Joseph Frederick Bremser `74 Janie Beth Bremyer `72 Jeffrey Williamson Bremyer `73 James Richard Breneman `64 Lawrence R Brenn `67 Sheryl Kay Brenn `66 Andrew Joseph Brennan `07 Greg F Brenneman `71 Tonya Marie Brenneman `75 B Richard Brenner David Brenner Dawn Ulrich Brenner `97 Leann Brenner `57 Mary Margaret Brenner `81 Willis F Brenner `57 Amy E Brent `05 Ben Earl Brent `59 Lanny Ross Brent `61 Mary Frances Brent `61 Matthew Powers Brent `97 Wayne Andrew Brent `62 Jack David Michael Bresser `19 Phillip G Bressler `90 Clay Eric Brethour `91 Jeanette Michele Brethour `90 Kristin Mae Brethour `91 Sylvia Gay Brethour `58 Thane Brethour Ward Leslie Brethour William Henry Brethour `66 Thomas Harry Brettschneider `63 Amy J Brewer `91 Charles A Brewer Dana Brewer `74 Deborah K Brewer `73 Gina Denise Brewer `83 Gregory L Brewer `75 Jacqueline Ann Brewer `79 James Matthew Brewer `81 Kimberly Dawn Brewer `83 Roger Benjamin Brewer `65 Ryan Daniel Brewer `08 Steven Robert Brewer `78 Tad W Brewer `95 Tina Rene Brewer `89 Caleb Joseph Brezina `22 Debra I Briant `96 Jay Dean Brichacek `80 Craig M Brickey Rachael A Brickey `06 Bronwyn Elizabeth Bridge `06 Connor Michael Bridge `12 Michael Lee Bridge `77 Sally Neill Bridge `75 Seth Thomas Bridge `05 Tyler Scott Bridgeman `06 Alison R Bridges `01 Jason Todd Bridges `00 Belinda Jean Marie Bridgewater `08 Margaret Anita Bridgwater `81 Carolyn Elizabeth Bridwell `92 John Dewey Bridwell `65 Phyllis C Bridwell `64 ArNell D Briel `70 Jonathan Edwin Briel `72 Todd James Briggeman `99 Arlen L Briggs `85 Charleene K Briggs `64 Ilene M Briggs Julia Lyn Briggs `07 Michelle I Briggs `86 Pamela Kay Briggs `67 Parry Jacob Briggs `05 Robert Allen Briggs `69 Russell Briggs Teri Renee Briggs `01 Daniel S Bright `90 Donna Marie Bright `56 Joyce Ann Bright `87 Paul Hugh Bright `90 Sonja Jean Brigman `66 Mary Carolyn Briles `90 Scott Douglas Briles `84 Darcy Edward Brillhart `01 Melissa M Brillhart `03 Taj Alexandria Brimmer `17 Michael James Briney `88 Emily N Brink `96 Jarvis R Brink `64 Nancy Shaffer Brink `65 Ross Duane Brinker `92 Susan M Brinker `92 Adam Wayne Brinkley `05 H Eugene Brinkman `53 Samuel Otis Brinton `11 Roger M Brislawn `53 Brady Marguerite Britton `16 John Andrew Britton `62 Logan Levi Britton `15 Ruth Elaine Britton `62 Michelle Rae Broadwater `00 Bradley Wilbur Broady `63 Lora Brobst W Andrew Broce `90 Carolyn Louise Brock `65 Carolyn Kay Brock `84 Cheryl T Brock `94 Nancy Lynn Brock `75 Travis J Brock `94 Tyler Matthew Brock `97 Charles C Brockett `60 Anne Krauss Brockhoff `90 Jeffrey Albert Brockhoff `85 Wallace Eugene Brockhoff `88 Barbara E Brockman `60 Tirsten Joy Brockmeier `03 Margaret Ellen Brockson `91 Michael David Brockway `92 Melissa Dawn Brodbeck `82 A Dwayne Broddle `60 Joclyn Lee Brodhagen `03 Barry Michael Broeckelman `02 Kasie Dawn Broeckelman `03 Mary Jeannette Broeckelman `70 Robert Joseph Broeckelman `70 Jennifer B Broersma-Neujahr `98 Cole Matthew Brokenicky `08 Janie Jo Brokenicky `07 Karen Gay Brokenicky Michelle L Brokes `97 Edwin Lee Brokesh `83 Lonna Dea Brokesh `83 Charles R Broman `56 Barbara Hattendorf Brond `84 Patricia Ann Brooke-Fruendt `94 F Ty Brookover `00 Nye S Brookover Patricia Brookover `64 Robert Jeptha Brookover `51 Adam Charles Brooks `05 Allison Christine Brooks `08 Amy J Brooks `91 Barbara Lynn Brooks `82 Barry Duane Brooks `73 Christina F Brooks `80 Darren Shawn Brooks `01 David Thurman Brooks `80 Erin S Brooks `99 Hildie Erickson Brooks `89 Jeri Ann Brooks `80 Kenneth R Brooks Krista K Brooks `91 Linda Louise Brooks `71 Matthew Lewis Brooks `91 Rachelle Dawn Brooks Russell Lee Brooks `96 Shane D Brooks `89 Tatum L Brooks `97 Tiffany Brooks William Henry Brooks `71 William Wesley Brookshire `65 Blake Allan Brosa `09 Jeffrey D Brose `86 Lisa May Brose `86 Karen Elizabeth Brosius `73 Melissa D Brossard `00 Nancy A Brosted `75 Kathy L Brothers Derrick Michael Brouhard `03 Jennifer L Brouhard `03 David L Browder `70 Dorothy P Browder `64 Deborah Sue Brower `73 Aaron Alexander Brown `74 Amy Michelle Brown `04 Angela D Brown `88 Anita J Brown `84 Annette M Brown `79 Ashley A Brown `07 Benjamin Patrick Brown `15 Bonnie Fay Brown `75 Bradley Vincent Brown `79 Brecken Anne Brown `17 Brian T Brown `79 Bruce Allan Brown `91 Cari Lynn Brown `04 Carl Alan Brown `94 Carol Ann Brown `60 Cherie Annette Brown `74 Cheryl Ann Brown `66 Constance S Brown `86 Dana Lynn Brown `70 Daniel Kay Brown `79 Darla D Brown `84 Daron Jay Brown `88 David Alan Brown `74 David Glenn Brown `78 David Eugene Brown `73 Deborah J Brown `88 Dixie Lee Brown `58 Doyle Bartos Brown `60 Eric Alan Brown `92 G Patrick Brown `73 Gene Brown `70 Ginger L Brown Glenn E Brown `85 Gregory Phillip Brown `91 Jack Larry Brown `72 Jaliyah Drenise Brown `17 James Lewis Brown `67 Janet Rae Brown `53 Jo Ann Brown `72 John Charles Brown `71 Joseph Thomas Brown `06 Joseph Edward Brown `07 Joyce L Brown `52 Justin Ross Brown `22 Kathleen Keating Brown `72 Kay S Brown Kay Tacha Brown `60 Ken Eugene Brown `86 Kent J Brown Kurt D Brown `87 Leslie K Brown `85 Leslie A Brown `83 Linda Louise Brown `75 Linda Elaine Brown `72 Linda S Brown Lisa M Brown `87 Marilyn K Brown `72 Mark Eugene Brown `89 Mark Lee Brown `82 Marlene K Brown `67 Mary M Brown `96 Merle Fred Brown `76 Merwin Leroy Brown `66 Michael Dean Brown `80 Michael W Brown `88 Michael E Brown `82 Michelle Lynn Brown `23 Monica Jill Miller Brown `07 Nancy Evelyn Brown `64 Nino Marie Brown Pamela Kukuk Brown `80 Pamela A Brown `83 Patrick J Brown `82 Patty Brown Phillip Woodrow Brown `76 Rachel K Brown `04 Richard Elmore Brown `54 Richard Russell Brown `91 Robert Thomas Brown `04 Robert Charles Brown `75 Robert M Brown `54 Robert Frederick Brown `70 Robyn Lynn Brown `74 Roderick Ray Brown `67 Rodney William Brown `71 Ronald E Brown `82 Ronald Lee Brown `76 Ronda Elaine Brown `93 Sandra Ann Brown `72 Scott Edward Brown `94 Sharon Ruth Brown `66 Sheila Anne Brown `70 Shelli Lyn Brown `89 Sondra Elaine Brown `93 Stacey Lyn Brown `98 Stephen Glenn Brown `06 Steven James Brown `86 Susan Louise Brown `74 Terrance W Brown `70 Valerie Ann Brown `96 Vaughn Brown `65 Whitney Lynn Brown `06 Wilbur Richard Brown `54 William Lee Brown `71 William Russell Brown `74 William Allen Brown `76 Teresa June Brown-Bruch `84 Andrew Paul Brownback `10 Mary S Brownback Samuel Dale Brownback `79 Anne E Browne Charles Raymond Browne `82 Cynthia Jane Browne `76 J Charles Browne Norma Wurster Browne `51 Dale Edward Brownlee `68 Denise Ann Brownlee `77 Douglas David Brownlee `77 Elizabeth Ann Brownlee `76 James William Brownlee `76 Karin Sue Brownlee `77 Janet L Brubaker `74 Ronald D Brubaker `93 S Corey Brubaker `79 Tina Marie Brubaker `79 McKayla Ann Brubaker-Nichols `15 Charles Bruce `73 Dara Ann Bruce `72 Kristen Mary Bruce `03 Robert Evan Bruce `50 Sheena S Bruce `93 Terry Lyle Bruce `59 Gregory B Bruggeman `82 Gerald Duane Brull `92 Rob Anthony Brull `94 Sharilyn Dee Brull `88 Delton Leslie Brun `93 Cameron Keith Bruna `07 Gregory Ryan Bruna `99 Kimberly Dawn Bruna `98 Roy Edward Bruna `71 Sarah M Brundage `88 Carol Lyon Brune `83 Mary Jane Bruner `60 Christie Jan Brungardt `09 Curtis Leroy Brungardt `97 Daniel F Brungardt `93 Kervin John Brungardt `77 Richard Brungardt `76 Samuel John Brungardt `67 Val H Brungardt `53 Heather Jean Bruning `13 Reiss L Bruning `13 Jesse Wayne Brunk `99 Joseph Oral Brunk `75 Bradley Dean Brunkow `81 Eric Daniel Brunkow `11 Susan D Brunkow `81 Jeffrey Todd Brunner `85 Joann Brunner John Michael Brunner `87 Tracy Lynn Brunner `78 Yvonne Delores Brunner `90 Charyne Bruns David Arlen Bruns `67 Gregory Littleton Bruns `88 Kyle Aaron Bruns `96 Michelle R Bruns Roger A Bruns Jane Elizabeth Brunt `80 Allison K Bruntz Jonathan Lee Bruntz `00 Avis Marion Bruster `56 David D Bryan `60 Frederick M Bryan `70 Jacklyn D Bryan `62 Margaret Anne Bryan `76 Rick D Bryan `83 Robert Waldo Bryan `71 Zina Bryan Rebecca B Bryan-Smith `94 Blake Matthew Bryant `05 Bob Bryant Curtis Allen Bryant `12 Darrel Wayne Bryant `72 Julie A Bryant `88 Kate Elizabeth Bryant `11 Keith Eugene Bryant `05 Kevin Russell Bryant `08 Lindsay K Bryant `08 Marcus L Bryant `03 Mary Carol Bryant `71 Michael David Bryant `01 Nicole Harris Bryant `01 Randy J Bryant Tammy M Bryant `01 Travis James Bryant `07 William Mack Bryant `68 William P Bryant `65 Terri Lea Bryant-Cain `84 Diana Marie Bryon `76 Kyle Anthony Bryson `81 Deborah G Brzezinski `82 Robert Eugene Buchan `68 Charlotte Ann Buchanan `92 Claudia J Buchanan `65 J Michael Buchanan `91 Natacha Shanda Buchanan `02 Quentin Maurice Buchanan `04 Kenneth Dene Buchele `67 Phyllis J Buchele `77 John B Buchheister `71 Marilyn S Buchheister `75 Barry Buchinski `79 Ellen Bucholtz Barbara Jean Buck `77 Greg A Buck `87 Janell Dawn Buck `96 Kay Buck Susan Leigh Buck `81 William Day Buck `82 Albert W Buckbee `63 Judith E Buckbee `65 Tracy Jean Buckendorf `02 Brandi Lee Buckley `06 Grace Marie Buckley `73 Steven Andrew Buckley `05 Sharon Rae Buckner `67 Amanda Kate Buckwalter `20 Matthew Allen Buckwalter `17 Patricia Jane Buckwell `66 Casper P Bucl `98 Lindsay D Bucl `01 Lucas James Bucl `03 Emily Anne Budden `15 Frederick Richard Budden `74 Theodore Andrew Budden `11 Jama M Budke `03 Scott Dennis Budreau `82 Bretton Stephens Buehler `10 Darcy Delome Buehler `73 Jason B Buehler `01 Mindy Anne Buehler `02 Wayne Keith Buehler `71 Robert Alan Buel `71 Lawrence Theodore Buening `72 Kent Douglas Buer `85 Andy William Buessing `97 Melissa A Buessing `05 Patricia A Buessing `94 Carol Ann Buetzer `72 Eric Buetzer `72 Kraig Lamont Buffington `06 Memory Dee Buffington `03 Dean Robert Bugner `81 Douglas Dwayne Bugner `80 Forrest Arnold Buhler Mary Ann Buhler `70 Stephanie Gail Buhrer `76 Wayne Edward Buhrer `75 Casey L Bulen `12 Homer Auddie Bullard `58 Ann Louise Buller `69 Philip W Bullinger `87 Shirley E Bullinger `87 Breanne N Bullock `04 Chad Alan Bullock `04 Frances W Bullock Helen Dexter Bullock `59 Marilyn N Bullock Patricia Bullock `77 Paul E Bullock Robert Alan Bullock `75 Van Keith Bullock `69 Warner J Bullock `62 Warren Gene Bullock `56 Jeffrey C Bullok `98 Lynne Vivien Bunch `58 Megan Mardel Bunck `06 Jennifer K F Bundy-Jones `09 Jo Anne Bunk `59 John Edward Bunk `59 Kyle William Bunker `15 Marci Elizabeth Bunn `14 Dena Marie Bunnel `10 Eric Dean Bunnel `08 Kristin April Bunnel `08 Randall Duane Bunnel `77 Marilyn L Bunyan `58 William K Bunyan `58 Doreen C Burbank `56 Andrew Lee Burch `10 Julie Ellabeth Burch `73 Alexander Ryan Burden `10 Kathryn Kelly Burden `04 Charles Leroy Burdett `84 Kimberly Ann Burdett `84 Lisa Marie Burdett `84 Michael Paul Burdett `88 William W Burdett `71 Brent Alan Burdge `79 Lanny Gay Burdge `61 Paul William Burdick `99 Rebecca S Burdick `99 George Frank Burditt `40 Melvin Lee Burdorf `58 Kevin Ryan Burenheide `95 Katherine Elizabeth Burenheide Foster Randall Lynn Bures `83 Julie A Burg `84 Misha Danielle Burgardt `15 Susan Ann Burgardt `77 Thomas J Burgardt Arianne Burger `97 Carol Ann Burgess `61 George David Burgess `60 Jan Patrick Burgess `90 Jeffrey Alan Burgess `90 Lisa C Burgess `85 Michael B Burgess `98 Rhonda G Burgess `88 Sheila K Burgess `90 Barbara Burgett Brian David Burgett `03 Cammie Jonelle Burgett `01 Chester W Burgett Pamela Sue Burgett `89 Scott Michael Burgett `89 Roberta A Burghart `84 Steven Joseph Burghart `85 Gary Stafford Burgin `66 Daniel John Burk `75 Sarah C Burk `80 Wesley Howard Burk `75 Anna K Burke Bruce Edward Burke `70 Cindi Ashby Burke `08 Daniel Zachary Burke `08 Datha Burke `55 Edward Joseph Burke `76 Elizabeth Anne Burke `82 Gary G Burke Katherine L Burke `58 Kristin Marie Burke `14 Leigh Lauren Burke `05 Louise Burke Marny Elizabeth Burke `98 Tracie D Burke `88 Zane Mark Burke `88 Dennis Samuel Burket `16 Linda Marie Burket `69 Bradley Thomas Burkett `80 Christopher Michael Burkhardt `73 Karen Sue Burkhart `81 Mark Burkhart `79 Tara Marie Burkhart `10 Brice Elton Burlie `97 Kristin Cranmer Burling `87 Walter Charles Burling `95 Jon Weston Burlingham `78 Rebecca L Burnau `02 Brooklyn Kate Burnett `20 Cynthia J Burnett `73 Cynthia Lu Burnett `87 Donna Joleen Burnett `78 Gary Donald Burnett `70 Jason Robert Burnett `96 Nichole Kay Burnett `97 Roberta L Burnett `62 Scott Burnett `73 Stephen Grover Burnett `73 Sarah A Burnham `94 Dylan G Burns `90 Jane M Burns `57 LeAnn J Burns Michael Owen Burns `06 Philip Mark Burns `72 Richard Wayne Burns `99 Shawn William Burns `81 Cole Matthew Burnside `17 Laura Frances Burnside `70 Andrea E Burnum `06 Dallas Meredith Burnum `06 Virginia Ann Burr `67 Christopher Adam Floyd Burrell `23 Elizabeth Roberts Burress `23 Mary Elizabeth Burrichter `73 Amanda Jo Burris `16 Andrew Bradley Burris `04 James Leonard Burris `55 Eva Maria Burroughs Timothy Joe Burroughs `91 Joel MacFarland Burrow `75 Mary Beth Burshtein `02 Dennis Evert Burson `79 Maureen H Burson `75 Stacy C Burson `98 Keith Duane Burt `61 Christopher Brian Burtin `86 Susan Kay Burtin Helen E Burtis `80 Trudy E Burtis `86 G Karen Burtis-Butler `57 Charles Leon Burton `63 Connie Lee Burton `66 Damon Dee Burton `71 Darcy Nicole Burton `13 Douglas Charles Burton `89 Dustin Ray Anthony Burton `02 Gary Hugh Burton `66 Jan Harder Burton `77 Joan Kay Burton `77 Julie Ann Burton `04 Kenneth Roy Burton `81 Linda Kay Burton `63 Meaghan R Burton `02 Michael James Burton `94 Patrick Alan Burton `71 Patrick Burton `81 Scott Duane Burton `04 John Olaf Burwell `77 Robert John Bury `67 Cary T Busby `95 Jeremy Todd Busby `95 W Darrell Busby `71 Charles H Busch Connie Jo Busch `84 Cheryl Lynne Buseman `76 Christen Marie Buseman `05 Douglas Lowell Buseman `02 Jennifer Lynne Buseman `08 Lyndsey Buseman Randolph Eugene Buseman `77 Rebecca Ashley Buseman `16 Rebecca Susanne Busenbark `95 Richard John Busenbark `76 William T Busenbark `06 Joe T Buser Marta A Buser Phillip Eugene Buser `00 William Dwight Buser `77 Anthony William Bush `96 Barbara Martens Bush `69 Carol J Bush `83 Janet M Bush `51 Jill M Bush `04 Larry Lee Bush `85 Melody Annette Bush `84 Mickenzie Michelle Bush `09 Joanna L Bushnell `95 Dale Wayne Bushyhead `91 Allan Charles Buss `67 Nathan Eric Buss `21 Robin R Buss `94 Steven Eric Buss `93 Thane Justin Buss `03 Warren Buss `72 Benjamin Jacob Bussard `05 Katherine Grace Bussard `08 Jerry Dean Busselman `95 Karen Marie Busselman `88 Greg H Bussing `86 Russell L Bussman `69 Alan James Buster `72 Kent Morris Buster `64 Pamela K Buster `71 Sally Lou Buster `80 Anthony Charles Butel `73 Jane F Butel `59 Brandi Michele Butler `99 Brian Lee Butler `91 C Michael Butler `69 Clair Edward Butler `55 Connie Jean Butler `73 Frank Eugene Butler `57 Gerald Broaddus Butler `90 Hugh Daniel Butler `79 Joseph James Butler `86 Linda Elaine Butler `69 Mary Ann Butler Melissa Dawn Butler `00 Michelle Marie Butler `95 Rhett Michael Butler `95 Sheri L Butler `79 Sherry L Butler William Oliver Butler `72 William Edward Butler `93 Winfried W P Butler `80 Anthony A Butterfield `86 Austin Charles Butterfield `17 Bradley Charles Butterfield `81 Lisa Christine Butterfield `86 Lori Ann Butterfield `81 Carl Bojason Butters `94 Daniel Jack Button `78 Heather Lynn Button `85 John Compton Button `86 Amy Button Renz `76 Sonja Kay Buttron `63 Deborah Ann Butts `70 Jason Todd Butts `95 Kevin James Buum `05 Meghan Marie Buum `06 Karen Kay Buyle `13 Kristy Line Buyle `89 Mark Patrick Buyle `88 Raymond J Buyle `84 R Bart Byard `93 Stephanie A Byard `93 Colby Phillip Byarlay Sarah Kathryn Byarlay `15 Holly Noel Bycroft `13 Jonathan George Bycroft `19 Betty J Byer `60 Rex Dean Byer `91 Roger Scott Byer `92 Jamie Byerly John Enoch Byerly `99 Norman Preston Byers `68 Pamela Jo Byers `76 Brian T Byrne `93 Joanne Carol Byrns `96 Ronald V Byron James J Byrum Kent David Cable `86 Amy Irene Cady `92 Cassandra L Cafferty `88 Danny Michael Cafferty `72 Daryl R Cafferty `88 Frank L Caffrey `70 Grant Michael Caffrey `09 Jean B Creson Caffrey `81 Sharon G Caffrey `70 Leonhard Ray Caflisch `77 Donna J Cahill `86 Henry Lawrence Cahill `21 Lawrence Francis Cahill `22 Alyssa Beth Cahoj `06 Joan Burk Cahoj `09 Nicholas W Cahoj `07 Cynthia Higgins Cain `74 Dana Marie Cain `89 Karen Sue Cain `81 Lyle James Cain `80 Mary Louise Cain `75 Richard Leon Cain `89 Vance K Cain Wendy E Cain `90 Ann Louise Caine `79 Homer Dodge Caine Christopher Page Calcara `08 Vanessa Kathleen Calcara `07 Kristi Renee Calder `87 Pule C Calderon `90 Aaron Craig Calderwood `08 Craig Robert Calderwood Linda Ann Calderwood `82 Alec Todd Caldwell `90 Barry Elton Caldwell `76 Glenn A Caldwell `70 Helen F Caldwell `60 Jeffry Alan Caldwell `01 Jeremy Glenn Caldwell `99 Jodi J Caldwell `93 Joseph John Caldwell Nan Dee Caldwell `00 Paula K Caldwell `91 Randy G Caldwell Richard Thomas Caldwell `73 Stephanie L Caldwell `01 Terry D Caldwell Blake Richard Calhoun `06 Sue Chisholm Calhoun `76 Jeffrey Edward Call Danny Paul Callahan `02 James Michael Callahan `04 Rebecca Sue Callahan `84 Michele Alice Callejo `00 Daniel John Calligan `99 Carla Maureen Calvert `82 Clayton Lee Camblin `87 Jason Paul Camblin `00 Lacy Jeannene Camerer `15 Matthew Jerome Camerer `14 Alexis Jaid Camerlinck `19 Bryan Robert Camerlinck `89 John Robert Cameron `72 Jolene Faye Cameron Michael John Cameron `92 Walton R Campanella Alan Baker Campbell `60 Alice Lynette Campbell `69 Allison D Campbell `09 Ashley Elaine Campbell `09 Brian Reed Campbell `10 Carol Joan Campbell `76 Charles Thomas Campbell `65 Cheryl Dunshee Campbell Cody G Campbell `16 Cody Blake Campbell `15 Crystal L Campbell `01 Darci M Campbell `82 David Andrew Campbell `85 Debora Louk Campbell `77 Deborah L Campbell `86 Jacob Allen Campbell `12 Jody Merritt Campbell `90 John R Campbell `77 Justin Mark Campbell `03 Karen Lee Campbell `80 Kyle Andrew Campbell `96 Larry G Campbell `66 Lorrie D Campbell `87 Marc Alan Campbell `74 Marilyn A Campbell Mary Ellen Campbell `86 Michael Wayne Campbell `75 Murray John Campbell `00 Patricia D Campbell `60 Paul Dean Campbell `85 Randy Leon Campbell `80 Reed B Campbell `82 Richard W Campbell `70 Sarah Elizabeth Campbell `09 Sondra Campbell Stacy Diane Campbell `92 Virginia Anne Campbell `75 William Richard Campbell `78 Cody Allan Campfield `12 Kayley E Campfield `11 Marlene Lucero Campos-Guerrero `19 Claire Nicole Canaan `09 Marylyn J Canfield `52 Nichole Renee Cann `00 Chris S Cannizzo `94 Joan Minneman Cannon `83 Paul W Cannon April Marie Caplinger `05 Gary Lynn Caplinger `69 Robert Marshall Caplinger `03 Stephen William Caplinger `74 Minisa Diann Capozzoli `04 Christine Elizabeth Capp `10 Stephanie Jo Cappiello `86 David W Cappleman `75 Kris A Cappo `88 Charles John Capps `52 Kenneth Merle Capron `65 Chris Patrick Carathers `08 Michael D Card `67 Darrell Lee Cardell `71 Staci R Cardenas `98 Douglas Glenn Carder `94 Francisco Roberto Cardoza `20 Charles E Cardwell `67 Elisa Cardwell Gawith `09 Leanne M Caret `88 Calvin Merton Carey `77 Craighton Michael Carey `13 Diana R Carey `92 Karen Cunningham Carinder `83 William Henry Carinder `78 James Gilbert Carl `67 Carla Lou Carleton `77 Shelley Lynne Carley `78 Edward Lee Carlgren `74 Erick F Carlgren `63 Katie L Carlgren `05 Randy Kent Carlgren `86 Robert C Carlgren `67 Tami M Carlgren `87 David Carlin `84 Jerry Fay Carlin `70 John William Carlin `62 Kathy Mary Carlin `80 Lynn Lady Carlin Sydney Lynn Carlin `00 Tom Carlin `72 Brian Gary Carlson `01 Casey L Carlson `97 Diana Gail Carlson `65 Donald E Carlson `94 Eric David Carlson `99 Jack Edward Carlson `93 James Matthew Carlson Janet Sue Carlson `84 Jennifer Jo Carlson Jon Scott Carlson `83 Jon Donavon Carlson `84 Kathy Ann Carlson `84 Kent Charles Carlson `71 Kleila Elizabeth Carlson `81 Larry Carl Carlson `69 Lois O'Malley Carlson `83 Marcia Ann Carlson `85 Mark David Carlson `77 Patricia L Carlson `67 Randall R Carlson `81 Scott Bruce Carlson `10 Shannon E Carlson Susan Sageser Carlson `77 Vincent L Carlson `68 Wanda Lee Carlson `97 Wendy R Carlson Margaret Sughrue Carlson Citron `65 Kyle Reece Carlyle `09 Lauren Ashley Carlyle `09 Angela Michelle Carmichael `93 Craig L Carmichael `69 Lee A Carmichael `95 Lora Nichole Carmichael `03 Kelly Diane Carmody `01 Raegan L Carmona `94 Roberto Domingo Carmona `94 Ann Louise Carnahan `79 David Herbert Carnahan `74 Kathleen L Carnahan `98 Paul Bossler Carnahan `12 Shirley F Carnahan `57 Brent E Carney `89 Glen Richard Carnrick `72 Sara Elizabeth Carnrick `74 Barbara Ann Carpenter `86 Danny Ray Carpenter `68 Frank E Carpenter `71 James H Carpenter `60 Janis Lynette Carpenter Joseph Daniel Carpenter `87 Kevin Arlen Carpenter `85 Mary Kay Carpenter `75 Matthew Bryan Carpenter `01 Nikki Dee Carpenter `84 William Robert Carpenter `75 Cheng Ren Carr `14 Joanne Kohl Carr `70 John Joseph Carr `70 Keith Lyle Carr `75 Steve Delmar Carr `72 Jeffrey Brian Carra `82 Joanna Lee Carra `82 Donald Keith Carrel `73 Anthony Patrick Carreno `91 Leah Michelle Carreno `08 Travis Anthony Carreno `08 Tom P Carrico `62 Virginia Gail Carrington `78 Carolyn A Carroll `90 Doris Wright Carroll `74 James Carroll `70 Alex Detroit Carson `09 Andrew William Carson `96 Bobbi Sue Carson `85 Elaine Irene Carson `00 George Arthur Carson `61 John Francis Carson `64 Tobias Joseph Carson `98 Vance L Carson `53 William D Carson Amy L Carter `98 Anthony Lamar Carter `08 Cynthia R Carter `94 Darren Duane Carter `95 Daryl Lynn Carter `74 David Alan Carter `01 Deborah J Carter `81 Gerald Ryan Carter `76 Gretchen Van Sant Carter `71 Jesse Ward Carter `98 Larry Dale Carter `75 Mary J Carter `88 Mary Suzanne Carter `79 Matthew Lee Carter `94 Megan E Carter `99 Randie Lane Carter `74 Richard Herl Carter `77 Sonya E Carter `89 Wendy Marie Carter `93 William Duffy Carter `95 Sandra Rae Cartmill `73 Bradley Robert Carver `86 Gwendolyn Dee Carver `83 Shelley Carver `12 Patricia Warren Cary `51 Ronda Jo Cary `87 William G Cary `87 Arrow Washington Caryl `07 Stephanie Marie Caryl `06 Paul Stoughton Casady `79 Shelly Leann Casady `78 Titus A Casazza `69 Christy M Case `94 R Braddock Case `75 Richard A Case `67 Roland William Case `71 Kent Allen Casey `77 Melvin Lee Casey `51 William Patrick Casey `89 Trisha J Cash E Joyce Cashman `54 Connie J Casper `89 David Eric Casper `88 Jeffrey Keas Casper `76 Kay Casper Kathryn Cassel `90 R Joanne Cassetta `57 John Robert Cassida `89 Rita J Cassida `91 Jerry L Cassidy `65 Laurie R Cassidy `06 Robert Cassidy Laurie Lynn Castellanos `86 Paul Wayne Caster `74 Linda J Casterline Sandra Lee Castetter `75 Connor Michael Castor `16 L Mitchell Castor `85 Jolee Renee Catalano A Joseph Catanzaro `94 James Odis Cate `90 Richard Leslie Cate `79 John Martin Cater `79 Julie A Cates `97 Larry Kirk Cates `77 Robyn M Cathcart `00 Allison Sydney Cather `18 Jeffrey Cather `14 Beverly J Catherman `65 Jay Robert Catherman `95 Gary Len Catlin `75 Lenita Beth Catlin `77 Mary Jane Catlin Maurice Allen Catlin `76 Rebecca Marie Catlin Bradford E Catt `76 Bryan Allan Catterson `02 Mark L Catterson Suzanne E Catterson Sandra Caudill Mlle Anne Caudle `93 Neil Eddie Caudle `92 Richard Nevins Caughron `76 Annette Marie Cavanaugh `77 Beth Ann Cavanaugh `80 Michael Thomas Cavanaugh `83 Stephen W Cavanaugh Timothy A Cavlovic `75 Dawn Renee Cavnar `95 Jay Michael Cavnar `96 Brad William Caywood `02 Janell Nadine Caywood `03 Vicki Caywood Michael Lee Cearley `86 Robert Alan Cebula `62 Marie R Cecil `83 Mary Bliss Cella `64 George A Centrella `68 Jennifer L Cerda `92 Michelle Dawn Cerne `94 Jolene Kae Cervantes `71 Allen Anton Cesafsky `67 Jared Bryant Chace `19 Jason Ryan Chace `98 Keely M Chace `97 Bradley L Chadwell `84 Kimberly Jo Chadwell `86 Lyle Howard Chadwell `66 Mary Elizabeth Chadwell `67 Leroy Dale Chadwick `70 Timothy Lane Chadwick `90 Marsha Rae Chaffee `76 Paul David Chaffee `75 Charles Thomas Chaffin `85 Cheryl A Chaffin `82 Kerry L Chaffin `87 Verona J K Chaffin `82 Robert A Chalender `88 Mark Alan Chalfant `86 Tammy Chalfant `96 Patrick G Chalmers `70 Brenda K Chamberlain `02 Chad Clayton Chamberlain `93 Mark Allen Chamberlain `03 Nikki M Chamberlain `03 Zachary K Chamberlain `04 Craig Eugene Chamberlin `73 Dalton James Chamberlin `19 Debra Jean Chamberlin `90 Lauren Elizabeth Chamberlin `21 William Brent Chamberlin `90 Curtis Neale Chambers `78 Delores Heisserer Chambers `92 Dennis Roy Chambers `67 Edgar Chambers `79 Kimberly Jayne Chambers `79 Kimberly Stucky Chambers `90 Lenore Kay Chambers `67 Mark D Chambers `85 Gordon Alan Chambliss `75 H Dave Chambliss `77 Jill L Champley `83 Amy Jolly Champlin `97 Bruce Conrad Champlin `60 Curtis George Champlin `87 Robert Dean Champlin `83 Ping Yuk Chan `00 Wai Ling Amy Chan `97 April Ann Chancellor `05 C Jerome Chandler `78 Charles Q Chandler `75 Jackie A Chandler John Andrew Chandler `84 Karen A Chandler `75 Larry H Chandler `85 Laurie R Chandler `82 Lois G Chandler `52 Marla Jean Chandler `75 Merri T Chandler Nancy Janes Chandler `62 Robert Chandler `82 Martha Jean Chandley `72 James R Chaney `97 Mary Sandra Chaney `61 Richelle K Chaney `10 Betty J Chang Shih-Chi Chang `58 Van Chang `66 Cathy C Chao `73 Chris C Chapman `70 Duane Eldon Chapman `49 Elizabeth Ruby Chapman `24 Floann Elizabeth Chapman `80 Heather L Chapman `96 JoAnne Chapman `69 Lindsay A Chapman `02 Marissa Marie Chapman `15 Melissa Jeanne Chapman `08 Penny Renee Chapman `85 Alonzo Chappell `63 Craig W H Chappell `62 Jean Daily Chappell `73 Sara Jane Chappell `62 Cheryl A Charles `78 Hayes Evans Charles `09 Larry K Charles `77 Amy C Chartier `99 Douglas Gene Chartier `93 John Michael Chartier `00 Chad Edward Chase `00 Kay E Chase `59 Segen Smith Chase `00 John Charles Chatelain `72 Bradley Chatfield Elton L Chatfield `58 Pamela Chatfield Betty Chatham `57 Hector Santiago Chavarria-Lanza `88 Cheryl A Chavez `87 Monty Michel Chayer `93 James E Cheatham `69 Brandon Jamaal Cheeks `17 David F Chelesnik `62 Theophilus Chellappa `57 Steven Eric Chellgren `78 Karen Lee Cheney `74 Sheng-San Cheng `80 Doris Chenoweth `50 F Clay Chenoweth `86 Marcia Jean Chenoweth `77 Howard A Cherry Melissa Marie Chesnut `07 Kathleen Laura Chester `74 Ronald Joseph Chester `75 Dallas Lynn Chestnut `56 Jon Kevin Chestnut `77 Norma L Chestnut `59 Sam Irving Chestnut `57 Donald A Chew `81 Kyle Dakota Chew `18 William Loren Chew `16 Cheng-Ching Chi `65 Chi-Yung Chiang `65 Nancy Li-Wei Chiang `67 Jaw-Hua Annie Chiao-Cheng `81 Brad T Chilcoat `84 James Howard Chilcott `65 William F Chilcott `57 Anna Belle Chilcott Zimmerman `59 Daley L Childers `10 David Childers Barry Kurt Childs `76 Corey Wayne Childs `12 Cynthia Marie Childs `75 Edward Neal Childs `68 Judith A Childs Kelli A Childs `04 Kurt Benjamin Childs `05 Maria Joan Childs `14 Susan Ellen Childs `76 Ulyses Childs `09 Barbara Jean Chiles `63 Daniel D Chiles `98 Dennis Eugene Chiles `63 Katie June Chiles `96 L Philip Chiles `69 Lois M Chiles William Patrick Chilton `81 Philip Ray Chinn `64 Nancy Yeu Chiou-Siepman `81 James Thomas Chipman `74 Jill Elizabeth Chittum `99 Karen Louise Chitwood `67 Jonq-Hai Chiu `74 Kung-Ying Chiu `71 Ya-Suey Chiu `72 John G Chmiel Karen D Choate `77 Seojin Choi `12 Ethan Colby Choitz `14 Kandice Ann Choitz `12 Cathy M Cholick Fred A Cholick Cynthia K Chowdhury `90 Richard D Chowins `65 Wesley Eugene Choy `75 Eleanor Chrisman Walter C Chrisman `50 Bruce Neil Christensen `71 Courtney Waide Christensen `81 John Louis Christensen `65 Patricia Ruth Christensen `65 Teresa B Christensen `72 Judith E Christian `65 Tad Chris Christian `87 Hope Gafney Christiansen `79 Martha Christiansen `50 Noah Patrick Christiansen `20 Robert Patrick Christiansen `79 Sarah Kate Christiansen `04 Kenneth Alan Christie `79 Phyllis Elaine Christie `74 Rex Alan Christner `77 Terry Ann Christner `76 John Tarkington Christy `02 Melissa Lynn Christy `02 Leslie Dee Chubb `13 Richard M Chubb `80 Rebecca L Chumley `00 Sachiko T Chun `54 Han Chang Chung `67 Okkyung Kim Chung `65 Young Ju Chung `98 Christopher Alan Church `93 Michael Thomas Church `90 Alison Leigh Chyba `95 Leslie Junior Chyba `69 Todd Leslie Chyba `93 Gregory Matthew Cieciek `95 Chad Michael Cillessen `03 Craig D Cillessen `95 Kathryn Jane Cillessen `97 Kristen Lynn Cillessen `02 Melissa Leigh Cillessen `11 Robert Thomas Cillessen `11 David Edmund Cink `78 Kelly Beth Cink `91 Thomas Jay Cink `93 Ada Giselle Cino-Ozuna `16 Donalee Circle `56 Patricia L Circle `68 Richard Lee Circle `57 Marylyn Cirulis `69 Timothy M Cissna `70 Ronald Eugene Ciston `69 Charles H Claar `74 Rebecca Claar Roger Charles Claar `73 Roger Emerson Claar `74 Andrew Tyler Claassen `09 Cody Allen Clair `16 Aaryn Michelle Clark `05 Ann M Clark `78 Annah R Clark `05 Ashley Nicole Clark `11 Audra K Clark `08 Casey Michael Clark `01 Cathie Ann Clark `72 Deborah Lynn Clark `90 Dennis K Clark `93 Diana K Clark `03 Dolores J Clark Don Bentley Clark `66 Edith Lucille Clark `52 Eldon Lavern Clark `66 George Norman Clark `79 Harry Mead Clark `77 Jane Ann Clark `65 John Robert Clark `69 John Andrew Clark `70 John Taylor Clark `92 John Wesley Clark `89 Katie Rebecca Clark `07 Kevin Andrew Clark `13 Kyle Dwayne Clark `72 Laurie Clark LeAnn Clark `69 Linda Ann Clark M Elaine Clark `78 Margaret V Clark `65 Mark T Clark `95 Marline Clark Mary Beth Clark `67 Melissa Renee Clark `13 Michael Wayne Clark `93 Michael Raymond Clark `93 Peter Walker Clark `06 Rachel Danielle Clark `00 Randy Wayne Clark `82 Ray S Clark `72 Robert Alan Clark `70 Ross David Clark `63 Sharon Ann Clark `82 Stacy A Clark `99 Stanley Ralph Clark `67 Steven Michael Clark `78 Steven Kay Clark `70 Thomas Hugh Clark `71 Tim J Clark `86 Todd William Clark `84 Ty Warren Clark `96 Winifred M Clark `23 Carne Sue Clarke `68 Ian Alexander Clarke `20 James George Clarke James Donald Clarke `61 Jayne Einsel Clarke `80 Michelle Nadine Clarke `20 Sharon Clarke `72 Hannah P Clarkson `11 Anja Clasberg `02 Anthony C Classi `72 John F Clausen `54 Nancy Elisabeth Clauss `08 Timothy M Clauss Douglas Matthew Claussen `02 Jessica Ann Claussen `03 K Claussen `00 V Claussen `94 Carl Alan Clawson `16 Daniel Frank Clawson `84 Donita Kay Clawson `95 Kenby Brent Clawson `87 Kendal Blaik Clawson `13 Kurtis Charles Clawson `15 Lana M Clawson `87 Laura Joy Clawson `22 Paige Alexandra Clawson `15 Tamra Kay Clawson `93 Walker Makade Clawson `22 Haley Elizabeth Claxton `15 Linda Jane Clay `77 Robert Nathan Clay `77 Wendy L Clay `78 Gregory D Claycomb `06 Meredith E Claycomb `97 June Ellen Claydon `63 Brennen Wade Clayton `09 Gene Michael Clayton `17 John Robert Clayton `71 Patricia Jane Clayton `72 Paula Felder Clayton `76 Sharon Marie Clayton `00 Deborah Collier Cleavinger `74 Kal Jory Cleavinger `74 Victoria L Clegg `65 Christine M Cleland `91 Marshall S Cleland `90 Amy R Clement `93 Chad William Clement `93 Anthony Thomas Clemente `11 Bonnie Blue Barbara Clemente `11 Caryn K Clements David Allen Clements `72 Derek Jay Clements `09 Vernon Dale Clements `82 Karin Kaye Clemmer `95 Shawn Eugene Clemmer `99 Cherie Jean Clemons `96 Daniel Shelby Clemons `94 Ebony Simone Clemons-Ajibolade `00 Anita Louise Clendening `67 Wayne E Clendening `66 Patrick Joseph Clerihan `75 Stephen Eugene Cless `76 Gary E Cleveland `92 Jan Cleveland Mark Warren Cleveland `73 Michael J Cleveland `74 Robert L Clewell `81 Ann Margaret Clifford `87 Gary Worrall Clift `75 S Tyrone Clincy `90 Daniel Taylor Cline `06 Heather Dawn Cline `02 Jason Michael Cline `02 Kathryn E Cline `92 Laurel C Cline `06 Patricia L Cline `69 Randy Lee Cline `78 Carol Ann Clinkenbeard `68 Vickie L Clipston `85 Brian L Clites `86 Janet R Clopine `85 Russell Logan Clopine `86 Stephanie Biggs Cloues `07 Nick Wayne Clough `98 Benjamin Russell Clouse `95 John Henry Clouse `02 Melissa Ann Clouse `95 Robert Gene Clouse `69 Stephanie L Clouse `00 Karen A Clowers Katie Jo Clowers `08 Irvin Leslie Clubine `71 Jeannie Elizabeth Clubine `74 John A Cluck `94 Joanne Taylor Clum `60 Michael Lee Clutter `68 Pamela S Clutter `68 Roger Dean Coad `52 Steven E Coad `93 Alec Huffman Coast `21 Wenda Renee Coates `82 Steven Craig Coats `75 Billy Shawn Cobb `91 Chris E Cobb `90 Don L Cobb `66 Douglas Alan Cobb `92 Lathe Michael Cobb Suzanne L Cobb `94 Susan F Cobble `65 Adrian R Coberly `03 Ashley K Coberly `04 Lindy M Coberly `04 Sally Coberly `70 Travis John Coberly `06 Robert Joseph Coble `69 Thomas H Coblentz `59 Virginia Irene Coblentz `60 Loretta Marie Coccetella `09 Gary Randel Cochran `78 Scott P Cochran `63 Michael John Cocke `80 Paige Cocke `77 Richard Lee Cockerill `80 Darrell K Cockrum `67 Kimberly K Coday `91 Mark Wayne Cody `78 Linda Coe Robert William Coe `79 Ann Louise Coen `82 Geri Arline Coen `83 James Arthur Coen `82 John C Coen `81 Christopher Martin Coffey `09 Megan Aubrey Coffey `08 Robert Dawson Coffey `86 Chad David Coffman `09 Crystal Fay Coffman `71 Curt Ryan Coffman `92 Geraldine A Coffman `78 Larry Dean Coffman `65 Michael James Coffman `86 Sally Sue Coffman `65 Sherri L Coffman `87 Wendi Renee Coffman-Stanley `90 Thomas Lester Cofran `76 Courtney Christine Cogan `11 John Marshall Cogan `84 Dennis Paul Coggins `72 Dave A Cogswell `79 Theresa Schlagel Cogswell `80 Garra Paul Cohen `71 Karen E Cohen `77 Kimberly Sue Cohen `80 Michael P Cohn `88 Scott James Cohorst `98 Steven James Cohorst `70 Lee David Coiner `88 Rita Ethyle Coiner `71 Casey Bishop Colbern `07 Melissa M Colbern `92 Shannon Patrick Colbern `95 James J Colbert `64 Marcia L Colbert Catherine Ruth Colborn `75 James Dale Colborn `73 Arlene P Colburn Beverly Jo Cole `66 Charles Calvin Cole `71 Charles Raymond Cole `70 Christina Cole `63 Dale Kenneth Cole Darold F Cole `64 David Alan Cole `91 David W Cole `87 Jamie L Cole `01 Janette Lee Cole `72 Jason L Cole `97 Mary Lou Cole `58 Michael Richard Cole `95 Nancy W Cole `71 Robbin Waldner Cole `83 Steven Andrew Cole `89 Terrance Duane Cole `92 Traci Dalene Cole `93 Brian Matthew Coleman `06 Carolyn H Coleman Christina Ford Coleman `74 Marilyn Coleman `59 Matthew Joseph Coleman `10 Stephen John Coleman `71 Thomas R Coleman Elizabeth A Coleman-Brenner `80 Brandy Danielle Coley `12 Andrea Louise Colgan `70 Marilyn Ann Colgan `78 Richard T Colgan `70 Elin McCandless Colglazier `58 Jasmine Elizabeth Joan Colle `23 Kaitlin Ann Colle `23 Kevin Loren Colle `21 Randal Ray Collett `74 Ryan Christopher Collett `07 Jerie R Colletti-Wetzel `92 Jack E Collie `77 Deborah Collier John Earl Collier `75 Mary Marie Collier `75 Vincent Kent Collier `77 Lola Jane Collinge `52 Michael A Collinge `77 Ann Collins `73 Anne B Collins `73 Brandy Lynn Collins `96 C Jordan Collins `05 Carol Jean Collins David R Collins `67 George F Collins `70 Georgiana Louise Collins `72 Greyson M Collins `21 Jennifer Lynn Collins `01 John Michael Collins `69 Linda L Collins `69 Linda J Collins Mary Janet Collins `51 Michael H Collins `64 Norman Duane Collins `59 Opal Annette Collins `54 Pam A Collins Rayme Joe Collins `04 Robert Lee Collins `68 Royce Ann Collins `05 Shellie Moore Collins `05 Stephen Patrick Collins `96 Tiffany Rhiannon Collins `06 William David Collins `99 Crystal Lee Collinsworth `72 Lynn Larry Collmann `70 Walter Edward Colon `67 Jennifer Lynn Colp `10 Ann Colston `72 Alexandra Jeannette Coltrain `08 Andrew Scott Coltrain `08 Jo Lana Coltrain `75 Terry Lee Coltrain `75 Lesley A Colwell `04 Paul Bryan Colwell `96 Lawrence Isaac Combs `81 Melanie Alane Comer `90 Anthony J Comfort `62 Branden Wiley Comfort `07 Ann Commerford `71 Brian Scott Commerford `98 Daniel Patrick Commerford `71 Nicole A Commerford `99 Abigail B Compton `02 Amy Jo Compton `89 Brenda Jean Compton `77 David Lee Compton `98 Gabrielle Elise Compton `18 Gilbert Edmund Compton `80 Jeff Ryan Compton `02 Jere Lynn Compton `65 Steven Dale Compton `93 Curtis M Comstock Jeannine Comstock `73 Chad Allen Conard `92 Gaylette Ann Conard `94 Kirsten Louise Conard `19 Shawn L Conard `97 Tyler Wayne Conard `19 Gary Lynn Conaway `65 Thantus Michael Concannon `64 John Conderman Linda J Conderman `78 Patricia Riker Conderman `64 Earlene L Condiff Rick S Condray `04 Scott Robert Condray `76 Carrie Renee Condry `98 Michael A Conduff Dorothy L Congrove `64 James E Congrove `62 Sara Ann Congrove `86 Tim E Congrove `87 Gini Marie Conkle `09 Kelly L Conkle `94 Matthew Aaron Conkle `95 Cherlyn Dawn Conklin `99 Judith E Conkling `78 Scott Edward Conkling `89 Brian Christopher Conley `98 Carrie Sue Conley `96 Dawn M Conley `97 John Charles Conley `96 Christopher Matthew Connard `95 Jill Leanne Connard `96 Gloria Jeanne Connealy `70 Elizabeth A Connell `61 Joseph Bernard Connell `80 Martin R Connell `65 Mary Lee Connell `63 Charlene E Conner Chris Conner `73 Elizabeth J Conner `69 Ronald D Conner `81 Garalyn Avery Connery `64 Jacklyn S Connolly `82 Matthew D Connolly `82 Shannon Renee Connolly `09 Taylor Leigh Connolly `11 Joseph Larry Connor `55 Sonja Lee Connor `66 Nancy Anderson Conover `65 Dale Wayne Conrad Geraldine Conrad `46 Kristin K Conrad `93 Sherry Lynch Conrad `87 Linda Diane Consigli-Wege `83 Curtis Dale Converse `74 Debra Jan Converse `74 Janet Elizabeth Converse `74 M Wayne Converse `73 Valeria Kaye Converse `74 David Lyndon Convy `13 Amy M Conway `05 Donald Timothy Conway `72 Jane Harmless Conway `80 John Francis Conway `76 Shaun Matthew Conway `03 Phillip Joseph Conyac `85 A Jeffrey Cook `85 Andrew David Cook `08 Aubrey M Cook `09 Bruce Allen Cook `88 Bryan Christopher Cook Charlene Johnson Cook `75 Craig Luther Cook `81 Cynthia Lynne Cook `81 David John Cook `77 Dennis Ray Cook James Leonard Cook `73 Jean Marie Cook `80 Jessica D Cook `13 Kevin Marcus Cook `16 Larry Eugene Cook `63 Leland Bruce Cook `65 Lisa B Cook `82 Marcia A Cook `75 Mark Allen Cook `94 Morley Hinshaw Cook `46 Randy Alan Cook `74 Rebecca Proffitt Cook `81 Robert Allan Cook `72 Robert Dene Cook `70 Rolf Lee Cook `83 Signe A Cook `94 Wade Hamilton Cook `09 William A Cook `75 Zachary Aaron Cook `03 Carol S Cook Stiffler `77 Amy L Cool `92 Kevin Lynn Cool `86 Stephanie Ann Cool `84 David Wayne Cooley `71 Jackie Harold Cooley `73 Rhonda Rae Cooley `58 Polly Ann Coombs `67 Robert Wendell Coombs `70 Matthew William Coomes `12 Lowell Lee Coon `93 Thomas Keith Cooney `70 Carl Frederick Coonrod `73 Donna C Coonrod Joseph Scott Coonrod `18 Julie Marie Coonrod `84 Randall Robert Coonrod `74 Richard A Coonrod `53 Scott Anthony Coonrod `84 Barry Cooper Clinton Joel Cooper `09 Connie S Cooper `83 Corinna A Cooper `96 Craig Howard Cooper `78 Dana Carol Cooper `67 David Wayne Cooper `86 David Russell Cooper `76 Dean Leland Cooper `76 Elizabeth Kimberly Cooper `78 Helen G Cooper `78 Jackson William Cooper `21 James Leroy Cooper `78 Janet Marie Cooper `71 Justin D Cooper `99 Katrina J Cooper `96 Kelly D Cooper `99 Larry James Cooper `67 Laurence L Cooper `68 Lawrence Monroe Cooper `73 Lindsey Curtis Cooper `12 Matthew Emery Cooper `00 Max Eugene Cooper `87 Norman Luther Cooper `74 Pamela J Cooper `82 Patricia Ann Cooper `83 Robert M Cooper `67 Samantha Lee Cooper `11 Scott Allen Cooper `96 Scott Lane Cooper `93 Steven Gary Cooper `70 Susan E Cooper Duane Gene Cooprider `76 Kenneth Wynn Coover `91 Andrew Michael Cope `80 John Mitchell Cope `78 Marla Rivard Cope `79 Stacy Lane Cope `81 Susan A Cope `80 Chad E Copeland `01 Harlan G Copeland `52 Jeanne Marie Copeland `98 Vondalee L Copeland `84 William Henton Copher `81 Melissa Sue Copp `08 Sean Michael Copp `02 Steven Wesley Copp `06 Ronnie Doyle Coppenbarger `73 Tonja Lind Coppenbarger Timothy Ronald Coppinger `88 Kimberly Lynn Copple `88 Mary Teresa Copple `92 Robert Charles Copple `88 Gordon Lloyd Coppoc `63 Marilyn Ann Corbin `71 Chad E Corcoran `23 Christopher John Cordell `91 Curtis Glenn Cordell `93 Morris Eldon Cordes `81 Sarah Kathryn Cordes `08 Scott M Cordes `05 Sean Patrick Cordes `07 Stephen E Cordes `77 Susan Gail Cordes `75 Brian Lloyd Cordill `08 Lindsey Elizabeth Cordill `08 Mitchell Scott Cordill `94 Gilbert Michael Cordova `60 Donald Lee Corey `54 Johnny Lee Corey `67 Katherine L Corey `98 Ryan Alanson Corey `94 Rachel Christine Corkill `14 Carolyn Cormaci `95 Barbara Sue Corman `71 John Franklin Corman `72 Richard William Corman `78 Mary E Corn `63 Michael Dana Corn `79 Roger Philip Corn `66 Ryan Dean Corn `09 Tami M Corn `96 Christine Cornelius Kay L Cornelius `57 Bobby Dean Cornell `52 Mike Wylie Cornett `57 Susan Eugenia O'Bryan Cornett `65 Patricia A Cornish `59 Willard Gene Corns `57 Carl Ernest Cornwell `70 Lowell Dean Cornwell `59 Nancy Cornwell Scott Matthew Cornwell `74 Kathleen Marie Corpus `87 Larry Dean Corpus `86 Lolita Morales Corpuz `82 Annabelle L Corrick `74 Patricia Corrigan `53 Patrick Corrigan Michael W Cortner John Burbank Corwin `66 M R Coryell `57 David M Cosgrove `74 Christopher G Costello Daniel R Costello `87 Diana Case Costello `78 J Timothy Costello `81 James J Costello `86 Janet R Costin `88 Dianne Bortz Costlow-Owens `85 John David Cota `14 Fae Lyn Cottrell `94 Travis Ryan Cottrell `94 Carol Leslie Couchman `10 Jeffery Charles Couchman `91 Jill Janeen Couchman `91 Kathryn L Couchman `08 Larry Couchman Marcy M Couchman `57 Brian H Coughenour `08 Eileen Therese Coughenour `09 Eugene H Coughenour `78 Joan L Coughenour `81 Nancy Kay Coughenour `79 Julie Burgardt Coulter `02 Seth Lesiak Coulter `07 Donavon Deane Coup `82 Gregg Alan Coup `97 Marilyn Jean Coup `81 Tonya L Coup `98 Shirley Coupal `71 John R Coupe `56 L Jean Coupe `56 Margaret H Coupland `66 William C Coupland `66 Deborah Ann Courser `74 Robert William Court `70 Sarah Elizabeth Coutts `99 Lindsay E Couture `04 Louis Jay Covell `05 LeRoy Wayne Covert `60 Larry Ray Covey `73 Marcie Lou Covey `76 Thomas Edward Covey `02 Gregory Phillip Covington `90 Jacquelyn M Cowan Mark Vincent Cowan `82 Stanley Ross Cowan `87 Wendell Lee Cowan `58 Sue Cowdery Jeremy Sean Cowell `95 Nancy Kay Cowell Rodney M Cowell `70 Alissa Marie Cowell-Mytar `04 Craig Richard Cowley `93 Laura May Cowley `11 Andrea Kay Cox Benjamin Robert Cox `03 Dana Dewyte Cox `51 Emily Jean Cox `20 Erin Elaine Cox `03 Gloria K Cox Joann Cox `75 Julie Jo Cox `91 Kelline Sue Cox `86 Kenneth Melvin Cox `68 Lauren Nichea Cox `21 Lois Deana Cox `88 Olin Jerome Cox `69 Samuel David Cox `23 Stephen M Cox `03 Stephen T Cox `58 Patrick James Coyle `90 Denise M Coyne `70 Craig S Cozart `92 Ken Cozart `89 Michele L Cozart `00 Julie Christine Crabb `01 Michael T Crabb `01 Greg H Crable `78 Sandy Crable `98 Barbara Brown Craft `62 Dorothy A Craft `58 Norma Craft `56 Patricia Sue Craft `61 Roger Leslie Craft `56 DeWayne Edward Craghead `81 Brenda Kay Craig `75 Jean Marie Craig `72 John W Craig `70 Lana Kay Craig `93 Rocky C Craig Thomas Alan Craig `75 Virginia Alice Craig `60 William Edward Craig `71 Graham Dexter Crain `07 Jenna Jay Crain `09 Joseph Dean Crain `22 Sarah Janae Crain `13 Cheryl Jean Cram `67 Dan Eugene Cram `67 Keith Leon Cramer `67 Sandra Kay Cramer `67 Terry Lee Cramer `69 Ann Carlene Crampton `76 James Aaron Crandall `94 Mardel Louise Crandall `70 Philip Glen Crandall `70 Alan Bruce Crane `72 Carol Sue Crane `75 Kent James Crane `02 Rosalind Elizabeth Crane `72 Stephanie Angela Crane `02 Sean Ryan Cranford `21 Jon R Cranmer `86 Sanna Sondergard Cranmer `82 Max Edwin Crannell `27 Clyde Dean Cranwell `93 Alexander James Crawford `14 Blake James Stanley Crawford `23 Harold Franklin Crawford `63 Jeanne Marie Crawford `63 Jill Partridge Crawford `89 Kyle S Crawford `86 Lindsey M Crawford `09 Logan Michael Crawford `16 Marissa Crawford Mark D Crawford `86 Michael John Crawford `91 Paul R Crawford `59 Robert Earl Crawford `05 William Lee Crawford `77 Claude Thomas Crawshaw `65 Joe Arlo Crawshaw `88 Justin A Crawshaw `96 Coleen Marie Creed `75 Jessica Carol Creel `10 Christine Hampel Creighton `86 Evan Dean Crenshaw `20 Valeri Rae Crenshaw `98 Marilyn Kay Creson Brown `72 James Crespino `89 Katherine L Crespino `91 Jeanice Ann Cress `56 Lisa Marshall Cress `72 David Terence Crews `66 Marilyn Louise Crews `54 Catherine Lynn Crist `88 Kelsie Brooke Crist-Funk `00 Connie Lee Cristler Thompson `62 Julia Kirsten Crites `87 Michael D Crites `16 Jack Donald Crocker `70 Erin Michelle Crockett `20 Jacob James Crockford `07 Katrina Lee Crockford `09 Rebecca J Crockford `81 David Crofoot Genevieve Crofoot Karen Kay Crofoot `69 Kelly D Crofoot Steven Forrest Crofoot `79 Terry Jay Crofoot `69 J T Croft `80 Karyl Ann Croft `72 Susan Eileen Croft `70 Michelle J Cromer `82 Gordon Eugene Crosby `91 Sean-Michael Crosby `95 John R Cross `86 Mark Elliott Cross `99 Michael J Cross `90 Lynne T Crossette Scott E Crossette `85 Casey Joe Crossland `10 Kyle Allen Crossland `08 Gary P Crosslin `74 Karen S Crosslin `73 Gregory Alan Crotchett `89 Alan Walker Crotts `73 Daniel Lee Crouch `02 Sara Lynn Crouch `00 Kerma Sue Crouse `72 Deborah S Crow `75 Don W Crow `05 Gerald P Crow `66 John J Crow `74 Michelle R Crow `94 Natalie Marie Crow `18 Raegan D Crow `87 Randy Wayne Crow `95 Ruby Ethel Crow `49 Sandra J Crow `87 Timothy Sean Crow `91 Wesley Allen Crow `19 Eric Lynn Crowell `89 Kathy Elaine Crowl Fran Crowley `76 Julia R Crowley `65 Connor Thomas Crownover `24 Janet Louise Crowther `72 Lori Orr Crowther `95 Philip E Crowther `72 James Ray Cruce `69 Kristen L Cruce `01 Dennis A Crupper `74 Larry R Cruthers `73 Catherine L Cryer `95 Kirk Eugene Cryer `97 Carol A Cubie `01 J Bruce Cubie Guy Cuccio `71 C Kristan Cuchy `88 Loretta Louise Cudney `63 Bruce Daniel Cuevas `82 Pamela Jean Cuevas `95 Laurian Gonzalvo Cuffy `90 Deanna F Culbertson Kenneth Wayne Culbertson `70 Larry F Culbertson `71 Robert J Culbertson `49 David Thomas Culkin `16 Brooke Johanna Cull `12 Charley Abraham Cull `14 Bradley R Culley `94 Michael J Culp `93 Rana G Culp `92 Lauren Niccole Culter `17 Kevin J Cumiskey `00 Brenda K Cumming Art Cummings Gary Brent Cummings Laura A Cummings `91 Michelle Cummings `93 Richard Alan Cummings `77 Thomas Andrew Cummings `84 Angela D Cunningham `99 Barbara J Cunningham `02 Daniel Warren Cunningham `78 David Thomas Cunningham `75 Jon Mark Cunningham `02 Amanda Cunow `75 Tara Sue Cupps `78 Terry Curtis Cupps `78 Jeanne Curcio `92 Anne Elizabeth Curd `88 Thomas H Cure `70 Jay Allen Curless `81 Brendan Walsh Curran `99 Casey J Curran `95 Diane K Currie John Currie Mary Lawrence Currie Ralph Alexander Currie `76 Brett Daniel Currier `09 Angela S Curry `98 Dwight L Curry `70 Fred Lee Curry `70 Gary L Curry Jess Walter Curry `77 Joseph Edward Curry `52 Katharine E Curry `54 R Bruce Curry `51 Robert Allen Curry `70 Sheri Lynn Curry `71 Sterling John Curry `95 Thomas Edgar Curry `00 Virginia M Curry Chris M Curtin `96 Nancy Lynn Curtin Brandon Gary Curtis `08 Janie Curtis `63 John Huntley Curtis `93 John Richard Curtis `70 John L Curtis `96 Joseph R Curtis Laurie J Curtis `07 Linda Jean Curtis `64 Nicole M Curtis `07 Phyllis A Curtis `78 Polly J Curtis `78 Stuart D Curtis `10 Thomas Henry Curtis `67 William W Curtis `63 Jennifer Ellen Curtis-Jones `96 Chester W Cusic `64 Leanne Ruth Cusimano `99 Brice Custer Shanon L Custer `98 Janice Lynne Cutter Lynn Nake Cutter `74 Stanley Paul Cyphers `67 Elizabeth A Cyr Jayson Charles Cyr `70 Sarah J Czerniewski `07 Nancy Musick Czinege `77 Michael Joseph D'Antonio `74 Betty L D'Elosua `76 Troy David Daeschner `85 Charlotte Dahl `52 Christopher Lee Dahl `74 Colleen Rose Dahl `08 Janice Lee Dahl `59 John Jamieson Dahl `08 Willa Faye Dahl `68 Edith Mourine Dahlsten `66 Kimberly Diann Dahlsten `90 Larry E Dahlsten `66 Mark Kevin Dahlsten `90 Hugo George Dahlstrom `76 Neisha Lynn Dahlstrom `77 Arlene Ruth Dahm `67 Duane Harry Dahm `72 Kathleen Elizabeth Dahm `72 Eugenia Lue Dahnke `55 James Bennett Daily `86 Richard Lee Daise `76 Kenneth Ray Dale Kevin Richard Dale `90 Sheila Rae Dale N Michelle Dalinghaus `93 Nancy Sue Dalinghaus `93 Randy E Dalinghaus `94 Roger Lee Dalinghaus `92 Thad R Dall David M Dalrymple `94 Michael R Dalrymple `71 Cynthia D Dalton `76 Eric B Dalton `99 Jeffrey Alexander Dalton `10 Kathleen E Dalton `85 Margaret J Dalton `64 Mark Edward Dalton `91 Rebecca A Dalton `93 Timothy P Dalton `85 Wynn English Dalton Herbers `98 Gail E Daly `99 Todd Ryan Daly `00 Brandon Paul Damas `07 Grant Michael Damas `10 Lindsay Diane Damas `07 Robert James Dameron `74 Elizabeth Diane Damman `14 Janelle Marie Dana `96 Jason M Dana `96 Jennifer Ann Danaher `93 Mary Jo Dancer Amy Louise Danenberg Brian Michael Danenberg `06 Jennifer Ann Danenberg `06 Rex Edward Danford `71 Jeremy Thomas Daniel `99 Donald Herbert Daniels `74 Helen Ann Daniels `69 Jaye Allison Daniels `91 Jeanne Marie Daniels `83 Nichole D Daniels `01 Robert Daniels Walter Joseph Daniels `81 Larry Lee Daniels-Murray `72 Mona L Daniels-Murray `71 Geary Danielsen `81 Stephen K Danielson `67 Inci Mine Dannenberg `85 Maurice Stacey Dannenberg `83 Nancy E Danner Bailey Lynn Darbyshire `24 Fred Walter Darkow `92 Rebecca Ann Darkow de Rodriguez `01 Daniel Robert Darling `96 Mark E Darrah Molly S Darrenkamp `92 Andre Darrigrand `68 Deborra Jean Darrow `74 William Lee Darrow `78 Denise Renae Dart `06 Matthew Ray Dassow `89 Anton Michael Dattilo `78 Dan Daubert `75 Elaine R Daubert John Darrell Daubert `72 Ryan Timothy Daugherty `06 Duane Dale Dautel `94 Jeremy David Dautenhahn `06 Mallorie Rose Dautenhahn `06 Haley E R Davee `04 Jason Terence Davee `04 Daniel Joseph Daveline `91 Teresa Kay Daveline `93 Mary E Davenport Timothy L Davenport Tyler Andrew Davenport `11 Larry H David `69 Matthew Jason David `00 Robert Charles Davidshofer `76 A Marie Davidson `64 Anne C Davidson Arthur Wilbur Davidson `73 Dale Ernest Davidson `82 Emma Marie Davidson `91 Jeffrey D Davidson `94 Karen Dianne Davidson `62 Lloyd Alvin Davidson `65 Michael Wade Davidson `65 Regina Marie Davidson `04 Jonell Exley Davies `69 Luke Wegener Davies `01 Robert Edwin Davies `65 Austin William Davis `15 Berna Ann Davis `64 Bradley J Davis `00 Brenda Kay Davis `82 Bryan Diamond Davis `18 Carrie L Davis `94 Charlotte Davis `63 Christopher James Davis `98 Dale Blaine Davis `77 Daniel Mark Davis `80 Darold Dean Davis `70 David T Davis Debra Jean Davis `75 Dennis Lee Davis `82 Donna M Davis `82 Gregory Dean Davis `80 Henry Jacob Davis `94 Jean Marie Davis `54 Jeffrey M Davis `99 Joan Marcelle Davis `69 Joe H Davis `88 John David Davis `90 Jon Douglas Davis `63 Joycelyn Ann Davis `69 Julie L Davis `78 Karen L Davis `97 Katrina J Davis `06 Kevin Davis `72 Kevin S Davis Kevin Dean Davis `83 Krista Diane Davis `11 Lucas Allen Davis `11 Mark Edward Davis `73 Mark Randall Davis `73 Mark Alan Davis `90 Marlone F Davis `97 Matthew William Davis `93 Matthew Brian Davis `23 Matthew Neil Davis `01 Meghan Elizabeth Davis `14 Michael Patrick Davis `92 Michele Davis Michelle Davis Patricia L Davis `81 Rae Anne Davis `94 Rebecca H Davis `01 Robert D Davis `78 Robert Charles Davis `69 Roger Wayne Davis Sara Lee Davis `02 Scott Edward Davis `68 Stacy J Davis `90 Steven Ray Davis `72 Terry M Davis Theodore G Davis Tracey Lee Davis `81 Tracy Allen Davis `99 Venette Rae Davis `79 Victor Allen Davis `68 W Jay Davis William Leland Davis `83 Victoria R Davis-Green `95 Susan Jane Davison `85 John Charles Davisson `73 Stanley Paul Davisson `76 Susan Carol Davisson `74 Alexandra Krause Dawes `15 Barbara Eileen Dawes `79 Deborah Dawes `87 Derek Dane Dawes `89 R Michael Dawes `88 Bernard Russell Dawkins `84 Michael Bernard Dawkins `16 Theresa Lynn Dawkins `84 Audrey J Dawson `85 David Warren Dawson `83 George Ray Dawson `97 Julie Marie Dawson `07 Lynda L Dawson `83 Nancy Lou Dawson Rita Marie T Dawson `71 Ryan Michael Dawson `05 Susan Dawson `87 Amy Moorhead Day `82 David Lee Day `84 Frederick Gerry Day `56 Jackson Michael Day `86 Megan Michelle Day `98 Michael Wallace Day `03 Ross Patrick Day `02 Valene A Day `03 David A Dayton `97 Sara C Dayton `96 Eleanor De Bruyn `61 Jose A de la Torre Luis Virgil de la Torre `00 Jane Susan De Leon `81 Victoria Martinez de Maldonado `02 Anne de Noble Timothy de Noble Judith J De Noon Marilyn Ruth De Soto `56 Roy A De Soto Larry Edward Deal `63 Barbara Irene Dean `69 Brian Nathaniel Dean `06 Kristen Jane Dean `07 Lynn Alan Dean `66 Martha Dean `58 Richard E Dean Robert Hale Dearborn `68 Elizabeth Ann Deardorff `80 Wendy Christine Dearing `01 Rachel D Dearinger `02 Steven W Dearinger `01 Caitlin Brianna Deason `11 Laura Allene DeBaun `72 Thomas Burton DeBaun `72 Deborah Kay Debenham `83 Randy Ray Debenham `77 Joshua Michael Debes `06 Julia Anne Debes `07 Lisa M DeBey `96 Mary C DeBey `79 Erin M Debler `02 Randall William Debler `02 Michael Edward Debold `72 Patrick Joseph Debold `73 Blake Dennis DeBord `84 Brenda Rae DeBord `83 Robert L DeBruyn `61 Tracey DeBruyn Dana D DeBuhr `92 Eric Duane DeBuhr `91 Roger Richard Dechairo `73 Annette Marie Dechant `86 Jason Alan Dechant `97 Meagan M Deck `03 Brian Lee Decker `92 Lisa Hotchkiss Decker `91 Melissa Margaret Decker-Heidrick `98 Karla Nicole DeCoster `07 Nicholas Allen DeCoster `07 Kent Dederick `80 Susan Eder Dederick `80 Eugene Francis DeDonder `75 Jean Marie DeDonder Kevin Wayne DeDonder `96 Larry James DeDonder `69 Linda K DeDonder Mark Eugene DeDonder `13 Michael Francis DeDonder `09 Byron Joe Dedrickson `75 Cheryl Jane Dedrickson `87 Julie Anne Dee `93 Jon Donald Deege `73 Nicole Chien Deely `90 Patrick Burke Deely `89 Daniel Ray Deemy `68 Barbara Jean Deeter Douglas E Deets `74 Nancy E Deets `65 Paul Leonard Deets `65 Travis Lane DeForeest `99 James Eugene DeGeer `79 Staci Lynn DeGeer `07 Terri Sue DeGeer `79 James S DeGracie `65 Harry Joe DeGraw `77 Arthur Stuart DeGroat `04 Jennifer Brunk Dehan `94 Christine Ann DeHaven `94 Joel D DeHaven `91 Fred M DeHoff `75 Katelyn Maureen DeHoff `16 Mitchell Robert DeHoff `14 Patricia Ann Deighton `75 Alyson Laurene Deines-Schartz `07 David Alan Deitch `84 Gregory James Deiter `82 Kathleen A Deitering `94 Paul David Deitering `94 Anthony A DeJesus `84 Thomas Anthony DeLaHunt `77 Cathy Lou Delaney `75 Elizabeth Ann Delaney `15 Erin F Delaney Christopher James Delfelder `13 Laura Jayne Delfelder `23 Marjorie M Delfelder `96 Collin James Delker `03 David G Delker `73 Brian William Dellett `86 Neal Victor Dellett `86 Staci Drews Dellett `86 Carolyn Ann Delong Donn Allen Demaree `75 Thomas Paul Demars `83 H Gayle Dembski `82 Kevin Brian Demel `85 Lori Lynn Demers `99 Lisa L Demoret `13 Heather J Dempsey `97 Raymond C Dempsey `90 Thomas D Denchfield `65 Michael Givens Dendurent `73 Courtney Marie DeNegri `09 Justin Dale Antonio DeNegri `09 Patricia M Dengler `78 Mary Kay Denker `77 Terry Eugene Denker `75 Julie M Denner `98 Bryant Michael Denning `12 Charlotte Elise Denning `14 Dale Patrick Denning `78 David F Denning `68 Donald E Denning `82 Douglas Gerard Denning `76 Elisa L Denning `00 Ginger Lea Denning `77 Jana Lea Denning `93 John E Denning `69 Patrick Alexander Denning `08 Toby D Denning `98 Barbara Jane Dennis Francis Calvin Dennis `66 Alison A Denny `93 Douglas James Denny `65 Lisa R DeNooy `02 Steven Marion Dent `68 Angela Jean Denton `95 Darrell Duane Denton `69 John Wesley Denton `96 Kay Louise Denton `70 Michael K Denton `10 Molly R Denton `09 Marcy Le Denyer `80 Brandon Eugene Depenbusch `02 Morgan Kathleen Depine `17 Riley M Depine Alison Marie Depperschmidt `05 Brent M Depperschmidt `05 Chad Michael Depperschmidt `97 Roger A Derksen `87 Jay A Derley `99 Vartkais Y Dermenjian `71 Joel Michael DeRouchey `99 Julene M DeRouchey `00 Vincent F DeRouchey `63 Adrian Lee Derousseau `72 Laura Jean Derrick `86 Michael Chase Derusseau `18 Robert R DeRusseau `61 Annie Lee Desai `07 Bhusan Randhir Desai `01 Surbhi Desai Carola A Deschner Dennis L Deschner `68 Eugene Leland DesCoteaux `92 Orgene Lee DesCoteaux `92 Steven G DeSelm `84 Donald Lee DeShazer `83 Gary Lee DeShazer `83 Mary Elizabeth Despard `82 Amy M Deters `93 Cynthia Deters `93 Gale Lawrence Deters `92 Steven Deters `88 Lisa M Dethloff `98 Robert Gordon Detrick `02 Joseph B Detrixhe `68 Corey W Detter `95 Arlen Wayne Dettmer `58 Barbara J Dettmer `77 Christina E Dettmer `10 Jordan Grant Dettmer `10 Peggy Ann Dettmer `76 Loren A Detwiler `51 Milton D Detwiler `73 Courtney Ann Deuser `09 Christopher Allen Deutscher `92 Carolyn Sue Devane `90 Mark Francis Devane `89 Gunile Ann DeVault `70 Dennis Arthur Devenney `75 Barry Edward DeVilbiss `83 Janet Rutter DeVilbiss `83 Mary Evelyn Devin `74 Timothy John Devlin `00 Amanda H DeVolder `94 Eric John DeVolder `95 Heather M DeVolder `96 Jeffrey A DeVolder `95 John Jacob Devore `84 Tiane Lee DeVore `16 Christopher John DeWaal `05 Christy Suzanne DeWeese `08 Mark Edwin DeWeese `92 Ronald Robert DeWeese Kent Dewell `85 Donald Marvin DeWerff `76 Terri Jo DeWerff `80 Wayne Leon DeWerff `80 Anne Marie Dewey `01 Craig A Dewey `97 Janene Lewis Dewey `77 Van Edwin Dewey `88 Barbara F DeWitz `59 Roy Albert DeWitz `58 Carrol Mary DeWyke `53 Karen Kay Dexter `76 Andrew J Dey `09 James Patrick Dey `94 Kathryn Lee Dey `74 Kimberly Kay Dey `92 Thomas Alexander Dey `75 Lois Jean Deyoe `56 Lori B Deyoe `02 Matthew Grant Deyoe `99 Lynn Dgetluck `88 Arlen Elkins Diamond `65 Elsa M Diaz-Bautista `94 Dustin Neil Dibble `02 Jay Daniel Dibble `94 Amy S Dible `01 Tracy Scott Dible `01 David Arthur Dick `77 Jean Frances Dick `68 Michael Jason Dick `94 Michelle Diane Dick `98 Patricia Macke Dick `78 Sacha Hanes Dick `94 Shawn David Dick `95 C Kaylene Dicken `60 Cynthia Denise Dickens `80 Loren Estel Dickens `83 George O Dickerhoof `57 Randal O Dickerhoof `82 David Lee Dickerson `65 Thomas Wayne Dickeson `73 Patsy A Dickey-Olson `66 Janice Dickinson `56 Benedict Charles Dickman `75 Charles Eugene Dickman `81 Greg Charles Dickman `02 Holly M Dickman `02 Laura Kay Dickman `04 Linda K Dickman `81 Patrick Dickman `70 Matthew Robert Dickson `06 Richard Carl Dickson `68 David C Didde `79 Sue Elaine Dieckhoff `76 Andrew Kyle Dieckmann `19 Maura Elizabeth Dieckmann `20 Nathan Tyler Dieckmann `20 Jerod Thomas Diederich `14 Shannon R Diederich-Akins `00 Amy Lynn Diediker `02 Ryan Jerod Diediker `04 Kevin Duane Diefenbach `89 Kimberley E Diefenbach `88 Brad A Diehl Jennifer Appelhanz Diehl `97 Kevin Michael Diehl `14 Lisa Elliott Diehl `96 Paul Bothwell Diehl `72 Phillip Allan Diehl `55 Stacy C Diehl `92 Dustin Wayne Dieker `02 Jennifer L Dieker `04 Joseph Hugo Dieker `10 Jack Lynn Diekman `64 Roger A Diekmann `66 Kirk Alan Dielman `73 Gary Lamar Diener `75 Christopher Travis Dierenfeldt `18 Gina R Dierenfeldt William Travis Dierenfeldt Robert Warren Dierks `06 Roberta F Dierks `72 Summer Kay Dierks `05 Eric Dean Dierksen `10 Felicia Dawn Dierksen `10 Amy Elizabeth Dieta `07 Adelaide Dietrich `56 Bryce S Dietrich `70 Gregory Lee Dietrich `79 James D Dietrich `70 Warren R Dietrich `58 Corelia M Diggs Dale Gaylon Diggs `73 Danielle Nicole DiGiacinto `10 Jonathan N DiGiacinto `09 Joel Alan DiGirolamo `06 Ann Blythe Dikeman `74 D Gene Dikeman `76 Earline F Dikeman `72 Michael E Dikeman `66 W Cary Dikeman `77 Matthew Allan Dill `03 Edwin T Dillinger `60 Susan Alice Dillinger `77 Dennis Brian Dillman `78 Malinda Marie Dillman `78 Bobbie Jeanne Dillon `67 Joyce C Dillon Ricci Dillon `94 Ronald Lee Dillon `61 Troy William Dillon Carol May Dilts-Jones `75 Jonathan Raymond Dimick `11 Megan Kristine Dimick `13 Lawrence A Dimmitt `63 Lois Kinney Dimmitt `62 William Jack Dimond `62 Edward A Dinkel `87 Emileigh Sue Dinkel `22 G Scott Dinkel `73 Maria Katherine Dinkel `79 Randy John Dinkel `96 Susan L Dinkel `96 Joyce Marie Dinnetz `09 Andy T DiOrio `02 Suzanne DiRienzo `69 Andrea C Dirks `90 Bradley W Dirks `88 Fred Philip Dirks `73 Randall Kent Dirks `75 Brandie Sue Disberger `01 David Richard Disberger `90 William James Disberger `00 Allison Penner Disbrow `01 Elizabeth Lynn Disbrow `23 Julie A Disbrow `96 Molly Beth Disbrow `06 Stephen Eric Disbrow `04 Harvey A Disenhouse `68 Daniel K Dittemore `66 Richard Kent Diveley `81 Bruce Dennis Diver `84 Fred Diver `71 Deborah P Divine John Michael Divine `72 Phillip Duane Dix `16 John Paul Dixon `71 Kathi Dixon Michael Edward Dixon `78 Thomas William Dixon `73 Vicki Ann Dixon `02 Darwin A Dlabal `06 Pamela Susan Dlabal `81 Paul William Dlabal `71 Sarah Elizabeth Dlabal `11 Brent Arnold Doane `90 Julie Raye Doane `99 Michael Keith Doane `95 Joann Marie Dobbie `76 Amy M Dobbins `89 James R Dobbins `67 Janelle K Dobbins `97 Jared Scott Dobbins `96 Mark Lee Dobbins `89 Rebecca Ann Dobbins `99 Ryan Scott Doberer `14 David E Dobratz `87 Stephen R Dobratz `75 Robert Kelliehan Docherty `81 DeAnn Janell Collins Dockery `86 Frank Preston Dodd Mary Lourde Dodd `67 Rachel Etta Dodd `74 Darrell DeLoss Dodds `59 James Weston Dodge `76 Lori C Dodge `97 Michael W Dodge `98 Sarah Ann Dodge `14 W Scott Dodge `79 Alicia Beth Dodson `09 Darla Jean Dodson `63 David Michael Dodson `78 Diane Dodson Lisa Melinda Dodson `77 Michael L Dodson `79 Pamela C Dodson `69 Robert Eugene Dodson `59 Robert L Dodson Dustin A Doebele `01 Barbara Jean Doebele Donovan `75 R Dalene Dohm `69 Kathryn L Dohse `97 Robert Eugene Doile `75 Tracy Rene Doile-McHatton `02 Jacob Scott Dokos `18 Kristen Josie Dolan `84 Marlo D Dolezal `93 Vernon A Dolezal `89 Julie A Dolezilek `98 Shawn Dolezilek Mark Ferrell Doljac `86 Allison Nicole Doll `18 Brian Scott Doll `02 Jenni M Doll Jordan Nicole Doll `13 Linda K Doll `74 Nicholas Daniel Doll `10 J Eric Dollard `70 Judy D Dollard `76 Elaine K Dollins-Henning Dorothy Maxine Dolsky `78 Ian Clem Dolven `01 Tara Carmen Doman `20 Susan Marie Domann `87 Karen Y Domer `65 Robin Rice Domer `67 Allison L Domingues `99 Kelly Jo Dominguez `82 Robert Leo Domnick `59 L Ann Domsch `58 Elizabeth Hope Donahue `02 Ryan P Donahue `02 Christopher Michael Donaldson `95 Henry Carrol Donaldson `84 Marilee Ruth Donaldson `68 Nancy Jo Donaldson `71 R
5407	dbpedia	1	42	https://www.urmc.rochester.edu/people/112359171-emma-ciafaloni	en	Emma Ciafaloni, M.D.	https://www.urmc.rochest…ile_web/6750.jpg	https://www.urmc.rochest…ile_web/6750.jpg	[ "https://www.urmc.rochester.edu/getmedia/2d3c0d22-0eae-4ef9-b5cd-2051e0747bd8/UR-Medicine-logo-svg.svg?maxsidesize=400&resizemode=force", "https://www.urmc.rochester.edu/ecv_binary/faculty/generated/profile_web/6750.jpg" ]	[]	[]	[ "" ]	null	[]	null	The University of Rochester Medical Center (URMC) is one of the nation’s leading academic medical centers. It forms the centerpiece of the University of Rochester’s health research, teaching and patient care missions. The University of Rochester Medical Center is a private, coeducational, nonsectarian, and nonprofit research university.	en		University of Rochester Medical Center	https://www.urmc.rochester.edu/people/112359171-emma-ciafaloni	Fourth meeting of the European Neurological Society 25-29 June 1994 Barcelona, Spain : Abstracts of Symposia and free communications. Harms L, Bock A, JÄnisch W, Valdueza J, Weber J, Link I, De Keyser J, Goossens A, Wilczak N, Vedeler C, Bjorge L, Uvestad E, Conti G, Williams K, Ginsberg L, Rafique S, Rapoport SI, Gershfeld NL, De La Meilleure G, Crevits L, Faiss JH, Heye N, Blanke J, Sackmann A, Kastrup O, Doornbos R, van der Worp HB, Kappelle LJ, Bar PR, Davie CA, Barker GJ, Brenton D, Miller DH, Thompson AJ, Block F, Schwarz M, Delodovici L, Baruzzi F, Bonaldi G, Dario A, Marra A, Mercuri A, Dworzak F, Cavallari P, Confalonieri P, Zuffi M, Antozzi C, Cornelio F, Baldissera F, Chassande B, Ameri A, Eymard B, Poisson M, Vérier A, Brunet P, Congia S, Murgia PL, Cannas A, Borghero G, Uselli S, Mellino G, Ferrai R, Lampis R, Massa R, Muzzetto B, Giannini F, Rossi S, Cioni R, d'Aniello C, Guarneri A, Battistini N, Ceriani F, Del Santo A, Poloni M, Campo JF, Iglesias F, Guitera MV, Farinas C, Pascual J, Leno C, Berciano J, Thorpe IW, Kendall BE, McDonald WI, Moulignier A, Dromer F, Baudrimont M, Dupont B, Gozlan J, El Amrani M, Petit JC, Roullet E, Sterzi R, Causaran R, Protti A, Riva M, Erminio F, Arena O, Villa F, Maccagnano E, Miletta M, Spinelli F, Ben-Hur T, Weidenfeldl J, Rao NS, Chari CC, Laforet P, Matheron S, Adams D, Chemouilli P, Desi M, Said G, Davous P, Lionnet F, Pulik M, Genet P, Rozenberg F, Cartier LM, Castillo JL, Cea JG, Villagra R, de Saint Martin L, Mahieux F, Manifacier MJ, Mattos K, Queiros C, Publio L, Vinhas V, PeÇanha-Martins AC, Melo A, Liska U, Zifko U, Budka H, Drlicek M, Grisold W, Kaufmann R, Kaiser R, Czygan M, Gomes I, Jones N, Cunha S, EmbiruÇu EK, Vieira V, Araujo I, Alexandra M, Ferreira A, Goes J, Chemouilli P, Israel-Biet , Masson H, Lacroix C, Gasnault J, Hildebrandt-Müller B, Oschmann P, Krack P, Willems WR, Dorndorf W, Freitas V, Bittencourt A, Fernandes D, Nascimento MH, Severo M, Moraes D, Muller M, Hasert K, Merkelbach S, Schimrigk K, van Oosten BW, Lai M, Polman CH, Bertelsmann FW, Hodgkinson S, Cabre PH, Volpe L, Smadja D, Vernant JP, Villaroya H, Violleau K, Younes-Chennoufi AB, Baumann N, Villanueva-Hemandez P, Ballabriga J, Basart E, Arbizu TX, Perez-Serra J, Vinuels F, Giron JM, Castilla JM, Redondo L, Izquierdo G, Lauer K, Henneberg A, Bittmann N, Link D, Wollinsky KH, Mobner R, Fassbender K, Kuhnen J, Schwartz A, Hennerici M, Miller A, Lider O, Abramsky O, Weiner HL, Offner H, Vanderbark AA, Paoino E, Fainardi E, Addonizio MC, Ruppi P, Tola MR, Granieri E, Carreras M, Sazdovitch V, Joutel A, Verdier-Taillefer MH, Heinzlef O, Radder C, Tournier-Lasserve E, Brenner RE, Munro PM, Williams SC, Bell JD, Hawkins CP, Filippi M, Campi A, Dousset V, Canal N, Comi G, Zhu J, Weber F, Retska R, List J, Zhang L, Brock M, Taphoorn MJ, Heimans JJ, van der Veen EA, Karim AB, Sarazin M, Argentino N, Delattre JY, Derkinderen P, Buchwald B, Schroter G, Serve G, Franke CH, Conrad B, Kitchen ND, Thomas DG, Forman AD, Ang KK, Price R, Stephens C, Salmaggi A, Nermni R, Silvani A, Forno MG, Luksch R, Boiardi A, Grzelec H, Fryze C, Nowacki P, Zdziarska B, Sanson M, Merel P, Richard S, Rouleau G, Thomas G, Olsen NK, Pfeiffer P, Egund N, Bentzen SM, Johannesen L, Mondrup K, Rose C, Zyluk B, Wondrusch E, Berger O, Fast N, Jellinger K, Lindner K, Urman A, Thibault JL, Duyckaerts C, Strik H, Muller B, Richter E, Krauseneck P, Steinbrecher A, Schabet M, Hess C, Bamberg M, Dichgans J, Counsell CE, McLeod M, Grant R, Creel GB, Claus D, Sieber E, Engelhardt A, Rechlin T, Thierauf P, Neubauer U, Peresson M, Di Giovacchino G, Romani GL, Di Silverio F, Danek A, Kuffner M, Hoermann R, Schopohl J, Laska M, Heye B, Zangaladze AT, Valls-SoIè J, Cammarota A, Alvarez R, Tolosa E, Hallett M, Ulbricht D, Ganslandt O, Kober H, Vieth J, Grummich P, Pongratz H, Brigel C, Fahlbusch R, Serra FP, Palma V, Nolfe G, Buscaino GA, Rothstein TL, Gibson JM, Morrison PM, Collins AD, Eiselt M, Wagnur H, Zwiener U, Schindler T, Efendi H, Ertekin C, Erfas M, Larsson LE, Sirin H, AraÇ N, Toygar A, Demir Y, Seddigh S, Vogt TH, Hundemer H, Visbeck A, Pastena L, 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B, Drogendijk T, Vecht CJ, Nemni S, Amadio , Fazio R, Galardin G, Delodovici ML, Peghi E, Monticelli ML, Sessa A, Viguera ML, Palomar M, Gamez J, Cervera C, Navarro C, Serena J, Duran I, Fernandez AL, Comabella M, Nos C, Rio J, Montalban J, Navarro X, Verdu E, Darbra S, Buti M, Mrabet A, Fredj M, Gouider R, Tounsi H, Khalfallah N, Haddad A, Dbaiss T, Ghnassia R, Rouillet E, Chedru F, Porsche H, Strenge H, Li SW, Young YP, Garcia AA, Baron P, Scarpini E, Bianchi R, Conti A, Livraghi S, Rees JH, Gregson NA, Hughes RA, Sedano MJ, Calleja J, Canga E, Bahou Y, Biary N, Al Deeb SM, Guern EL, Gugenheim M, Tardieu S, Aisonobe TM, Agid Y, Bouche P, Brice A, Rautenstrauss B, Nelis E, Grehl H, Van Broeckhoven C, Pfeiffer RA, Liehr T, Ganzmann E, Gehring C, Neundörfer B, Geremia L, Doronzo R, Sacilotto G, Sergi P, Pastorino GC, Scarlato G, Planté-Bordeneuve V, Mantel A, Baas F, Moser H, Antonini A, Psylla M, Günther I, Vontobell P, Beer HF, Leenders KL, Chaudhuri KR, Parker J, Pye IF, Millac PA, Abbott RJ, Sutter M, Albani C, de Rijk MC, Breteler MM, Graveland GA, van der Mechè FG, Hofman A, Keipes M, Hilger C, Diederich N, Metz H, Hentges F, Pollak P, Benabid AL, Limousin P, Hoffmann D, Benazzouz A, Perret J, Laihinen A, Rinne JO, Ruottinen H, Nagren K, Lehikoinen P, Oikonen V, Ruotsalainen U, Rinne UK, Cocozza S, Pizzuti A, Cavalcanti F, Monticelli A, Pianese L, Redolfi E, Paiau F, Di Donato S, Pandolfo M, Palau F, Monros E, De Michele G, Smeyers P, Lopez-ArLandis J, Uilchez J, Filla A, Genis D, Matilla T, Volpini V, Blanchs MI, Davalos A, Molins A, Rosell J, Estivill X, De Jonghe P, Smeyers G, Krols L, Mercelis R, Hazan J, Weissenbach J, Martin JJ, Warner TA, Williams L, Orb AS, Harding AE, Giunti P, Sweeney MG, Spadaro M, Jodice C, Novelletto A, Malaspina P, Frontali M, Salmon E, Gregoire , Del Fiore , Comar , Franck G, Scheltens PH, Siegfried K, Dartigues E, De Deyn P, Horn R, , Nelson I, Hanna MG, Morgan-Hughes JA, Collinge J, Palmer MS, Campbell T, Mahal S, Sidle K, Humphreys C, Tavitian B, Pappata S, Jobert A, Crouzel AM, DiGiamberardino L, Steimetz G, Barbanti P, Fabbrini G, Salvatore M, Buzzi MG, Di Piero V, Petraroli R, Sbriccoli A, Pocchiari M, Macchi G, Lenzi GL, Spiegel R, Maguire P, Schmid W, Ott A, Bots ML, Grobbe DE, Hofman A, Howard RS, Russell S, Losseff N, Hirsch NP, Couderc R, Bailleul S, Nargeot MC, Touchon J, Picot MC, Rizzo M, Watson G, McGehee D, Dingus T, Kappos L, Radü EW, Haas J, Hartard CH, Spuler S, Yousry T, Voltz R, Scheller A, Holler E, Hohlfeld R, Scolding NJ, Sussman J, Kolar OJ, Farlow MR, Rice PH, Zipp F, Sotgiu S, Weiss EH, Wekerle H, Chalmers R, Robertson N, Compston DA, Martino G, Clementi E, Brambilla E, Moiola L, Martinelli V, Colombo B, Poggi A, Rovaris M, Grimaldi LM, Roth MP, Descoins P, Ballivet S, Ruidavets JB, Waubant E, Nogueira L, Cambon-Thomsen A, Clanet M, Leppert D, Hauser S, Lugaresi A, Tartaro A, D'aurelio P, Befalo LL, Thomas A, Malatesta G, Gambi D, Benedikz JE, Magnusson H, Poser CM, Guomundsson G, Bates TE, Davies SE, Clark JB, Landon DN, Ùther JR, Rautenberg W, Overgaard K, Sereghy T, Pedersen H, Boysen G, Diez-Tejedor E, Carceller F, Gutierrez M, Lopez-Pajares R, Roda JM, Chandra B, Ricart W, Gonzalez-Huix F, Molina A, Rundek T, Demarin V, De Reuck J, Boon P, Decoq D, Strijckmans K, Goethals P, Lemahieu I, Nibbio A, Chabriat H, Vahedi K, Nagy T, Verin M, Mas JL, Julien J, Ducrocq X, Iba-Zizen MT, Cabanis EA, Bousser MG, Rolland Y, Landgraf F, Bompais B, Lemaitre MH, Edan G, Vorstrup S, Knudsen L, Olsen KS, Videbaek C, Schroeder T, van Gijn J, Jansen HM, Pruim J, Paans AM, Willemsen AT, Hew JM, Vd Vliet AM, Haaxma R, Vaalburg W, Minderhoud JM, Korf J, Soudain SE, Ho TW, Mishu B, Li CY, Nachainkin I, Gao CY, Cornblath DR, Griffin JW, Asbury AK, Blaser MJ, McKhann GM, Ho T, Macko C, Xue P, Stadlan EM, Ramos-Alvarez M, Valenciano L, Visser LH, van der Meché FG, van Darn PA, Meulstee J, Schmitz PI, Jacobs B, Oomes PG, Kleyweg RP, , Jacobs BC, Endtz HP, van Doorn PA, van der Mech 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Florensa L, Oliveres M, Sans-Sabrafen J, Wicklein EM, Pleiffer G, Kunre K, Dieterich M, Brandt T, Guarino M, Stracciari A, Pazzaglia P, D'Alessandro R, Santilli I, Donato M Journal of neurology.. 1994 June 241 (Suppl 1):1-164. 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5407	dbpedia	2	83	https://www.uncsa.edu/giving/campaign/impact-report.aspx	en	Campaign Impact Report	https://www.uncsa.edu/im…fault-social.png	https://www.uncsa.edu/im…fault-social.png	[ "https://www.uncsa.edu/performances/img/events/2024/08/0824-popsplaza.jpg", "https://www.uncsa.edu/performances/img/events/2024/09/0924-emilynewton.jpg", "https://www.uncsa.edu/performances/img/events/2024/09/0924-peter-laul.jpg", "https://www.uncsa.edu/performances/img/events/2024/06/0624-candelight-taylor-swift.jpg", "https://www.uncsa.edu/performances/img/events/2024/09/0924-symphony.jpg", "https://www.uncsa.edu/performances/img/events/2024/05/0524-candelight-vivaldi.jpg", "https://www.uncsa.edu/.ldp-images/.private_ldp/a288050/production/master/61749b47-ce36-4374-b0e4-927c4975f13d.jpg", "https://www.uncsa.edu/.ldp-images/.private_ldp/a288050/production/master/e35ba582-8143-4272-99d5-23b9a191e0d8.jpg", "https://www.uncsa.edu/.ldp-images/.private_ldp/a288050/production/master/d0e386f2-facc-4c4a-b168-e94f04248af2.jpg", "https://www.uncsa.edu/.ldp-images/.private_ldp/a288050/production/master/f3f2a087-c511-4769-80e7-bc2822c9e259.jpg" ]	[]	[]	[ "" ]	null	[]	null	Read about the impact of Powering Creativity: The Campaign for UNCSA - the university's largest fundraising effort in history.	en	/favicon.ico		https://www.uncsa.edu/giving/campaign/impact-report.aspx	Five years ago, UNCSA began its first major fundraising campaign in decades. With a lead gift from beloved Chancellor Emeritus Alex Ewing, Powering Creativity began quietly in 2016. Launched publicly in September 2019, the campaign was the most ambitious fundraising initiative in UNCSA history. With a goal of $65 million, it was poised to make a transformative impact on students, faculty, staff, and the wider community. Thanks to the generosity of thousands of supporters, Powering Creativity soared past its goal, and the funds received are already hard at work, helping our emerging artists reach new creative heights. VIEW THE CAMPAIGN IMPACT REPORT (PDF) Powering Creativity Donor List Alphabetical by last name
5407	dbpedia	3	20	https://mountaintrue.org/list-of-members/	en	List of Members (as of 8	https://mountaintrue.org…k-Gap-Sunset.jpg	https://mountaintrue.org…k-Gap-Sunset.jpg	[ "https://mountaintrue.org/wp-content/uploads/2023/05/MountainTrue_logo_tag-1.png", "https://mountaintrue.org/wp-content/uploads/2023/05/MountainTrue_logo_tag-1.png", "https://mountaintrue.org/wp-content/uploads/2023/05/Waterkeeper-Alliance-logo-300x134.jpg" ]	[]	[]	[ "" ]	null	[]	2017-09-27T20:05:13+00:00		en	https://mountaintrue.org…avicon-32x32.png	MountainTrue	https://mountaintrue.org/list-of-members/	Abby Catoe Able Allen Adam Bean Adam Bowers Adams Baker Adeline and David Talbot Adeline and David Talbot Adena Wygmans Adrian Amabile Adrianne Chang Aiden and Harlan Carson Aiden and Harlan Carson Al Groelle Alane Bartlett Alendia Hartshorn Alex Dale Alice Dunbar Alice Helms Alice Lentz Alice Sebrell Alice Weldon Alicia and Timothy Heacock Alicia and Timothy Heacock ALLAN ZULLO Allegiant Freight Systems Inc. Allen and Caroline Proctor Allen and Caroline Proctor Allen Lalor Allison and George Glackin Allison and George Glackin Allison and Kincaid Mills Allison and Kincaid Mills Allison Norton-Rimron and Pat Rimron Allison Norton-Rimron and Pat Rimron Alys Campaigne Alyson Browett and Chris Souhrada Alyson Browett and Chris Souhrada Amanda Fortner Amanda Fulghum Amanda Gladys Amanda Hall and Robert Zeid Amanda Hall and Robert Zeid Amanda Miles-Graeter Ameena Batada Amos and Gail Dawson Amos and Gail Dawson Amy and Gil Nicolson Amy and Gil Nicolson Amy and John Ende Amy and John Ende Amy and Josh Finkler Amy and Josh Finkler Amy Boggan Amy Carlson Amy Dahan Amy Lloyd Amy Lynch Andrea Debevoise Andrea Hunter Andrea Lowrance and Keith Vernall Andrea Lowrance and Keith Vernall Andrew Bridges Andrew Gordon Andrew Hoxie Andrew Pardue Andrews Valley Rail Tours Andy Hill and Bettie McKemie-Hill Andy Hill and Bettie McKemie-Hill Ann Cyphers Ann Kieffer Ann Mazzullo Ann Perry Ann Taaffe Ann Twiggs Ann Wood Ann Wood Anna Nagy Anna Shine Anne and Chris Barker Anne and Chris Barker Anne and Jim Stokely Anne and Jim Stokely Anne and Marshall McLaughlin Anne and Marshall McLaughlin Anne Harper Anne Ledbetter and Steve Houghton Anne Moncus Anne Senechal Annette and Robert Hudson Annette and Robert Hudson Annette Mayfield Annette Mayfield Appalachian Veterinary Ultrasound Arlene and Stuart Andrews Arlene and Stuart Andrews Art and Penny Kiser Art and Penny Kiser Arthur Mandler and Sarah Tambor Arthur Mandler and Sarah Tambor Ashe Compton Ashemont Title Asheville Friends Asheville Mushroom Club ATTN Laurie Jaegers Ashley and Robert Scott McNeely Ashley and Robert Scott McNeely Ashley Carr ashley edwards Aulick Engineering, LLC Austin Hill Ava Bock Babette Dunn Bailey Reynolds Barbara Conrad Barbara Engle Barbara Fish Barbara G. Fant Barbara Hamrick Barbara Hinton Barbara Joshi Barbara Phelan and Carol Reed Barbara Phelan and Carol Reed Barbara Sloss Barbara Tornholm Barbara Volk Barbara Zimmerman Barry and Lois Ostrow Barry Campbell Barry Cheney and Jeanne Abbott Barry Fox Barry Marshall Becky and Pat Stone Becky and Pat Stone Beech Mountain Ski Resort ATTN Ryan Costin Ben Owens and Hygie Starr Ben Owens and Hygie Starr Ben Trotter Ben Weaver Bernard Sroka Bernie and Holly Arghiere Bernie and Holly Arghiere Bernie and Sandy Byrne Bernie and Sandy Byrne Bernise Lynch Berry Shepherd Beth Cook Beth Griffin Beth Pensiero Bethany Chaney Betty and Rick Douglas Betty and Rick Douglas Bev and Phil Dratz Bill and Beth Cameron Bill and Beth Cameron Bill and Frances Smyth Bill and Frances Smyth Bill and Leah Horton Bill and Leah Horton Bill and Liz Hickok Bill and Liz Hickok Bill and Marion Moore Bill and Marion Moore Bill and Nancy McCullough Bill and Nancy McCullough Bill and Sue White Bill and Sue White Bill and Terri Carpenter Bill and Terri Carpenter Bill Boyum Bill Breedlove Bill Brightman Bill Frist Bill Moore Biz Hub Blair Justice Blowing Rock Art & History Museum Bob and Carrie Wagner Bob and Carrie Wagner Bob and Caryn Hanna Bob and Eileen Elkin Bob and Eileen Elkin Bob and Geeta McGahey Bob and Geeta McGahey Bob and Jane Trotman Bob and Jane Trotman Bob and Judy Grove Bob and Judy Grove Bob and Julie Johnson Bob and Julie Johnson Bob and Martha Adams Bob and Martha Adams Bob and Meredith Stroud Bob and Meredith Stroud Bob and Pam Gale Bob and Pam Gale Bob Chapin Bob Chapin Bob Tobey Bob Tobey Bob Wykle Bonny Herman Boundary Waters Resort & Marina ATTN Kevin Clem Brad and Bobbi Allen Brad and Bobbi Allen Brad and Shelli Stanback Brad and Shelli Stanback Brad Esposito Brenda and Fred Denton Brenda and Fred Denton Brenda Hull Brenda Worley Brian and Maryjane Hunter Brian and Maryjane Hunter Brian and Stephanie Preston Brian and Stephanie Preston Brian Caffrey and Deborah Porto Brian Caffrey and Deborah Porto Brian Mateer Brian Murphy Brian Scott Brian Stevenson Bridget Dunford and Janet Bertinuson Bridget Dunford and Janet Bertinuson Brigitte Taylor Brittany Maness Brooke Adams Brooks-Howell Home Brown Dog Studio ATTN Dale and Wendy McEntire Brown Haven Homes Bruce and Cynthia Johnson Bruce and Cynthia Johnson Bruce and Day Ann Emory Bruce and Day Ann Emory Bruce Bente Bruce Hughes and Nancy Kirkland Bruce Hughes and Nancy Kirkland Bruce Kelly and Robin Cape Bruce Roberts Bruce Whelchel Bryan Fiveash Buck and Nancy Bragg Buffy B. Burge Caitlin Hay Caleb Pusey Caley Bowman Callie and Philip Moore Callie and Philip Moore Callie Hnilica Carl and Jean Franklin Carl Sigel Carl Woermann Carleton Collins Carlton and Carol Craig Carlton and Carol Craig Carol and Bo Perry Carol and Bo Perry Carol and David Swing Carol and David Swing Carol and Jim Hillegas Carol and Jim Hillegas Carol and Jo Ellen Wade-Diamond Carol and Jo Ellen Wade-Diamond Carol and Mark McCall Carol and Mark McCall Carol and Robert Cannon Carol and William Falender Carol and William Falender Carol Cherry carol greenspan Carol Logan Thompson Carol Long Carol Marty Carol Perine Carol Query and Julie Brown Carol Query and Julie Brown Carol Roberson Carol Schobert Carol Stephenson Carolanna and David Rikard Carolanna and David Rikard Caroline and Brian Green Caroline and Brian Green Caroline and Paul Stahlschmidt Caroline and Paul Stahlschmidt Carolyn Appen Carolyn Hill Carolyn Lewellen and Ron Coates Carolyn Lewellen and Ron Coates Carrie Blair Carro Gardner Cat Potts and Marc Hunt Cat Potts and Marc Hunt Catherine Fodi Catherine Joyner and Bil Stahl Catherine Joyner and Bil Stahl Catherine Shanks and John Williams Catherine Shanks and John Williams Cathy and Ed Stevens Cathy and Ed Stevens Cathy Bennett Cathy Eising Cathy Keith Cathy Lacienski Cathy Scott and Phil Jamison Cathy Scott and Phil Jamison Cee Jaye and John Pecorak Cee Jaye and John Pecorak Central United Methodist Church of Asheville, Inc. Charles Baker Charles Breckheimer and Sandra Schorr Charles Breckheimer and Sandra Schorr Charles Hooker Charles Huang Charles Jansen Charles Vodicka Charlie and Rachel Swor Charlie and Rachel Swor Charlie Clogston Charlotte Taylor Charlotte Watson chas fitzgerald Chase and Clary Pickering Chase and Clary Pickering cheryl Fultz Cheryl Watson chloe smith Chris and Amanda Buchanan Chris and Amanda Buchanan Chris Joyell and Nicole Martinez Chris Joyell and Nicole Martinez Christina and Michael Shaffer Christina and Michael Shaffer Christina Sierra Christine Rye Christine Westfeldt Christopher Berg Christopher Bohrer Christopher Brownlee Christopher Larson Christopher Yates cinda chima Cindy Ann Bowers Cindy Koerber Cindy Powers Circle Of Mercy Congregation Clair Quenzler Claire Brothers Claire Goulthorpe and Tim Fitzsimons Claire Mackler Clare Ryan Claudia and Mike Nix Claudia and Mike Nix Claudia Cady and Boone Guyton Clay Farmers Exchange Builder’s Supply Inc Clementine Gregory Cliff Kevill Climate Conversation Group Coleman McCleneghan Communities for Older Adult Health (COAH) Congregational Church UCC Tryon Connie and Don Cooper Connie and Don Cooper Connie de Haan connie falcone Connie Lomax Connor Lewis Constance Knight and Richard Johnson Constance Knight and Richard Johnson Corrie Woods Craig and Terri Pendergrast Craig and Terri Pendergrast Craig Weaver Crystal Biasi Cullowhee UMC Curt Crowhurst and Cindy Causby Curt Crowhurst and Cindy Causby Curtis Czajkoski Curtis Newkirk Cyndy Douglas Cynthia and Roger Hatfield Cynthia and Roger Hatfield Cynthia Curro Cynthia Schumacher Cynthia Simonds Cynthia Van deusen Daddy Joe’s Inc Dakota Wagner Dale and Rose Haning Dale and Rose Haning Dale and Wendy McEntire Dale and Wendy McEntire Dale Baumann Damien Vacaflor Dan and Barbara Gerber Dan and Barbara Gerber Dan and Sue Goff Dan and Sue Goff Dan Frese Dana Vannoy Dane and Cynthia Barrager Daniel Clelland and Chelsea Perez Daniel Clelland and Chelsea Perez Daniel Clover Daniel Fields Darlene Musso Darlyne Sahara Darren and Steph Monson Dahl Darren and Steph Monson Dahl Darry and Barbara Wood Darry and Barbara Wood Dave and Becky Rubin Dave and Becky Rubin Dave and Ellen Nutter Dave and Julia Ralston Dave and Julia Ralston Dave Schroeder David A Cottongim David Alsobrook David and Debra Herman David and Debra Herman David and Dillon Manly David and Dillon Manly David and Laura Bourne David and Laura Bourne David and Mary Evers David and Mary Evers David and Sydney Atkinson David and Virginia Derryberry David and Virginia Derryberry David b Waldrop David Beerbower David Bryan David Clarke David Cohen David George David Goldhagen David Jarjoura David Marshall David Martin David Matz and Janet Hurley David Matz and Janet Hurley David Mickey David Moore David Newman David Reid David Slobodin and Jane Fant David Slobodin and Jane Fant Dawn Jernigan Dawn Jernigan Dawn Larson Dawn Mathews Daymian Snowden Deb Edwards Debbie Schram Debi Treleaven Deborah Acs Deborah and Mark Lassiter Deborah and Mark Lassiter Deborah Osborne Deborah Rubin Debra Mulvey Deidre Duffy and Michael Kohnle Deidre Duffy and Michael Kohnle Dennis and Jan Wencel Dennis Desmond Dennis Huntley Derek Eggers Derrick Swing Diana Donovan diane bauknight Diane Bowers Diane DeWitt Diane Hankins Diane Huey Diane Kent Diane Mooney Diane Silver Diane Wallace Dianne and Ken Prohn Dianne and Ken Prohn Dianne Brown Dick and Marcia Aunspaugh Dick and Marcia Aunspaugh Diego Dos Santos Dina miller Don and Steve Turman Don and Steve Turman Don Clapp and Patty Martin Don Clapp and Patty Martin Don Kraus Donald Barnett and Charlotte Lackey Donald Barnett and Charlotte Lackey Donna and Scott Milam Donna and Scott Milam Donna Lisenby and Nita O’Brien Donna Lisenby and Nita O’Brien Donna Nelson Donna Papazian Dorene O’Malley Dorothy Hemming Doug and Pat Williams Doug and Pat Williams Doug Elliott Douglas Dearth Douglas Gates Duncan McPherson Earl Booze Ed and Leslie Hillman Ed and Leslie Hillman Ed Prestemon Ed Wolfe Eileen Gertz Elaine Carlton Elaine Clamser Elaine Ferguson Elaine Russell Elaine Shields Elaine Smith Eleanor and Peter B. Mockridge Eleanor Johnson Eleanor McCormac Elizabeth and Matt Henry Elizabeth and Matt Henry Elizabeth Eckl elizabeth malloy Elizabeth Martin Homes Elizabeth Nelson Elizabeth Porter Elizabeth Tweedy Ella Castro-Crawford Ellen and David Feingold Ellen and David Feingold Ellen and Kevin Burnette Ellen and Kevin Burnette Ellen and Mark Starkman Ellen and Mark Starkman Ellen Carr Ellen Foltz Ellen Tucker Eloise Bradham Emery Conard Emil Revala Emily Brinker Emily R. Burns Enotah Garden Club Enrique and Norie Sanchez Enrique and Norie Sanchez Environmental Design Episcopal Church of the Transfiguration Rev. Chip Broadfoot Equinox Environmental- ATTN David Tuch Eric Robbins Erica Witsell Erin and Joel McCombs Erin and Joel McCombs Erin Sebelius ernie showfety Esther Pardue Esther Pardue Eva Humphrey Eva Rand Evelyn and Richard Coltman Evelyn Fay Evelyn Fay Evelyn Lyles Evelyn Taylor Faye Goodwyn FernCrest Winery ATTN Jan Olson First Baptist Church Of Asheville First Christian Church First Multiple Listing Service, Inc. First Presbyterian Church Asheville First United Methodist Church Florence and Charles Quinzel Florence and Charles Quinzel Frank and Ginger Kirby Frank and Ginger Kirby Frank and Michelle Maloney Frank and Michelle Maloney Frank and Susan Landis Frank and Susan Landis Frank Bell Frank Goldsmith Frank Kulbertis and Jeanne Winter Frank Rogers-Witte Frank Shea Fred and Alice Stanback Fred and Alice Stanback Fred and Jean Macon Fred Crawford Freda Smith Freedom Boat Club at The Ridges Resort G. Michael Breidenstein gabriele marewski gabriele rainey Galen and Rachel Kipar Galen and Rachel Kipar Galen Marshall-Clark Garrett Payne Gary Allen Gary and Charlotte Morgan Gary and Charlotte Morgan Gary Coleman Gary Harden Gary Jordan and Shirley Phillips Gary Jordan and Shirley Phillips gary kopacka Gary VanDoren and Carol Van Doren Gary VanDoren and Carol Van Doren Gay Ann Deamer Ged Moody Gena Mente George and Sue Tregay George and Sue Tregay George Austin George DeWalder Georgena Millar Georgia and John Case Georgia and John Case Gerald and Mary Hardvall Gerald and Mary Hardvall Geri Conley Gerrie Zimmer Gerry and Ray Larson Gerry and Ray Larson Get Outside WNC Gillian and Dick Heywood Gillian and Dick Heywood Gillian Tart Glen Cutting Glenda Geddings Glenn and Liz Peterson Glenn and Liz Peterson Glenn and Lynne Dulken Glenn and Lynne Dulken Glenn and Patti Liming Glenn and Patti Liming Glenn Lange Gloria and Wilbert Griffith Gloria and Wilbert Griffith Gloria Jaffe Grace Church in the Mountains Grace Findley Gracie and Chuck Bowling Gracie and Chuck Bowling Grady and Kathleen Nance Grady and Kathleen Nance Grady McCallie Grail Moviehouse Gray and Carly Jernigan Gray and Carly Jernigan Green Race Green River Adventures ATTN Tim and Sara Bell Greer Gunby Greg and Susanne Walker Wilson Greg and Susanne Walker Wilson Greg Borom and Cynthia Shealy Greg Borom and Cynthia Shealy Greg Kidd and Susan Sachs Greg Kidd and Susan Sachs Gregg Keeley Gregory and Audra Holden Gregory and Audra Holden Greta Bush Gretchen Henn Greysen Motley Guy Sayles gwendolynne smith-kerr HANNE MISKA and Glen Miska HANNE MISKA and Glen Miska Hans Herrmann Harli and Fred Palme Harli and Fred Palme Harold T. Southern Harry and Desna Jarrett Harry and Desna Jarrett Harry and Holly Jones Harry and Holly Jones Harry Norris Hayesville Yacht Club Heather Brown HEATHER JONES Heather Stewart Hedy Fischer and Randy Shull Hedy Fischer and Randy Shull Heidi and Dan Koester Heidi and Dan Koester Heidi and Marshall Fields Heidi and Marshall Fields Heidi Swann Helen Harmon Helen Mcswain Henry and Sandra Sibley Herman and Gail Lankford Herman and Gail Lankford Herman M. Felder Hildy Teegen and David Adoff Hildy Teegen and David Adoff Hin Tse Holly Beveridge Holly Demuth Holly Jordan Holly Roberts Howard and Diane Williams Howard Latty Howard Waxman Hunter Varipapa Impeccable Lending Ingrid Adelsbach Integrated Financial Group Wealth Management Ivor and Lynn Groves Ivor and Lynn Groves Jaan Ferree and John Huie Jaan Ferree and John Huie Jack and Barb Harrison Jack and Barb Harrison Jack and Linda Grup Jack and Linda Grup Jack and Maxine Dalton Jack Parker Jack Smoot and Sarah Blankenship Jack Smoot and Sarah Blankenship Jackie Baertschi Jaime Morehead Jake and Bonnie McLean Jake and Bonnie McLean James and Beverly Carroll James and Beverly Carroll James and Cindy DeGrave James and Cindy DeGrave James and Patty Frankfort James and Patty Frankfort James and Susan Williams James and Susan Williams James Beyer James Kantor James Sacco James Simons and Cathy Hale James Simons and Cathy Hale Jamie Fish Jamie Gilmore Jamie Wine Jan and Gary Allen Jan and Gary Allen Jan and Kurt Olson Jan and Kurt Olson Jan and Nanette Davidson Jan and Nanette Davidson Jan and Richard Hildebrand Jan and Richard Hildebrand Jan Letendre Jan Wilson Jane and Peter Roda Jane and Peter Roda Jane Harrison Jane Kennedy Jane Kniffin Jane Laping Jane Lawson and John Myers Jane Lawson and John Myers Jane Margaret Bell Jane Schroeder Jane Williams Janet and Bob Clark Janet and Bob Clark Janet and Mark Thew Janet and Mark Thew Janet Belleme Janet Doellgast Janet Imig Janet Kilby and Barry Carpenter Janet Kilby and Barry Carpenter Janice and Frank Layne Janice and Frank Layne Jason and Angela Merchey Jason and Angela Merchey Jason and Cathy Chambers Jason and Cathy Chambers Jason and Jennifer Love Jason and Jennifer Love Jason Ferrell Jason Huddlestun Jason Stiefel Jay Alsaadi Jay and Jennifer Mills Jay and Jennifer Mills Jay Hawthorne Jay Naparstek Jay Womack Jean and Allan Brown Jean Ann Wheelock Jean E. Alexander Jean Norris and Bluford Hestir Jean Norris and Bluford Hestir Jeanette Wyatt Jeanne Cummings Jeanne Odom Jeanne Sprott Jeannette and Robert Cannon Jeannette and Robert Cannon Jeannette Evans Jeannie Cochran Jeff and Elizabeth Jennings Jeff and Elizabeth Jennings Jeff and Janet Dektor Jeff and Janet Dektor Jeff and Marci Sabatula Jeff and Marci Sabatula Jeffery and Randi Neff Jeffery and Randi Neff Jeffrey Kirsch Jennie Deal Jennifer Cambrook Jennifer Greba Jennifer Mullendore Jennifer Rish Jennifer W Cragg Jenny Poteat Jerome Glassman Jerome Hay and Judy Beck Jerome Hay and Judy Beck Jerome Long Jerry and Betty Anderson Jerry and Betty Anderson Jerry Parker Jesse and Lindsay Miller Jesse and Lindsay Miller Jessica Ashburn Jessica Blackburn Jessica Brown Jessica Ingram Jessie Shinn Jill Grodi Jill Heishman Jill Long Jill Yager Jim and Beth Carson Jim and Celeste Tolbert Jim and Celeste Tolbert Jim and Debbie Ebert Jim and Debbie Ebert Jim and Diane Abbott Jim and Diane Abbott Jim Cavener Jim Clark Jim Neal Jim Neal Jim Palmer Jim Stone Jim Thorsen Jim Tibbetts Jim Woodruff Jimmy Davidson JJ Apodaca Jo-Ellen Ames Joan and John Dickson Joan Parks JoAnn McIntosh Joanna and Dave Bock Joanne and Paul Strop Joanne and Paul Strop Jody Smith Jody Wood Joe and Becca Criscione Joe and Becca Criscione joe wombwell Joel Mazelis Joel Osgood and Heather Hayes Joel Osgood and Heather Hayes John and Annie Ager John and Annie Ager John and Grace Curry John and Grace Curry John and Heidi Sherman John and Heidi Sherman John and Laurie Watson John and Laurie Watson John and Lesley Gilbert John and Lesley Gilbert John and Linda Ayers John and Linda Ayers John and Madeline Moore John and Madeline Moore John and Sheila Knoblich John and Sheila Knoblich John and Stephanie Mitchell John and Stephanie Mitchell John and Tami Summerour John and Tami Summerour John B. Hampton John Bowen John Campbell John Cottingham John Day John Ellis John Graeter John Graeter John Gregg John Healy John J. Claxton John Kay John Martino John Mattox John Mazza John Mikkonejn John Rich John Schlotterbeck and Barbara Steinson John Schlotterbeck and Barbara Steinson John Snelling John T Morgan John Welsh and Erin Thompson John Welsh and Erin Thompson Jon Ackerman jon poling Jonathan Stephenson Jordan Sellers Joseph Accardi Joseph Beckham Joseph Schwabauer Joseph Woolley Josh Kelly Joshua Abrams and Sabrina Thomas Joshua Federman Joshua Hubing-Cooper Joshua Martin Joshua Sigmon Josie Rikard Joy and Richard McConnell Joy and Richard McConnell Joy Lew and Vance Mullis Joy Lew and Vance Mullis Joyce and Tom Young Joyce and Tom Young JR Whitley Juanita Bruce Jubilee! Community Church ATTN Jackie Dobrinska Jud and Kimberley Handley Jud and Kimberley Handley Judith Albertson and David Bird Judith Albertson and David Bird Judith Phoenix Judith Price Judy and Dennis Berman Judy and Dennis Berman Judy and John Plant Judy and John Plant Judy Futch and Paul Smith Judy Futch and Paul Smith Judy McAfee Juleen Carter and Kathy Madigan Juleen Carter and Kathy Madigan julia burr Julia Hartman Julie and Billy T Ogletree Julie and Billy T Ogletree Julie and Chuck Shoemaker Julie and Jim White Julie Bernstorf Julie Lehman and Michael Poulos Julie Lehman and Michael Poulos Julie Mayfield Julie Roueche Julie Spalla June Fortney Justin Telech K.Boyer Photography Kareen Boncales Karen and Charles Crutchfield Karen and Charles Crutchfield Karen Campbell and Brad Rouse Karen Campbell and Brad Rouse Karen Couch Karen Holmes Karen Jackson Karen Lazzaro Karen Searle Karen Stark Karim Olaechea and Sarah Ray Karim Olaechea and Sarah Ray Karla Miller Kate and Jeb Wofford Kate and Jeb Wofford Kate and Mac Bond Kate and Mac Bond Kate Bashford Kate Daigle Kate Frost Kate Millar Kate Weinman Fisher Katherine Holman Katherine Miller Katherine Singleton Katherine Taaffe Kathrine Bockstedt Kathryn Caldwell Kathryn Karnes Kathy Lentz-Martin Kathy Phillips Katie and Steve Breckheimer Katie and Steve Breckheimer Katie Doyle Interiors Kay and Wayne Craig Kay and Wayne Craig Kay Holtzinger Kay Shurtleff Keith McDade Keith Pandres Keith Viglietta Kelley Pierce Kelly Carlson Kelly Ferrell Kelly Lockamy Kelly Simpson Kelly Stamey and Ryan Pickens Kelly Stamey and Ryan Pickens Ken and Gail Kinard Ken and Gail Kinard Ken Brame and Judy Mattox Kenneth Hall Kent and Ann Weaver Kent and Ann Weaver Kent and Gail Wilcox Kent and Gail Wilcox Kerry Keihn Kevin and Caroline Hall Kevin and Caroline Hall Kevin Bates Kevin Hammond Kim and Ken Price Kim and Ken Price Kim Chao and Robert Carlson Kim Chao and Robert Carlson Kim Controy Kim Hombs Kim McGuire and Jim Samsel Kim McGuire and Jim Samsel Kim Rosov Kimberly Hunter Kimberly Trimble Kira Jahn Kirk Friedland Kirstin Morgan Kris Medic Kristin Economo Kristina Brosowsky Kurt Jones Kyle Kraft-Culkin Lake Adger Property Owners Association Lake Chatuge Living Magazine ATTN Frank Kulbertis Lake Sheila Property Owners Association, INC. Larason and Juanita Lambert Larason and Juanita Lambert Larry Griswold Larry Hayes Laura Armour Laura Beeler Laura Boggess Laura Carideo Laura Collins Laura Daniel Laura Early Laura England Laura Gordon Laura Greeley Laura Helfman Laura Vines Laura White Lauren and Christine Bechtol Lauren and Christine Bechtol Lauren B. Yazdani Lauren Bryson Lauren Steiner Lavon Page and Jo Perry Lawrence and Teryn Romaine Lawrence and Teryn Romaine Lawrence and Victoria Williamson Lawrence and Victoria Williamson Leah Ashburn Leah Swann Leanna Staton LEANNE RICHBOURG Lee and Donna McCall Lee and Donna McCall Lee Anne and Peter Mangone Lee Anne and Peter Mangone Lee Barnes Lee Reading and Ann Lutz Lee Reading and Ann Lutz Lee Seabrook Leesa and Todd Sluder Leesa and Todd Sluder LEGER & ASSOCIATES Lesa and Richie Peterson Lesa and Richie Peterson Leslie and Jurgen Dierks Leslie and Jurgen Dierks Leslie Heidinger Lewis and Karen Jones Lewis and Karen Jones LG and Sallie Porter LG and Sallie Porter Lia Barth Linda and Bob Carlough Linda and Bob Carlough Linda and Chris Greensfelder Linda and Chris Greensfelder Linda Avila and Carl Eby Linda Avila and Carl Eby Linda B. 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Atchison Teresa and B.G. 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5407	dbpedia	3	2	http://caligraph.org/resource/Simone_Kennedy-Doornbos	en	Simone Kennedy	http://caligraph.org/resources/icon/caligraph_icon_whitering.ico	http://caligraph.org/resources/icon/caligraph_icon_whitering.ico	[ "http://caligraph.org/resources/images/DWS-Logo-2019.jpg" ]	[]	[]	[ "" ]	null	[]	null	CaLiGraph is a large-scale semantic knowledge graph with a rich ontology which is compiled from the DBpedia ontology, and Wikipedia categories & list pages. View all the information about 'Simone Kennedy-Doornbos' that is contained in the knowledge graph.		/resources/icon/caligraph_icon_whitering.ico		null	CaLiGraph is created and provided by the Data and Web Science Group, University of Mannheim. For questions and other matters, feel free to contact us.
5407	dbpedia	0	63	https://issuu.com/cnla/docs/2010cnladirectory	en	2010 CNLA Membership Directory	https://image.isu.pub/10…7/jpg/page_1.jpg	https://image.isu.pub/10…7/jpg/page_1.jpg	[ "https://static.isu.pub/fe/product-header-frontend/781e53c/31d186ba39f38e8c4fac.png", "https://static.issuu.com/fe/silkscreen/0.0.3042/icons/gradient/icon-canva-gradient.svg", "https://static.isu.pub/fe/product-header-frontend/781e53c/1e794a8c4ec65e549678.png", "https://photo.isu.pub/cnla/photo_large.jpg", "https://image.isu.pub/240604150931-ded0949fcb2fb9b35a64a646ece188c8/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/240304204031-f9e7f1efabce9cf86962a3fbb0ea4e1d/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/231130170325-bcfed40361edbbe5008d8f0d29a4a020/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/231002133814-8aad098c1b23e8de38a4e66ff5196073/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/230602142152-724a0fb33140ba40cdfaf0bb4eabd8da/jpg/page_1_thumb_large.jpg", "https://image.isu.pub/230320145246-5b2f6e72f98128983f4bd0524f6aa3a7/jpg/page_1_thumb_large.jpg", "https://static.issuu.com/fe/silkscreen/0.0.2541/icons/gradient/icon-instagram-gradient.svg" ]	[]	[]	[ "" ]	null	[]	2010-02-20T00:00:00+00:00	Complete listing of all 3,624 members across Canada.	en	/favicon.ico	Issuu	https://issuu.com/cnla/docs/2010cnladirectory	Welcome to Issuu’s blog: home to product news, tips, resources, interviews (and more) related to content marketing and publishing. Here you'll find an answer to your question.
5407	dbpedia	3	37	https://www.cambridge.org/core/books/judging-refugees/index/E24FF08DAA5CF79A96D32FC62FBF1584	en	Judging Refugees	https://www.cambridge.or…hare_600x600.jpg	https://www.cambridge.or…hare_600x600.jpg	[ "https://www.cambridge.org/core/cambridge-core/public/images/icn_circle__btn_close_white.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.png", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://www.cambridge.org/core/cambridge-core/public/images/logo_core.svg", "https://assets.cambridge.org/97811088/31857/cover/9781108831857.jpg", "https://www.cambridge.org/core/page-component/img/share-icon.cbcfad8.svg", "https://www.cambridge.org/core/page-component/img/close-icon.194b28a.svg", "https://www.cambridge.org/core/page-component/img/cite-icon.44eaaa4.svg", "https://static.cambridge.org/content/id/urn%3Acambridge.org%3Aid%3Abook%3A9781108912402/resource/name/firstPage-pdf-9781108831857ind_167-174.jpg", "https://www.cambridge.org/core/cambridge-core/public/images/cambridge_logo.png" ]	[]	[]	[ "" ]	null	[ "Anthea Vogl", "University of Technology" ]	null	Judging Refugees - March 2024	en	/core/cambridge-core/public/images/favicon.ico	Cambridge Core	https://www.cambridge.org/core/books/judging-refugees/index/E24FF08DAA5CF79A96D32FC62FBF1584	To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle. Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
5407	dbpedia	2	94	https://www.walb.com/story/1850757/lady-patriots-have-big-lead-heading-into-final-day/	en	Lady Patriots have big lead heading into final day	https://www.walb.com/pf/…s/walb.svg?d=430	https://www.walb.com/pf/…s/walb.svg?d=430	[ "https://gray-walb-prod.cdn.arcpublishing.com/resizer/v2/LGIIVFIMHJCWNOKF4AI3IGLPFA.jpg?auth=ad31593d2948abb06e13726d84a94691d22469b5f14b123b52a58cf474539fd5&width=800&height=450&smart=true", "https://gray-walb-prod.cdn.arcpublishing.com/resizer/v2/R34NAFDBAJFBPJTV323JSFOBDU.jpg?auth=b95298679dac0efc257aaadef714cc426fe51e3cf8ce63d4ffb3bffa07346e6c&width=800&height=450&smart=true", "https://gray-walb-prod.cdn.arcpublishing.com/resizer/v2/6CCQ5PKORBH6ZB7OCEGXJ7LM2U.png?auth=6ce28ec7b1e6cbb7a2c69544c5710153818021e6df8f049bc35fce7ac480af99&width=800&height=450&smart=true", "https://gray-walb-prod.cdn.arcpublishing.com/resizer/v2/2NSXJQBLVVA4LB7KHAMOUYG74I.png?auth=4291429fd5c5698d8747715a2be2b0ef5f3886a78a61a1f1528e2941a7b94d93&width=800&height=450&smart=true", "https://gray-walb-prod.cdn.arcpublishing.com/resizer/v2/XORRZ6XQGFBCJKKPLCVJYFVIFU.png?auth=e1afbf3f28589be1dffd7a18de6ee6dca1ad5cffb26845b5eca7978ce4cc6902&width=800&height=450&smart=true", "https://gray-walb-prod.cdn.arcpublishing.com/resizer/v2/2VCYPYZEURBIFHEQNQQFWTHV6I.png?auth=6e8a0437921d94e529ebb4b27f405d79ba3157a7324c5cb024b563bf424610b6&width=800&height=450&smart=true", "https://gray-walb-prod.cdn.arcpublishing.com/resizer/v2/NAD5X52I35HGFKWHXNQNYWSYFA.jpg?auth=d2a0f747e37f66c87410d0fa0cd3eb01f6c8ea025a2281f31935601d826a622b&width=800&height=450&smart=true", "https://gray-walb-prod.cdn.arcpublishing.com/resizer/v2/7ETQCWYCB5DVLDWPPIRXOYPDF4.png?auth=0c4b9abde4805cda649ff34761ff0936e186fa428323678b9e2e49e57f97e9ac&width=800&height=450&smart=true" ]	[]	[]	[ "" ]	null	[ "WALB" ]	2004-05-08T07:40:39+00:00	<strong>The Westover Lady Patriots are in good position to win their first state track team title and end rival Monroe's bid for a four-peat</strong>	en	//webpubcontent.gray.tv/gray/arc-fusion-assets/images/favicons/walb/favicon.ico?d=430	https://www.walb.com	https://www.walb.com/story/1850757/lady-patriots-have-big-lead-heading-into-final-day/	May 7, 2004 Albany- The Westover Lady Patriots are in prime position to win their first state team track title. Westover got a first/second finish from Brittany Brown and Kiana Key in the triple jump and an unexpected first place finish from Cayla Moore in the AAA shot to jump out to a big lead in the team standings. Moore was the runner-up in the region meet but wins the state AAA shotput title with a throw of 37'9". Brown earned six points for a third place finish in the long jump and Jamila Young, who won the AAA 1600m last night, finished third in the 3200m. The Patriots also got six points from Rebecca Okashah who placed third in the pole vault. Defending AAA team champion Monroe has 22 points at the halfway point in their bid to win a fourth straight team championship. Shequita Draper won her second straight long jump title with 19'1" and Rashunda Luster set a school record in winning the high jump at 5'7". With the finals in eight track events left on Saturday, The Lady Patriots have 56 points and are expecting to add to that total. Lakecia Ealey is the fastest qualifier in the 100m and 200m dashes. The Lady Patriots are also expecting points in both relays, 800m run and 300m intermediate hurdles. Monroe is not out of the hunt in the team title. The Tornadoettes' are the top qualifiers in both relays and Shequita Draper is one of the favorites in the 400m run. Tashelya Bynum will also be a contender for Monroe in the 100m and 300m intermediate hurdles and Rashunda Luster has the fastest qualifying time in the 800m run. Saturday begins with the opening ceremony at 12:15pm at Hugh Mills Stadium with the first event, the 400m relay, starting at 1:00 p.m.. 100 METER DASH Heat Number 1 100 METER DASH Heat Number 2 100 METER INTERMEDIATE HURDLES Heat Number 1 100 METER INTERMEDIATE HURDLES Heat Number 2 1600 METER RELAY Heat Number 1 1600 METER RELAY Heat Number 2 200 METER DASH Heat Number 1 200 METER DASH Heat Number 2 300 METER LOW HURDLES Heat Number 1 300 METER LOW HURDLES Heat Number 2 400 METER DASH Heat Number 1 400 METER DASH Heat Number 2 400 METER RELAY Heat Number 1 400 METER RELAY Heat Number 2 800 METER RUN Heat Number 1 800 METER RUN Heat Number 2 100 METER DASH Heat Number 1 100 METER DASH Heat Number 2 100 METER INTERMEDIATE HURDLES Heat Number 1 100 METER INTERMEDIATE HURDLES Heat Number 2 1600 METER RELAY Heat Number 1 1600 METER RELAY Heat Number 2 200 METER DASH Heat Number 1 200 METER DASH Heat Number 2 300 METER LOW HURDLES Heat Number 1 300 METER LOW HURDLES Heat Number 2 400 METER DASH Heat Number 1 400 METER DASH Heat Number 2 400 METER RELAY Heat Number 1 400 METER RELAY Heat Number 2 800 METER RUN Heat Number 1 800 METER RUN Heat Number 2 100 METER DASH Heat Number 1 100 METER DASH Heat Number 2 100 METER INTERMEDIATE HURDLES Heat Number 1 100 METER INTERMEDIATE HURDLES Heat Number 2 1600 METER RELAY Heat Number 1 1600 METER RELAY Heat Number 2 200 METER DASH Heat Number 1 200 METER DASH Heat Number 2 300 METER LOW HURDLES Heat Number 1 300 METER LOW HURDLES Heat Number 2 400 METER DASH Heat Number 1 400 METER DASH Heat Number 2 400 METER RELAY Heat Number 1 400 METER RELAY Heat Number 2 800 METER RUN Heat Number 1 800 METER RUN Heat Number 2 100 METER DASH Heat Number 1 100 METER DASH Heat Number 2 100 METER INTERMEDIATE HURDLES Heat Number 1 100 METER INTERMEDIATE HURDLES Heat Number 2 1600 METER RELAY Heat Number 1 1600 METER RELAY Heat Number 2 200 METER DASH Heat Number 1 200 METER DASH Heat Number 2 300 METER LOW HURDLES Heat Number 1 300 METER LOW HURDLES Heat Number 2 400 METER DASH Heat Number 1 400 METER DASH Heat Number 2 400 METER RELAY Heat Number 1 400 METER RELAY Heat Number 2 800 METER RUN Heat Number 1 800 METER RUN Heat Number 2 100 METER DASH Heat Number 1 100 METER DASH Heat Number 2 100 METER INTERMEDIATE HURDLES Heat Number 1 100 METER INTERMEDIATE HURDLES Heat Number 2 1600 METER RELAY Heat Number 1 1600 METER RELAY Heat Number 2 200 METER DASH Heat Number 1 200 METER DASH Heat Number 2 300 METER LOW HURDLES Heat Number 1 300 METER LOW HURDLES Heat Number 2 400 METER DASH Heat Number 1 400 METER DASH Heat Number 2 400 METER RELAY Heat Number 1 400 METER RELAY Heat Number 2 800 METER RUN Heat Number 1 800 METER RUN Heat Number 2
5407	dbpedia	0	35	https://www.science.gov/topicpages/k/kynurenine%2Bpathway%2Bmetabolism	en	kynurenine pathway metabolism: Topics by Science.gov			[ "https://www.science.gov/scigov/desktop/en/images/SciGov_logo.png" ]	[]	[]	[ "" ]	null	[]	null		en			null	Kynurenine pathway metabolism and the microbiota-gut-brain axis. PubMed Kennedy, P J; Cryan, J F; Dinan, T G; Clarke, G 2017-01-01 It has become increasingly clear that the gut microbiota influences not only gastrointestinal physiology but also central nervous system (CNS) function by modulating signalling pathways of the microbiota-gut-brain axis. Understanding the neurobiological mechanisms underpinning the influence exerted by the gut microbiota on brain function and behaviour has become a key research priority. Microbial regulation of tryptophan metabolism has become a focal point in this regard, with dual emphasis on the regulation of serotonin synthesis and the control of kynurenine pathway metabolism. Here, we focus in detail on the latter pathway and begin by outlining the structural and functional dynamics of the gut microbiota and the signalling pathways of the brain-gut axis. We summarise preclinical and clinical investigations demonstrating that the gut microbiota influences CNS physiology, anxiety, depression, social behaviour, cognition and visceral pain. Pertinent studies are drawn from neurogastroenterology demonstrating the importance of tryptophan and its metabolites in CNS and gastrointestinal function. We outline how kynurenine pathway metabolism may be regulated by microbial control of neuroendocrine function and components of the immune system. Finally, preclinical evidence demonstrating direct and indirect mechanisms by which the gut microbiota can regulate tryptophan availability for kynurenine pathway metabolism, with downstream effects on CNS function, is reviewed. Targeting the gut microbiota represents a tractable target to modulate kynurenine pathway metabolism. Efforts to develop this approach will markedly increase our understanding of how the gut microbiota shapes brain and behaviour and provide new insights towards successful translation of microbiota-gut-brain axis research from bench to bedside. This article is part of the Special Issue entitled 'The Kynurenine Pathway in Health and Disease'. Copyright ÃÂ© 2016 Elsevier Ltd. All rights reserved. Kynurenine pathway metabolic balance influences microglia activity: Targeting kynurenine monooxygenase to dampen neuroinflammation. PubMed Garrison, Allison M; Parrott, Jennifer M; TuÃ±on, Arnulfo; Delgado, Jennifer; Redus, Laney; O'Connor, Jason C 2018-08-01 Chronic stress or inflammation increases tryptophan metabolism along the kynurenine pathway (KP), and the generation of neuroactive kynurenine metabolites contributes to subsequent depressive-like behaviors. Microglia regulate KP balance by preferentially producing oxidative metabolites, including quinolinic acid. Research has focused on the interplay between cytokines and HPA axis-derived corticosteroids in regulating microglial activity and effects of KP metabolites directly on neurons; however, the potential role that KP metabolites have directly on microglial activity is unknown. Here, murine microglia were stimulated with lipopolysaccharide(LPS). After 6â¯h, mRNA expression of interleukin(IL)-1Î², IL-6, tumor necrosis factor(TNF)-Î± and inducible nitric oxide synthase(iNOS) was dose-dependently increased along with the rate-limiting enzymes for oxidative KP metabolism, indoleamine-2,3-dioxygenase(IDO)-1 and kynurenine 3-monooxygenase(KMO). By 24â¯h post-LPS, kynurenine and quinolinic acid in the media was elevated. Inhibiting KMO with Ro 61-8048 during LPS challenge attenuated extracellular nitrite accumulation and expression of KMO and TNF-Î± in response to LPS. Similarly, primary microglia isolated from KMO -/- mice exhibited a significantly reduced pro-inflammatory response to LPS compared to WT controls. To determine whether the substrate (kynurenine) or end product (quinolinic acid) of KMO-dependent metabolism modulates the LPS response, microglia were treated with increasing concentrations of L-kynurenine or quinolinic acid in combination with LPS or saline. Interestingly, quinolinic acid did not impact the microglial LPS response. However, L-kynurenine had dose-dependent inhibitory effect on the LPS response. These data are the first to show an anti-inflammatory effect of KMO inhibition on microglia during immune challenge and suggest that KP metabolic balance may play a direct role in regulating microglia activity. Published by Elsevier Ltd. Assessing and Modulating Kynurenine Pathway Dynamics in Huntington's Disease: Focus on Kynurenine 3-Monooxygenase. PubMed Sathyasaikumar, Korrapati V; Breda, Carlo; Schwarcz, Robert; Giorgini, Flaviano 2018-01-01 The link between disturbances in kynurenine pathway (KP) metabolism and Huntington's disease (HD) pathogenesis has been explored for a number of years. Several novel genetic and pharmacological tools have recently been developed to modulate key regulatory steps in the KP such as the reaction catalyzed by the enzyme kynurenine 3-monooxygenase (KMO). This insight has offered new options for exploring the mechanistic link between this metabolic pathway and HD, and provided novel opportunities for the development of candidate drug-like compounds. Here, we present an overview of the field, focusing on some novel approaches for interrogating the pathway experimentally. Metabolic shift of the kynurenine pathway impairs alcohol and cocaine seeking and relapse. PubMed Vengeliene, Valentina; Cannella, Nazzareno; Takahashi, Tatiane; Spanagel, Rainer 2016-09-01 The glutamatergic system plays a key role in the maintenance of drug use and development of drug-related conditioned behaviours. In particular, hyper-glutamatergic activity and N-methyl-D-aspartate receptor (NMDAR) activation may drive drug craving and relapse. Inhibition of kynurenine-3-monooxygenase (KMO) shifts the metabolic kynurenine pathway towards production of kynurenic acid, which leads to a reduction of glutamatergic/NMDAR activity via different mechanisms. In this study, we investigated whether drug-seeking and relapse behaviour could be modified by the metabolic shift of endogenous kynurenine pathway. An inhibitor of kynurenine-3-monooxygenase (KMO) Ro61-8048 (4 and 40Â mg/kg) and its prodrug JM6 (100 and 200Â mg/kg) were tested in two behavioural rat models for drug seeking and relapse-the alcohol deprivation effect (ADE) model in long-term alcohol-drinking rats and the model of cue-induced reinstatement of alcohol- and cocaine-seeking behaviour. Our results show that relapse-like alcohol drinking during the ADE was abolished by repeated intraperitoneal administration of Ro61-8048 and significantly reduced by its oral prodrug JM6. Cue-induced reinstatement of both alcohol- and cocaine-seeking behaviour was also abolished by administration of Ro61-8048. Pharmacological enhancement of endogenous kynurenic acid levels provides a novel treatment strategy to interfere with glutamatergic/NMDAR activity as well as with craving and relapse in alcohol-dependent patients and drug addicts. Modulation of the Kynurenine Pathway for the Potential Treatment of Neurodegenerative Diseases NASA Astrophysics Data System (ADS) Courtney, Stephen; Scheel, Andreas Modulation of tryptophan metabolism and in particular the kynurenine pathway is of considerable interest in the discovery of potential new treatments for neurodegenerative diseases. A number of small molecule inhibitors of the kynurenine metabolic pathway enzymes have been identified over recent years; a summary of these and their utility has been reviewed in this chapter. In particular, inhibitors of kynurenine monooxygenase represent an opportunity to develop a therapy for Huntington's disease; progress in the optimization of small molecule inhibitors of this enzyme is also described. Kynurenine pathway metabolites and enzymes involved in redox reactions. PubMed GonzÃ¡lez Esquivel, D; RamÃrez-Ortega, D; Pineda, B; Castro, N; RÃos, C; PÃ©rez de la Cruz, V 2017-01-01 Oxido-reduction reactions are a fundamental part of the life due to support many vital biological processes as cellular respiration and glucose oxidation. In the redox reactions, one substance transfers one or more electrons to another substance. An important electron carrier is the coenzyme NAD + , which is involved in many metabolic pathways. De novo biosynthesis of NAD + is through the kynurenine pathway, the major route of tryptophan catabolism, which is sensitive to redox environment and produces metabolites with redox capacity, able to alter biological functions that are controlled by redox-responsive signaling pathways. Kynurenine pathway metabolites have been implicated in the physiology process and in the physiopathology of many diseases; processes that also share others factors as dysregulation of calcium homeostasis, mitochondrial dysfunction, oxidative stress, inflammation and cell death, which impact the redox environment. This review examines in detail the available evidence in which kynurenine pathway metabolites participate in redox reactions and their effect on cellular redox homeostasis, since the knowledge of the main factors and mechanisms that lead to cell death in many neurodegenative disorders and other pathologies, such as mitochondrial dysfunction, oxidative stress and kynurenines imbalance, will allow to develop therapies using them as targets. This article is part of the Special Issue entitled 'The Kynurenine Pathway in Health and Disease'. Copyright ÃÂ© 2016 Elsevier Ltd. All rights reserved. Impaired Kynurenine Pathway Metabolism in The Prefrontal Cortex of Individuals With Schizophrenia PubMed Central Sathyasaikumar, Korrapati V.; Stachowski, Erin K.; Wonodi, Ikwunga; Roberts, Rosalinda C.; Rassoulpour, Arash; McMahon, Robert P.; Schwarcz, Robert 2011-01-01 The levels of kynurenic acid (KYNA), an astrocyte-derived metabolite of the branched kynurenine pathway (KP) of tryptophan degradation and antagonist of Î±7 nicotinic acetylcholine and N-methyl-D-aspartate receptors, are elevated in the prefrontal cortex (PFC) of individuals with schizophrenia (SZ). Because endogenous KYNA modulates extracellular glutamate and acetylcholine levels in the PFC, these increases may be pathophysiologically significant. Using brain tissue from SZ patients and matched controls, we now measured the activity of several KP enzymes (kynurenine 3-monooxygenase [KMO], kynureninase, 3-hydroxyanthranilic acid dioxygenase [3-HAO], quinolinic acid phosphoribosyltransferase [QPRT], and kynurenine aminotransferase II [KAT II]) in the PFC, ie, Brodmann areas (BA) 9 and 10. Compared with controls, the activities of KMO (in BA 9 and 10) and 3-HAO (in BA 9) were significantly reduced in SZ, though there were no significant differences between patients and controls in kynureninase, QPRT, and KAT II. In the same samples, we also confirmed the increase in the tissue levels of KYNA in SZ. As examined in rats treated chronically with the antipsychotic drug risperidone, the observed biochemical changes were not secondary to medication. A persistent reduction in KMO activity may have a particular bearing on pathology because it may signify a shift of KP metabolism toward enhanced KYNA synthesis. The present results further support the hypothesis that the normalization of cortical KP metabolism may constitute an effective new treatment strategy in SZ. PMID:21036897 Impaired kynurenine pathway metabolism in the prefrontal cortex of individuals with schizophrenia. PubMed Sathyasaikumar, Korrapati V; Stachowski, Erin K; Wonodi, Ikwunga; Roberts, Rosalinda C; Rassoulpour, Arash; McMahon, Robert P; Schwarcz, Robert 2011-11-01 The levels of kynurenic acid (KYNA), an astrocyte-derived metabolite of the branched kynurenine pathway (KP) of tryptophan degradation and antagonist of Î±7 nicotinic acetylcholine and N-methyl-D-aspartate receptors, are elevated in the prefrontal cortex (PFC) of individuals with schizophrenia (SZ). Because endogenous KYNA modulates extracellular glutamate and acetylcholine levels in the PFC, these increases may be pathophysiologically significant. Using brain tissue from SZ patients and matched controls, we now measured the activity of several KP enzymes (kynurenine 3-monooxygenase [KMO], kynureninase, 3-hydroxyanthranilic acid dioxygenase [3-HAO], quinolinic acid phosphoribosyltransferase [QPRT], and kynurenine aminotransferase II [KAT II]) in the PFC, ie, Brodmann areas (BA) 9 and 10. Compared with controls, the activities of KMO (in BA 9 and 10) and 3-HAO (in BA 9) were significantly reduced in SZ, though there were no significant differences between patients and controls in kynureninase, QPRT, and KAT II. In the same samples, we also confirmed the increase in the tissue levels of KYNA in SZ. As examined in rats treated chronically with the antipsychotic drug risperidone, the observed biochemical changes were not secondary to medication. A persistent reduction in KMO activity may have a particular bearing on pathology because it may signify a shift of KP metabolism toward enhanced KYNA synthesis. The present results further support the hypothesis that the normalization of cortical KP metabolism may constitute an effective new treatment strategy in SZ. Major Developments in the Design of Inhibitors along the Kynurenine Pathway PubMed Central Jacobs, Kelly R.; Castellano-GonzÃ¡lez, Gloria; Guillemin, Gilles J.; Lovejoy, David B. 2017-01-01 Disrupted kynurenine pathway (KP) metabolism has been implicated in the progression of neurodegenerative disease, psychiatric disorders and cancer. Modulation of enzyme activity along this pathway may therefore offer potential new therapeutic strategies for these conditions. Considering their prominent positions in the KP, the enzymes indoleamine 2,3-dioxygenase, kynurenine 3-monooxygenase and kynurenine aminotransferase, appear the most attractive targets. Already, increasing interest in this pathway has led to the identification of a number of potent and selective enzyme inhibitors with promising pre-clinical data and the elucidation of several enzyme crystal structures provides scope to rationalize the molecular mechanisms of inhibitor activity. The field seems poised to yield one or more inhibitors that should find clinical utility. PMID:28464785 Elevated kynurenine pathway metabolism during neurodevelopment: Implications for brain and behavior PubMed Central Notarangelo, Francesca M.; Pocivavsek, Ana 2016-01-01 The kynurenine pathway (KP) of tryptophan degradation contains several neuroactive metabolites that may influence brain function in health and disease. Mounting focus has been dedicated to investigating the role of these metabolites during neurodevelopment and elucidating their involvement in the pathophysiology of psychiatric disorders with a developmental component, such as schizophrenia. In this review, we describe the changes in KP metabolism in the brain from gestation until adulthood and illustrate how environmental and genetic factors affect the KP during development. With a particular focus on kynurenic acid, the antagonist of Î±7 nicotinic acetylcholine (Î±7nACh) and N-methyl-D-aspartate (NMDA) receptors, both implicated in modulating brain development, we review animal models designed to ascertain the role of perinatal KP elevation on long-lasting biochemical, neuropathological, and behavioral deficits later in life. We present new data demonstrating that combining perinatal choline-supplementation, to potentially increase activation of Î±7nACh receptors during development, with embryonic kynurenine manipulation is effective in attenuating cognitive impairments in adult rat offspring. With these findings in mind, we conclude the review by discussing the advancement of therapeutic interventions that would target not only symptoms, but potentially the root cause of central nervous system diseases that manifest from a perinatal KP insult. PMID:26944732 Alzheimer's disease evaluation using label-free, stainless, fluorescence to measure tryptophan metabolism along the kynurenine pathway NASA Astrophysics Data System (ADS) Sordillo, Laura A.; Zhang, Lin; Shi, Lingyan; Sriramoju, Vidyasagar; Sordillo, Peter P.; Alfano, Robert R. 2018-02-01 Under stress conditions, pro-inflammatory cytokines, such as tumor necrosis factor-alpha, interleukin-1 beta, interleukin 6 and interferon gamma are released. It is known that these cytokines stimulate indoleamine 2,3-dioxygenase (IDO) and tryptophan 2,3-dioxygenase (TDO), which increase tryptophan metabolism through the kynurenine pathway, and that this can cause increased production of neurotoxic compounds. Brain tissues from Alzheimer's disease patients and agematched controls were investigated using label-free fluorescence spectroscopy. Tryptophan (exc. 280/ em. 340 nm) and its metabolites (N-formyl-L-kynurenine (exc. 325/em. 434 nm), kynurenine (exc. 365/em. 480 nm) and kynurenic acid (exc. 330/em. 390 nm)) have distinct spectral profiles. Preliminary results show a difference in the optical signatures in three important areas of the brain (hippocampus, BA 9, BA 17) between patients with Alzheimer's disease and agedmatched controls (normal), and a marked relative increase in tryptophan in the Alzheimer's patients. Thus determinations of tryptophan to tryptophan metabolite ratios could potentially be used to measure IDO and TDO activity and the degree of inflammation in the brain. This label-free optical technique may be useful in the study of Alzheimer's and other neurodegenerative diseases. The kynurenine pathway in schizophrenia and bipolar disorder. PubMed Erhardt, Sophie; Schwieler, Lilly; Imbeault, Sophie; Engberg, GÃ¶ran 2017-01-01 The kynurenine pathway of tryptophan degradation generates several neuroactive compounds. Of those, kynurenic acid is an N-methyl-d-aspartate (NMDA) and alpha7 nicotinic receptor antagonist. The kynurenic acid hypothesis of schizophrenia is built upon the fact that kynurenic acid blocks glutamate receptors and is elevated in schizophrenia. Kynurenic acid tightly controls glutamatergic and dopaminergic neurotransmission and elevated brain levels appear related to psychotic symptoms and cognitive impairments. Contributing to enhanced production of kynurenic acid, the expression and enzyme activity of kynurenine 3-monooxygenase (KMO) are reduced in schizophrenia and in bipolar patients with a history of psychosis. The kynurenine pathway is also critically regulated by cytokines, and, indeed, the pro-inflammatory cytokines interleukin (IL)-1Î² and IL-6 are elevated in schizophrenia and bipolar disorder and stimulate the production of kynurenic acid. One physiological mechanism controlling the activity of the kynurenine pathway originates from the protein sorting nexin 7 (SNX7). This glial signaling pathway initiates a caspase-8-driven activation of IL-1Î² that induces tryptophan-2,3-dioxygenase 2 (TDO2), an enzyme in the kynurenine pathway. A recent study shows that a genetic variation resulting in decreased expression of SNX7 is linked to increased central levels of kynurenic acid and ultimately to psychosis and cognitive dysfunction in bipolar disorder. Experimental studies highlight the detrimental effects of increased synthesis of kynurenic acid during sensitive periods of early brain development. Furthermore, experimental studies strongly support inhibition of kynurenine aminotransferase (KAT) II as a novel target and a valuable pharmacological strategy in the treatment of psychosis and for improving cognitive performance relevant for schizophrenia. This article is part of the Special Issue entitled 'The Kynurenine Pathway in Health and Disease'. Copyright Ã A link between central kynurenine metabolism and bone strength in rats with chronic kidney disease PubMed Central Pawlak, Krystyna; Oksztulska-Kolanek, Ewa; Domaniewski, Tomasz; Znorko, Beata; Karbowska, Malgorzata; Citkowska, Aleksandra; Rogalska, Joanna; Roszczenko, Alicja; Brzoska, Malgorzata M.; Pawlak, Dariusz 2017-01-01 Background Disturbances in mineral and bone metabolism represent one of the most complex complications of chronic kidney disease (CKD). Serotonin, a monoamine synthesized from tryptophan, may play a potential role in bone metabolism. Brain-derived serotonin exerts a positive effect on the bone structure by limiting bone resorption and enhancing bone formation. Tryptophan is the precursor not only to the serotonin but also and primarily to kynurenine metabolites. The ultimate aim of the present study was to determine the association between central kynurenine metabolism and biomechanical as well as geometrical properties of bone in the experimental model of the early stage of CKD. Methods Thirty-three Wistar rats were randomly divided into two groups (sham-operated and subtotal nephrectomized animals). Three months after surgery, serum samples were obtained for the determination of biochemical parameters, bone turnover biomarkers, and kynurenine pathway metabolites; tibias were collected for bone biomechanical, bone geometrical, and bone mass density analysis; brains were removed and divided into five regions for the determination of kynurenine pathway metabolites. Results Subtotal nephrectomized rats presented higher serum concentrations of creatinine, urea nitrogen, and parathyroid hormone, and developed hypocalcemia. Several biomechanical and geometrical parameters were significantly elevated in rats with experimentally induced CKD. Subtotal nephrectomized rats presented significantly higher kynurenine concentrations and kynurenine/tryptophan ratio and significantly lower tryptophan levels in all studied parts of the brain. Kynurenine in the frontal cortex and tryptophan in the hypothalamus and striatum correlated positively with the main parameters of bone biomechanics and bone geometry. Discussion In addition to the complex mineral, hormone, and metabolite changes, intensified central kynurenine turnover may play an important role in the development of bone DYSFUNCTIONAL KYNURENINE PATHWAY METABOLISM IN THE R6/2 MOUSE MODEL OF HUNTINGTONâS DISEASE PubMed Central Sathyasaikumar, Korrapati V.; Stachowski, Erin K.; Amori, Laura; Guidetti, Paolo; Muchowski, Paul J.; Schwarcz, Robert 2013-01-01 Elevated concentrations of neurotoxic metabolites of the kynurenine pathway (KP) of tryptophan degradation may play a causative role in Huntingtonâs disease (HD). The brain levels of one of these compounds, 3-hydroxykynurenine (3-HK), are increased in both HD and several mouse models of the disease. In the present study, we examined this impairment in greater detail using the R6/2 mouse, a well-established animal model of HD. Initially, mutant and age-matched wild-type mice received an intrastriatal injection of 3H-tryptophan to assess the acute, local de novo production of kynurenine, the immediate bioprecursor of 3-HK, in vivo. No effect of genotype was observed between 4 and 12 weeks of age. In contrast, intrastriatally applied 3H-kynurenine resulted in significantly increased neosynthesis of 3H-3-HK, but not other tritiated KP metabolites, in the R6/2 striatum. Subsequent ex vivo studies in striatal, cortical and cerebellar tissue revealed substantial increases in the activity of the biosynthetic enzyme of 3-HK, kynurenine 3-monooxygenase (KMO) and significant reductions in the activity of its degradative enzyme, kynureninase, in HD mice starting at 4 weeks of age. Decreased kynureninase activity was most evident in the cortex and preceded the increase in KMO activity. The activity of other KP enzymes showed no consistent brain abnormalities in the mutant mice. These findings suggest that impairments in its immediate metabolic enzymes jointly account for the abnormally high brain levels of 3-HK in the R6/2 model of HD. PMID:20236387 Kynurenine pathway changes in late-life depression. PubMed Wu, Yujie; Zhong, Xiaomei; Mai, Naikeng; Wen, Yuguan; Shang, Dewei; Hu, Lijun; Chen, Ben; Zhang, Min; Ning, Yuping 2018-08-01 Kynurenine pathway (KP) activation is associated with several neuropsychiatric diseases, including major depression disorder (MDD). Although several investigations have been conducted on MDD, these have seldom shed light on KP changes in late-life depression (LLD). We aimed to investigate whether tryptophan (TRP) metabolism and kynurenine (KYN) metabolism are imbalanced in LLD patients and to explore the differences in KP characteristics between early onset depression (EOD) and late onset depression (LOD) patients. We investigated 170 LLD patients (EOD 90, LOD 80) and 135 normal controls. Serum concentrations of TRP, KYN and kynurenic acid (KYNA) were detected by the liquid chromatography-tandem mass spectrometry method. Depressive symptoms were assessed by the 17-item Hamilton Depression Scale (HAMD-17). LLD patients exhibited lower levels of TRP, KYN, KYNA and KYNA/KYN ratio and a higher level of KYN/TRY ratio than normal controls. The decrease in TRP and the increase in KYN/TRP ratio were found in LOD patients. A low TRP level without increased KYN/TRP ratio was found in EOD patients. The "Depression" factor, which was extracted from HAMD-17 by the principal component factor analysis, was correlated with the TRP level and KYNA/KYN ratio in the EOD group, but no such correlation was found in the LOD group. KP changes were observed in LLD patients; LOD patients showed profound shifts in TRP metabolism, while EOD patients showed low TRP level and a shift in KYN metabolism. Copyright Â© 2018 Elsevier B.V. All rights reserved. Challenges and Opportunities in the Discovery of New Therapeutics Targeting the Kynurenine Pathway. PubMed Dounay, Amy B; Tuttle, Jamison B; Verhoest, Patrick R 2015-11-25 The kynurenine pathway is responsible for the metabolism of more than 95% of dietary tryptophan (TRP) and produces numerous bioactive metabolites. Recent studies have focused on three enzymes in this pathway: indoleamine dioxygenase (IDO1), kynurenine monooxygenase (KMO), and kynurenine aminotransferase II (KAT II). IDO1 inhibitors are currently in clinical trials for the treatment of cancer, and these agents may also have therapeutic utility in neurological disorders, including multiple sclerosis. KMO inhibitors are being investigated as potential treatments for neurodegenerative diseases, such as Huntington's and Alzheimer's diseases. KAT II inhibitors have been proposed in new therapeutic approaches toward psychiatric and cognitive disorders, including cognitive impairment associated with schizophrenia. Numerous medicinal chemistry studies are currently aimed at the design of novel, potent, and selective inhibitors for each of these enzymes. The emerging opportunities and significant challenges associated with pharmacological modulation of these enzymes will be explored in this review. Indoleamine 2,3-dioxygenase-dependent neurotoxic kynurenine metabolism mediates inflammation-induced deficit in recognition memory PubMed Central Heisler, Jillian M.; OâConnor, Jason C. 2015-01-01 Cognitive dysfunction in depression is a prevalent and debilitating symptom that is poorly treated by the currently available pharmacotherapies. Research over the past decade has provided evidence for proinflammatory involvement in the neurobiology of depressive disorders and symptoms associated with these disorders, including aspects of memory dysfunction. Recent clinical studies implicate inflammation-related changes in kynurenine metabolism as a potential pathogenic factor in the development of a range of depressive symptoms, including deficits in cognition and memory. Additionally, preclinical work has demonstrated a number of mood-related depressive-like behaviors to be dependent on indoleamine 2,3-dioxygenase-1 (IDO1), the inflammation-induced rate-limiting enzyme of the kynurenine pathway. Here, we demonstrate in a mouse model, that peripheral administration of endotoxin induced a deficit in recognition memory. Mice deficient in IDO were protected from cognitive impairment. Furthermore, endotoxin-induced inflammation increased kynurenine metabolism within the perirhinal/entorhinal cortices, brain regions which have been implicated in recognition memory. A single peripheral injection of kynurenine, the metabolic product of IDO1, was sufficient to induce a deficit in recognition memory in both control and IDO null mice. Finally, kynurenine monooxygenase (KMO) deficient mice were also protected from inflammation-induced deficits on novel object recognition. These data implicate IDO-dependent neurotoxic kynurenine metabolism as a pathogenic factor for cognitive dysfunction in inflammation-induced depressive disorders and a potential novel target for the treatment of these disorders. PMID:26130057 Interleukin-1Î²: A New Regulator of the Kynurenine Pathway Affecting Human Hippocampal Neurogenesis PubMed Central Zunszain, Patricia A; Anacker, Christoph; Cattaneo, Annamaria; Choudhury, Shanas; Musaelyan, Ksenia; Myint, Aye Mu; Thuret, Sandrine; Price, Jack; Pariante, Carmine M 2012-01-01 Increased inflammation and reduced neurogenesis have been associated with the pathophysiology of major depression. Here, we show for the first time how IL-1Î², a pro-inflammatory cytokine shown to be increased in depressed patients, decreases neurogenesis in human hippocampal progenitor cells. IL-1Î² was detrimental to neurogenesis, as shown by a decrease in the number of doublecortin-positive neuroblasts (â28%), and mature, microtubule-associated protein-2-positive neurons (â36%). Analysis of the enzymes that regulate the kynurenine pathway showed that IL-1Î² induced an upregulation of transcripts for indolamine-2,3-dioxygenase (IDO), kynurenine 3-monooxygenase (KMO), and kynureninase (42-, 12- and 30-fold increase, respectively, under differentiating conditions), the enzymes involved in the neurotoxic arm of the kynurenine pathway. Moreover, treatment with IL-1Î² resulted in an increase in kynurenine, the catabolic product of IDO-induced tryptophan metabolism. Interestingly, co-treatment with the KMO inhibitor Ro 61-8048 reversed the detrimental effects of IL-1Î² on neurogenesis. These observations indicate that IL-1Î² has a critical role in regulating neurogenesis whereas affecting the availability of tryptophan and the production of enzymes conducive to toxic metabolites. Our results suggest that inhibition of the kynurenine pathway may provide a new therapy to revert inflammatory-induced reduction in neurogenesis. PMID:22071871 TryptophanâKynurenine Metabolism as a Common Mediator of Genetic and Environmental Impacts in Major Depressive Disorder: The Serotonin Hypothesis Revisited 40 Years Later PubMed Central Oxenkrug, Gregory F. 2011-01-01 The original 1969 Lancet paper proposed, âin depression the activity of liver tryptophan-pyrrolase is stimulated by raised blood corticosteroids levels, and metabolism of tryptophan is shunted away from serotonin production, and towards kynurenine production.â Discovery of neurotropic activity of kynurenines suggested that up-regulation of the tryptophan-kynurenine pathway not only augmented serotonin deficiency but also underlined depression-associated anxiety, psychosis and cognitive decline. The present review of genetic and hormonal factors regulating kynurenine pathway of tryptophan metabolism suggests that this pathway mediates both genetic and environmental mechanisms of depression. Rate-limiting enzymes of kynurenine formation, tryptophan 2,3-dioxygenase (TDO) and indoleamine 2,3-dioxygenase (IDO) are activated by stress hormones (TDO) and/or by pro-inflammatory cytokines (IDO). Simultaneous presence of high producers alleles of proinflammatory cytokines genes (e.g., interferon-gamma and tumor necrosis factor-alpha) determines the genetic predisposition to depression via up-regulation of IDO while impact of environmental stresses is mediated via hormonal activation of TDO. Tryptophan-kynurenine pathway represents a major meeting point of gene-environment interaction in depression and a new target for pharmacological intervention. PMID:20686200 Changes in kynurenine pathway metabolism in Parkinson patients with L-DOPA-induced dyskinesia. PubMed Havelund, Jesper F; Andersen, Andreas D; Binzer, Michael; Blaabjerg, Morten; Heegaard, Niels H H; Stenager, Egon; Faergeman, Nils J; Gramsbergen, Jan Bert 2017-09-01 L-3,4-Dihydroxyphenylalanine (L-DOPA) is the most effective drug in the symptomatic treatment of Parkinson's disease, but chronic use is associated with L-DOPA-induced dyskinesia in more than half the patients after 10Â years of treatment. L-DOPA treatment may affect tryptophan metabolism via the kynurenine pathway. Altered levels of kynurenine metabolites can affect glutamatergic transmission and may play a role in the development of L-DOPA-induced dyskinesia. In this study, we assessed kynurenine metabolites in plasma and cerebrospinal fluid of Parkinson's disease patients and controls. Parkinson patients (nÂ =Â 26) were clinically assessed for severity of motor symptoms (UPDRS) and L-DOPA-induced dyskinesia (UDysRS). Plasma and cerebrospinal fluid samples were collected after overnight fasting and 1-2Â h after intake of L-DOPA or other anti-Parkinson medication. Metabolites were analyzed in plasma and cerebrospinal fluid of controls (nÂ =Â 14), Parkinson patients receiving no L-DOPA (nÂ =Â 8), patients treated with L-DOPA without dyskinesia (nÂ =Â 8), and patients with L-DOPA-induced dyskinesia (nÂ =Â 10) using liquid chromatography-mass spectrometry. We observed approximately fourfold increase in the 3-hydroxykynurenine/kynurenic acid ratio in plasma of Parkinson's patients with L-DOPA-induced dyskinesia. Anthranilic acid levels were decreased in plasma and cerebrospinal fluid of this patient group. 5-Hydroxytryptophan levels were twofold increased in all L-DOPA-treated Parkinson's patients. We conclude that a higher 3-hydroxykynurenine/kynurenic acid ratio in plasma may serve as a biomarker for L-DOPA-induced dyskinesia. Longitudinal studies including larger patients cohorts are needed to verify whether the changes observed here may serve as a prognostic marker for L-DOPA-induced dyskinesia. Â© 2017 International Society for Neurochemistry. Neurotoxic kynurenine metabolism is increased in the dorsal hippocampus and drives distinct depressive behaviors during inflammation. PubMed Parrott, J M; Redus, L; Santana-Coelho, D; Morales, J; Gao, X; O'Connor, J C 2016-10-18 The kynurenine pathway of tryptophan metabolism has an important role in mediating the behavioral effects of inflammation, which has implications in understanding neuropsychiatric comorbidity and for the development of novel therapies. Inhibition of the rate-limiting enzyme, indoleamine 2,3-dioxygenase (IDO), prevents the development of many of these inflammation-induced preclinical behaviors. However, dysregulation in the balance of downstream metabolism, where neuroactive kynurenines are generated, is hypothesized to be a functionally important pathogenic feature of inflammation-induced depression. Here we utilized two novel transgenic mouse strains to directly test the hypothesis that neurotoxic kynurenine metabolism causes depressive-like behavior following peripheral immune activation. Wild-type (WT) or kynurenine 3-monooxygenase (KMO)-deficient (KMO -/- ) mice were administered either lipopolysaccharide (LPS, 0.5âmgâkg -1 ) or saline intraperitoneally. Depressive-like behavior was measured across multiple domains 24âh after immune challenge. LPS precipitated a robust depressive-like phenotype, but KMO -/- mice were specifically protected from LPS-induced immobility in the tail suspension test (TST) and reduced spontaneous alternations in the Y-maze. Direct administration of 3-hydroxykynurenine, the metabolic product of KMO, caused a dose-dependent increase in depressive-like behaviors. Mice with targeted deletion of 3-hydroxyanthranilic acid dioxygenase (HAAO), the enzyme that generates quinolinic acid, were similarly challenged with LPS. Similar to KMO -/- mice, LPS failed to increase immobility during the TST. Whereas kynurenine metabolism was generally increased in behaviorally salient brain regions, a distinct shift toward KMO-dependent kynurenine metabolism occurred in the dorsal hippocampus in response to LPS. Together, these results demonstrate that KMO is a pivotal mediator of hippocampal-dependent depressive-like behaviors induced by peripheral Neurotoxic kynurenine metabolism is increased in the dorsal hippocampus and drives distinct depressive behaviors during inflammation PubMed Central Parrott, J M; Redus, L; Santana-Coelho, D; Morales, J; Gao, X; O'Connor, J C 2016-01-01 The kynurenine pathway of tryptophan metabolism has an important role in mediating the behavioral effects of inflammation, which has implications in understanding neuropsychiatric comorbidity and for the development of novel therapies. Inhibition of the rate-limiting enzyme, indoleamine 2,3-dioxygenase (IDO), prevents the development of many of these inflammation-induced preclinical behaviors. However, dysregulation in the balance of downstream metabolism, where neuroactive kynurenines are generated, is hypothesized to be a functionally important pathogenic feature of inflammation-induced depression. Here we utilized two novel transgenic mouse strains to directly test the hypothesis that neurotoxic kynurenine metabolism causes depressive-like behavior following peripheral immune activation. Wild-type (WT) or kynurenine 3-monooxygenase (KMO)-deficient (KMOâ/â) mice were administered either lipopolysaccharide (LPS, 0.5âmgâkgâ1) or saline intraperitoneally. Depressive-like behavior was measured across multiple domains 24âh after immune challenge. LPS precipitated a robust depressive-like phenotype, but KMOâ/â mice were specifically protected from LPS-induced immobility in the tail suspension test (TST) and reduced spontaneous alternations in the Y-maze. Direct administration of 3-hydroxykynurenine, the metabolic product of KMO, caused a dose-dependent increase in depressive-like behaviors. Mice with targeted deletion of 3-hydroxyanthranilic acid dioxygenase (HAAO), the enzyme that generates quinolinic acid, were similarly challenged with LPS. Similar to KMOâ/â mice, LPS failed to increase immobility during the TST. Whereas kynurenine metabolism was generally increased in behaviorally salient brain regions, a distinct shift toward KMO-dependent kynurenine metabolism occurred in the dorsal hippocampus in response to LPS. Together, these results demonstrate that KMO is a pivotal mediator of hippocampal-dependent depressive-like behaviors induced by Central Nervous System Infection with Borna Disease Virus Causes Kynurenine Pathway Dysregulation and Neurotoxic Quinolinic Acid Production PubMed Central Formisano, Simone; Hornig, Mady; Yaddanapudi, Kavitha; Vasishtha, Mansi; Parsons, Loren H.; Briese, Thomas; Lipkin, W. Ian 2017-01-01 elicits widespread neurodegeneration of infected neurons in both immunoincompetent and immunocompetent hosts. Here, we show that BDV infection induces expression of key enzymes of the kynurenine pathway in brains of newborn and adult infected rats and cultured astroglioma cells, shunting tryptophan degradation toward the production of neurotoxic quinolinic acid. Thus, our findings newly implicate this metabolic pathway in BDV-induced neurodegeneration. Given the importance of the kynurenine pathway in a wide range of human infections and neurodegenerative and neuropsychiatric disorders, animal models of BDV infection may serve as important tools for contrasting direct viral and indirect antiviral immune-mediated impacts on kynurenine pathway dysregulation and the ensuing neurodevelopmental and neuropathological consequences. PMID:28446679 Central Nervous System Infection with Borna Disease Virus Causes Kynurenine Pathway Dysregulation and Neurotoxic Quinolinic Acid Production. PubMed Formisano, Simone; Hornig, Mady; Yaddanapudi, Kavitha; Vasishtha, Mansi; Parsons, Loren H; Briese, Thomas; Lipkin, W Ian; Williams, Brent L 2017-07-15 widespread neurodegeneration of infected neurons in both immunoincompetent and immunocompetent hosts. Here, we show that BDV infection induces expression of key enzymes of the kynurenine pathway in brains of newborn and adult infected rats and cultured astroglioma cells, shunting tryptophan degradation toward the production of neurotoxic quinolinic acid. Thus, our findings newly implicate this metabolic pathway in BDV-induced neurodegeneration. Given the importance of the kynurenine pathway in a wide range of human infections and neurodegenerative and neuropsychiatric disorders, animal models of BDV infection may serve as important tools for contrasting direct viral and indirect antiviral immune-mediated impacts on kynurenine pathway dysregulation and the ensuing neurodevelopmental and neuropathological consequences. Copyright Â© 2017 Formisano et al. Kynurenine pathway metabolism and the neurobiology of treatment-resistant depression: Comparison of multiple ketamine infusions and electroconvulsive therapy. PubMed Allen, A P; Naughton, M; Dowling, J; Walsh, A; O'Shea, R; Shorten, G; Scott, L; McLoughlin, D M; Cryan, J F; Clarke, G; Dinan, T G 2018-05-01 Current first-line antidepressants can take weeks or months to decrease depressive symptoms. Low dose ketamine, an N-methyl-D-aspartate (NMDA) receptor antagonist, shows potential for a more rapid antidepressant effect, with efficacy also evident in previously treatment-resistant populations. However, a greater understanding of the physiological mechanisms underlying such effects is required. We assessed the potential impact of ketamine infusion on neurobiological drivers of kynurenine pathway metabolism in major depression (HPA axis hyperactivity, inflammation) in patients with treatment-resistant depression compared to gender-matched healthy controls. Furthermore, we assessed these biomarkers before and after electroconvulsive therapy (ECT), which is currently the gold standard for management of treatment-resistant depression. As previously demonstrated, treatment with ketamine and ECT was associated with improved depressive symptoms in patients. At baseline, waking cortisol output was greater in the ECT cohort, kynurenine was greater in the ketamine cohort, and kynurenic acid was lower in patients compared to healthy controls, although inflammatory markers (IL-6, IL-8, IL-10 or IFN-Î³) were similar in patients and controls. Furthermore, in patients who responded to ECT, the cortisol awakening response was decreased following treatment. Despite a trend towards reduced kynurenine concentrations in those who responded to ketamine, ketamine was not associated with significant alterations in any of the biomarkers assessed. Copyright Â© 2018 Elsevier Ltd. All rights reserved. Kynurenines in CNS disease: regulation by inflammatory cytokines PubMed Central Campbell, Brian M.; Charych, Erik; Lee, Anna W.; MÃ¶ller, Thomas 2014-01-01 The kynurenine pathway (KP) metabolizes the essential amino acid tryptophan and generates a number of neuroactive metabolites collectively called the kynurenines. Segregated into at least two distinct branches, often termed the âneurotoxicâ and âneuroprotectiveâ arms of the KP, they are regulated by the two enzymes kynurenine 3-monooxygenase and kynurenine aminotransferase, respectively. Interestingly, several enzymes in the pathway are under tight control of inflammatory mediators. Recent years have seen a tremendous increase in our understanding of neuroinflammation in CNS disease. This review will focus on the regulation of the KP by inflammatory mediators as it pertains to neurodegenerative and psychiatric disorders. PMID:24567701 Altered hippocampal plasticity by prenatal kynurenine administration, kynurenine-3-monoxygenase (KMO) deletion or galantamine PubMed Central Forrest, C.M.; McNair, K.; Pisar, M.; Khalil, O.S.; Darlington, L.G.; Stone, T.W. 2015-01-01 Glutamate receptors sensitive to N-methyl-d-aspartate (NMDA) are involved in embryonic brain development but their activity may be modulated by the kynurenine pathway of tryptophan metabolism which includes an agonist (quinolinic acid) and an antagonist (kynurenic acid) at these receptors. Our previous work has shown that prenatal inhibition of the pathway produces abnormalities of brain development. In the present study kynurenine and probenecid (both 100Â mg/kg, doses known to increase kynurenic acid levels in the brain) were administered to female Wistar rats on embryonic days E14, E16 and E18 of gestation and the litter was allowed to develop to post-natal day P60. Western blotting revealed no changes in hippocampal expression of several proteins previously found to be altered by inhibition of the kynurenine pathway including the NMDA receptor subunits GluN1, GluN2A and GluN2B, as well as doublecortin, Proliferating Cell Nuclear Antigen (PCNA), sonic hedgehog and unco-ordinated (unc)-5H1 and 5H3. Mice lacking the enzyme kynurenine-3-monoxygenase (KMO) also showed no changes in hippocampal expression of several of these proteins or the 70-kDa and 100-kDa variants of Disrupted in Schizophrenia-1 (DISC1). Electrical excitability of pyramidal neurons in the CA1 region of hippocampal slices was unchanged, as was paired-pulse facilitation and inhibition. Long-term potentiation was decreased in the kynurenine-treated rats and in the KMO(â/â) mice, but galantamine reversed this effect in the presence of nicotinic receptor antagonists, consistent with evidence that it can potentiate glutamate at NMDA receptors. It is concluded that interference with the kynurenine pathway in utero can have lasting effects on brain function of the offspring, implying that the kynurenine pathway is involved in the regulation of early brain development. PMID:26365611 Kynurenine Pathway Pathologies: do Nicotinamide and Other Pathway Co-Factors have a Therapeutic Role in Reduction of Symptom Severity, Including Chronic Fatigue Syndrome (CFS) and Fibromyalgia (FM) PubMed Central Blankfield, Adele 2013-01-01 The definition of dual tryptophan pathways has increased the understanding of the mind-body, body-mind dichotomy. The serotonergic pathway highlights the primary (endogenous) psychiatric disorders. The up-regulation of the kynurenine pathway by physical illnesses can cause neuropathic and immunological disorders1 associated with secondary neuropsychiatric symptoms. Tryptophan and nicotinamide deficiencies fall within the protein energy malnutrition (PEM) spectrum. They can arise if the kynurenine pathway is stressed by primary or secondary inflammatory conditions and the consequent imbalance of available catabolic/anabolic substrates may adversely influence convalescent phase efficiency. The replacement of depleted or reduced NAD+ levels and other cofactors can perhaps improve the clinical management of these disorders. Chronic fatigue syndrome (CFS) and fibromyalgia (FM) appear to meet the criteria of a tryptophan-kynurenine pathway disorder with potential neuroimmunological sequelae. Aspects of some of the putative precipitating factors have been previously outlined.2,3 An analysis of the areas of metabolic dysfunction will focus on future directions for research and management. PMID:23922501 Expression of the Kynurenine Pathway in Human Peripheral Blood Mononuclear Cells: Implications for Inflammatory and Neurodegenerative Disease. PubMed Jones, Simon P; Franco, Nunzio F; Varney, Bianca; Sundaram, Gayathri; Brown, David A; de Bie, Josien; Lim, Chai K; Guillemin, Gilles J; Brew, Bruce J 2015-01-01 The kynurenine pathway is a fundamental mechanism of immunosuppression and peripheral tolerance. It is increasingly recognized as playing a major role in the pathogenesis of a wide variety of inflammatory, neurodegenerative and malignant disorders. However, the temporal dynamics of kynurenine pathway activation and metabolite production in human immune cells is currently unknown. Here we report the novel use of flow cytometry, combined with ultra high-performance liquid chromatography and gas chromatography-mass spectrometry, to sensitively quantify the intracellular expression of three key kynurenine pathway enzymes and the main kynurenine pathway metabolites in a time-course study. This is the first study to show that up-regulation of indoleamine 2,3-dioxygenase (IDO-1), kynurenine 3-monoxygenase (KMO) and quinolinate phosphoribosyltransferase (QPRT) is lacking in lymphocytes treated with interferon gamma. In contrast, peripheral monocytes showed a significant elevation of kynurenine pathway enzymes and metabolites when treated with interferon gamma. Expression of IDO-1, KMO and QPRT correlated significantly with activation of the kynurenine pathway (kynurenine:tryptophan ratio), quinolinic acid concentration and production of the monocyte derived, pro-inflammatory immune response marker: neopterin. Our results also describe an original and sensitive methodological approach to quantify kynurenine pathway enzyme expression in cells. This has revealed further insights into the potential role of these enzymes in disease processes. Kynurenine Pathway Metabolism is Involved in the Maintenance of the Intracellular NAD+ Concentration in Human Primary Astrocytes PubMed Central Grant, Ross; Nguyen, Susan; Guillemin, Gilles 2010-01-01 Efficient synthesis of NAD+ is critical to maintaining cell viability in all organs of the body. However, little is known of the pathway(s) by which cells of the central nervous system produce NAD+. The aim of this study was to investigate the relationship, between tryptophan degradation via the kynurenine pathway (KP) and de novo NAD+ synthesis in human astrocytes, a major cell type within the brain. In this study we observed that inhibition of single enzymes of the KP resulted in significant decreases in NAD+ levels in astroglial cells after a 24 hr period. We also observed that astrocytes cultured in media deficient in tryptophan, nicotinic acid and nicotinamide resulted in a 50% decrease in NAD+ levels after 24 hrs. This decrease in NAD+ was partially restored by supplementation of the culture media with either tryptophan or kynurenine, or nicotinic acid or with supply of the salvage pathway precursor nicotinamide. PMID:22084595 Kynurenine pathway metabolism following prenatal KMO inhibition and in Mecp2+/- mice, using liquid chromatography-tandem mass spectrometry. PubMed Forrest, Caroline M; Kennedy, Peter G E; Rodgers, Jean; Dalton, R Neil; Turner, Charles; Darlington, L Gail; Cobb, Stuart R; Stone, Trevor W 2016-11-01 To quantify the full range of tryptophan metabolites along the kynurenine pathway, a liquid chromatography - tandem mass spectrometry method was developed and used to analyse brain extracts of rodents treated with the kynurenine-3-mono-oxygenase (KMO) inhibitor Ro61-8048 during pregnancy. There were significant increases in the levels of kynurenine, kynurenic acid, anthranilic acid and 3-hydroxy-kynurenine (3-HK) in the maternal brain after 5Â h but not 24Â h, while the embryos exhibited high levels of kynurenine, kynurenic acid and anthranilic acid after 5Â h which were maintained at 24Â h post-treatment. At 24Â h there was also a strong trend to an increase in quinolinic acid levels (PÂ =Â 0.055). No significant changes were observed in any of the other kynurenine metabolites. The results confirm the marked increase in the accumulation of some neuroactive kynurenines when KMO is inhibited, and re-emphasise the potential importance of changes in anthranilic acid. The prolonged duration of metabolite accumulation in the embryo brains indicates a trapping of compounds within the embryonic CNS independently of maternal levels. When brains were examined from young mice heterozygous for the meCP2 gene - a potential model for Rett syndrome - no differences were noted from control mice, suggesting that the proposed roles for kynurenines in autism spectrum disorder are not relevant to Rett syndrome, supporting its recognition as a distinct, independent, condition. Copyright Â© 2016 The Authors. Published by Elsevier Ltd.. All rights reserved. ON THE RELATIONSHIP BETWEEN THE TWO BRANCHES OF THE KYNURENINE PATHWAY IN THE RAT BRAIN IN VIVO PubMed Central Amori, Laura; Guidetti, Paolo; Pellicciari, Roberto; Kajii, Yasushi; Schwarcz, Robert 2013-01-01 In the mammalian brain, kynurenine aminotransferase II (KAT II) and kynurenine 3-monooxygenase (KMO), key enzymes of the kynurenine pathway of tryptophan degradation, form the neuroactive metabolites kynurenic acid (KYNA) and 3-hydroxykynurenine (3-HK), respectively. Although physically segregated, both enzymes use the pivotal kynurenine pathway metabolite L-kynurenine as a substrate. We studied the functional consequences of this cellular compartmentalization in vivo using two specific tools, the KAT II inhibitor BFF 122 and the KMO inhibitor UPF 648. The acute effects of selective KAT II or KMO inhibition were studied using a radiotracing method in which the de novo synthesis of KYNA, and of 3-HK and its downstream metabolite quinolinic acid (QUIN), is monitored following an intrastriatal injection of 3H-kynurenine. In naÃ¯ve rats, intrastriatal BFF 122 decreased newly formed KYNA by 66%, without influencing 3-HK or QUIN production. Conversely, UPF 648 reduced 3-HK synthesis (by 64%) without affecting KYNA formation. Similar, selective effects of KAT II and KMO inhibition were observed when the inhibitors were applied acutely together with the excitotoxin QUIN, which impairs local KP metabolism. Somewhat different effects of KMO (but not KAT II) inhibition were obtained in rats that had received an intrastriatal QUIN injection 7 days earlier. In these neuron-depleted striata, UPF 648 not only decreased both 3-HK and QUIN production (by 77% and 66%, respectively) but also moderately raised KYNA synthesis (by 27%). These results indicate a remarkable functional segregation of the two pathway branches in the brain, boding well for the development of selective KAT II or KMO inhibitors for cognitive enhancement and neuroprotection, respectively. PMID:19226371 Altered hippocampal plasticity by prenatal kynurenine administration, kynurenine-3-monoxygenase (KMO) deletion or galantamine. PubMed Forrest, C M; McNair, K; Pisar, M; Khalil, O S; Darlington, L G; Stone, T W 2015-12-03 Glutamate receptors sensitive to N-methyl-D-aspartate (NMDA) are involved in embryonic brain development but their activity may be modulated by the kynurenine pathway of tryptophan metabolism which includes an agonist (quinolinic acid) and an antagonist (kynurenic acid) at these receptors. Our previous work has shown that prenatal inhibition of the pathway produces abnormalities of brain development. In the present study kynurenine and probenecid (both 100mg/kg, doses known to increase kynurenic acid levels in the brain) were administered to female Wistar rats on embryonic days E14, E16 and E18 of gestation and the litter was allowed to develop to post-natal day P60. Western blotting revealed no changes in hippocampal expression of several proteins previously found to be altered by inhibition of the kynurenine pathway including the NMDA receptor subunits GluN1, GluN2A and GluN2B, as well as doublecortin, Proliferating Cell Nuclear Antigen (PCNA), sonic hedgehog and unco-ordinated (unc)-5H1 and 5H3. Mice lacking the enzyme kynurenine-3-monoxygenase (KMO) also showed no changes in hippocampal expression of several of these proteins or the 70-kDa and 100-kDa variants of Disrupted in Schizophrenia-1 (DISC1). Electrical excitability of pyramidal neurons in the CA1 region of hippocampal slices was unchanged, as was paired-pulse facilitation and inhibition. Long-term potentiation was decreased in the kynurenine-treated rats and in the KMO(-/-) mice, but galantamine reversed this effect in the presence of nicotinic receptor antagonists, consistent with evidence that it can potentiate glutamate at NMDA receptors. It is concluded that interference with the kynurenine pathway in utero can have lasting effects on brain function of the offspring, implying that the kynurenine pathway is involved in the regulation of early brain development. Copyright Â© 2015 The Authors. Published by Elsevier Ltd.. All rights reserved. Expression of the Kynurenine Pathway in Human Peripheral Blood Mononuclear Cells: Implications for Inflammatory and Neurodegenerative Disease PubMed Central Jones, Simon P.; Franco, Nunzio F.; Varney, Bianca; Sundaram, Gayathri; Brown, David A.; de Bie, Josien; Lim, Chai K.; Guillemin, Gilles J.; Brew, Bruce J. 2015-01-01 The kynurenine pathway is a fundamental mechanism of immunosuppression and peripheral tolerance. It is increasingly recognized as playing a major role in the pathogenesis of a wide variety of inflammatory, neurodegenerative and malignant disorders. However, the temporal dynamics of kynurenine pathway activation and metabolite production in human immune cells is currently unknown. Here we report the novel use of flow cytometry, combined with ultra high-performance liquid chromatography and gas chromatography-mass spectrometry, to sensitively quantify the intracellular expression of three key kynurenine pathway enzymes and the main kynurenine pathway metabolites in a time-course study. This is the first study to show that up-regulation of indoleamine 2,3-dioxygenase (IDO-1), kynurenine 3-monoxygenase (KMO) and quinolinate phosphoribosyltransferase (QPRT) is lacking in lymphocytes treated with interferon gamma. In contrast, peripheral monocytes showed a significant elevation of kynurenine pathway enzymes and metabolites when treated with interferon gamma. Expression of IDO-1, KMO and QPRT correlated significantly with activation of the kynurenine pathway (kynurenine:tryptophan ratio), quinolinic acid concentration and production of the monocyte derived, pro-inflammatory immune response marker: neopterin. Our results also describe an original and sensitive methodological approach to quantify kynurenine pathway enzyme expression in cells. This has revealed further insights into the potential role of these enzymes in disease processes. PMID:26114426 Structure based mimicking of Phthalic acid esters (PAEs) and inhibition of hACMSD, an important enzyme of the tryptophan kynurenine metabolism pathway. PubMed Singh, Neha; Dalal, Vikram; Kumar, Pravindra 2018-03-01 Human Î±-amino-Î²-carboxymuconate-Îµ-semialdehyde decarboxylase (hACMSD) is a zinc containing amidohydrolase which is a vital enzyme of the kynurenine pathway in tryptophan metabolism. It prevents the accumulation of quinolinic acid (QA) and helps in the maintenance of basal Trp-niacin ratio. To assess the structure based inhibitory action of PAEs such as DMP, DEP, DBP, DIBP, DEHP and their metabolites, these were docked into the active site cavity of hACMSD. Docking results show that the binding affinities of PAEs lie in the comparable range (-4.9 kca/mol-7.48kcal/mol) with Dipicolinic acid (-6.21kcal/mol), a substrate analogue of hACMSD. PAEs interact with the key residues such as Arg47 and Trp191 and lie within the 4Ã vicinity of zinc metal at the active site of hACMSD. Dynamics and stability of the PAEs-hACMSD complexes were determined by performing molecular dynamics simulations using GROMACS 5.14. Binding free energy calculations of the PAEs-hACMSD complexes were estimated by using MMPBSA method. The results emphasize that PAEs can structurally mimic the binding pattern of tryptophan metabolites to hACMSD, which further leads to inhibition of its activity and accumulation of the quinolate in the kynurenine pathway of tryptophan metabolism. Copyright Â© 2017 Elsevier B.V. All rights reserved. The Effect of Systemic Nitroglycerin Administration on the Kynurenine Pathway in the Rat PubMed Central Nagy-GrÃ³cz, GÃ¡bor; Laborc, Klaudia F.; Veres, GÃ¡bor; Bajtai, Attila; BohÃ¡r, Zsuzsanna; ZÃ¡dori, DÃ©nes; Fejes-SzabÃ³, AnnamÃ¡ria; Spekker, EleonÃ³ra; VÃ©csei, LÃ¡szlÃ³; PÃ¡rdutz, ÃrpÃ¡d 2017-01-01 The primary headache disorders include migraine, which is one of the most frequent neurological disorders, which influences more than 14% of the whole population. Despite the research efforts, its exact pathomechanism is not fully revealed, but evidence points to the role of glutamate and its receptors. Kynurenic acid is an endogenous glutamate receptor antagonist produced by the kynurenine pathway (KP). Tryptophan 2,3-dioxygenase (TDO) and indoleamine 2,3-dioxygenase (IDO) convert l-tryptophan to N-formyl-l-kynurenine, to be further transformed to l-kynurenine. Kynurenine aminotransferase-II (KAT-II), l-kynurenine hydrolase (KYNU), and l-kynurenine 3-monooxygenase (KMO) are key enzymes in the later steps of the KP. Nitroglycerin (NTG) administration serves as both human and animal model of migraine, causing the activation and sensitization in the trigeminal system. A previous study demonstrated a reduction of KAT-II expression following NTG administration in animals. The goal of current tests was to identify the potential modulatory effect of NTG on other metabolizing enzymes of the KP in the caudal trigeminal nucleus (TNC) of rats. Four hours following the intraperitoneal injection of NTG (10âmg/kg), the rats were perfused transcardially and the TNC was extracted for Western blotting. Western blot studies revealed that the expression of TDO2, IDO1, KYNU, and KMO decreased in the TNC. The results demonstrated that NTG is able to downregulate the KP, with a potential influence on the glutamatergic system as well, contributing to the development of trigeminal activation and sensitization in animals. PMID:28659861 The Effect of Systemic Nitroglycerin Administration on the Kynurenine Pathway in the Rat. PubMed Nagy-GrÃ³cz, GÃ¡bor; Laborc, Klaudia F; Veres, GÃ¡bor; Bajtai, Attila; BohÃ¡r, Zsuzsanna; ZÃ¡dori, DÃ©nes; Fejes-SzabÃ³, AnnamÃ¡ria; Spekker, EleonÃ³ra; VÃ©csei, LÃ¡szlÃ³; PÃ¡rdutz, ÃrpÃ¡d 2017-01-01 The primary headache disorders include migraine, which is one of the most frequent neurological disorders, which influences more than 14% of the whole population. Despite the research efforts, its exact pathomechanism is not fully revealed, but evidence points to the role of glutamate and its receptors. Kynurenic acid is an endogenous glutamate receptor antagonist produced by the kynurenine pathway (KP). Tryptophan 2,3-dioxygenase (TDO) and indoleamine 2,3-dioxygenase (IDO) convert l-tryptophan to N -formyl-l-kynurenine, to be further transformed to l-kynurenine. Kynurenine aminotransferase-II (KAT-II), l-kynurenine hydrolase (KYNU), and l-kynurenine 3-monooxygenase (KMO) are key enzymes in the later steps of the KP. Nitroglycerin (NTG) administration serves as both human and animal model of migraine, causing the activation and sensitization in the trigeminal system. A previous study demonstrated a reduction of KAT-II expression following NTG administration in animals. The goal of current tests was to identify the potential modulatory effect of NTG on other metabolizing enzymes of the KP in the caudal trigeminal nucleus (TNC) of rats. Four hours following the intraperitoneal injection of NTG (10âmg/kg), the rats were perfused transcardially and the TNC was extracted for Western blotting. Western blot studies revealed that the expression of TDO2, IDO1, KYNU, and KMO decreased in the TNC. The results demonstrated that NTG is able to downregulate the KP, with a potential influence on the glutamatergic system as well, contributing to the development of trigeminal activation and sensitization in animals. The kynurenine pathway is activated in human obesity and shifted toward kynurenine monooxygenase activation. PubMed Favennec, Marie; Hennart, Benjamin; Caiazzo, Robert; Leloire, Audrey; Yengo, LoÃ¯c; Verbanck, Marie; Arredouani, Abdelilah; Marre, Michel; Pigeyre, Marie; Bessede, Alban; Guillemin, Gilles J; Chinetti, Giulia; Staels, Bart; Pattou, FranÃ§ois; Balkau, Beverley; Allorge, Delphine; Froguel, Philippe; Poulain-Godefroy, Odile 2015-10-01 This study characterized the kynurenine pathway (KP) in human obesity by evaluating circulating levels of kynurenines and the expression of KP enzymes in adipose tissue. Tryptophan and KP metabolite levels were measured in serum of individuals from the D.E.S.I.R. cohort (case-cohort study: 212 diabetic, 836 randomly sampled) and in women with obesity, diabetic or normoglycemic, from the ABOS cohort (n = 100). KP enzyme gene expressions were analyzed in omental and subcutaneous adipose tissue of women from the ABOS cohort, in human primary adipocytes and in monocyte-derived macrophages. In the D.E.S.I.R. cohort, kynurenine levels were positively associated with body mass index (BMI) (P = 4.68 Ã 10(-19) ) and with a higher HOMA2-IR insulin resistance index (P = 6.23 Ã 10(-4) ). The levels of kynurenine, kynurenic acid, and quinolinic acid were associated with higher BMI (P < 0.05). The expression of several KP enzyme genes (indoleamine 2,3-dioxygenase 1 [IDO1], kynureninase [KYNU], kynurenine 3-monooxygenase [KMO], and kynurenine aminotransferase III [CCBL2]) was increased in the omental adipose tissue of women with obesity compared to lean (P < 0.05), and their expression was induced by proinflammatory cytokines in human primary adipocytes (P < 0.05), except for KMO that is not expressed in these cells. The expressions of IDO1, KYNU, KMO, and CCBL2 were higher in proinflammatory than in anti-inflammatory macrophages (P < 0.05). In the context of obesity, the presence of macrophages in adipose tissue may contribute to diverting KP toward KMO activation. Â© 2015 The Obesity Society. Targeted deletion of kynurenine 3-monooxygenase in mice: a new tool for studying kynurenine pathway metabolism in periphery and brain. PubMed Giorgini, Flaviano; Huang, Shao-Yi; Sathyasaikumar, Korrapati V; Notarangelo, Francesca M; Thomas, Marian A R; Tararina, Margarita; Wu, Hui-Qiu; Schwarcz, Robert; Muchowski, Paul J 2013-12-20 Kynurenine 3-monooxygenase (KMO), a pivotal enzyme in the kynurenine pathway (KP) of tryptophan degradation, has been suggested to play a major role in physiological and pathological events involving bioactive KP metabolites. To explore this role in greater detail, we generated mice with a targeted genetic disruption of Kmo and present here the first biochemical and neurochemical characterization of these mutant animals. Kmo(-/-) mice lacked KMO activity but showed no obvious abnormalities in the activity of four additional KP enzymes tested. As expected, Kmo(-/-) mice showed substantial reductions in the levels of its enzymatic product, 3-hydroxykynurenine, in liver, brain, and plasma. Compared with wild-type animals, the levels of the downstream metabolite quinolinic acid were also greatly decreased in liver and plasma of the mutant mice but surprisingly were only slightly reduced (by â¼20%) in the brain. The levels of three other KP metabolites: kynurenine, kynurenic acid, and anthranilic acid, were substantially, but differentially, elevated in the liver, brain, and plasma of Kmo(-/-) mice, whereas the liver and brain content of the major end product of the enzymatic cascade, NAD(+), did not differ between Kmo(-/-) and wild-type animals. When assessed by in vivo microdialysis, extracellular kynurenic acid levels were found to be significantly elevated in the brains of Kmo(-/-) mice. Taken together, these results provide further evidence that KMO plays a key regulatory role in the KP and indicate that Kmo(-/-) mice will be useful for studying tissue-specific functions of individual KP metabolites in health and disease. Kynurenine 3-Monooxygenase: An Influential Mediator of Neuropathology. PubMed Parrott, Jennifer M; O'Connor, Jason C 2015-01-01 Mounting evidence demonstrates that kynurenine metabolism may play an important pathogenic role in the development of multiple neurological and neuropsychiatric disorders. The kynurenine pathway consists of two functionally distinct branches that generate both neuroactive and oxidatively reactive metabolites. In the brain, the rate-limiting enzyme for one of these branches, kynurenine 3-monooxygenase (KMO), is predominantly expressed in microglia and has emerged as a pivotal point of metabolic regulation. KMO substrate and expression levels are upregulated by pro-inflammatory cytokines and altered by functional genetic mutations. Increased KMO metabolism results in the formation of metabolites that activate glutamate receptors and elevate oxidative stress, while recent evidence has revealed neurodevelopmental consequences of reduced KMO activity. Together, the evidence suggests that KMO is positioned at a critical metabolic junction to influence the development or trajectory of a myriad of neurological diseases. Understanding the mechanism(s) by which alterations in KMO activity are able to impair neuronal function, and viability will enhance our knowledge of related disease pathology and provide insight into novel therapeutic opportunities. This review will discuss the influence of KMO on brain kynurenine metabolism and the current understanding of molecular mechanisms by which altered KMO activity may contribute to neurodevelopment, neurodegenerative, and neuropsychiatric diseases. Kynurenine 3-Monooxygenase: An Influential Mediator of Neuropathology PubMed Central Parrott, Jennifer M.; OâConnor, Jason C. 2015-01-01 Mounting evidence demonstrates that kynurenine metabolism may play an important pathogenic role in the development of multiple neurological and neuropsychiatric disorders. The kynurenine pathway consists of two functionally distinct branches that generate both neuroactive and oxidatively reactive metabolites. In the brain, the rate-limiting enzyme for one of these branches, kynurenine 3-monooxygenase (KMO), is predominantly expressed in microglia and has emerged as a pivotal point of metabolic regulation. KMO substrate and expression levels are upregulated by pro-inflammatory cytokines and altered by functional genetic mutations. Increased KMO metabolism results in the formation of metabolites that activate glutamate receptors and elevate oxidative stress, while recent evidence has revealed neurodevelopmental consequences of reduced KMO activity. Together, the evidence suggests that KMO is positioned at a critical metabolic junction to influence the development or trajectory of a myriad of neurological diseases. Understanding the mechanism(s) by which alterations in KMO activity are able to impair neuronal function, and viability will enhance our knowledge of related disease pathology and provide insight into novel therapeutic opportunities. This review will discuss the influence of KMO on brain kynurenine metabolism and the current understanding of molecular mechanisms by which altered KMO activity may contribute to neurodevelopment, neurodegenerative, and neuropsychiatric diseases. PMID:26347662 Activation of kynurenine pathway in ex vivo fibroblasts from patients with bipolar disorder or schizophrenia: cytokine challenge increases production of 3-hydroxykynurenine. PubMed Johansson, Anne-Sofie; Owe-Larsson, BjÃ¶rn; Asp, LinnÃ©a; Kocki, Tomasz; Adler, Mats; Hetta, Jerker; Gardner, Renee; Lundkvist, Gabriella B S; Urbanska, Ewa M; Karlsson, HÃ¥kan 2013-11-01 Accumulating data suggest a causative link between immune stimulation, disturbed metabolism of tryptophan, and pathogenesis of bipolar disorder and schizophrenia. The goal of this study was to examine the production of kynurenic acid (KYNA), 3-hydroxykynurenine (3-HK) and the expression of kynurenine pathway enzymes involved in their synthesis and metabolism in cultured skin fibroblasts obtained from patients with bipolar disorder, schizophrenia or from healthy control individuals. The assessment was performed under basal conditions or following treatment with interferon (IFN)-Î³, tumor necrosis factor (TNF)-Î±, interleukin (IL)-1Î², IL-6, or their combinations, in cells exposed to exogenous kynurenine. In both groups of patients, the baseline production of KYNA and 3-HK was increased, as compared to control subjects. Case-treatment analyses revealed significant interactions between bipolar case status and IL-1Î², IL-6, IFN-Î³ + TNF-Î±, or IFN-Î³ + IL-1Î², as well as between schizophrenia case status and IL-1Î², IFN-Î³ + TNF-Î±, or IFN-Î³ + IL-1Î², in terms of higher 3-HK. Noteworthy, no case-treatment interactions in terms of KYNA production were found. Observed changes did not appear to correlate with the expression of genes encoding kynurenine aminotransferases (KATs), kynureninase (KYNU) or kynurenine-3-monooxygenase (KMO). The single nucleotide polymorphisms (SNPs), rs1053230 and rs2275163, in KMO influenced KYNA levels yet did not explain the case-treatment discrepancies. In conclusion, our present findings indicate the utility of skin-derived fibroblasts for kynurenines research and support the concept of kynurenine pathway alterations in bipolar disorder and schizophrenia. The increase in ratio between neurotoxic 3-HK and neuroinhibitory/neuroprotective KYNA following exposure to cytokines may account for altered neurogenesis and structural abnormalities characteristic for both diseases. Copyright Â© 2013 Elsevier Ltd. All rights reserved. What is the tryptophan kynurenine pathway and why is it important to neurotherapy? PubMed Central Davis, Ian 2015-01-01 The kynurenine pathway has received increasing attention as its connection to inflammation, the immune system, and neurological conditions became more apparent. It is the primary route for tryptophan catabolism in the liver and the starting point for the synthesis of nicotinamide adenine dinucleotide in mammals. Dysregulation or overactivation of this pathway can lead to immune system activation and accumulation of potentially neurotoxic compounds. These aspects make the kynurenine pathway a promising target for therapeutic development to treat inflammation and some diseases with neurological aspects, especially in cancer patients undergoing chemotherapy. PMID:26004930 On the relationship between the two branches of the kynurenine pathway in the rat brain in vivo. PubMed Amori, Laura; Guidetti, Paolo; Pellicciari, Roberto; Kajii, Yasushi; Schwarcz, Robert 2009-04-01 In the mammalian brain, kynurenine aminotransferase II (KAT II) and kynurenine 3-monooxygenase (KMO), key enzymes of the kynurenine pathway (KP) of tryptophan degradation, form the neuroactive metabolites kynurenic acid (KYNA) and 3-hydroxykynurenine (3-HK), respectively. Although physically segregated, both enzymes use the pivotal KP metabolite l-kynurenine as a substrate. We studied the functional consequences of this cellular compartmentalization in vivo using two specific tools, the KAT II inhibitor BFF 122 and the KMO inhibitor UPF 648. The acute effects of selective KAT II or KMO inhibition were studied using a radiotracing method in which the de novo synthesis of KYNA, and of 3-HK and its downstream metabolite quinolinic acid (QUIN), is monitored following an intrastriatal injection of (3)H-kynurenine. In naÃ¯ve rats, intrastriatal BFF 122 decreased newly formed KYNA by 66%, without influencing 3-HK or QUIN production. Conversely, UPF 648 reduced 3-HK synthesis (by 64%) without affecting KYNA formation. Similar, selective effects of KAT II and KMO inhibition were observed when the inhibitors were applied acutely together with the excitotoxin QUIN, which impairs local KP metabolism. Somewhat different effects of KMO (but not KAT II) inhibition were obtained in rats that had received an intrastriatal QUIN injection 7 days earlier. In these neuron-depleted striata, UPF 648 not only decreased both 3-HK and QUIN production (by 77% and 66%, respectively) but also moderately raised KYNA synthesis (by 27%). These results indicate a remarkable functional segregation of the two pathway branches in the brain, boding well for the development of selective KAT II or KMO inhibitors for cognitive enhancement and neuroprotection, respectively. A single-run liquid chromatography mass spectrometry method to quantify neuroactive kynurenine pathway metabolites in rat plasma. PubMed Orsatti, Laura; Speziale, Roberto; Orsale, Maria Vittoria; Caretti, Fulvia; Veneziano, Maria; Zini, Matteo; Monteagudo, Edith; Lyons, Kathryn; Beconi, Maria; Chan, Kelvin; Herbst, Todd; Toledo-Sherman, Leticia; Munoz-Sanjuan, Ignacio; Bonelli, Fabio; Dominguez, Celia 2015-03-25 Neuroactive metabolites in the kynurenine pathway of tryptophan catabolism are associated with neurodegenerative disorders. Tryptophan is transported across the blood-brain barrier and converted via the kynurenine pathway to N-formyl-L-kynurenine, which is further degraded to L-kynurenine. This metabolite can then generate a group of metabolites called kynurenines, most of which have neuroactive properties. The association of tryptophan catabolic pathway alterations with various central nervous system (CNS) pathologies has raised interest in analytical methods to accurately quantify kynurenines in body fluids. We here describe a rapid and sensitive reverse-phase HPLC-MS/MS method to quantify L-kynurenine (KYN), kynurenic acid (KYNA), 3-hydroxy-L-kynurenine (3HK) and anthranilic acid (AA) in rat plasma. Our goal was to quantify these metabolites in a single run; given their different physico-chemical properties, major efforts were devoted to develop a chromatography suitable for all metabolites that involves plasma protein precipitation with acetonitrile followed by chromatographic separation by C18 RP chromatography, detected by electrospray mass spectrometry. Quantitation range was 0.098-100 ng/ml for 3HK, 9.8-20,000 ng/ml for KYN, 0.49-1000 ng/ml for KYNA and AA. The method was linear (r>0.9963) and validation parameters were within acceptance range (calibration standards and QC accuracy within Â±30%). Copyright Â© 2015 Elsevier B.V. All rights reserved. Chronic Mild Stress Alters Kynurenine Pathways Changing the Glutamate Neurotransmission in Frontal Cortex of Rats. PubMed MartÃn-HernÃ¡ndez, David; Tendilla-BeltrÃ¡n, Hiram; Madrigal, JosÃ© L M; GarcÃa-Bueno, Borja; Leza, Juan C; Caso, Javier R 2018-05-03 Immune stimulation might be involved in the pathophysiology of major depressive disorder (MDD). This stimulation induces indoleamine 2,3-dioxygenase (IDO), an enzyme that reduces the tryptophan bioavailability to synthesize serotonin. IDO products, kynurenine metabolites, exert neurotoxic/neuroprotective actions through glutamate receptors. Thus, we study elements of these pathways linked to kynurenine metabolite activity examining whether antidepressants (ADs) can modulate them. Male Wistar rats were exposed to chronic mild stress (CMS), and some of them were treated with ADs. The expression of elements of the IDO pathway, including kynurenine metabolites, and their possible modulation by ADs was studied in the frontal cortex (FC). CMS increased IDO expression in FC compared to control group, and ADs restored the IDO expression levels to control values. CMS-induced IDO expression led to increased levels of the excitotoxic quinolinic acid (QUINA) compared to control, and ADs prevented the rise in such levels. Neither CMS nor ADs changed significantly the antiexcitotoxic kynurenic acid (KYNA) levels. The QUINA/KYNA ratio, calculated as excitotoxicity risk indicator, increased after CMS and ADs prevented this increase. CMS lowered excitatory amino acid transporter (EAAT)-1 and EAAT-4 expression, and some ADs restored their expression levels. Furthermore, CMS decreased N-methyl-D-aspartate receptor (NMDAR)-2A and 2B protein expression, and ADs mitigated this decrease. Our research examines the link between CMS-induced pro-inflammatory cytokines and the kynurenine pathway; it shows that CMS alters the kynurenine pathway in rat FC. Importantly, it also reveals the ability of classic ADs to prevent potentially harmful situations related to the brain scenario caused by CMS. Embryo yolk sac membrane kynurenine formamidase of l-tryptophan to NAD+ pathway as a primary target for organophosphorus insecticides (OPI) in OPI-induced NAD-associated avian teratogenesis. PubMed Seifert, Josef 2017-10-01 The objective of this study was to provide in ovo evidence for the proposed role of kynurenine formamidase of l-tryptophan to NAD + pathway in embryo yolk sac membranes as a primary target for organophosphorus insecticide (OPI) teratogens in OPI-induced NAD-associated avian teratogenesis. Slices prepared from yolk sac membranes or embryo livers of chicken eggs treated with the OPI dicrotophos and/or methyl parathion were incubated with l-tryptophan. Yolk sac membrane slices metabolized l-tryptophan in the pathway to NAD + before that function was established in livers. OPI interfered in ovo with the second step of l-tryptophan to NAD + biosynthesis by inhibiting kynurenine formamidase. Its inhibition due to the teratogen dicrotophos occurred in yolk sac membranes during the period of embryo highest susceptibility to OPI teratogens in contrast to delayed and lower inhibition caused by the nonteratogen methyl parathion. Both OPI affected liver kynurenine formamidase in a similar manner. The onsets of liver enzyme inhibition, however, were delayed by about two days and occurred at the time of the reduced embryo susceptibility to teratogens. The early disruption of l-tryptophan metabolism and higher inhibition of kynurenine formamidase in yolk sac membranes may be the factors that determine action of OPI as teratogens in chicken embryos. Copyright Â© 2017 Elsevier Ltd. All rights reserved. Regulation of the kynurenine metabolism pathway by Xiaoyao San and the underlying effect in the hippocampus of the depressed rat. PubMed Wang, Jiajia; Li, Xiaofang; He, Shugui; Hu, Lijun; Guo, Jiewen; Huang, Xiangning; Hu, Jinqing; Qi, Yaoqun; Chen, Bin; Shang, Dewei; Wen, Yuguan 2018-03-25 up-regulated by paroxetine or XYS treatment, NCAM and CREB gene did not change in XYS group, protein expressions of BDNF and CREB were significantly increased, and NCAM was significantly reduced (p < 0.05). XYS reversed the abnormalities of the tryptophan-kynurenine metabolic pathways in depressed rats and achieved an excellent antidepressant effect. Its direct impact may be observed as changes in biological indicators in rat hippocampus tissue. Copyright Â© 2017 Elsevier B.V. All rights reserved. Mood symptoms correlate with kynurenine pathway metabolites following sports-related concussion. PubMed Singh, Rashmi; Savitz, Jonathan; Teague, T Kent; Polanski, David W; Mayer, Andrew R; Bellgowan, Patrick S F; Meier, Timothy B 2016-06-01 An imbalance of neuroactive kynurenine pathway metabolites has been proposed as one mechanism behind the neuropsychiatric sequelae of certain neurological disorders. We hypothesized that concussed football players would have elevated plasma levels of neurotoxic kynurenine metabolites and reduced levels of neuroprotective metabolites relative to healthy football players and that altered kynurenine levels would correlate with post-concussion mood symptoms. Mood scales and plasma concentrations of kynurenine metabolites were assessed in concussed (N=18; 1.61 days post-injury) and healthy football players (N=18). A subset of football players returned at 1-week (N=14; 9.29 days) and 1-month post-concussion (N=14, 30.93 days). Concussed athletes had significantly elevated levels of quinolinic acid (QUIN) and significantly lower ratios of kynurenic acid (KYNA) to QUIN at all time points compared with healthy athletes (p's<0.05), with no longitudinal evidence of normalization of KYNA or KYNA/QUIN. At 1-day post-injury, concussed athletes with lower levels of the putatively neuroprotective KYNA/QUIN ratio reported significantly worse depressive symptoms (p=0.04), and a trend toward worse anxiety symptoms (p=0.06), while at 1-month higher QUIN levels were associated with worse mood symptoms (p's<0.01). Finally, concussed athletes with worse concussion outcome, defined as number of days until return-to-play, had higher QUIN and lower KYNA/QUIN at 1-month post-injury (p's<0.05). These results converge with existing kynurenine literature on psychiatric patients and provide the first evidence of altered peripheral levels of kynurenine metabolites following sports-related concussion. Published by the BMJ Publishing Group Limited. For permission to use (where not already granted under a licence) please go to http://www.bmj.com/company/products-services/rights-and-licensing/ Prenatal inhibition of the kynurenine pathway leads to structural changes in the hippocampus of adult rat offspring PubMed Central Khalil, Omari S; Pisar, Mazura; Forrest, Caroline M; Vincenten, Maria C J; Darlington, L Gail; Stone, Trevor W 2014-01-01 Glutamate receptors for N-methyl-d-aspartate (NMDA) are involved in early brain development. The kynurenine pathway of tryptophan metabolism includes the NMDA receptor agonist quinolinic acid and the antagonist kynurenic acid. We now report that prenatal inhibition of the pathway in rats with 3,4-dimethoxy-N-[4-(3-nitrophenyl)thiazol-2-yl]benzenesulphonamide (Ro61-8048) produces marked changes in hippocampal neuron morphology, spine density and the immunocytochemical localisation of developmental proteins in the offspring at postnatal day 60. GolgiâCox silver staining revealed decreased overall numbers and lengths of CA1 basal dendrites and secondary basal dendrites, together with fewer basal dendritic spines and less overall dendritic complexity in the basal arbour. Fewer dendrites and less complexity were also noted in the dentate gyrus granule cells. More neurons containing the nuclear marker NeuN and the developmental protein sonic hedgehog were detected in the CA1 region and dentate gyrus. Staining for doublecortin revealed fewer newly generated granule cells bearing extended dendritic processes. The number of neuron terminals staining for vesicular glutamate transporter (VGLUT)-1 and VGLUT-2 was increased by Ro61-8048, with no change in expression of vesicular GABA transporter or its co-localisation with vesicle-associated membrane protein-1. These data support the view that constitutive kynurenine metabolism normally plays a role in early embryonic brain development, and that interfering with it has profound consequences for neuronal structure and morphology, lasting into adulthood. PMID:24646396 The Genetic Link between Parkinson's Disease and the Kynurenine Pathway Is Still Missing PubMed Central TÃ¶rÃ¶k, NÃ³ra; TÃ¶rÃ¶k, Rita; Szolnoki, ZoltÃ¡n; SomogyvÃ¡ri, Ferenc; KlivÃ©nyi, PÃ©ter; VÃ©csei, LÃ¡szlÃ³ 2015-01-01 Background. There is substantial evidence that the kynurenine pathway (KP) plays a role in the normal physiology of the brain and is involved in the pathology of neurodegenerative disorders such as Huntington's disease and Parkinson's disease (PD). Objective. We set out to investigate the potential roles in PD of single nucleotide polymorphisms (SNPs) from one of the key enzymes of the KP, kynurenine 3-monooxygenase (KMO). Methods. 105 unrelated, clinically definitive PD patients and 131 healthy controls were enrolled to investigate the possible effects of the different alleles of KMO. Fluorescently labeled TaqMan probes were used for allele discrimination. Results. None of the four investigated SNPs proved to be associated with PD or influenced the age at onset of the disease. Conclusions. The genetic link between the KP and PD is still missing. The investigated SNPs presumably do not appear to influence the function of KMO and probably do not contain binding sites for regulatory proteins of relevance in PD. This is the first study to assess the genetic background behind the biochemical alterations of the kynurenine pathway in PD, directing the attention to this previously unexamined field. PMID:25785227 The Genetic Link between Parkinson's Disease and the Kynurenine Pathway Is Still Missing. PubMed TÃ¶rÃ¶k, NÃ³ra; TÃ¶rÃ¶k, Rita; Szolnoki, ZoltÃ¡n; SomogyvÃ¡ri, Ferenc; KlivÃ©nyi, PÃ©ter; VÃ©csei, LÃ¡szlÃ³ 2015-01-01 Background. There is substantial evidence that the kynurenine pathway (KP) plays a role in the normal physiology of the brain and is involved in the pathology of neurodegenerative disorders such as Huntington's disease and Parkinson's disease (PD). Objective. We set out to investigate the potential roles in PD of single nucleotide polymorphisms (SNPs) from one of the key enzymes of the KP, kynurenine 3-monooxygenase (KMO). Methods. 105 unrelated, clinically definitive PD patients and 131 healthy controls were enrolled to investigate the possible effects of the different alleles of KMO. Fluorescently labeled TaqMan probes were used for allele discrimination. Results. None of the four investigated SNPs proved to be associated with PD or influenced the age at onset of the disease. Conclusions. The genetic link between the KP and PD is still missing. The investigated SNPs presumably do not appear to influence the function of KMO and probably do not contain binding sites for regulatory proteins of relevance in PD. This is the first study to assess the genetic background behind the biochemical alterations of the kynurenine pathway in PD, directing the attention to this previously unexamined field. High-Fat Diet and Voluntary Chronic Aerobic Exercise Recover Altered Levels of Aging-Related Tryptophan Metabolites along the Kynurenine Pathway PubMed Central Lee, Keon-Joo; Cho, Joo-Youn; Lee, Soon-Tae; Kim, Hwa Suk; Shim, Jun Hwa; Lee, Sang Kun; Kim, Manho 2017-01-01 Tryptophan metabolites regulate a variety of physiological processes, and their downstream metabolites enter the kynurenine pathway. Age-related changes of metabolites and activities of associated enzymes in this pathway are suggestable and would be potential intervention targets. Blood levels of serum tryptophan metabolites in C57BL/6 mice of different ages, ranging from 6 weeks to 10 months, were assessed using high-performance liquid chromatography, and the enzyme activities for each metabolic step were estimated using the ratio of appropriate metabolite levels. Mice were subjected to voluntary chronic aerobic exercise or high-fat diet to assess their ability to rescue age-related alterations in the kynurenine pathway. The ratio of serum kynurenic acid (KYNA) to 3-hydroxylkynurenine (3-HK) decreased with advancing age. Voluntary chronic aerobic exercise and high-fat diet rescued the decreased KYNA/3-HK ratio in the 6-month-old and 8-month-old mice groups. Tryptophan metabolites and their associated enzyme activities were significantly altered during aging, and the KYNA/3-HK ratio was a meaningful indicator of aging. Exercise and high-fat diet could potentially recover the reduction of the KYNA/3-HK ratio in the elderly. PMID:28680298 Involvement of the Kynurenine Pathway in Human Glioma Pathophysiology PubMed Central Adams, Seray; Teo, Charles; McDonald, Kerrie L.; Zinger, Anna; Bustamante, Sonia; Lim, Chai K.; Sundaram, Gayathri; Braidy, Nady; Brew, Bruce J.; Guillemin, Gilles J. 2014-01-01 The kynurenine pathway (KP) is the principal route of L-tryptophan (TRP) catabolism leading to the production of kynurenine (KYN), the neuroprotectants, kynurenic acid (KYNA) and picolinic acid (PIC), the excitotoxin, quinolinic acid (QUIN) and the essential pyridine nucleotide, nicotinamide adenine dinucleotide (NAD+). The enzymes indoleamine 2,3-dioxygenase-1 (IDO-1), indoleamine 2,3-dioxygenase-2 (IDO-2) and tryptophan 2,3-dioxygenase (TDO-2) initiate the first step of the KP. IDO-1 and TDO-2 induction in tumors are crucial mechanisms implicated to play pivotal roles in suppressing anti-tumor immunity. Here, we report the first comprehensive characterisation of the KP in 1) cultured human glioma cells and 2) plasma from patients with glioblastoma (GBM). Our data revealed that interferon-gamma (IFN-Î³) stimulation significantly potentiated the expression of the KP enzymes, IDO-1 IDO-2, kynureninase (KYNU), kynurenine hydroxylase (KMO) and significantly down-regulated 2-amino-3-carboxymuconate semialdehyde decarboxylase (ACMSD) and kynurenine aminotransferase-I (KAT-I) expression in cultured human glioma cells. This significantly increased KP activity but significantly lowered the KYNA/KYN neuroprotective ratio in human cultured glioma cells. KP activation (KYN/TRP) was significantly higher, whereas the concentrations of the neuroreactive KP metabolites TRP, KYNA, QUIN and PIC and the KYNA/KYN ratio were significantly lower in GBM patient plasma (nâ=â18) compared to controls. These results provide further evidence for the involvement of the KP in glioma pathophysiology and highlight a potential role of KP products as novel and highly attractive therapeutic targets to evaluate for the treatment of brain tumors, aimed at restoring anti-tumor immunity and reducing the capacity for malignant cells to produce NAD+, which is necessary for energy production and DNA repair. PMID:25415278 [Association of kynurenine-3-monooxygenase gene with schizophrenia]. PubMed Golimbet, V E; Lezheiko, T V; Alfimova, M V; Abramova, L I; Kondrat'ev, N V 2014-06-01 Neurotoxic products produced during tryptophan metabolism via the kynurenine pathway could be involved in schizophrenia pathogenesis. It has been shown that kynurenine-3-monooxygenase (KMO) is indirectly involved in these products' formation. KMO polymorphic loci rs2275163 (C/T) and rs1053230 (A/G) were examined in 187 schizophrenia patients and 229 healthy subjects. A genetic combination of allele T and genotype GG was observed more often in a patient group compared with healthy controls (p = 0.003, OR 2.0 (95% CI 1.2-2.9). In the latter group, this combination was associated with schizophrenia endophenotype (p = 0.04), which manifested in a higher expression of schizotypal personality traits assessed using the MMPI test. Tryptophan Metabolism in Rat Liver After Administration of Tryptophan, Kynurenine Metabolites, and Kynureninase Inhibitors. PubMed Badawy, Abdulla A-B; Bano, Samina 2016-01-01 Rat liver tryptophan (Trp), kynurenine pathway metabolites, and enzymes deduced from product/substrate ratios were assessed following acute and/or chronic administration of kynurenic acid (KA), 3-hydroxykynurenine (3-HK), 3-hydroxyanthranilic acid (3-HAA), Trp, and the kynureni-nase inhibitors benserazide (BSZ) and carbidopa (CBD). KA activated Trp 2,3-dioxygenase (TDO), possibly by increasing liver 3-HAA, but inhibited kynurenine aminotransferase (KAT) and kynureninase activities with 3-HK as substrate. 3-HK inhibited kynureninase activity from 3-HK. 3-HAA stimulated TDO, but inhibited kynureninase activity from K and 3-HK. Trp (50 mg/kg) increased kynurenine metabolite concentrations and KAT from K, and exerted a temporary stimulation of TDO. The kynureninase inhibitors BSZ and CBD also inhibited KAT, but stimulated TDO. BSZ abolished or strongly inhibited the Trp-induced increases in liver Trp and kynurenine metabolites. The potential effects of these changes in conditions of immune activation, schizophrenia, and other disease states are discussed. Tryptophan 2,3-Dioxygenfase and Indoleamine 2,3-Dioxygenase 1 Make Separate, Tissue-Specific Contributions to Basal and Inflammation-Induced Kynurenine Pathway Metabolism in Mice PubMed Central Larkin, Paul B.; Sathyasaikumar, Korrapati V.; Notarangelo, Francesca M.; Funakoshi, Hiroshi; Nakamura, Toshikazu; Schwarcz, Robert; Muchowski, Paul J. 2018-01-01 In mammals, the majority of the essential amino acid tryptophan is degraded via the kynurenine pathway (KP). Several KP metabolites play distinct physiological roles, often linked to immune system functions, and may also be causally involved in human diseases including neurodegenerative disorders, schizophrenia and cancer. Pharmacological manipulation of the KP has therefore become an active area of drug development. To target the pathway effectively, it is important to understand how specific KP enzymes control levels of the bioactive metabolites in vivo. Here, we conducted a comprehensive biochemical characterization of mice with a targeted deletion of either tryptophan 2,3-dioxygenase (TDO) or indoleamine 2,3-dioxygenase (IDO), the two initial rate-limiting enzymes of the KP. These enzymes catalyze the same reaction, but differ in biochemical characteristics and expression patterns. We measured KP metabolite levels and enzyme activities and expression in several tissues in basal and immune-stimulated conditions. Although our study revealed several unexpected downstream effects on KP metabolism in both knockout mice, the results were essentially consistent with TDO-mediated control of basal KP metabolism and a role of IDO in phenomena involving stimulation of the immune system. PMID:27392942 Prenatal inhibition of the kynurenine pathway leads to structural changes in the hippocampus of adult rat offspring. PubMed Khalil, Omari S; Pisar, Mazura; Forrest, Caroline M; Vincenten, Maria C J; Darlington, L Gail; Stone, Trevor W 2014-05-01 Glutamate receptors for N-methyl-d-aspartate (NMDA) are involved in early brain development. The kynurenine pathway of tryptophan metabolism includes the NMDA receptor agonist quinolinic acid and the antagonist kynurenic acid. We now report that prenatal inhibition of the pathway in rats with 3,4-dimethoxy-N-[4-(3-nitrophenyl)thiazol-2-yl]benzenesulphonamide (Ro61-8048) produces marked changes in hippocampal neuron morphology, spine density and the immunocytochemical localisation of developmental proteins in the offspring at postnatal day 60. Golgi-Cox silver staining revealed decreased overall numbers and lengths of CA1 basal dendrites and secondary basal dendrites, together with fewer basal dendritic spines and less overall dendritic complexity in the basal arbour. Fewer dendrites and less complexity were also noted in the dentate gyrus granule cells. More neurons containing the nuclear marker NeuN and the developmental protein sonic hedgehog were detected in the CA1 region and dentate gyrus. Staining for doublecortin revealed fewer newly generated granule cells bearing extended dendritic processes. The number of neuron terminals staining for vesicular glutamate transporter (VGLUT)-1 and VGLUT-2 was increased by Ro61-8048, with no change in expression of vesicular GABA transporter or its co-localisation with vesicle-associated membrane protein-1. These data support the view that constitutive kynurenine metabolism normally plays a role in early embryonic brain development, and that interfering with it has profound consequences for neuronal structure and morphology, lasting into adulthood. Â© 2014 Federation of European Neuroscience Societies and John Wiley & Sons Ltd. Overexpression of human kynurenine-3-monooxygenase protects against 3-hydroxykynurenine-mediated apoptosis through bidirectional nonlinear feedback. PubMed Wilson, K; Auer, M; Binnie, M; Zheng, X; Pham, N T; Iredale, J P; Webster, S P; Mole, D J 2016-04-14 Kynurenine 3-monooxygenase (KMO) is a critical regulator of inflammation. The preferred KMO substrate, kynurenine, is converted to 3-hydroxykynurenine (3HK), and this product exhibits cytotoxicity through mechanisms that culminate in apoptosis. Here, we report that overexpression of human KMO with orthotopic localisation to mitochondria creates a metabolic environment during which the cell exhibits increased tolerance for exogenous 3HK-mediated cellular injury. Using the selective KMO inhibitor Ro61-8048, we show that KMO enzyme function is essential for cellular protection
5407	dbpedia	1	80	https://www.science.gov/topicpages/s/soft%2Bdrink%2Bintake.html	en	soft drink intake: Topics by Science.gov			[ "https://www.science.gov/scigov/desktop/en/images/SciGov_logo.png" ]	[]	[]	[ "" ]	null	[]	null		en			null	Neural responsivity during soft drink intake, anticipation, and advertisement exposure in habitually consuming youth. PubMed Burger, Kyle S; Stice, Eric 2014-02-01 Although soft drinks are heavily advertised, widely consumed, and have been associated with obesity, little is understood regarding neural responsivity to soft drink intake, anticipated intake, and advertisements. Functional MRI was used to assess examine neural response to carbonated soft drink intake, anticipated intake and advertisement exposure as well as milkshake intake in 27 adolescents that varied on soft drink consumer status. Intake and anticipated intake of carbonated CokeÂ® activated regions implicated in gustatory, oral somatosensory, and reward processing, yet high-fat/sugar milkshake intake elicited greater activation in these regions vs. Coke intake. Advertisements highlighting the Coke product vs. nonfood control advertisements, but not the Coke logo, activated gustatory and visual brain regions. Habitual Coke consumers vs. nonconsumers showed greater posterior cingulate responsivity to Coke logo ads, suggesting that the logo is a conditioned cue. Coke consumers exhibited less ventrolateral prefrontal cortex responsivity during anticipated Coke intake relative to nonconsumers. Results indicate that soft drinks activate reward and gustatory regions, but are less potent in activating these regions than high-fat/sugar beverages, and imply that habitual soft drink intake promotes hyper-responsivity of regions encoding salience/attention toward brand specific cues and hypo-responsivity of inhibitory regions while anticipating intake. Copyright Â© 2013 The Obesity Society. Neural responsivity during soft drink intake, anticipation, and advertisement exposure in habitually consuming youth PubMed Central Burger, Kyle S.; Stice, Eric 2014-01-01 OBJECTIVE Although soft drinks are heavily advertised, widely consumed, and have been associated with obesity, little is understood regarding neural responsivity to soft drink intake, anticipated intake, and advertisements. METHODS Functional MRI was used to assess examine neural response to carbonated soft drink intake, anticipated intake and advertisement exposure as well as milkshake intake in 27 adolescents that varied on soft drink consumer status. RESULTS Intake and anticipated intake of carbonated CokeÂ® activated regions implicated in gustatory, oral somatosensory, and reward processing, yet high-fat/sugar milkshake intake elicited greater activation in these regions versus Coke intake. Advertisements highlighting the Coke product vs. non-food control advertisements, but not the Coke logo, activated gustatory and visual brain regions. Habitual Coke consumers vs. non-consumers showed greater posterior cingulate responsivity to Coke logo ads, suggesting that the logo is a conditioned cue. Coke consumers exhibited less ventrolateral prefrontal cortex responsivity during anticipated Coke intake relative to non-consumers. CONCLUSIONS Results indicate that soft drinks activate reward and gustatory regions, but are less potent in activating these regions than high-fat/sugar beverages, and imply that habitual soft drink intake promotes hyper-responsivity of regions encoding salience/attention toward brand specific cues and hypo-responsivity of inhibitory regions while anticipating intake. PMID:23836764 Water Consumption in European Children: Associations with Intake of Fruit Juices, Soft Drinks and Related Parenting Practices. PubMed Mantziki, Krystallia; Renders, Carry M; Seidell, Jaap C 2017-05-31 Background : High intake of fruit juices and soft drinks contributes to excessive weight gain and obesity in children. Furthermore, parenting practices play an important role in the development of children's dietary habits. The way parents play this role in the development of their children's choices of beverages is still unclear. Objectives : To study the associations: (1) of both fruit juices and soft drinks consumption with water consumption of children and (2) The associations between parenting practices towards fruit juices and soft drinks and water consumption of children. Design : Cross-sectional data from 6 to 8 year old children from seven European communities ( n = 1187) were collected. Associations among fruit juices, soft drinks, the respective parenting practices and the child's water consumption were assessed by parental questionnaires. Results : The consumption of water was inversely associated with that of soft drinks but not with the consumption of fruit juices. The child's water intake was favorably influenced when stricter parenting practices towards soft drinks were adopted (e.g., less parental allowance, low home availability and high parental self-efficacy in managing intake). There was less influence observed of parenting practices towards fruit juices. Fruit juices were consumed more often than soft drinks. Conclusions : Low consumption of soft drinks-and not of fruit juices-was associated with high water consumption in children in the current study. Moreover, parenting practices towards both fruit juices and soft drinks were associated with the water intake of the children, irrespective of their socio-economic status. Water Consumption in European Children: Associations with Intake of Fruit Juices, Soft Drinks and Related Parenting Practices PubMed Central Mantziki, Krystallia; Renders, Carry M.; Seidell, Jaap C. 2017-01-01 Background: High intake of fruit juices and soft drinks contributes to excessive weight gain and obesity in children. Furthermore, parenting practices play an important role in the development of childrenâs dietary habits. The way parents play this role in the development of their childrenâs choices of beverages is still unclear. Objectives: To study the associations: (1) of both fruit juices and soft drinks consumption with water consumption of children and (2) The associations between parenting practices towards fruit juices and soft drinks and water consumption of children. Design: Cross-sectional data from 6 to 8 year old children from seven European communities (n = 1187) were collected. Associations among fruit juices, soft drinks, the respective parenting practices and the childâs water consumption were assessed by parental questionnaires. Results: The consumption of water was inversely associated with that of soft drinks but not with the consumption of fruit juices. The childâs water intake was favorably influenced when stricter parenting practices towards soft drinks were adopted (e.g., less parental allowance, low home availability and high parental self-efficacy in managing intake). There was less influence observed of parenting practices towards fruit juices. Fruit juices were consumed more often than soft drinks. Conclusions: Low consumption of soft drinksâand not of fruit juicesâwas associated with high water consumption in children in the current study. Moreover, parenting practices towards both fruit juices and soft drinks were associated with the water intake of the children, irrespective of their socio-economic status. PMID:28561769 Intake of artificially sweetened soft drinks and risk of preterm delivery: a prospective cohort study in 59,334 Danish pregnant women. PubMed Halldorsson, Thorhallur I; StrÃ¸m, Marin; Petersen, Sesilje B; Olsen, Sjurdur F 2010-09-01 Sugar-sweetened soft drinks have been linked to a number of adverse health outcomes such as high weight gain. Therefore, artificially sweetened soft drinks are often promoted as an alternative. However, the safety of artificial sweeteners has been disputed, and consequences of high intakes of artificial sweeteners for pregnant women have been minimally addressed. We examined the association between intakes of sugar-sweetened and artificially sweetened soft drinks and preterm delivery. We conducted prospective cohort analyses of 59,334 women from the Danish National Birth Cohort (1996-2002). Soft drink intake was assessed in midpregnancy by using a food-frequency questionnaire. Preterm delivery ( lt 37 wk) was the primary outcome measure. Covariate information was assessed by telephone interviews. There was an association between intake of artificially sweetened carbonated and noncarbonated soft drinks and an increased risk of preterm delivery (P for trend: le 0.001, both variables). In comparison with women with no intake of artificially sweetened carbonated soft drinks, the adjusted odds ratio for women who consumed ge 1 serving of artificially sweetened carbonated soft drinks/d was 1.38 (95% CI: 1.15, 1.65). The corresponding odds ratio for women who consumed ge 4 servings of artificially sweetened carbonated soft drinks/d was 1.78 (95% CI: 1.19, 2.66). The association was observed for normal-weight and overweight women. A stronger increase in risk was observed for early preterm and moderately preterm delivery than with late-preterm delivery. No association was observed for sugar-sweetened carbonated soft drinks (P for trend: 0.29) or for sugar-sweetened noncarbonated soft drinks (P for trend: 0.93). Daily intake of artificially sweetened soft drinks may increase the risk of preterm delivery. Further studies are needed to reject or confirm these findings. Estimated intake of the sweeteners, acesulfame-K and aspartame, from soft drinks, soft drinks based on mineral waters and nectars for a group of Portuguese teenage students. PubMed Lino, C M; Costa, I M; Pena, A; Ferreira, R; Cardoso, S M 2008-11-01 In a survey of levels of acesulfame-K and aspartame in soft drinks and in light nectars, the intake of these intense sweeteners was estimated for a group of teenage students. Acesulfame-K was detected in 72% of the soft drinks, with a mean concentration of 72 mg l(-1) and aspartame was found in 92% of the samples with a mean concentration of 89 mg l(-1). When data on the content of these sweeteners in soft drinks were analysed according to flavour, cola drinks had the highest mean levels for both sweeteners with 98 and 103 mg l(-1) for acesulfame-K and aspartame, respectively. For soft drinks based on mineral water, aspartame was found in 62% of the samples, with a mean concentration of 82 mg l(-1) and acesulfame-K was found in 77%, with a mean level of 48 mg l(-1). All samples of nectars contained acesulfame-K, with a mean concentration of 128 mg l(-1) and aspartame was detected in 80% of the samples with a mean concentration of 73 mg l(-1). A frequency questionnaire, designed to identify adolescents having high consumption of these drinks, was completed by a randomly selected sample of teenagers (n = 65) living in the city of Coimbra, in 2007. The estimated daily intakes (EDI) of acesulfame-K and aspartame for the average consumer were below the acceptable daily intakes (ADIs). For acesulfame-K, the EDI was 0.7 mg kg(-1) bw day(-1) for soft drinks, 0.2 mg kg(-1) bw day(-1) for soft drinks based on mineral waters, and 0.5 mg kg(-1) bw day(-1) for nectars, representing 8.0%, 2.2%, and 5.8% of the ADI, respectively. A similar situation was observed for aspartame. In this way, the EDI for soft drinks was 1.1 mg kg(-1) day(-1), representing only 2.9% of the ADI. In respect of nectars, the EDI was 0.2 mg kg(-1) bw day(-1), representing 0.5% of the ADI. Soft drinks based on mineral waters showed the lowest EDI values of 0.3 mg kg(-1) bw day(-1), accounting for 0.7% of the ADI. Associations between home- and family-related factors and fruit juice and soft drink intake among 10- to 12-year old children. The ENERGY project. PubMed Van Lippevelde, Wendy; te Velde, Saskia J; Verloigne, MaÃ¯tÃ©; De Bourdeaudhuij, Ilse; Manios, Yannis; Bere, Elling; Jan, NataÅ¡a; FernÃ¡ndez-Alvira, Juan M; Chinapaw, Mai J M; Bringolf-Isler, Bettina; Kovacs, Eva; Brug, Johannes; Maes, Lea 2013-02-01 The aim of this study is to investigate associations of family-related factors with children's fruit drink/juice and soft drink consumption. A cross-sectional survey among 10- to 12-year-old children and their parents in eight European countries was conducted to gather this data. Key variables of interest were children's self-reported fruit drink/juice and soft drink intake per day (outcome) and family-related factors (based on parents' report) related to these two behaviors (modeling, automaticity, availability, monitoring, permissiveness, negotiating, communicating health beliefs, avoid negative modeling, self-efficacy, rewarding, and family consumption). 7915 Children (52% girls; mean age=11.7 Â± 0.8 years) and 6512 parents (83% women; mean age=41.4 Â± 5.3 years) completed the questionnaire. Multilevel regression analyses were used to examine the aforementioned associations. Three of the 11 family-related factors (modeling, availability, and family consumption) were positively associated with children's fruit drink/juice and soft drink intake. Additionally, three family-related factors (permissiveness, monitoring, and self-efficacy) were solely associated with soft drink intake and one family-related factor (communicating health beliefs) was related to fruit drink/juice intake. Future interventions targeting children's fruit drink/juice and soft drink intake should focus on the home environment, parents and their practices, especially on parents' fruit drink/juice and soft drink intake and availability of these beverages at home. Copyright Â© 2012 Elsevier Ltd. All rights reserved. The color red reduces snack food and soft drink intake. PubMed Genschow, Oliver; Reutner, Leonie; WÃ¤nke, Michaela 2012-04-01 Based on evidence that the color red elicits avoidance motivation across contexts (Mehta & Zhu, 2009), two studies investigated the effect of the color red on snack food and soft drink consumption. In line with our hypothesis, participants drank less from a red labeled cup than from a blue labeled cup (Study 1), and ate less snack food from a red plate than from a blue or white plate (Study 2). The results suggest that red functions as a subtle stop signal that works outside of focused awareness and thereby reduces incidental food and drink intake. Copyright ÃÂ© 2012 Elsevier Ltd. All rights reserved. Consumption of bakery products, sweetened soft drinks and yogurt among children aged 6-7 years: association with nutrient intake and overall diet quality. PubMed RodrÃguez-Artalejo, Fernando; GarcÃa, Esther LÃ³pez; Gorgojo, Lydia; GarcÃ©s, Carmen; Royo, Miguel Angel; MartÃn Moreno, JosÃ© MarÃa; Benavente, Mercedes; MacÃas, Alfonso; De Oya, Manuel 2003-03-01 The present study tests the hypothesis that higher consumption of bakery products, sweetened soft drinks and yogurt is associated with higher intake of energy, saturated fats, sugars and worse overall diet quality among Spanish children. This is a cross-sectional study covering 1112 children aged 6.0-7.0 years in four Spanish cities. Nutrient and food intake were obtained through a food-frequency questionnaire, and overall diet quality calculated using the healthy-eating index (HEI) developed by Kennedy et al. (1995). Standardized methods were used to measure anthropometric variables. Associations of interest were summarized as the difference in nutrient and food consumption between the value of the fifth and the first quintile of consumption (dq) of bakery products, sweetened soft drinks or yogurt, adjusted for energy intake and BMI. Bakery products, sweetened soft drinks and yogurt supplied 15.5, 1.0 and 5.6 % energy intake respectively. Higher consumption of these three foods was associated with greater energy intake (P<0.001), but not with higher BMI. Consumption of bakery products was associated with the proportion of energy derived from intake of total carbohydrates (dq 4.5 %, P<0.001) and sugars (dq 2 %, P<0.001), but did not show association with the HEI. Consumption of sweetened soft drinks was associated with a lower consumption of milk (dq -88 ml, P<0.001) and Ca (dq -175 mg/d, P<0.001), and worse HEI (dq -2, P<0.01). Consumption of yogurt, while associated with higher energy intake from saturated fats (dq 1.77 %, P<0.001) and sugars (dq 2.02 %, P<0.001), showed no association with the HEI. Differences in the intake of nutrients and foods across quintiles of consumption of bakery products, sweetened soft drinks and yogurt were usually very small. We conclude that the impact of the consumption of bakery products, sweetened soft drinks and yogurt on the quality of the diet of Spanish children is only modest, although it may contribute to aggravating A population-based study on the association between the intake of soft drinks and periodontal disease in Taiwanese adults aged 35-44 years (KCIS no. 33). PubMed Fann, Jean Ching-Yuan; Lai, Hongmin; Chiu, Sherry Yueh-Hsia; Yen, Amy Ming-Fang; Chen, Sam Li-Sheng; Chen, Hsiu-Hsi 2016-06-01 To elucidate the association between the intake of soft drinks and periodontal disease (PD) among Taiwanese middle-aged adults. The cross-sectional design was employed to assess a dose-response relationship between the intake of soft drinks and PD after controlling for relevant confounding factors, with adjusted odds ratios obtained from a multivariate logistic regression model. Keelung Community-based Integrated Screening (KCIS) programme, Keelung, Taiwan. Participants (n 10 213) aged 35-44 years who had undergone oral checks for PD between 2005 and 2009. A dose-response relationship between the intake of soft drinks and elevated risk for PD defined by community periodontal index â¥3 (the current status of PD) was noted (P=0Â·02 by trend test). Compared with infrequent intake of soft drinks (â¤2 times/week), the adjusted OR increased from 1Â·05 (95 % CI 0Â·92, 1Â·20) for the frequency of 3-4 times/week to 1Â·17 (95 % CI 1Â·03, 1Â·34) for the frequency of â¥5 times/week. A similar trend (P<0Â·01) was also observed for PD defined by loss of attachment â¥1 (representing the long-term cumulative gum damage due to PD). A dose-response relationship between the intake frequency of soft drinks and PD was observed in Taiwanese middle-aged adults. Such evidence could be used in health promotion to support reductions in soft drink intake. Correlates of University Students' Soft and Energy Drink Consumption According to Gender and Residency. PubMed Deliens, Tom; Clarys, Peter; De Bourdeaudhuij, Ilse; Deforche, Benedicte 2015-08-06 This study assessed personal and environmental correlates of Belgian university students' soft and energy drink consumption and investigated whether these associations were moderated by gender or residency. Four hundred twenty-five university students completed a self-reported on-line questionnaire assessing socio-demographics, health status, soft and energy drink consumption, as well as personal and environmental factors related to soft and energy drink consumption. Multiple linear regression analyses were conducted. Students believing soft drink intake should be minimized (individual subjective norm), finding it less difficult to avoid soft drinks (perceived behavioral control), being convinced they could avoid soft drinks in different situations (self-efficacy), having family and friends who rarely consume soft drinks (modelling), and having stricter family rules about soft drink intake were less likely to consume soft drinks. Students showing stronger behavioral control, having stricter family rules about energy drink intake, and reporting lower energy drink availability were less likely to consume energy drinks. Gender and residency moderated several associations between psychosocial constructs and consumption. Future research should investigate whether interventions focusing on the above personal and environmental correlates can indeed improve university students' beverage choices. Correlates of University Studentsâ Soft and Energy Drink Consumption According to Gender and Residency PubMed Central Deliens, Tom; Clarys, Peter; De Bourdeaudhuij, Ilse; Deforche, Benedicte 2015-01-01 This study assessed personal and environmental correlates of Belgian university studentsâ soft and energy drink consumption and investigated whether these associations were moderated by gender or residency. Four hundred twenty-five university students completed a self-reported on-line questionnaire assessing socio-demographics, health status, soft and energy drink consumption, as well as personal and environmental factors related to soft and energy drink consumption. Multiple linear regression analyses were conducted. Students believing soft drink intake should be minimized (individual subjective norm), finding it less difficult to avoid soft drinks (perceived behavioral control), being convinced they could avoid soft drinks in different situations (self-efficacy), having family and friends who rarely consume soft drinks (modelling), and having stricter family rules about soft drink intake were less likely to consume soft drinks. Students showing stronger behavioral control, having stricter family rules about energy drink intake, and reporting lower energy drink availability were less likely to consume energy drinks. Gender and residency moderated several associations between psychosocial constructs and consumption. Future research should investigate whether interventions focusing on the above personal and environmental correlates can indeed improve university studentsâ beverage choices. PMID:26258790 Diet Soft Drink Consumption is Associated with the Metabolic Syndrome: A Two Sample Comparison PubMed Central Crichton, Georgina; Alkerwi, Alaâa; Elias, Merrrill 2015-01-01 Comparative analyses of soft drink intakes in samples from the United States and Europe, and assessed intakes in relation to prevalence of metabolic syndrome (MetS) and its individual components are currently lacking. We used data collected on cardiovascular health and dietary intakes in participants from two cross-sectional studies: the Maine-Syracuse Longitudinal Study (MSLS), conducted in Central New York, USA in 2001â2006 (n = 803), and the Observation of Cardiovascular Risk Factors in Luxembourg Study (ORISCAV-LUX), conducted in 2007â2009 (n = 1323). Odds ratios for MetS were estimated according to type and quantity of soft drink consumption, adjusting for demographic, lifestyle and dietary factors, in both studies. In both studies, individuals who consumed at least one soft drink per day had a higher prevalence of MetS, than non-consumers. This was most evident for consumers of diet soft drinks, consistent across both studies. Diet soft drink intakes were also positively associated with waist circumference and fasting plasma glucose in both studies. Despite quite different consumption patterns of diet versus regular soft drinks in the two studies, findings from both support the notion that diet soft drinks are associated with a higher prevalence of MetS. PMID:25984744 Intake of high fructose corn syrup sweetened soft drinks is associated with prevalent chronic bronchitis in U.S. Adults, ages 20-55 y. PubMed DeChristopher, Luanne Robalo; Uribarri, Jaime; Tucker, Katherine L 2015-10-16 High fructose corn syrup (HFCS) sweetened soft drink intake has been linked with asthma in US high-schoolers. Intake of beverages with excess free fructose (EFF), including apple juice, and HFCS sweetened fruit drinks and soft drinks, has been associated with asthma in children. One hypothesis for this association is that underlying fructose malabsorption and fructose reactivity in the GI may contribute to in situ formation of enFruAGEs. EnFruAGEs may be an overlooked source of advanced glycation end-products (AGE) that contribute to lung disease. AGE/ RAGEs are elevated in COPD lungs. EFF intake has increased in recent decades, and intakes may exceed dosages associated with adult fructose malabsorption in subsets of the population. Intestinal dysfunction has been shown to be elevated in COPD patients. The objective of this study was to investigate the association between HFCS sweetened soft drink intake and chronic bronchitis (CB), a common manifestation of COPD, in adults. In this cross sectional analysis, the outcome variable was self-reported existing chronic bronchitis or history of CB. Exposure variable was non-diet soda. Rao Scott Ò²(2) was used for prevalence differences and logistic regression for associations, adjusted for age, sex, race-ethnicity, BMI, smoking, exposure to in-home smoking, pre-diabetes, diabetes, SES, total energy and total fruits and beverages consumption. Data are from the National Health and Nutrition Examination Survey 2003-2006. 2801 adults aged 20-55 y. There was a statistically significant correlation between intake of non-diet soft drinks and greater prevalence and odds of chronic bronchitis (pâ<â0.05). Independent of all covariates, intake of non-diet soda â¥5 times a week (vs. non/low non-diet soda) was associated with nearly twice the likelihood of having chronic bronchitis (ORâ=â1.80; pâ=â0.047; 95% CI 1.01-3.20). HFCS sweetened soft drink intake is correlated with chronic bronchitis in US adults aged 20-55 y Analysis of consumer complaints related to microbial contamination in soft drinks. PubMed Hara-Kudo, Yukiko; Goto, Keiichi; Onoue, Youichi; Watanabe, Maiko; Lee, Ken-ichi; Kumagai, Susumu; Sugita-Konishi, Yoshiko; Ohnishi, Takahiro 2009-12-01 Surveillance of consumer complaints related to microbial contamination in soft drinks indicated that tea drinks, and juice and juice drinks were major soft drinks involved in complaints. The frequency of complaints about juice and juice drinks is relatively high in relation to the production amount. Damage to containers during distribution and inappropriate storage of soft drinks by consumers are major causes of complaints. Molds were predominantly associated with complaints and symptoms caused by intake of contaminated soft drinks. To reduce complaints, more support for small companies, and greater education for carriers, dealers and consumers are needed. The Oslo Health Study: a Dietary Index estimating high intake of soft drinks and low intake of fruits and vegetables was positively associated with components of the metabolic syndrome. PubMed HÃ¸stmark, Arne TorbjÃ¸rn 2010-12-01 A previous finding that soft drink intake is associated with increased serum triglycerides and decreased high-density-lipoprotein (HDL) cholesterol, both components of the metabolic syndrome (MetS), raises the question of whether other aspects of an unhealthy diet might be associated with MetS. Main MetS requirements are central obesity and 2 of the following: increased triglycerides, low HDL, increased systolic or diastolic blood pressure, and elevated fasting blood glucose. Of the 18Â 770 participants in the Oslo Health Study, there were 13Â 170 respondents (5997 men and 7173 women) with data on MetS factors (except fasting glucose) and on the components used to determine the Dietary Index score (calculated as the intake estimate of soft drinks divided by the sum of intake estimates of fruits and vegetables). MetSRisk was calculated as the sum of arbitrarily weighted factors positively associated with MetS divided by HDL cholesterol. Using regression analyses, the association of the Dietary Index with MetSRisk, with the number of MetS requirements present, and with the complete MetS was studied. In young, middle-aged, and senior men and women, there was, in general, a positive association (pÂ < 0.001) between the Dietary Index and the MetS estimates, which persisted in regression models adjusted for sex, age, time since the last meal, intake of cheese, intake of fatty fish, intake of coffee, intake of alcohol, smoking, physical activity, education, and birthplace. Thus, an index reflecting a high intake of soft drinks and a low intake of fruit and vegetables was positively and independently associated with aspects of MetS. Restaurant foods, sugar-sweetened soft drinks, and obesity risk among young African American women. PubMed Boggs, Deborah A; Rosenberg, Lynn; Coogan, Patricia F; Makambi, Kepher H; Adams-Campbell, Lucile L; Palmer, Julie R 2013-01-01 The prevalence of obesity is disproportionately high in African American women, and consumption of fast foods and sugar-sweetened soft drinks is also especially high among African Americans. We investigated the relation of intakes of sugar-sweetened soft drinks and specific types of restaurant foods to obesity in the Black Women's Health Study. In this prospective cohort study, 19,479 non-obese women aged 21-39 years at baseline were followed for 14 years (1995-2009). Dietary intake was assessed by validated food frequency questionnaire in 1995 and 2001. Cox regression models were used to estimate hazard ratios (HR) and 95% confidence intervals (CI) for the association of intakes of restaurant foods and sugar-sweetened soft drinks with incident obesity. Higher intakes of burgers from restaurants and sugar-sweetened soft drinks were associated with greater risk of becoming obese. The associations were present in models that included both factors and adjusted for overall dietary pattern. The HR of obesity in relation to restaurant burger consumption of > or = 2 times/week compared with < 5 times/year was 1.26 (95% CI: 1.14-1.40; P-trend<.001). For sugar-sweetened soft drink intake, the HR was 1.10 (95% CI: .99-1.23; P-trend = .14) for > or = 2 drinks/day compared with < 1 drink/month. The associations were stronger among women younger than age 30 with normal weight at baseline. Frequent consumption of burgers from restaurants and sugar-sweetened soft drinks contribute to obesity among young African American women. Factors associated with high consumption of soft drinks among Australian secondary-school students. PubMed Scully, Maree; Morley, Belinda; Niven, Philippa; Crawford, David; Pratt, Iain S; Wakefield, Melanie 2017-09-01 To examine demographic and behavioural correlates of high consumption of soft drinks (non-alcoholic sugar-sweetened carbonated drinks excluding energy drinks) among Australian adolescents and to explore the associations between high consumption and soft drink perceptions and accessibility. Cross-sectional self-completion survey and height and weight measurements. Australian secondary schools. Students aged 12-17 years participating in the 2012-13 National Secondary Students' Diet and Activity (NaSSDA) survey (n 7835). Overall, 14 % of students reported consuming four or more cups (â¥1 litres) of soft drinks each week ('high soft drink consumers'). Demographic factors associated with high soft drink consumption were being male and having at least $AU 40 in weekly spending money. Behavioural factors associated with high soft drink consumption were low fruit intake, consuming energy drinks on a weekly basis, eating fast foods at least once weekly, eating snack foods â¥14 times/week, watching television for >2 h/d and sleeping for <8 h/school night. Students who perceived soft drinks to be usually available in their home, convenient to buy and good value for money were more likely to be high soft drink consumers, as were students who reported usually buying these drinks when making a beverage purchase from the school canteen/vending machine. High soft drink consumption clusters with other unhealthy lifestyle behaviours among Australian secondary-school students. Interventions focused on reducing the availability of soft drinks (e.g. increased taxes, restricting their sale in schools) as well as improved education on their harms are needed to lower adolescents' soft drink intake. Sugar-sweetened and artificially sweetened soft drinks in association to restrained, external and emotional eating. PubMed Elfhag, K; Tynelius, P; Rasmussen, F 2007-06-08 We studied sugar-sweetened soft drinks and light soft drinks in their associations to psychological constructs of eating behavior and demographic data for adults and children. Soft drink intakes were assessed by consumption of soft drinks in number of days the last week, and eating behavior was measured by the Dutch Eating Behaviour Questionnaire (DEBQ). The sample included 3265 men and women, and their 12-year old children, originating from Swedish national databases. Associations to younger age and lower education in adults were in particular apparent for sugar-sweetened soft drinks. Consumption of sugar-sweetened soft drinks was further associated to less restrained and more external eating in adults. In contrast, light soft drinks were associated with higher BMI, more restrained eating and also more emotional eating in adults. For the children these associations were generally weaker. Sugar-sweetened soft drinks are consumed by persons with a lower education, who furthermore are less prone to attempt to restrict their calorie intake, and by some of those who are sensitive to external stimuli of foods. Light soft drinks are rather chosen by the more heavy persons who try to restrict their energy intake perhaps in order to control the body weight, and more unexpectedly, by adults who eat for comfort. Being more sensitive to an external stimulus of food such as taste seems to imply proneness to consume sugar-sweetened soft drinks instead of the light versions. Light soft drinks may be perceived as an adequate substitute in the use of foods for comfort, meaning the sweet taste may be sufficient for this purpose. Restaurant foods, sugar-sweetened soft drinks, and obesity risk among young African American women PubMed Central Boggs, Deborah A.; Rosenberg, Lynn; Coogan, Patricia F.; Makambi, Kepher H.; Adams-Campbell, Lucile L.; Palmer, Julie R. 2013-01-01 Background The prevalence of obesity is disproportionately high in African American women, and consumption of fast foods and sugar-sweetened soft drinks is also especially high among African Americans. Objective We investigated the relation of intakes of sugar-sweetened soft drinks and specific types of restaurant foods to obesity in the Black Women's Health Study. Design In this prospective cohort study, 19,479 non-obese women aged 21â39 years at baseline were followed for 14 years (1995â2009). Dietary intake was assessed by validated food frequency questionnaire in 1995 and 2001. Main outcome measures Cox regression models were used to estimate hazard ratios (HR) and 95% confidence intervals (CI) for the association of intakes of restaurant foods and sugar-sweetened soft drinks with incident obesity. Results Higher intakes of burgers from restaurants and sugar-sweetened soft drinks were associated with greater risk of becoming obese. The associations were present in models that included both factors and adjusted for overall dietary pattern. The HR of obesity in relation to restaurant burger consumption of â¥2 times/week compared with <5 times/year was 1.26 (95% CI: 1.14â1.40; P-trend<0.001). For sugar-sweetened soft drink intake, the HR was 1.10 (95% CI: 0.99â1.23; P-trend=0.14) for â¥2 drinks/day compared with <1 drink/month. The associations were stronger among women younger than age 30 with normal weight at baseline. Conclusions Frequent consumption of burgers from restaurants and sugar-sweetened soft drinks contribute to obesity among young African American women. PMID:24392607 Intake of Sweets, Snacks and Soft Drinks Predicts Weight Gain in Obese Pregnant Women: Detailed Analysis of the Results of a Randomised Controlled Trial PubMed Central Renault, Kristina M.; Carlsen, Emma M.; NÃ¸rgaard, Kirsten; Nilas, Lisbeth; Pryds, Ole; Secher, Niels J.; Olsen, Sjurdur F.; Halldorsson, Thorhallur I. 2015-01-01 Background Lifestyle interventions targeting obese pregnant women often result in modest reduction in gestational weight gain, pregnancy complications and related risk factors. Examining adherence to the intervention can, however, provide valuable information on the importance of the different factors targeted. Objective To evaluate improvements and relevance of different dietary factors targeted with respect to gestational weight gain in a 3-arm Randomised Controlled Trial (n=342) among obese pregnant women with BMIâ¥30 kg/m2. Methods Randomisation 1:1:1 to either hypocaloric Mediterranean type of diet and physical activity intervention (D+PA); physical activity intervention alone (PA); or control (C). Diet was assessed at baseline (weeks 11â14) and endpoint (weeks 36â37) using a validated food frequency questionnaire. Results During the intervention women in the D+PA group significantly lowered their intakes of added sugars and saturated fat and increased their protein intake by ~1% of total energy compared to controls. Of these dietary variables only intakes of added sugar appeared to be related to GWG, while no association was observed for saturated fat or protein. Further analyses revealed that foods that contributed to intake of added sugars, including sweets, snacks, cakes, and soft drinks were strongly associated with weight gain, with women consuming sweets â¥2/day having 5.4 kg (95% CI 2.1-8.7) greater weight gain than those with a low (<1wk) intake. The results for soft drinks were more conflicting, as women with high weight gain tended to favour artificially sweetened soft drinks. Conclusion In our sample of obese pregnant women, craving for sweets, snacks, and soft drinks strongly predicts GWG. Emphasis on reducing intakes of these foods may be more relevant for limiting gestational weight gain than encouraging strict compliance to more specific diets. Trial Registration ClinicalTrials.gov NCT01345149 PMID:26192183 Intake of Sweets, Snacks and Soft Drinks Predicts Weight Gain in Obese Pregnant Women: Detailed Analysis of the Results of a Randomised Controlled Trial. PubMed Renault, Kristina M; Carlsen, Emma M; NÃ¸rgaard, Kirsten; Nilas, Lisbeth; Pryds, Ole; Secher, Niels J; Olsen, Sjurdur F; Halldorsson, Thorhallur I 2015-01-01 Lifestyle interventions targeting obese pregnant women often result in modest reduction in gestational weight gain, pregnancy complications and related risk factors. Examining adherence to the intervention can, however, provide valuable information on the importance of the different factors targeted. To evaluate improvements and relevance of different dietary factors targeted with respect to gestational weight gain in a 3-arm Randomised Controlled Trial (n=342) among obese pregnant women with BMIâ¥30 kg/m2. Randomisation 1:1:1 to either hypocaloric Mediterranean type of diet and physical activity intervention (D+PA); physical activity intervention alone (PA); or control (C). Diet was assessed at baseline (weeks 11-14) and endpoint (weeks 36-37) using a validated food frequency questionnaire. During the intervention women in the D+PA group significantly lowered their intakes of added sugars and saturated fat and increased their protein intake by ~1% of total energy compared to controls. Of these dietary variables only intakes of added sugar appeared to be related to GWG, while no association was observed for saturated fat or protein. Further analyses revealed that foods that contributed to intake of added sugars, including sweets, snacks, cakes, and soft drinks were strongly associated with weight gain, with women consuming sweets â¥2/day having 5.4 kg (95% CI 2.1-8.7) greater weight gain than those with a low (<1wk) intake. The results for soft drinks were more conflicting, as women with high weight gain tended to favour artificially sweetened soft drinks. In our sample of obese pregnant women, craving for sweets, snacks, and soft drinks strongly predicts GWG. Emphasis on reducing intakes of these foods may be more relevant for limiting gestational weight gain than encouraging strict compliance to more specific diets. ClinicalTrials.gov NCT01345149. Health Safety of Soft Drinks: Contents, Containers, and Microorganisms PubMed Central 2015-01-01 Soft drinks consumption is still a controversial issue for public health and public policy. Over the years, numerous studies have been conducted into the possible links between soft drink intake and medical problems, the results of which, however, remain highly contested. Nevertheless, as a result, increasing emphasis is being placed on the health properties of soft drinks, by both the industry and the consumers, for example, in the expanding area of functional drinks. Extensive legislation has been put in place to ensure that soft drinks manufacturers conform to established national and international standards. Consumers trust that the soft drinks they buy are safe and their quality is guaranteed. They also expect to be provided with information that can help them to make informed decisions about the purchase of products and that the information on product labels is not false or misleading. This paper provides a broad overview of available scientific knowledge and cites numerous studies on various aspects of soft drinks and their implications for health safety. Particular attention is given to ingredients, including artificial flavorings, colorings, and preservatives and to the lesser known risks of microbiological and chemical contamination during processing and storage. PMID:25695045 Health safety of soft drinks: contents, containers, and microorganisms. PubMed Kregiel, Dorota 2015-01-01 Soft drinks consumption is still a controversial issue for public health and public policy. Over the years, numerous studies have been conducted into the possible links between soft drink intake and medical problems, the results of which, however, remain highly contested. Nevertheless, as a result, increasing emphasis is being placed on the health properties of soft drinks, by both the industry and the consumers, for example, in the expanding area of functional drinks. Extensive legislation has been put in place to ensure that soft drinks manufacturers conform to established national and international standards. Consumers trust that the soft drinks they buy are safe and their quality is guaranteed. They also expect to be provided with information that can help them to make informed decisions about the purchase of products and that the information on product labels is not false or misleading. This paper provides a broad overview of available scientific knowledge and cites numerous studies on various aspects of soft drinks and their implications for health safety. Particular attention is given to ingredients, including artificial flavorings, colorings, and preservatives and to the lesser known risks of microbiological and chemical contamination during processing and storage. Is there a link between soft drinks and erectile dysfunction? PubMed Adamowicz, Jan; Drewa, Tomasz 2011-01-01 This review focuses on the potential role of soft drinks, particularly the sugar component, in the pathogenesis of erectile dysfunction (ED). We analyzed the hypothetical link between metabolic disorders, induced by sweetened soft drinks overconsumption, and ED. High caloric intake, high refined-carbohydrates, and high fructose corn syrup (HFCS) content and less satiety are main factors responsible for metabolic disorders contributing to ED development. Regular diet mistakes among human males, such as soft drink consumption, may lead to slow and asymptomatic progression of ED, finally resulting in full claimed manifestation of ED. Fluoride content in bottled drinking waters, carbonated soft drinks and fruit juices in Davangere city, India. PubMed Thippeswamy, H M; Kumar, Nanditha; Anand, S R; Prashant, G M; Chandu, G N 2010-01-01 The regular ingestion of fluoride lowers the prevalence of dental caries. The total daily intake of fluoride for optimal dental health should be 0.05-0.07 mg fluoride/kg body weight and to avoid the risk of dental fluorosis, the daily intake should not exceed a daily level of 0.10 mg fluoride/kg body weight. The main source of fluoride is from drinking water and other beverages. As in other countries, consumption of bottled water, juices and carbonated beverages has increased in our country. To analyze the fluoride content in bottled water, juices and carbonated soft drinks that were commonly available in Davangere city. Three samples of 10 commercially available brands of bottled drinking water, 12 fruit juices and 12 carbonated soft drinks were purchased. Bottled water and carbonated soft drinks were stored at a cold place until fluoride analysis was performed and a clear juice was prepared using different fruits without the addition of water. Then, the fluoride analysis was performed. The mean and standard deviation of fluoride content of bottled water, fruit juices and carbonated soft drinks were measured, which were found to be 0.20 mg (Â±0.19) F/L, 0.29 mg (Â±0.06) F/L and 0.22 mg (Â±0.05) F/L, respectively. In viewing the results of the present study, it can be concluded that regulation of the optimal range of fluoride in bottled drinking water, carbonated soft drinks and fruit juices should be drawn for the Indian scenario. Differential hypothalamic leptin sensitivity in obese rat offspring exposed to maternal and postnatal intake of chocolate and soft drink. PubMed Kjaergaard, M; Nilsson, C; Secher, A; Kildegaard, J; Skovgaard, T; Nielsen, M O; Grove, K; Raun, K 2017-01-16 Intake of high-energy foods and maternal nutrient overload increases the risk of metabolic diseases in the progeny such as obesity and diabetes. We hypothesized that maternal and postnatal intake of chocolate and soft drink will affect leptin sensitivity and hypothalamic astrocyte morphology in adult rat offspring. Pregnant Sprague-Dawley rats were fed ad libitum chow diet only (C) or with chocolate and high sucrose soft drink supplement (S). At birth, litter size was adjusted into 10 male offspring per mother. After weaning, offspring from both dietary groups were assigned to either S or C diet, giving four groups until the end of the experiment at 26 weeks of age. As expected, adult offspring fed the S diet post weaning became obese (body weight: P<0.01, %body fat per kg: P<0.001) and this was due to the reduced energy expenditure (P<0.05) and hypothalamic astrogliosis (P<0.001) irrespective of maternal diet. Interesting, offspring born to S-diet-fed mothers and fed the S diet throughout postnatal life became obese despite lower energy intake than controls (P<0.05). These SS offspring showed increased feed efficiency (P<0.001) and reduced fasting pSTAT3 activity (P<0.05) in arcuate nucleus (ARC) compared with other groups. The findings indicated that the combination of the maternal and postnatal S-diet exposure induced persistent changes in leptin signalling, hence affecting energy balance. Thus, appetite regulation was more sensitive to the effect of leptin than energy expenditure, suggesting differential programming of leptin sensitivity in ARC in SS offspring. Effects of the maternal S diet were normalized when offspring were fed a chow diet after weaning. Maternal intake of chocolate and soft drink had long-term consequences for the metabolic phenotype in the offspring if they continued on the S diet in postnatal life. These offspring displayed obesity despite lowered energy intake associated with alterations in hypothalamic leptin signalling. Differential hypothalamic leptin sensitivity in obese rat offspring exposed to maternal and postnatal intake of chocolate and soft drink PubMed Central Kjaergaard, M; Nilsson, C; Secher, A; Kildegaard, J; Skovgaard, T; Nielsen, M O; Grove, K; Raun, K 2017-01-01 Background/objective: Intake of high-energy foods and maternal nutrient overload increases the risk of metabolic diseases in the progeny such as obesity and diabetes. We hypothesized that maternal and postnatal intake of chocolate and soft drink will affect leptin sensitivity and hypothalamic astrocyte morphology in adult rat offspring. Methods: Pregnant Sprague-Dawley rats were fed ad libitum chow diet only (C) or with chocolate and high sucrose soft drink supplement (S). At birth, litter size was adjusted into 10 male offspring per mother. After weaning, offspring from both dietary groups were assigned to either S or C diet, giving four groups until the end of the experiment at 26 weeks of age. Results: As expected, adult offspring fed the S diet post weaning became obese (body weight: P<0.01, %body fat per kg: P<0.001) and this was due to the reduced energy expenditure (P<0.05) and hypothalamic astrogliosis (P<0.001) irrespective of maternal diet. Interesting, offspring born to S-diet-fed mothers and fed the S diet throughout postnatal life became obese despite lower energy intake than controls (P<0.05). These SS offspring showed increased feed efficiency (P<0.001) and reduced fasting pSTAT3 activity (P<0.05) in arcuate nucleus (ARC) compared with other groups. The findings indicated that the combination of the maternal and postnatal S-diet exposure induced persistent changes in leptin signalling, hence affecting energy balance. Thus, appetite regulation was more sensitive to the effect of leptin than energy expenditure, suggesting differential programming of leptin sensitivity in ARC in SS offspring. Effects of the maternal S diet were normalized when offspring were fed a chow diet after weaning. Conclusions: Maternal intake of chocolate and soft drink had long-term consequences for the metabolic phenotype in the offspring if they continued on the S diet in postnatal life. These offspring displayed obesity despite lowered energy intake associated with Long-term soft drink and aspartame intake induces hepatic damage via dysregulation of adipocytokines and alteration of the lipid profile and antioxidant status. PubMed Lebda, Mohamed A; Tohamy, Hossam G; El-Sayed, Yasser S 2017-05-01 Dietary intake of fructose corn syrup in sweetened beverages is associated with the development of metabolic syndrome and obesity. We hypothesized that inflammatory cytokines play a role in lipid storage and induction of liver injury. Therefore, this study intended to explore the expression of adipocytokines and its link to hepatic damage. Rats were assigned to drink water, cola soft drink (free access) and aspartame (240 mg/kg body weight/day orally) for 2 months. The lipid profiles, liver antioxidants and pathology, and mRNA expression of adipogenic cytokines were evaluated. Subchronic intake of soft drink or aspartame substantially induced hyperglycemia and hypertriacylglycerolemia, as represented by increased serum glucose, triacylglycerol, low-density lipoprotein and very low-density lipoprotein cholesterol, with obvious visceral fatty deposition. These metabolic syndromes were associated with the up-regulation of leptin and down-regulation of adiponectin and peroxisome proliferator activated receptor-Î³ (PPAR-Î³) expression. Moreover, alterations in serum transaminases accompanied by hepatic oxidative stress involving induction of malondialdehyde and reduction of superoxide dismutase, catalase, and glutathione peroxidase and glutathione levels are indicative of oxidative hepatic damage. Several cytoarchitecture alterations were detected in the liver, including degeneration, infiltration, necrosis, and fibrosis, predominantly with aspartame. These data suggest that long-term intake of soft drink or aspartame-induced hepatic damage may be mediated by the induction of hyperglycemia, lipid accumulation, and oxidative stress with the involvement of adipocytokines. Copyright Â© 2017 Elsevier Inc. All rights reserved. Intake of high-fructose corn syrup sweetened soft drinks, fruit drinks and apple juice is associated with prevalent arthritis in US adults, aged 20-30 years. PubMed DeChristopher, L R; Uribarri, J; Tucker, K L 2016-03-07 There is a link between joint and gut inflammation of unknown etiology in arthritis. Existing research indicates that regular consumption of high-fructose corn syrup sweetened (HFCS) soft drinks, but not diet soft drinks, may be associated with increased risk of seropositive rheumatoid arthritis (RA) in women, independent of other dietary and lifestyle factors. One unexplored hypothesis for this association is that fructose malabsorption, due to regular consumption of excess free fructose (EFF) and HFCS, contributes to fructose reactivity in the gastrointestinal tract and intestinal in situ formation of enFruAGEs, which once absorbed, travel beyond the intestinal boundaries to other tissues and promote inflammation. In separate studies, the accumulation of advanced glycation end-products has been associated with joint inflammation in RA. Objective of this study was to assess the association between EFF beverages intake and non-age, non-wear and tear-associated arthritis in US young adults. In this cross sectional study of 1209 adults aged 20-30y, (Nutrition and Health Examination Surveys 2003-2006) exposure variables were high EFF beverages, including HFCS sweetened soft drinks, and any combination of HFCS sweetened soft drinks, fruit drinks (FD) and apple juice, referred to as tEFF. Analyses of diet soda and diet FD were included for comparison. The outcome was self-reported arthritis. Rao Scott Ò²(2) was used for prevalence differences and logistic regression for associations, adjusted for confounders. Young adults consuming any combination of high EFF beverages (tEFF) â©¾5 times/week (but not diet soda) were three times as likely to have arthritis as non/low consumers (odds ratios=3.01; pâ©½0.021; 95% confidence intervals=1.20-7.59), independent of all covariates, including physical activity, other dietary factors, blood glucose and smoking. EFF beverage intake is significantly associated with arthritis in US adults aged 20-30 years, possibly due to the Sugar-sweetened soft drinks are associated with poorer cognitive function in individuals with type 2 diabetes: the Maine-Syracuse Longitudinal Study. PubMed Crichton, Georgina E; Elias, Merrill F; Torres, Rachael V 2016-04-01 The importance of adequate nutrition on cognitive performance is well recognised. Greater intakes of soft drinks are associated with a higher risk for type 2 diabetes, as well as other cardiometabolic diseases. A few studies have specifically examined whether the intake of soft drinks may be related to cognitive function. The aim of this study was to investigate whether soft drink intakes, including both sugar-sweetened and diet beverages, are associated with cognitive function, with adjustment for cardiovascular, lifestyle and dietary factors, and stratified according to type 2 diabetes status. Cross-sectional analyses were undertaken using 803 community-dwelling participants, aged 23-98 years, from the Maine-Syracuse Longitudinal Study. Cognitive function was measured using an extensive battery of neuropsychological tests. Usual dietary intake of soft drinks was assessed using a FFQ. Stratification by type 2 diabetes indicated that a greater intake of sugar-sweetened soft drinks was significantly associated with poorer performance in visual spatial memory, working memory, scanning and tracking, executive function, the global composite and the Mini-Mental State Examination in diabetic individuals. These relations were not attenuated with statistical control for BMI and other cardiovascular, lifestyle and dietary factors. Diet soft drink intake was unrelated to cognitive performance. Frequent sugar-sweetened soft drink intake was associated with poorer cognitive performance, particularly in individuals with type 2 diabetes, but the underlying causal mechanisms are yet to be determined. Longitudinal studies are needed to clarify these findings and the underlying causal mechanisms. Perceived rules and accessibility: measurement and mediating role in the association between parental education and vegetable and soft drink intake. PubMed Gebremariam, Mekdes K; Lien, Nanna; Torheim, Liv Elin; Andersen, Lene F; Melbye, Elisabeth L; Glavin, Kari; Hausken, Solveig E S; Sleddens, Ester F C; Bjelland, Mona 2016-08-17 low educational background, should be encouraged to increase the accessibility of vegetables and to decrease the accessibility of soft drinks, in particular during dinner. Enforcing parental rules limiting soft drink intake in families with low parental education also appears relevant. Risk assessment of additives through soft drinks and nectars consumption on Portuguese population: a 2010 survey. PubMed Diogo, Janina S G; Silva, Liliana S O; Pena, Angelina; Lino, Celeste M 2013-12-01 This study investigated whether the Portuguese population is at risk of exceeding ADI levels for acesulfame-K, saccharin, aspartame, caffeine, benzoic and sorbic acid through an assessment of dietary intake of additives and specific consumption of four types of beverages, traditional soft drinks and soft drinks based on mineral waters, energetic drinks, and nectars. The highest mean levels of additives were found for caffeine in energetic drinks, 293.5mg/L, for saccharin in traditional soft drinks, 18.4 mg/L, for acesulfame-K and aspartame in nectars, with 88.2 and 97.8 mg/L, respectively, for benzoic acid in traditional soft drinks, 125.7 mg/L, and for sorbic acid in soft drinks based on mineral water, 166.5 mg/L. Traditional soft drinks presented the highest acceptable daily intake percentages (ADIs%) for acesulfame-K, aspartame, benzoic and sorbic acid and similar value for saccharin (0.5%) when compared with soft drinks based on mineral water, 0.7%, 0.08%, 7.3%, and 1.92% versus 0.2%, 0.053%, 0.6%, and 0.28%, respectively. However for saccharin the highest percentage of ADI was obtained for nectars, 0.9%, in comparison with both types of soft drinks, 0.5%. Therefore, it is concluded that the Portuguese population is not at risk of exceeding the established ADIs for the studied additives. Copyright Â© 2013. Published by Elsevier Ltd. Intake of high-fructose corn syrup sweetened soft drinks, fruit drinks and apple juice is associated with prevalent arthritis in US adults, aged 20â30 years PubMed Central DeChristopher, L R; Uribarri, J; Tucker, K L 2016-01-01 Objective: There is a link between joint and gut inflammation of unknown etiology in arthritis. Existing research indicates that regular consumption of high-fructose corn syrup sweetened (HFCS) soft drinks, but not diet soft drinks, may be associated with increased risk of seropositive rheumatoid arthritis (RA) in women, independent of other dietary and lifestyle factors. One unexplored hypothesis for this association is that fructose malabsorption, due to regular consumption of excess free fructose (EFF) and HFCS, contributes to fructose reactivity in the gastrointestinal tract and intestinal in situ formation of enFruAGEs, which once absorbed, travel beyond the intestinal boundaries to other tissues and promote inflammation. In separate studies, the accumulation of advanced glycation end-products has been associated with joint inflammation in RA. Objective of this study was to assess the association between EFF beverages intake and non-age, non-wear and tear-associated arthritis in US young adults. Methods: In this cross sectional study of 1209 adults aged 20â30y, (Nutrition and Health Examination Surveys 2003â2006) exposure variables were high EFF beverages, including HFCS sweetened soft drinks, and any combination of HFCS sweetened soft drinks, fruit drinks (FD) and apple juice, referred to as tEFF. Analyses of diet soda and diet FD were included for comparison. The outcome was self-reported arthritis. Rao Scott Ò²2 was used for prevalence differences and logistic regression for associations, adjusted for confounders. Results: Young adults consuming any combination of high EFF beverages (tEFF) â©¾5 times/week (but not diet soda) were three times as likely to have arthritis as non/low consumers (odds ratios=3.01; pâ©½0.021; 95% confidence intervals=1.20â7.59), independent of all covariates, including physical activity, other dietary factors, blood glucose and smoking. Conclusion: EFF beverage intake is significantly associated with arthritis in US adults Intake of Caffeinated Soft Drinks before and during Pregnancy, but Not Total Caffeine Intake, Is Associated with Increased Cerebral Palsy Risk in the Norwegian Mother and Child Cohort Study. PubMed TollÃ¥nes, Mette C; Strandberg-Larsen, Katrine; Eichelberger, Kacey Y; Moster, Dag; Lie, Rolv Terje; BrantsÃ¦ter, Anne Lise; Meltzer, Helle Margrete; Stoltenberg, Camilla; Wilcox, Allen J 2016-09-01 Postnatal administration of caffeine may reduce the risk of cerebral palsy (CP) in vulnerable low-birth-weight neonates. The effect of antenatal caffeine exposure remains unknown. We investigated the association of intake of caffeine by pregnant women and risk of CP in their children. The study was based on The Norwegian Mother and Child Cohort Study, comprising >100,000 live-born children, of whom 222 were subsequently diagnosed with CP. Mothers reported their caffeine consumption in questionnaires completed around pregnancy week 17 (102,986 mother-child pairs), week 22 (87,987 mother-child pairs), and week 30 (94,372 mother-child pairs). At week 17, participants were asked about present and prepregnancy consumption. We used Cox regression models to estimate associations between exposure [daily servings (1 serving = 125 mL) of caffeinated coffee, tea, and soft drinks and total caffeine consumption] and CP in children, with nonconsumers as the reference group. Models included adjustment for maternal age and education, medically assisted reproduction, and smoking, and for each source of caffeine, adjustments were made for the other sources. Total daily caffeine intake before and during pregnancy was not associated with CP risk. High consumption (â¥6 servings/d) of caffeinated soft drinks before pregnancy was associated with an increased CP risk (HR: 1.9; 95% CI: 1.2, 3.1), and children of women consuming 3-5 daily servings of caffeinated soft drinks during pregnancy weeks 13-30 also had an increased CP risk (HR: 1.7; 95% CI: 1.1, 2.8). A mean daily consumption of 51-100 mg caffeine from soft drinks during the first half of pregnancy was associated with a 1.9-fold increased risk of CP in children (HR: 1.9; 95% CI: 1.1, 3.6). Maternal total daily caffeine consumption before and during pregnancy was not associated with CP risk in children. The observed increased risk with caffeinated soft drinks warrants further investigation. Â© 2016 American Society for Nutrition. Evaluation of Drinks Contribution to Energy Intake in Summer and Winter PubMed Central Malisova, Olga; Bountziouka, Vassiliki; Zampelas, Antonis; Kapsokefalou, Maria 2015-01-01 All drinks hydrate and most also provide nutrients and energy. Our objective was to evaluate the contribution of drinks to total energy intake in summer and winter. Data were obtained using the Water Balance Questionnaire (WBQ) from a sample of the general population in Athens, Greece (n = 984), 473 individuals (42 Â± 18 years) in summer and 511 individuals (38 Â± 20 years) in winter stratified by sex and age. The WBQ embeds a semi-quantitative food frequency questionnaire of 58 foods and the Short International Physical Activity Questionnaire. Data were analyzed for the contribution of drinks to total energy intake. In winter, total energy intake was 2082 Â± 892 kcal/day; energy intake from drinks was 479 Â± 286 kcal/day and energy expenditure 1860 Â± 390 kcal/day. In summer, total energy intake was 1890 Â± 894 kcal/day, energy intake from drinks 492 Â± 499 kcal/day and energy expenditure 1830 Â± 491 kcal/day. Energy intake from drinks in summer was higher than in winter (p < 0.001) and in men higher than in women in both seasons (p < 0.001 in summer, p = 0.02 in winter). Coffee, coffee drinks, milk, chocolate milk and alcoholic drinks contributed approximately 75% of energy from drinks. Fruit juice and sugar-sweetened drinks, including soft drinks and fruit juice based drinks, were consumed less frequently contributing up to 25% of drink energy intake. Drinks contribute approximately 1/4 of total energy intake depending on the energy content of the drink and frequency of consumption. Coffee, dairy and alcoholic drinks were the main energy contributors. PMID:25988765 Evaluation of drinks contribution to energy intake in summer and winter. PubMed Malisova, Olga; Bountziouka, Vassiliki; Zampelas, Antonis; Kapsokefalou, Maria 2015-05-15 All drinks hydrate and most also provide nutrients and energy. Our objective was to evaluate the contribution of drinks to total energy intake in summer and winter. Data were obtained using the Water Balance Questionnaire (WBQ) from a sample of the general population in Athens, Greece (n = 984), 473 individuals (42 Â± 18 years) in summer and 511 individuals (38 Â± 20 years) in winter stratified by sex and age. The WBQ embeds a semi-quantitative food frequency questionnaire of 58 foods and the Short International Physical Activity Questionnaire. Data were analyzed for the contribution of drinks to total energy intake. In winter, total energy intake was 2082 Â± 892 kcal/day; energy intake from drinks was 479 Â± 286 kcal/day and energy expenditure 1860 Â± 390 kcal/day. In summer, total energy intake was 1890 Â± 894 kcal/day, energy intake from drinks 492 Â± 499 kcal/day and energy expenditure 1830 Â± 491 kcal/day. Energy intake from drinks in summer was higher than in winter (p < 0.001) and in men higher than in women in both seasons (p < 0.001 in summer, p = 0.02 in winter). Coffee, coffee drinks, milk, chocolate milk and alcoholic drinks contributed approximately 75% of energy from drinks. Fruit juice and sugar-sweetened drinks, including soft drinks and fruit juice based drinks, were consumed less frequently contributing up to 25% of drink energy intake. Drinks contribute approximately 1/4 of total energy intake depending on the energy content of the drink and frequency of consumption. Coffee, dairy and alcoholic drinks were the main energy contributors. Soft drinks consumption, diet quality and BMI in a Mediterranean population. PubMed Balcells, Eva; Delgado-Noguera, Mario; Pardo-Lozano, Ricardo; Roig-GonzÃ¡lez, TaÃ¯s; Renom, Anna; GonzÃ¡lez-Zobl, Griselda; MuÃ±oz-Ortego, Juan; Valiente-HernÃ¡ndez, Susana; Pou-Chaubron, Marina; SchrÃ¶der, Helmut 2011-05-01 Evidence of the effects of soft drinks consumption on BMI and lifestyle in adult populations is mixed and quite limited. The aim of the present study was to determine the association of soft drinks consumption with BMI and lifestyle in a representative Mediterranean population. Two independent, population-based, cross-sectional (2000 and 2005) studies. Dietary intake was assessed using a validated FFQ. Weight and height were measured. Girona, Spain. Random sample of the 35- to 74-year-old population (3910 men and 4285 women). Less than half (41Â·7%) of the population consumed soft drinks; the mean consumption was 36Â·2 ml/d. The prevalence of sedentary lifestyle increased with the frequency of soft drinks consumption (P = 0Â·025). Daily soft drinks consumption significantly increased the risk of low adherence to the Mediterranean diet (OR = 0Â·57, 95% CI 0Â·44, 0Â·74 v. top tertile of Mediterranean diet score). Multiple linear regression analyses, controlled for potential confounders, revealed that an increment in soft drinks consumption of 100 ml was associated with a 0Â·21 kg/mÂ² increase in BMI (P = 0Â·001). Only implausibly low reports of energy consumption showed a null association between soft drinks consumption and BMI. Soft drinks consumption was not embedded in a healthy diet context and was positively associated with BMI and sedentary lifestyle in this Mediterranean population. School Soft Drink Availability and Consumption Among U.S. Secondary Students PubMed Central Terry-McElrath, Yvonne M.; OâMalley, Patrick M.; Johnston, Lloyd D. 2013-01-01 Background Consumption of sugar-sweetened beverages (SSBs) such as soft drinks has been associated with significantly increased energy intake and body weight. One strategy used to reduce soft drink consumption among adolescents has been reducing availability in schools; however, research is limited on associations between availability of soft drinks in school and student consumption. Purpose This study examines associations between regular and diet soft drink availability in schools and student consumption using data from 329 secondary schools and 9284 students. Methods Data were obtained from two sources: (1) nationally representative cross-sectional samples of students in Grades 8, 10, and 12 from U.S. public and private schools in 2010 and 2011 in the Monitoring the Future study; and (2) administrators of the same schools in the Youth, Education, and Society study. Multilevel modeling conducted in 2012 examined associations between school availability and student consumption controlling for student sociodemographics and school characteristics. Results In the total sample of more than 9000 students, regular and diet soft drink availability in school was not related to student consumption of these beverages in multivariate models. Yet, among African-American high school students, school regular and diet soft drink availability was significantly related to higher daily consumption (both before and after controlling for student and school factors). Conclusions Although removal of soft drinks from schools may not result in significantly lower overall student consumption, such actions may result in significant decreases in soft drink consumption for specific student groups. PMID:23683974 Consumption of Artificially-Sweetened Soft Drinks in Pregnancy and Risk of Child Asthma and Allergic Rhinitis PubMed Central Maslova, Ekaterina; StrÃ¸m, Marin; Olsen, Sjurdur F.; Halldorsson, Thorhallur I. 2013-01-01 Background Past evidence has suggested a role of artificial sweeteners in allergic disease; yet, the evidence has been inconsistent and unclear. Objective To examine relation of intake of artificially-sweetened beverages during pregnancy with child asthma and allergic rhinitis at 18 months and 7 years. Methods We analyzed data from 60,466 women enrolled during pregnancy in the prospective longitudinal Danish National Birth Cohort between 1996 and 2003. At the 25th week of gestation we administered a validated Food Frequency Questionnaire which asked in detail about intake of artificially-sweetened soft drinks. At 18 months, we evaluated child asthma using interview data. We also assessed asthma and allergic rhinitis through a questionnaire at age 7 and by using national registries. Current asthma was defined as self-reported asthma diagnosis and wheeze in the past 12 months. We examined the relation between intake of artificially-sweetened soft drinks and child allergic disease outcomes and present here odds ratios with 95% CI comparing daily vs. no intake. Results At 18 months, we found that mothers who consumed more artificially-sweetened non-carbonated soft drinks were 1.23 (95% CI: 1.13, 1.33) times more likely to report a child asthma diagnosis compared to non-consumers. Similar results were found for child wheeze. Consumers of artificially-sweetened carbonated drinks were more likely to have a child asthma diagnosis in the patient (1.30, 95% CI: 1.01, 1.66) and medication (1.13, 95% CI: 0.98, 1.29) registry, as well as self-reported allergic rhinitis (1.31, 95% CI: 0.98, 1.74) during the first 7 years of follow-up. We found no associations for sugar-sweetened soft drinks. Conclusion Carbonated artificially-sweetened soft drinks were associated with registry-based asthma and self-reported allergic rhinitis, while early childhood outcomes were related to non-carbonated soft drinks. These results suggest that consumption of artificially-sweetened soft drinks Dental plaque pH variation with regular soft drink, diet soft drink and high energy drink: an in vivo study. PubMed Jawale, Bhushan Arun; Bendgude, Vikas; Mahuli, Amit V; Dave, Bhavana; Kulkarni, Harshal; Mittal, Simpy 2012-03-01 A high incidence of dental caries and dental erosion associated with frequent consumption of soft drinks has been reported. The purpose of this study was to evaluate the pH response of dental plaque to a regular, diet and high energy drink. Twenty subjects were recruited for this study. All subjects were between the ages of 20 and 25 and had at least four restored tooth surfaces present. The subjects were asked to refrain from brushing for 48 hours prior to the study. At baseline, plaque pH was measured from four separate locations using harvesting method. Subjects were asked to swish with 15 ml of the respective soft drink for 1 minute. Plaque pH was measured at the four designated tooth sites at 5, 10 and 20 minutes intervals. Subjects then repeated the experiment using the other two soft drinks. pH was minimum for regular soft drink (2.65 Â± 0.026) followed by high energy drink (3.39 Â± 0.026) and diet soft drink (3.78 Â± 0.006). The maximum drop in plaque pH was seen with regular soft drink followed by high energy drink and diet soft drink. Regular soft drink possesses a greater acid challenge potential on enamel than diet and high energy soft drinks. However, in this clinical trial, the pH associated with either soft drink did not reach the critical pH which is expected for enamel demineralization and dissolution. School soft drink availability and consumption among U.S. secondary students. PubMed Terry-McElrath, Yvonne M; O'Malley, Patrick M; Johnston, Lloyd D 2013-06-01 Consumption of sugar-sweetened beverages (SSBs) such as soft drinks has been associated with significantly increased energy intake and body weight. One strategy used to reduce soft drink consumption among adolescents has been reducing availability in schools; however, research is limited on associations between availability of soft drinks in school and student consumption. This study examines associations between regular and diet soft drink availability in schools and student consumption using data from 329 secondary schools and 9284 students. Data were obtained from two sources: (1) nationally representative cross-sectional samples of students in Grades 8, 10, and 12 from U.S. public and private schools in 2010 and 2011 in the Monitoring the Future study and (2) administrators of the same schools in the Youth, Education, and Society study. Multilevel modeling conducted in 2012 examined associations between school availability and student consumption controlling for student sociodemographics and school characteristics. In the total sample of more than 9000 students, regular and diet soft drink availability in school was not related to student consumption of these beverages in multivariate models. Yet, among African-American high school students, school regular and diet soft drink availability was significantly related to higher daily consumption (both before and after controlling for student and school factors). Although removal of soft drinks from schools may not result in significantly lower overall student consumption, such actions may result in significant decreases in soft drink consumption for specific student groups. Copyright Â© 2013 American Journal of Preventive Medicine. Published by Elsevier Inc. All rights reserved. Consumption of sugar-sweetened and artificially sweetened soft drinks and risk of obesity-related cancers. PubMed Hodge, Allison M; Bassett, Julie K; Milne, Roger L; English, Dallas R; Giles, Graham G 2018-06-01 To test the hypothesis that more frequent consumption of sugar-sweetened soft drinks would be associated with increased risk of obesity-related cancers. Associations for artificially sweetened soft drinks were assessed for comparison. Prospective cohort study with cancers identified by linkage to cancer registries. At baseline, participants completed a 121-item FFQ including separate questions about the number of times in the past year they had consumed sugar-sweetened or artificially sweetened soft drinks. Anthropometric measurements, including waist circumference, were taken and questions about smoking, leisure-time physical activity and intake of alcoholic beverages were completed. The Melbourne Collaborative Cohort Study (MCCS) is a prospective cohort study which recruited 41 514 men and women aged 40-69 years between 1990 and 1994. A second wave of data collection occurred in 2003-2007. Data for 35 593 participants who developed 3283 incident obesity-related cancers were included in the main analysis. Increasing frequency of consumption of both sugar-sweetened and artificially sweetened soft drinks was associated with greater waist circumference at baseline. For sugar-sweetened soft drinks, the hazard ratio (HR) for obesity-related cancers increased as frequency of consumption increased (HR for consumption >1/d v. 1/d v. <1/month=1Â·00; 95 % CI 0Â·79, 1Â·27; P-trend=0Â·61). Our results add to the justification to minimise intake of sugar-sweetened soft drinks. Soft drink consumption and gestational diabetes risk in the SUN project. PubMed Donazar-Ezcurra, Mikel; Lopez-Del Burgo, Cristina; Martinez-Gonzalez, Miguel A; Basterra-Gortari, Francisco J; de Irala, Jokin; Bes-Rastrollo, Maira 2018-04-01 Gestational diabetes mellitus (GDM) prevalence is increasing worldwide. To the best of our knowledge the specific evaluation of soft drink consumption as a risk factor for developing GDM has only been conducted in the Nurses' Health Study II. To investigate the incidence of GDM according to soft drink consumption in the SUN project. The "Seguimiento Universidad de Navarra" (SUN) project is a prospective and dynamic cohort which included data of 3396 women who notified at least one pregnancy between December 1999 and March 2012. A validated 136-item semi-quantitative food frequency questionnaire was used to assess soft drink consumption. Four categories of sugar-sweetened soft drink (SSSD) and diet soft drink (DSD) consumption (servings) were established: rarely or never (<1/month), low (1-3/month), intermediate (>3/month and â¤1/week) and high (â¥2/week). Potential confounders were adjusted through non-conditional logistic regression models. During the follow-up, we identified 172 incident cases of GDM. After adjusting for age, baseline body mass index, family history of diabetes, smoking, total energy intake, physical activity, parity, fast-food consumption, adherence to Mediterranean dietary pattern, alcohol intake, multiple pregnancy, cardiovascular disease/hypertension at baseline, fiber intake, following special diet and snacking, SSSD consumption was significantly associated with an increased risk of incident GDM, with multivariable adjusted odds ratios (OR) of 2.03 (95% confidence interval [CI]: 1.25-3.31) and 1.67 (95% CI: 1.01-2.77) for the highest and intermediate categories, respectively, versus the lowest category (p for linear trend: 0.006). Conversely, DSD consumption was not associated with GDM incidenceÂ (adjusted OR: 0.82; 95% CI: 0.52-1.31) for the highest versus the lowest category (p for linear trend: 0.258). Additional sensitivity analyses did not change the results. Higher consumption of SSSDs before pregnancy was an independent risk factor Associations between parental limits, school vending machine purchases, and soft drink consumption among Kentucky middle school students. PubMed Nickelson, Jen; Roseman, Mary G; Forthofer, Melinda S 2010-01-01 To examine associations between parental limits on soft drinks and purchasing soft drinks from school vending machines and consuming soft drinks among middle school students. Secondary analysis of cross-sectional data from the middle school Youth Risk Behavior Survey. Eight public middle schools in central Kentucky. All sixth- through eighth-grade students in 7 schools and all eighth-grade students in 1 school (n = 4,049). Self-reported parental limits on soft drink intake, school vending machine soft drink purchases, soft drink consumption, and control variables. Chi-square and binary logistic regression analyses. Compared to students with no parental limits on soft drink consumption, students with the strictest limits were less likely to purchase soft drinks from school vending machines and consume soft drinks; conversely, students with minor parental limitations were more likely to consume soft drinks. The odds of consuming soft drinks were nearly 4 times greater when students purchased soft drinks from school vending machines than when they did not. Further research may enhance understanding of the influence of varying degrees of parental limitations. Efforts to reduce children's soft drink consumption may be augmented by policies limiting soft drink purchases in schools. Copyright 2010 Society for Nutrition Education. Published by Elsevier Inc. All rights reserved. [Soft-drinks and health]. PubMed Amato, D; Maravilla, A; GarcÃa-Contreras, F; Paniagua, R 1997-01-01 To analyze published papers about soft drinks use, and to describe possible health benefits, risks, and damages related to soft drink consumption. INFORMATION SOURCE: A search was done in the MEDLINE compact disks, from January 1970 to January 1997, with the keywords soft drink, beverages, carbonated beverages, cola, Coca-Cola and sweetening-agents. Ninety nine papers reporting health-related damages or benefits in clinical or experimental studies were reviewed. All articles with a clear description of at least one beneficial or harmful effect related to soft drink consumption were considered. There were reports on 25 harmful effects and of 7 possibly beneficial effects. Data are classified in prophylactic and therapeutic uses, dental caries and other dental disorders, mineral metabolism disorders, acid-peptic disease, neoplasm, risk factors for cardiovascular disease, effects on central nervous system, reproduction, allergy, and miscellaneous. High prevalence of exposure and excessive consumption of soft drinks may represent a public health problem in Mexico. Data analysis shows that soft drink consumption may not be as harmless as generally believed. Many of the reports are anecdotal, without a suitable methodological design. A wide field for research is present in this area. Consumption of soft drinks and juices and risk of liver and biliary tract cancers in a European cohort. PubMed Stepien, Magdalena; Duarte-Salles, Talita; Fedirko, Veronika; Trichopoulou, Antonia; Lagiou, Pagona; Bamia, Christina; Overvad, Kim; TjÃ¸nneland, Anne; Hansen, Louise; Boutron-Ruault, Marie-Christine; Fagherazzi, Guy; Severi, Gianluca; KÃ¼hn, Tilman; Kaaks, Rudolf; Aleksandrova, Krasimira; Boeing, Heiner; Klinaki, Eleni; Palli, Domenico; Grioni, Sara; Panico, Salvatore; Tumino, Rosario; Naccarati, Alessio; Bueno-de-Mesquita, H Bas; Peeters, Petra H; Skeie, Guri; Weiderpass, Elisabete; Parr, Christine L; QuirÃ³s, JosÃ© RamÃ³n; Buckland, Genevieve; Molina-Montes, Esther; Amiano, Pilar; Chirlaque, Maria-Dolores; Ardanaz, Eva; Sonestedt, Emily; Ericson, Ulrika; Wennberg, Maria; Nilsson, Lena Maria; Khaw, Kay-Tee; Wareham, Nick; Bradbury, Kathryn E; Ward, Heather A; Romieu, Isabelle; Jenab, Mazda 2016-02-01 The aim of the study was to assess associations between intake of combined soft drinks (sugar sweetened and artificially sweetened) and fruit and vegetable juices and the risk of hepatocellular carcinoma (HCC), intrahepatic bile duct (IHBC) and biliary tract cancers (GBTC) using data from the European Prospective Investigation into Cancer and Nutrition cohort of 477,206 participants from 10 European countries. After 11.4 years of follow-up, 191 HCC, 66 IHBC and 236 GBTC cases were identified. Hazard ratios and 95% confidence intervals (HR; 95% CI) were estimated with Cox regression models with multivariable adjustment (baseline total energy intake, alcohol consumption and intake pattern, body mass index, physical activity, level of educational attainment and self-reported diabetes status). No risk associations were observed for IHBC or GBTC. Combined soft drinks consumption of >6 servings/week was positively associated with HCC risk: HR 1.83; 95% CI 1.11-3.02, p trend = 0.01 versus non-consumers. In sub-group analyses available for 91% of the cohort artificially sweetened soft drinks increased HCC risk by 6% per 1 serving increment (HR 1.06, 95% CI 1.03-1.09, n cases = 101); for sugar-sweetened soft drinks, this association was null (HR 1.00, 95% CI 0.95-1.06; n cases = 127, p heterogeneity = 0.07). Juice consumption was not associated with HCC risk, except at very low intakes (<1 serving/week: HR 0.60; 95% CI 0.38-0.95; p trend = 0.02 vs. non-consumers). Daily intake of combined soft drinks is positively associated with HCC, but a differential association between sugar and artificially sweetened cannot be discounted. This study provides some insight into possible associations of HCC with sugary drinks intake. Further exploration in other settings is required. Consumption of caffeinated and artificially sweetened soft drinks is associated with risk of early menarche. PubMed Mueller, Noel T; Jacobs, David R; MacLehose, Richard F; Demerath, Ellen W; Kelly, Scott P; Dreyfus, Jill G; Pereira, Mark A 2015-09-01 Early menarche has been linked to risk of several chronic diseases. Prospective research on whether the intake of soft drinks containing caffeine, a modulator of the female reproductive axis, is associated with risk of early menarche is sparse. We examined the hypothesis that consumption of caffeinated soft drinks in childhood is associated with higher risk of early menarche. The National Heart, Lung, and Blood Institute Growth and Health Study recruited and enrolled 2379 (1213 African American, 1166 Caucasian) girls aged 9-10 y (from Richmond, CA; Cincinnati, OH; and Washington, DC) and followed them for 10 y. After exclusions were made, there were 1988 girls in whom we examined prospective associations between consumption of caffeinated and noncaffeinated sugar- and artificially sweetened soft drinks and early menarche (defined as menarche age <11 y). We also examined associations between intakes of caffeine, sucrose, fructose, and aspartame and early menarche. Incident early menarche occurred in 165 (8.3%) of the girls. After adjustment for confounders and premenarcheal percentage body fat, greater consumption of caffeinated soft drinks was associated with a higher risk of early menarche (RR for 1 serving/d increment: 1.47; 95% CI: 1.22, 1.79). Consumption of artificially sweetened soft drinks was also positively associated with risk of early menarche (RR for 1 serving/d increment: 1.43; 95% CI: 1.08, 1.88). Consumption of noncaffeinated soft drinks was not significantly associated with early menarche (RR for 1 serving/d increment: 0.88; 95% CI: 0.62, 1.25); nor was consumption of sugar-sweetened soft drinks (RR for 1 serving/d increment: 1.15; 95% CI: 0.95, 1.39). Consistent with the beverage findings, intakes of caffeine (RR for 1-SD increment: 1.22; 95% CI: 1.08, 1.37) and aspartame (RR for 1-SD increment: 1.20; 95% CI: 1.10, 1.31) were positively associated with risk of early menarche. Consumption of caffeinated and artificially sweetened soft drinks was Consumption of caffeinated and artificially sweetened soft drinks is associated with risk of early menarche12 PubMed Central Mueller, Noel T; Jacobs, David R; MacLehose, Richard F; Demerath, Ellen W; Kelly, Scott P; Dreyfus, Jill G; Pereira, Mark A 2015-01-01 Background: Early menarche has been linked to risk of several chronic diseases. Prospective research on whether the intake of soft drinks containing caffeine, a modulator of the female reproductive axis, is associated with risk of early menarche is sparse. Objective: We examined the hypothesis that consumption of caffeinated soft drinks in childhood is associated with higher risk of early menarche. Design: The National Heart, Lung, and Blood Institute Growth and Health Study recruited and enrolled 2379 (1213 African American, 1166 Caucasian) girls aged 9â10 y (from Richmond, CA; Cincinnati, OH; and Washington, DC) and followed them for 10 y. After exclusions were made, there were 1988 girls in whom we examined prospective associations between consumption of caffeinated and noncaffeinated sugar- and artificially sweetened soft drinks and early menarche (defined as menarche age <11 y). We also examined associations between intakes of caffeine, sucrose, fructose, and aspartame and early menarche. Results: Incident early menarche occurred in 165 (8.3%) of the girls. After adjustment for confounders and premenarcheal percentage body fat, greater consumption of caffeinated soft drinks was associated with a higher risk of early menarche (RR for 1 serving/d increment: 1.47; 95% CI: 1.22, 1.79). Consumption of artificially sweetened soft drinks was also positively associated with risk of early menarche (RR for 1 serving/d increment: 1.43; 95% CI: 1.08, 1.88). Consumption of noncaffeinated soft drinks was not significantly associated with early menarche (RR for 1 serving/d increment: 0.88; 95% CI: 0.62, 1.25); nor was consumption of sugar-sweetened soft drinks (RR for 1 serving/d increment: 1.15; 95% CI: 0.95, 1.39). Consistent with the beverage findings, intakes of caffeine (RR for 1-SD increment: 1.22; 95% CI: 1.08, 1.37) and aspartame (RR for 1-SD increment: 1.20; 95% CI: 1.10, 1.31) were positively associated with risk of early menarche. Conclusion: Consumption of The effects of a soft drink tax in the UK. PubMed Tiffin, Richard; Kehlbacher, Ariane; Salois, Matthew 2015-05-01 The majority of the UK population is either overweight or obese. Health economists, nutritionists and doctors are calling for the UK to follow the example of other European countries and introduce a tax on soft drinks as a result of the perception that high intakes contribute to diet-related disease. We use a demand model estimated with household-level data on beverage purchases in the UK to investigate the effects of a tax on soft drink consumption. The model is a Quadratic Almost Ideal Demand System, and censoring is handled by applying a double hurdle. Separate models are estimated for low, moderate and high consumers to allow for a differential impact on consumption between these groups. Applying different hypothetical tax rates, we conclude that understanding the nature of substitute/complement relationships is crucial in designing an effective policy as these relationships differ between consumers depending on their consumption level. The overall impact of a soft drink tax on calorie consumption is likely to be small. Copyright Â© 2014 John Wiley & Sons, Ltd. Price elasticity of the demand for sugar sweetened beverages and soft drinks in Mexico. PubMed Colchero, M A; Salgado, J C; Unar-MunguÃa, M; HernÃ¡ndez-Ãvila, M; Rivera-Dommarco, J A 2015-12-01 A large and growing body of scientific evidence demonstrates that sugar drinks are harmful to health. Intake of sugar-sweetened beverages (SSB) is a risk factor for obesity and type 2 diabetes. Mexico has one of the largest per capita consumption of soft drinks worldwide and high rates of obesity and diabetes. Fiscal approaches such as taxation have been recommended as a public health policy to reduce SSB consumption. We estimated an almost ideal demand system with linear approximation for beverages and high-energy food by simultaneous equations and derived the own and cross price elasticities for soft drinks and for all SSB (soft drinks, fruit juices, fruit drinks, flavored water and energy drinks). Models were stratified by income quintile and marginality index at the municipality level. Price elasticity for soft drinks was -1.06 and -1.16 for SSB, i.e., a 10% price increase was associated with a decrease in quantity consumed of soft drinks by 10.6% and 11.6% for SSB. A price increase in soft drinks is associated with larger quantity consumed of water, milk, snacks and sugar and a decrease in the consumption of other SSB, candies and traditional snacks. The same was found for SSB except that an increase in price of SSB was associated with a decrease in snacks. Higher elasticities were found among households living in rural areas (for soft drinks), in more marginalized areas and with lower income. Implementation of a tax to soft drinks or to SSB could decrease consumption particularly among the poor. Substitutions and complementarities with other food and beverages should be evaluated to assess the potential impact on total calories consumed. Copyright Â© 2015 The Authors. Published by Elsevier B.V. All rights reserved. Jarrib Baleha--a pilot nutrition intervention to increase water intake and decrease soft drink consumption among school children in Beirut. PubMed Abi Haidar, Gina; Lahham Salameh, Nina; Afifi, Rema A 2011-01-01 The Global School-based Student Health Survey (2005) indicated that in Lebanon, 33% of students in grades 7-9 drink carbonated soft drinks two or more times per day. Observational evidence suggests that students do not drink enough water. A pilot project called Jarrib Baleha ['try without it'] was implemented with 110 students in grades 3 and 4 in two schools in Lebanon to promote drinking water instead of soft drinks. Specific objectives included increasing knowledge about the benefits of water and the harms of soft drinks, increasing confidence in choosing water over soft drinks, and increasing actual water drinking behavior while decreasing soft drink consumption. Four 50-minute theory-informed, interactive and participatory sessions were implemented --by a graduate student in partial fulfillment of requirements for a MPH degree--over a period of two weeks. The intervention sessions--based on the Health Belief Model--took place during a class period. Process evaluation measured satisfaction of the students with the sessions. Impact evaluation measured changes in knowledge, attitudes including self-efficacy, and behavior, using a self-administered questionnaire completed prior to and after the intervention. Bivariate analysis using crosstabs was carried out to compare pretest and posttest scores on knowledge, attitudes, and behavior. Comparison of the knowledge index between pretest and posttest indicated that, overall, knowledge increased from 6.0769 to 9.1500 (p = 0.000). Compared to pretest, students at posttest also felt more confident to drink less soft drinks and more water (p < 0.05), to drink water when thirsty (p < 0.05), and to choose water over soft drinks when going to a restaurant (p < 0.05). The percentage of students drinking 6 or more cups of water increased from 27.7% to 59.1% (p = 0.000); and those drinking less than one can of soft drink/day increased from 25.5% to 57.6% (p = 0.000). These results are encouraging and suggest the Jarrib Baleha Corrosion of aluminium in soft drinks. PubMed Seruga, M; Hasenay, D 1996-04-01 The corrosion of aluminium (Al) in several brands of soft drinks (cola- and citrate-based drinks) has been studied, using an electrochemical method, namely potentiodynamic polarization. The results show that the corrosion of Al in soft drinks is a very slow, time-dependent and complex process, strongly influenced by the passivation, complexation and adsorption processes. The corrosion of Al in these drinks occurs principally due to the presence of acids: citric acid in citrate-based drinks and orthophosphoric acid in cola-based drinks. The corrosion rate of Al rose with an increase in the acidity of soft drinks, i.e. with increase of the content of total acids. The corrosion rates are much higher in the cola-based drinks than those in citrate-based drinks, due to the facts that: (1) orthophosphoric acid is more corrosive to Al than is citric acid, (2) a quite different passive oxide layer (with different properties) is formed on Al, depending on whether the drink is cola or citrate based. The method of potentiodynamic polarization was shown as being very suitable for the study of corrosion of Al in soft drinks, especially if it is combined with some non-electrochemical method, e.g. graphite furnace atomic absorption spectrometry (GFAAS). BACTERIOLOGICAL EXAMINATION OF SOFT DRINKS PubMed Central Stokes, William Royal 1920-01-01 Prohibition has boomed soft drinks so that more than ever there is need of rigid inspection. Dr. Stokes finds beverages with five-figure counts and empty âsterileâ bottles always with some bacteria, sometimes with millions. This paper should attract the attention of health officers to their soft drink problems. PMID:18010284 Are energy Drinks Scapegoats? Decomposing Teenagers' Caffeine intake from Energy Drinks and Soda Beverages. PubMed Turel, Ofir 2018-02-22 Energy drinks have been repeatedly blamed for contributing to caffeine intake among teenagers. This study aimed to estimate and compare the caffeine intake of US teenagers from soda drinks versus energy drinks and shots. Data were taken from a 2015 nationally representative survey (Monitoring the Future) of 8th and 10th graders in the US (47.2% 8th grade; 51.1% female). Participants reported their numbers of consumed sodas, diet sodas, energy drinks, and energy shots per day. These were converted into mg caffeine/day and were contrasted with common guidelines for healthy caffeine intake, stratified by age group and sex. Error-bar charts, ANOVA and ROC curves were used for contrasting caffeine intake from soda drinks and energy drinks, as well as their contribution to exceeding recommended caffeine intake cutoffs. First, in both sexes and grades the intake from soda drinks was significantly higher than the intake from energy drinks. The soda and energy drink intake for males was higher than the intake for females; intake for 8th graders was higher than this of 10th graders. Second, caffeine intake from soda drinks was significantly higher even in those who exceeded the recommended maximum caffeine intake. Third, caffeine intakes from soda and energy drinks were efficacious in explaining the exceeding of the recommended threshold for daily caffeine intake, but the explanatory power of soda drinks was larger. From a caffeine consumption standpoint, health professionals should emphasize reduction in both soda and energy drinks. Can Soft Drink Taxes Reduce Population Weight? PubMed Fletcher, Jason M; Frisvold, David; Tefft, Nathan 2010-01-01 Soft drink consumption has been hypothesized as one of the major factors in the growing rates of obesity in the US. Nearly two-thirds of all states currently tax soft drinks using excise taxes, sales taxes, or special exemptions to food exemptions from sales taxes to reduce consumption of this product, raise revenue, and improve public health. In this paper, we evaluate the impact of changes in state soft drink taxes on body mass index (BMI), obesity, and overweight. Our results suggest that soft drink taxes influence BMI, but that the impact is small in magnitude. Can Soft Drink Taxes Reduce Population Weight? PubMed Central Fletcher, Jason M.; Frisvold, David 2009-01-01 Soft drink consumption has been hypothesized as one of the major factors in the growing rates of obesity in the US. Nearly two-thirds of all states currently tax soft drinks using excise taxes, sales taxes, or special exemptions to food exemptions from sales taxes to reduce consumption of this product, raise revenue, and improve public health. In this paper, we evaluate the impact of changes in state soft drink taxes on body mass index (BMI), obesity, and overweight. Our results suggest that soft drink taxes influence BMI, but that the impact is small in magnitude. PMID:20657817 Parental attitudes towards soft drink vending machines in high schools. PubMed Hendel-Paterson, Maia; French, Simone A; Sto
5407	dbpedia	0	23	https://github.com/DiUS/java-faker/blob/master/src/main/resources/nl.yml	en	java-faker/src/main/resources/nl.yml at master · DiUS/java-faker	https://opengraph.githubassets.com/470595dd264e37545ec22321d9c70f167c5e4275883907d7c0ab8a37291c7a50/DiUS/java-faker	https://opengraph.githubassets.com/470595dd264e37545ec22321d9c70f167c5e4275883907d7c0ab8a37291c7a50/DiUS/java-faker	[]	[]	[]	[ "" ]	null	[]	null	Brings the popular ruby faker gem to Java. Contribute to DiUS/java-faker development by creating an account on GitHub.	en	https://github.com/fluidicon.png	GitHub	https://github.com/DiUS/java-faker/blob/master/src/main/resources/nl.yml	postcode: /[1-9][0-9]{3} (AA\|AB\|AC\|AD\|AE\|AF\|AG\|AH\|AI\|AJ\|AK\|AL\|AM\|AN\|AO\|AP\|AQ\|AR\|AS\|AT\|AU\|AV\|AW\|AX\|AY\|AZ\|BA\|BB\|BC\|BD\|BE\|BF\|BG\|BH\|BI\|BJ\|BK\|BL\|BM\|BN\|BO\|BP\|BQ\|BR\|BS\|BT\|BU\|BV\|BW\|BX\|BY\|BZ\|CA\|CB\|CC\|CD\|CE\|CF\|CG\|CH\|CI\|CJ\|CK\|CL\|CM\|CN\|CO\|CP\|CQ\|CR\|CS\|CT\|CU\|CV\|CW\|CX\|CY\|CZ\|DA\|DB\|DC\|DD\|DE\|DF\|DG\|DH\|DI\|DJ\|DK\|DL\|DM\|DN\|DO\|DP\|DQ\|DR\|DS\|DT\|DU\|DV\|DW\|DX\|DY\|DZ\|EA\|EB\|EC\|ED\|EE\|EF\|EG\|EH\|EI\|EJ\|EK\|EL\|EM\|EN\|EO\|EP\|EQ\|ER\|ES\|ET\|EU\|EV\|EW\|EX\|EY\|EZ\|FA\|FB\|FC\|FD\|FE\|FF\|FG\|FH\|FI\|FJ\|FK\|FL\|FM\|FN\|FO\|FP\|FQ\|FR\|FS\|FT\|FU\|FV\|FW\|FX\|FY\|FZ\|GA\|GB\|GC\|GD\|GE\|GF\|GG\|GH\|GI\|GJ\|GK\|GL\|GM\|GN\|GO\|GP\|GQ\|GR\|GS\|GT\|GU\|GV\|GW\|GX\|GY\|GZ\|HA\|HB\|HC\|HD\|HE\|HF\|HG\|HH\|HI\|HJ\|HK\|HL\|HM\|HN\|HO\|HP\|HQ\|HR\|HS\|HT\|HU\|HV\|HW\|HX\|HY\|HZ\|IA\|IB\|IC\|ID\|IE\|IF\|IG\|IH\|II\|IJ\|IK\|IL\|IM\|IN\|IO\|IP\|IQ\|IR\|IS\|IT\|IU\|IV\|IW\|IX\|IY\|IZ\|JA\|JB\|JC\|JD\|JE\|JF\|JG\|JH\|JI\|JJ\|JK\|JL\|JM\|JN\|JO\|JP\|JQ\|JR\|JS\|JT\|JU\|JV\|JW\|JX\|JY\|JZ\|KA\|KB\|KC\|KD\|KE\|KF\|KG\|KH\|KI\|KJ\|KK\|KL\|KM\|KN\|KO\|KP\|KQ\|KR\|KS\|KT\|KU\|KV\|KW\|KX\|KY\|KZ\|LA\|LB\|LC\|LD\|LE\|LF\|LG\|LH\|LI\|LJ\|LK\|LL\|LM\|LN\|LO\|LP\|LQ\|LR\|LS\|LT\|LU\|LV\|LW\|LX\|LY\|LZ\|MA\|MB\|MC\|MD\|ME\|MF\|MG\|MH\|MI\|MJ\|MK\|ML\|MM\|MN\|MO\|MP\|MQ\|MR\|MS\|MT\|MU\|MV\|MW\|MX\|MY\|MZ\|NA\|NB\|NC\|ND\|NE\|NF\|NG\|NH\|NI\|NJ\|NK\|NL\|NM\|NN\|NO\|NP\|NQ\|NR\|NS\|NT\|NU\|NV\|NW\|NX\|NY\|NZ\|OA\|OB\|OC\|OD\|OE\|OF\|OG\|OH\|OI\|OJ\|OK\|OL\|OM\|ON\|OO\|OP\|OQ\|OR\|OS\|OT\|OU\|OV\|OW\|OX\|OY\|OZ\|PA\|PB\|PC\|PD\|PE\|PF\|PG\|PH\|PI\|PJ\|PK\|PL\|PM\|PN\|PO\|PP\|PQ\|PR\|PS\|PT\|PU\|PV\|PW\|PX\|PY\|PZ\|QA\|QB\|QC\|QD\|QE\|QF\|QG\|QH\|QI\|QJ\|QK\|QL\|QM\|QN\|QO\|QP\|QQ\|QR\|QS\|QT\|QU\|QV\|QW\|QX\|QY\|QZ\|RA\|RB\|RC\|RD\|RE\|RF\|RG\|RH\|RI\|RJ\|RK\|RL\|RM\|RN\|RO\|RP\|RQ\|RR\|RS\|RT\|RU\|RV\|RW\|RX\|RY\|RZ\|SB\|SC\|SE\|SF\|SG\|SH\|SI\|SJ\|SK\|SL\|SM\|SN\|SO\|SP\|SQ\|SR\|ST\|SU\|SV\|SW\|SX\|SY\|SZ\|TA\|TB\|TC\|TD\|TE\|TF\|TG\|TH\|TI\|TJ\|TK\|TL\|TM\|TN\|TO\|TP\|TQ\|TR\|TS\|TT\|TU\|TV\|TW\|TX\|TY\|TZ\|UA\|UB\|UC\|UD\|UE\|UF\|UG\|UH\|UI\|UJ\|UK\|UL\|UM\|UN\|UO\|UP\|UQ\|UR\|US\|UT\|UU\|UV\|UW\|UX\|UY\|UZ\|VA\|VB\|VC\|VD\|VE\|VF\|VG\|VH\|VI\|VJ\|VK\|VL\|VM\|VN\|VO\|VP\|VQ\|VR\|VS\|VT\|VU\|VV\|VW\|VX\|VY\|VZ\|WA\|WB\|WC\|WD\|WE\|WF\|WG\|WH\|WI\|WJ\|WK\|WL\|WM\|WN\|WO\|WP\|WQ\|WR\|WS\|WT\|WU\|WV\|WW\|WX\|WY\|WZ\|XA\|XB\|XC\|XD\|XE\|XF\|XG\|XH\|XI\|XJ\|XK\|XL\|XM\|XN\|XO\|XP\|XQ\|XR\|XS\|XT\|XU\|XV\|XW\|XX\|XY\|XZ\|YA\|YB\|YC\|YD\|YE\|YF\|YG\|YH\|YI\|YJ\|YK\|YL\|YM\|YN\|YO\|YP\|YQ\|YR\|YS\|YT\|YU\|YV\|YW\|YX\|YY\|YZ\|ZA\|ZB\|ZC\|ZD\|ZE\|ZF\|ZG\|ZH\|ZI\|ZJ\|ZK\|ZL\|ZM\|ZN\|ZO\|ZP\|ZQ\|ZR\|ZS\|ZT\|ZU\|ZV\|ZW\|ZX\|ZY\|ZZ)/ first_name: ["Aad", "Aadje", "Aafke", "Aaik", "Aaldert", "Aale", "Aaliyah", "Aalke", "Aalt", "Aaltje", "Aan", "Aarjen", "Aarke", "Aarnout", "Aaron", "Aart", "Aatif", "Aayk", "Aaykie", "Abbas", "Abbe", "Abbey", "Abbo", "Abby", "Abderahmaan", "Abe", "Abel", "Abigail", "Abish", "Aboney", "Abraham", "Abram", "Abuzer", "Achiel", "Achmed", "Ad", "Ada", "Adaja", "Adam", "Adan", "Adaya", "Addi", "Addie", "Adeline", "Adger", "Adi", "Adina", "Adinda", "Adino", "Adiël", "Adjan", "Adjani", "Adne", "Adorée", "Adra", "Adriaan", "Adrian", "Adriana", "Adrianne", "Adrienne", "Adrish", "Adriënne", "Adriëtte", "Adwine", "Adája", "Adèle", "Adél", "Aegina", "Aemke", "Aeryn", "Aesa", "Afiah", "Afke", "Afra", "Afshin", "Agaat", "Age", "Ageline", "Agnes", "Agnese", "Agnita", "Ahlam", "Ahmed", "Aicha", "Aida", "Aidan", "Aideen", "Aiden", "Aiko", "Aileen", "Ailish", "Ailsa", "Aimee", "Aimy", "Aimée", "Aimély", "Ainoa", "Ainsley", "Airto", "Aisa", "Aisha", "Aisling", "Aiso", "Aivy", "Aiyana", "Ajolt", "Akash", "Akeesha", "Akira", "Akis", "Akkie", "Akram", "Aladin", "Alain", "Alan", "Alana", "Alannah", "Alanso", "Alaric", "Alba", "Alberdien", "Albert", "Albertien", "Albertine", "Albertje", "Alberto", "Albertus", "Albi", "Alde", "Aldert", "Aldin", "Aldwin", "Alec", "Alegandra", "Alegandro", "Aleida", "Alejandra", "Aleksandar", "Aleksander", "Aleksandra", "Alena", "Alengca", "Alesha", "Alesio", "Alessa", "Alessandro", "Alessia", "Alessio", "Aletha", "Aletta", "Alette", "Alex", "Alexa", "Alexander", "Alexandra", "Alexandre", "Alexandrina", "Alexandro", "Alexandros", "Alexi", "Alexia", "Alexine", "Alexis", "Aleyna", "Ali", "Alianne", "Alice", "Alicia", "Alida", "Alide", "Aliek", "Alieke", "Alien", "Aliena", "Aliene", "Alieneke", "Alies", "Alieske", "Aliki", "Alina", "Alinda", "Alinde", "Aline", "Alinne", "Alisa", "Alise", "Alisha", "Alisia", "Alison", "Alissa", "Alistair", "Aliséa", "Alix", "Aliya", "Alizé", "Alizée", "Aliëtte", "Alja", "Aljan", "Aljandra", "Aljen", "Aljosha", "Alke", "Alkenah", "Allan", "Allard", "Allart", "Allert", "Allery", "Allicia", "Allisha", "Allison", "Almar", "Almaz", "Almer", "Alon", "Alouette", "Aloussia", "Aloys", "Aloïse", "Alrik", "Alvian", "Alvin", "Alwin", "Alyanne", "Alycia", "Alyde", "Alyna", "Alyscha", "Alysha", "Alyshia", "Alysia", "Alyssa", "Alyssia", "Alyt", "Aléssio", "Amadeüs", "Amaish", "Amal", "Amalina", "Aman", "Amanda", "Amar", "Amarantha", "Amarins", "Amarinske", "Amaro", "Amaryl", "Amaury", "Amber", "Ambra", "Ambre", "Amel", "Amelia", "Amelie", "Amely", "Amenda", "Amenthis", "Amerentia", "Ami", "Amida", "Amieke", "Amilia", "Amin", "Amina", "Aminda", "Amine", "Amir", "Amira", "Amissa", "Amke", "Ammara", "Ammelita", "Ammon", "Amon", "Amory", "Amos", "Amrah", "Amrish", "Amrita", "Amy", "Amélie", "Amére", "An", "Ana", "Anabel", "Anaisa", "Analicia", "Analise", "Anamika", "Ananda", "Anastasia", "Anastasios", "Anatolia", "Anaï", "Anaïs", "Ancella", "Ancko", "Anco", "Andel", "Andjel", "Andor", "Andra", "Andras", "Andrea", "Andreas", "Andres", "Andress", "Andrew", "Andria", "Andries", "André", "Andréa", "Andy", "Ane", "Anemoon", "Anes", "Anette", "Anfred", "Anfry", "Anganita", "Ange", "Angel", "Angela", "Angelica", "Angelie", "Angeliek", "Angelina", "Angeline", "Angelique", "Angelita", "Angelle", "Angelo", "Angemar", "Angie", "Angreth", "Angél", "Angéla", "Anh", "Aniam", "Anica", "Anice", "Aniek", "Anieka", "Anieke", "Anies", "Anik", "Anika", "Anil", "Anine", "Aninka", "Anique", "Anisa", "Anischa", "Anish", "Anissa", "Anita", "Anitsia", "Aniéla", "Aniëlle", "Anja", "Anjali", "Anjemieke", "Anjes", "Anjesca", "Anjet", "Anjo", "Anjola", "Anke", "Ankie", "Ankita", "Anko", "Anky", "Anmara", "Ann", "Anna", "Annabel", "Annabelle", "Annahinke", "Annakumari", "Annaliet", "Annalin", "Annalinde", "Annalisa", "Annaloes", "Annamara", "Annamarij", "Annamarijn", "Anne", "Annebeau", "Annebel", "Annebeth", "Annebé", "Annechien", "Annechiena", "Annedien", "Annefleur", "Annefloor", "Annegonda", "Annegreet", "Annegré", "Annehil", "Annejes", "Annejet", "Anneke", "Annelaura", "Annelee", "Anneleen", "Annelein", "Anneli", "Annelie", "Anneliek", "Annelieke", "Annelien", "Annelies", "Annelin", "Anneline", "Annelise", "Annelle", "Annellie", "Anneloes", "Annelon", "Annelot", "Annelotte", "Annelou", "Annely", "Annemae", "Annemarelle", "Annemaret", "Annemaria", "Annemarie", "Annemarieke", "Annemarije", "Annemarijn", "Annemarlijn", "Annemart", "Annemay", "Annemee", "Annemeijn", "Annemein", "Annemette", "Annemie", "Annemiek", "Annemieke", "Annemijn", "Annemijne", "Annemik", "Anner", "Annerein", "Annerie", "Annerieke", "Annerije", "Anneroos", "Anneruth", "Annet", "Annetje", "Annetta", "Annette", "Annewieke", "Annewies", "Annica", "Annick", "Annicke", "Annie", "Annieck", "Anniek", "Annieke", "Annigje", "Annika", "Anniki", "Anniko", "Annina", "Anninco", "Annisa", "Annisaa", "Annita", "Anno", "Annoeska", "Annouk", "Annoëlle", "Annuschka", "Anné", "Anoek", "Anoeshka", "Anoeska", "Anouar", "Anouchka", "Anouck", "Anouk", "Anous", "Anouschka", "Anoushka", "Anouska", "Anoûl", "Ans", "Anse", "Anselm", "Ansje", "Anske", "Anta", "Antara", "Ante", "Anteun", "Anthe", "Anthia", "Anthonetta", "Anthonie", "Anthonio", "Anthony", "Anthoon", "Antigoné", "Antiny", "Antje", "Antoine", "Antoinet", "Antoinette", "Anton", "Antoni", "Antonie", "Antonieke", "Antonio", "Antony", "Antoon", "Antwan", "Anuja", "Anushka", "Anwar", "Anya", "Aphra", "Aplonia", "Appie", "Appolonia", "April", "Aquisha", "Ara", "Aragorn", "Aram", "Aramiz", "Aran", "Aranca", "Aranea", "Aranka", "Arantxa", "Arash", "Arbaya", "Archana", "Arcon", "Ard", "Arden", "Ardian", "Ardie", "Ardin", "Ardjan", "Ardjuna", "Ardon", "Ardy", "Are", "Areen", "Arend", "Arenda", "Ari", "Ariane", "Arianna", "Arianne", "Aricia", "Arie", "Arieke", "Arieko", "Ariena", "Aries", "Arik", "Arina", "Arinda", "Arinde", "Arion", "Arita", "Ariëla", "Ariëlle", "Ariën", "Ariënne", "Ariëtte", "Arjam", "Arjan", "Arjando", "Arjanne", "Arjanto", "Arjate", "Arjen", "Arjo", "Arjon", "Arjos", "Arjun", "Arjuna", "Arkadi", "Arko", "Arle", "Arlene", "Arletta", "Arlette", "Arlinde", "Arlon", "Arlène", "Arman", "Armance", "Armand", "Armanda", "Armando", "Armijn", "Armin", "Arminda", "Arn", "Arnand", "Arnando", "Arnaud", "Arne", "Arnelieke", "Arnine", "Arninja", "Arno", "Arnold", "Arnoud", "Arnout", "Arné", "Aroen", "Aron", "Arre", "Arrie", "Arshaad", "Art", "Artan", "Artho", "Arthur", "Arthy", "Artine", "Artjan", "Arton", "Arun", "Arunesh", "Aruni", "Arvid", "Arvin", "Arvo", "Arwen", "Arwin", "Arwinkumar", "Aryan", "Asaf", "Asha", "Ashley", "Ashlinn", "Ashlynn", "Ashna", "Ashraf", "Ashton", "Ashwien", "Ashwin", "Ashwita", "Asia", "Asjer", "Aslihan", "Asmar", "Asmara", "Asraf", "Asselien", "Assumpta", "Aster", "Aston", "Astrid", "Aswin", "Atakan", "Athina", "Athreyu", "Atreyu", "Atser", "Atsje", "Attenee", "Atticus", "Attila", "Atze", "Aubry", "Aude", "Audrey", "August", "Auke", "Aukje", "Aura", "Aurelia", "Aurelie", "Aurora", "Aurélie", "Austin", "Auwina", "Ava", "Avalon", "Avantika", "Avelien", "Avelineke", "Avelon", "Avinaash", "Avinash", "Avital", "Aviva", "Avner", "Avram", "Avreyl", "Awienaash", "Axel", "Axelle", "Axl", "Aycan", "Aycha", "Ayco", "Ayesha", "Ayla", "Aylan", "Ayleen", "Aylin", "Aymen", "Aymée", "Ayron", "Ayrson", "Ayrton", "Ayse", "Ayyoeb", "Azadeh", "Azalea", "Aziz", "Azra", "Azzurra", "Aäron", "Aïda", "Aïmane", "Aïmen", "Aïscha", "Aïsha", "B'Elanna", "Baarend", "Babbe", "Babet", "Babeth", "Babette", "Babiche", "Babs", "Bacheeva", "Baerke", "Baggio", "Bailey", "Bald", "Balou", "Bam", "Bambi", "Bandu", "Bandy", "Bapke", "Barbara", "Barbera", "Barberieke", "Bardo", "Bareld", "Barend", "Barendine", "Baris", "Barney", "Barri", "Barrie", "Barry", "Bart", "Bartel", "Barth", "Barthel", "Bartjan", "Bartske", "Bartu", "Bartus", "Baruch", "Bas", "Basak", "Baselique", "Bashiri", "Basil", "Basjan", "Bassim", "Basten", "Bastiaan", "Bastian", "Bastianne", "Bastien", "Bastiene", "Bastienne", "Bastijn", "Bastino", "Batina", "Batsheva", "Baudien", "Baudine", "Baue", "Bauke", "Baukje", "Bauwe", "Bavo", "Bayard", "Bea", "Beata", "Beate", "Beatrice", "Beatrix", "Beau", "Beaudille", "Beaudine", "Beaudé", "Becky", "Bedri", "Beer", "Beert", "Beirem", "Beja", "Belinda", "Bellamie", "Belle", "Belén", "Ben", "Benard", "Benaya", "Bender", "Bendix", "Bene", "Benedict", "Bengt", "Benice", "Benicio", "Benito", "Benjamin", "Benji", "Benjo", "Benn", "Benne", "Bennet", "Bennett", "Bennie", "Benno", "Benny", "Benoit", "Benoît", "Bent", "Bente", "Benthe", "Bently", "Bento", "Benyamin", "Berbara", "Berbe", "Berbel", "Berber", "Berdi", "Berdie", "Berdien", "Berdiene", "Berdine", "Berend", "Berendjan", "Berenice", "Bergina", "Berit", "Berith", "Berjan", "Berkay", "Berlinda", "Berlinde", "Bern", "Berna", "Bernadet", "Bernadette", "Bernadien", "Bernalt", "Bernar", "Bernard", "Bernd", "Bernette", "Bernice", "Bernie", "Bernies", "Bernike", "Bernitha", "Bernt", "Berra", "Berre", "Berrend", "Berrit", "Berry", "Bert", "Berta", "Bertan", "Bertha", "Bertie", "Bertina", "Bertine", "Bertje", "Bertram", "Bertrin", "Bertus", "Bertwin", "Besarta", "Beschier", "Beth", "Bethany", "Betina", "Bets", "Bette", "Bettie", "Betty", "Beyko", "Bhavana", "Bhor", "Bianca", "Bianka", "Bianne", "Biba", "Bibi", "Bibia", "Bibian", "Bibianne", "Biek", "Bieke", "Biem", "Bijke", "Bijou", "Biko", "Bil", "Bilal", "Bilgin", "Bill", "Billie", "Billy", "Billyjean", "Binck", "Bing", "Binh", "Binita", "Bink", "Binnie", "Bintine", "Bionda", "Birger", "Birgit", "Birgitta", "Birk", "Birne", "Birte", "Birthe", "Biscayne", "Bishoy", "Bjarn", "Bjarne", "Bjinse", "Bjoke", "Bjork", "Bjorn", "Bjoyd", "Björgvin", "Björk", "Björn", "Björne", "Björre", "Blanche", "Blandina", "Bloeme", "Bloesem", "Bloys", "Bo", "Boal", "Boas", "Boaz", "Bob", "Bobbi", "Bobbie", "Bobby", "Boda", "Bodain", "Bodean", "Bodee", "Bodey", "Bodhi", "Bodhie", "Bodi", "Bodien", "Bodil", "Bodile", "Bodine", "Bodyl", "Bodé", "Boet", "Bogdan", "Bojan", "Bojanne", "Bojoura", "Boke", "Boni", "Bonita", "Bonne", "Bonnie", "Bonnor", "Bonny", "Bono", "Booy", "Bori", "Boris", "Borke", "Borre", "Borren", "Boré", "Bosko", "Bosse", "Bote", "Bouchta", "Boudewijn", "Boudina", "Boudine", "Boudy", "Bouke", "Boukje", "Bouwe", "Bouwina", "Bowey", "Bowie", "Bowien", "Boy", "Boyan", "Boyca", "Boycke", "Boyd", "Boyke", "Bozz", "Boàz", "Boëlle", "Brad", "Bradley", "Brady", "Brahim", "Brain", "Bram", "Brammert", "Brammetje", "Branco", "Brand", "Branda", "Brandine", "Brandon", "Brandy", "Branko", "Brant", "Bratt", "Brayn", "Brechje", "Brecht", "Brechtje", "Brechtsje", "Breelina", "Breg", "Bregita", "Bregje", "Bregtje", "Brend", "Brenda", "Brendan", "Brende", "Brenden", "Brendie", "Brendon", "Brendt", "Brendy", "Brenice", "Brent", "Brett", "Breyaunne", "Breyten", "Brian", "Brianda", "Brianna", "Brianne", "Brichet", "Brick", "Bridget", "Brigit", "Brigith", "Brigitt", "Brigitta", "Brigitte", "Brit", "Brita", "Britney", "Britt", "Britta", "Brittany", "Britte", "Brittje", "Brittney", "Brody", "Broes", "Bronno", "Bronwyn", "Brooklyn", "Bror", "Brord", "Bruce", "Bruno", "Bryan", "Bryannah", "Bryanne", "Bryant", "Bryden", "Brynn", "Bryony", "Btissam", "Buck", "Bud", "Bundi", "Bunga", "Burak", "Burdey", "Butros", "Byorick", "Byoux", "Byron", "Bärbel", "Bélanna", "Bó", "Büsra", "Caan", "Cachella", "Cachèl", "Caddy", "Cadya", "Caelesta", "Caelis", "Cahrin", "Cailean", "Cailey", "Cailim", "Caily", "Caine", "Caisey", "Caithlin", "Caithlyn", "Caitlen", "Caitlin", "Caitlyn", "Cajo", "Calcey", "Caleb", "Calina", "Calinda", "Callan", "Calluna", "Callyon", "Calvin", "Camella", "Camelot", "Cameron", "Camiel", "Camilia", "Camilla", "Camille", "Camm", "Canan", "Candice", "Candida", "Candide", "Candy", "Caner", "Cansu", "Caramia", "Carel", "Caren", "Carena", "Caressa", "Carey", "Caricia", "Carien", "Carienne", "Carina", "Carinda", "Carine", "Carit", "Carl", "Carla", "Carlee", "Carlein", "Carli", "Carlie", "Carlien", "Carlijn", "Carlijne", "Carlinde", "Carline", "Carlissa", "Carlito", "Carlo", "Carlon", "Carlotta", "Carlotte", "Carly", "Carlyne", "Carma", "Carmelle", "Carmen", "Carmencita", "Carmenza", "Carmine", "Carmita", "Caro", "Carol", "Carola", "Carolien", "Carolijn", "Carolina", "Caroline", "Caroly", "Carressa", "Carry", "Cars", "Carsten", "Cartouche", "Carucha", "Cas", "Casey", "Casijn", "Casimir", "Caspar", "Casper", "Cassandra", "Cassey", "Cassian", "Cassy", "Catalina", "Cataline", "Cateline", "Catharina", "Catharinus", "Catheleine", "Cathelijn", "Cathelijne", "Catheline", "Catherine", "Cathinca", "Cathleen", "Cathlin", "Cathy", "Catinca", "Cato", "Catrinus", "Cavin", "Cay", "Caya", "Cayetano", "Cayley", "Caysa", "Caz", "Cecca", "Ceciel", "Cecile", "Cecilia", "Ceddriec", "Cedric", "Cedrych", "Cees", "Celaine", "Celal", "Celena", "Celess", "Celeste", "Celester", "Celestijn", "Celestine", "Celiene", "Celina", "Celine", "Cella", "Celle", "Cellienne", "Cem", "Cemal", "Cemil", "Cendrine", "Cennet", "Ceremco", "Ceren", "Ceriel", "Cerina", "Cerise", "Cesanne", "Cesar", "Cesco", "Cetus", "Ceyenne", "Ceylan", "Chabely", "Chacandra", "Chad", "Chadi", "Chadiya", "Chadya", "Chahine", "Chaim", "Chaira", "Chaja", "Chajah", "Chakira", "Chalinde", "Chaline", "Chamaima", "Chamara", "Chanan", "Chananja", "Chancy", "Chandler", "Chanel", "Chanelle", "Chanelva", "Chanique", "Chaniya", "Channa", "Channah", "Channe", "Chano", "Chanouk", "Chantal", "Chantalle", "Chantalli", "Chantaly", "Chantelle", "Chantine", "Charanna", "Charda", "Chardée", "Charel", "Charell", "Charella", "Charelle", "Charessa", "Charida", "Charif", "Charina", "Charis", "Charisa", "Chariska", "Charissa", "Charita", "Charity", "Chariëlle", "Charl", "Charlaine", "Charlene", "Charles", "Charley", "Charlie", "Charlien", "Charline", "Charlotte", "Charlynn", "Charmain", "Charmaine", "Charmayne", "Charneal", "Charnell", "Charo", "Charon", "Charona", "Charonne", "Charrell", "Charris", "Charro", "Chas", "Chauncey", "Chaunie", "Chava", "Chavel", "Chavira", "Chavon", "Chavonne", "Chaya", "Chayen", "Chayenna", "Chayenne", "Chaz", "Chaznay", "Chaïmae", "Chee-Hang", "Chelan", "Chelly", "Chelsea", "Chelsee", "Chelsey", "Chelène", "Chemay", "Chenaika", "Chendo", "Chendon", "Cheneequa", "Chenelle", "Chenice", "Chenise", "Chenita", "Chenna", "Chenoa", "Cher", "Cheramise", "Cheranie", "Cheraya", "Cherella", "Cherelle", "Cherida", "Cherilyn", "Cherinda", "Cherine", "Cherique", "Cherise", "Cherissa", "Cherisse", "Cherley", "Cherlindrea", "Cherlise", "Chern", "Chero", "Cheron", "Cherouq", "Cherrelle", "Cherrise", "Cherryl", "Cherstiena", "Cheryl", "Cheryll", "Cherylle", "Cherèl", "Cherélise", "Cherêne", "Cheska", "Chesney", "Chesron", "Chess", "Chessarina", "Chester", "Chet", "Chevanna", "Chevanny", "Chevaughn", "Chevella", "Chevon", "Chevy", "Chevyrain", "Chewenne", "Cheyenne", "Cheynne", "Chiara", "Chiarèlla", "Chico", "Chiel", "Chiela", "Chiem", "Chimene", "Chimezie", "Chimo", "Chimène", "Chiméne", "Chinook", "Chinouk", "Chinthya", "Chiraaz", "Chirley", "Chiron", "Chironne", "Chislaine", "Chitra", "Chivo", "Chiël", "Chloe", "Chloé", "Chloë", "Choeryl", "Choly", "Chongyi", "Chouke", "Chowy", "Choëlle", "Chris", "Chrisje", "Chrissie", "Chrissy", "Christ", "Christa", "Christan", "Christel", "Christi", "Christiaan", "Christian", "Christianne", "Christie", "Christien", "Christin", "Christina", "Christine", "Christinne", "Christje", "Christof", "Christoffer", "Christon", "Christoph", "Christophe", "Christopher", "Christy", "Chrystal", "Chrétienne", "Chula", "Chung", "Chyanne", "Chyenne", "Chyla", "Chynita", "Chynna", "Chyron", "Chèlle", "Chèrella", "Chénoah", "Chéraine", "Chérida", "Chérie", "Chérise", "Chévene", "Cian", "Ciara", "Cicille", "Cidney", "Cielke", "Cika", "Cil", "Cilesta", "Cilie", "Cilla", "Cillian", "Cilly", "Cinda", "Cindel", "Cindle", "Cindy", "Cinthia", "Ciro", "Ciry", "Cis", "Cisca", "Ciska", "Ciske", "Cissy", "Ciáran", "Ciárán", "Claartje", "Claas", "Clair", "Claire", "Clancy", "Clara", "Claran", "Clarice", "Clarie", "Clarieke", "Clarien", "Clarinda", "Clarinde", "Clark", "Claske", "Clathilda", "Claudi", "Claudia", "Claudine", "Claudio", "Claudy", "Clay", "Clayton", "Clem", "Clemence", "Clemens", "Clement", "Clemijn", "Clen", "Clenn", "Cleo", "Clessia", "Cliff", "Cliffred", "Clifton", "Clim", "Climmy", "Clint", "Clotilde", "Clément", "Co", "Coan", "Coba", "Cobi", "Cobie", "Cobus", "Coco", "Codi", "Codrin", "Cody", "Coen", "Coenraad", "Colet", "Colette", "Colien", "Colin", "Colina", "Coline", "Colinja", "Colleen", "Collin", "Collinda", "Colline", "Conan", "Concilia", "Condor", "Conner", "Connor", "Conor", "Constant", "Constantijn", "Constantyn", "Cooper", "Coos", "Coosje", "Cor", "Cora", "Coralie", "Coralien", "Corbin", "Cordi", "Corelien", "Coreline", "Corianne", "Corien", "Coriena", "Coriene", "Corijn", "Corina", "Corinde", "Corine", "Corinja", "Corinna", "Corinne", "Coriëlle", "Corja", "Corjanne", "Corka", "Corke", "Corlaine", "Corlieke", "Corliene", "Corlinda", "Corline", "Corma", "Cornalie", "Cornel", "Cornelia", "Cornelie", "Cornelieke", "Cornelis", "Cornie", "Corniël", "Corné", "Cornée", "Cornélie", "Cornéta", "Corola", "Corrianne", "Corrie", "Corrinda", "Corrine", "Corrinne", "Corrola", "Corry", "Corstiaan", "Corstian", "Corwi", "Corwin", "Cosette", "Courtney", "Craig", "Creten", "Cretiënne", "Crijn", "Cristan", "Cristhel", "Cristian", "Criswellin", "Critiën", "Crystal", "Cuba", "Cunera", "Curtis", "Cyane", "Cyanne", "Cylia", "Cynric", "Cyntha", "Cynthia", "Cyrano", "Cyrella", "Cyrelle", "Cyriel", "Cyril", "Cyrilein", "Cyrilla", "Cyrille", "Cyrina", "Cyrion", "Cyrus", "Cèzanne", "Cébas", "Céciel", "Cécile", "Céderic", "Cédric", "Céleste", "Célestine", "Céliah", "Célie", "Célina", "Célinde", "Céline", "Céryl", "Cérès", "Césanne", "Cézary", "D'Jazer", "D'Shawn", "Daan", "Daanisj", "Daaniya", "Daantje", "Daatje", "Daborah", "Daeline", "Daelynn", "Dafne", "Dagmar", "Dagmare", "Dagna", "Dahniek", "Dahné", "Daiko", "Daily", "Daimerly", "Daimy", "Daimyo", "Daina", "Daine", "Dairo", "Dairon", "Daisy", "Daivon", "Dajo", "Dale", "Dalena", "Daley", "Dalibor", "Dalida", "Dalisa", "Dalisha", "Dalì", "Damanja", "Damar", "Damaris", "Damas", "Dami", "Damia", "Damian", "Damiano", "Damien", "Damion", "Damir", "Damiën", "Dammes", "Dammis", "Damon", "Damy", "Dana", "Danah", "Dananja", "Danara", "Danceney", "Dane", "Danee", "Danella", "Dani", "Danica", "Danicha", "Danick", "Daniek", "Danieke", "Daniel", "Danielle", "Danijela", "Danil", "Danila", "Danilo", "Danine", "Danion", "Danique", "Danischa", "Danisha", "Danisho", "Danita", "Danitia", "Danitsja", "Daniël", "Daniëla", "Daniëlla", "Daniëlle", "Danja", "Danjel", "Danjella", "Danjèl", "Danne", "Dannick", "Dannie", "Danniek", "Dannique", "Danny", "Dano", "Danouk", "Dante", "Danusia", "Danuszja", "Dany", "Danya", "Danyla", "Danyra", "Danzel", "Danée", "Daníel", "Danütha", "Daphnah", "Daphne", "Daphni", "Daphny", "Daphné", "Dara", "Darcey", "Darcy", "Daria", "Darian", "Darinka", "Dario", "Darios", "Dariën", "Darlene", "Daron", "Darragh", "Darren", "Darryl", "Darryll", "Darsen", "Darshan", "Darwin", "Daryk", "Daryl", "Daryll", "Dascha", "Dasja", "Date", "Dave", "Davey", "Davian", "David", "Davida", "Davie", "Davin", "Davina", "Davine", "Davinia", "Davira", "Davita", "Daviyo", "Davy", "Dawayne", "Dawn", "Dax", "Dayar", "Dayla", "Daylene", "Daymee", "Dayna", "Dayne", "Dayvid", "Daén", "Daïn", "De", "Dean", "Debbie", "Debby", "Debora", "Deborah", "Debra", "Decia", "Declan", "Dedy", "Dee", "Dee-Dee", "Deef", "Deejee", "Deen", "Dees", "Deesje", "Defne", "Defrie", "Deirdre", "Dejan", "Delaja", "Delana", "Delano", "Delany", "Delaya", "Delayla", "Delfie", "Deli", "Delia", "Deliana", "Delilah", "Delin", "Delinia", "Delisa", "Delivio", "Delorean", "Delphine", "Delshay", "Delvin", "Demelsa", "Demelza", "Demi", "Demian", "Demie", "Demiën", "Dempsey", "Demy", "Dena", "Denah", "Dencey", "Denian", "Denice", "Deniece", "Denis", "Denise", "Denisha", "Deniz", "Denize", "Denizhan", "Dennie", "Dennis", "Denny", "Denver", "Deny", "Denzel", "Denzell", "Deon", "Deony", "Derek", "Derk", "Derkjan", "Derrick", "Derryn", "Dervla", "Derwin", "Derya", "Deshamaira", "Deshny", "Desi", "Desiree", "Desiré", "Desirée", "Desley", "Desly", "Desmond", "Desteny", "Destiney", "Destiny", "Deswin", "Desy", "Detlef", "Detlev", "Detmar", "Devan", "Devancy", "Deveney", "Deveny", "Devi", "Devid", "Devie", "Devika", "Devin", "Devlin", "Devon", "Dewantara", "Dewi", "Dewy", "Dex", "Dexter", "Dhaly", "Dhana", "Dhanesh", "Dhariël", "Dharmdew", "Dhidey", "Dhorn", "Diala", "Dian", "Diana", "Dianca", "Dianda", "Diandra", "Diane", "Dianne", "Diantha", "Dianthe", "Dianto", "Diaro", "Diaz", "Diba", "Dichanne", "Dichelle", "Dick", "Dickie", "Dicky", "Dico", "Dictus", "Dide", "Diderik", "Didi", "Didier", "Didjay", "Didrik", "Diede", "Diederick", "Diederik", "Diederike", "Diego", "Diek", "Dieka", "Dieke", "Dieko", "Diem", "Dienie", "Dienke", "Dierieke", "Dieta", "Dieter", "Dieudonnee", "Dieudy", "Dieuwer", "Dieuwertje", "Dieuwke", "Diewerke", "Diger", "Dijanne", "Dijs", "Dik", "Dilan", "Dilana", "Dilano", "Dilara", "Dilek", "Dilhan", "Dili", "Dille", "Dilliam", "Dillon", "Diloy", "Diluk", "Dilâra", "Dim", "Dima", "Dimar", "Dimara", "Dimfy", "Dimitri", "Dimitrios", "Dimitry", "Dimmy", "Dimphna", "Dimphy", "Din", "Dina", "Dinah", "Dinand", "Dinande", "Dineke", "Dinella", "Dinesh", "Dingeman", "Dinieke", "Dinja", "Dink", "Dino", "Dinthe", "Dio", "Dion", "Diona", "Dione", "Dioni", "Dionne", "Diria", "Dirja", "Dirk", "Dirkjan", "Dirkje", "Dirma", "Dirra", "Dirthe", "Disley", "Disney", "Ditmar", "Ditske", "Ditsy", "Ditte", "Divera", "Diyanne", "Diègo", "Diémo", "Diéry", "Diönna", "Djadi", "Djago", "Djahmillah", "Djai", "Djaira", "Djamel", "Djamilla", "Django", "Djannie", "Djano", "Djany", "Djanyl", "Djara", "Djarda", "Djardy", "Djarmelza", "Djarno", "Djayden", "Djaïr", "Djecky", "Djeedy", "Djef", "Djefrey", "Djelana", "Djelano", "Djen", "Djenitha", "Djermo", "Djesse", "Djessy", "Djetto", "Djewi", "Djezz", "Djezzy", "Djijo", "Djim", "Djimmy", "Djindji", "Djinn", "Djinni", "Djino", "Djody", "Djoeke", "Djoenie", "Djoere", "Djoeri", "Djohnno", "Djoke", "Djolien", "Djoni", "Djonie", "Djordi", "Djordin", "Djordy", "Djorni", "Djoshua", "Djovanny", "Djowy", "Djulita", "Djuna", "Djura", "Djuri", "Djurra", "Djurre", "Dmitri", "Dodijn", "Doede", "Doedo", "Doekle", "Doenja", "Doenya", "Doganay", "Doj", "Doke", "Dolf", "Dolinda", "Domenico", "Domenique", "Domien", "Domingo", "Domingus", "Dominic", "Dominick", "Dominiek", "Dominique", "Domino", "Doménique", "Don", "Donald", "Donathe", "Donchavèl", "Doney", "Donika", "Donja", "Donna", "Donnely", "Donnever", "Donny", "Donné", "Donnée", "Donovan", "Doné", "Doortje", "Doralice", "Doran", "Dore", "Dorelie", "Doret", "Doreth", "Dorian", "Dorianne", "Dorieke", "Dorien", "Dorienke", "Dorijn", "Dorinda", "Dorine", "Doris", "Dorith", "Dorocia", "Doron", "Dorothy", "Dorothée", "Dorrit", "Dorrus", "Dort", "Dorthe", "Dorus", "Dosanne", "Douglas", "Douk", "Dounia", "Doutina", "Doutzen", "Douwe", "Doy", "Dracina", "Drazic", "Drico", "Driek", "Driekus", "Dries", "Duanca", "Duane", "Duco", "Duell", "Duke", "Dumont", "Duna", "Duncan", "Dunja", "Dunya", "Durk", "Dustin", "Dusty", "Duurt", "Duve", "Duy", "Duèn", "Dwain", "Dwayn", "Dwayne", "Dwight", "Dyan", "Dyango", "Dyanne", "Dyantha", "Dyanthe", "Dyce", "Dylaine", "Dylan", "Dylano", "Dylian", "Dymphe", "Dymphia", "Dymphie", "Dymphy", "Dynphy", "Dynthe", "Dyon", "Dyonne", "Dániel", "Dävy", "Däyna", "Dèz", "Débra", "Déjany", "Déjon", "Délano", "Démen", "Dési", "Désiree", "Désiré", "Désirée", "Dévinjo", "Eamonn", "Ebbe", "Ebbo", "Ebe", "Ebel", "Ebony", "Ebrina", "Ebru", "Eckart", "Edcharda", "Edden", "Eddie", "Eddy", "Edgar", "Edi", "Edina", "Edinno", "Edip", "Edith", "Ediz", "Edmar", "Edmee", "Edmée", "Edo", "Edrik", "Edske", "Edu", "Eduard", "Eduardo", "Edward", "Edwin", "Edwina", "Edzo", "Eef", "Eefie", "Eefje", "Eefke", "Eeke", "Eelco", "Eelke", "Eelse", "Eelze", "Eenje", "Eetze", "Eeuwe", "Effie", "Efi", "Efraïm", "Efrin", "Egbert", "Egbertje", "Egide", "Egon", "Egwin", "Ehran", "Eibert", "Eike", "Eildert", "Eilish", "Eimerdine", "Einar", "Eise", "Eiso", "Eitze", "Eize", "Eke", "el", "Ela", "Elaine", "Elana", "Elano", "Elayne", "Elcharro", "Elcke", "Elco", "Eldrid", "Ele", "Eleana", "Eleanor", "Elena", "Eleonora", "Elfi", "Elfy", "Elga", "Elger", "Elginio", "Eli", "Eliah", "Eliam", "Elian", "Eliana", "Eliane", "Elianne", "Elias", "Elien", "Elies", "Elieze", "Elif", "Elija", "Elijne", "Elin", "Elina", "Eline", "Elinn", "Elion", "Elisa", "Elisabeth", "Elisah", "Elise", "Elisha", "Elisheva", "Elishevah", "Eliyah", "Eliza", "Elizabeth", "Elizah", "Elize", "Eliëtte", "Elja", "Eljade", "Eljah", "Eljakim", "Eljon", "Eljoënai", "Elke", "Elkjaer", "Elko", "Ella", "Ellard", "Elle", "Elleke", "Ellemarie", "Ellemieke", "Ellemijn", "Ellen", "Ellena", "Ellenoor", "Ellery", "Elles", "Ellian", "Ellie", "Ellina", "Elliot", "Ellis", "Elliëtte", "Elloise", "Elly", "Ellymay", "Ellys", "Elma", "Elmarije", "Elmas", "Elmer", "Elmi", "Elmir", "Elmo", "Elodie", "Eloi", "Eloise", "Elon", "Eloniek", "Eloy", "Eloyke", "Elra", "Elrein", "Elric", "Elriecke", "Elrik", "Elroy", "Els", "Elsa", "Elsanne", "Elsberth", "Elsbeth", "Else", "Elsebé", "Elseline", "Elsemarie", "Elsemarijn", "Elsemiek", "Elsemieke", "Elsenoor", "Elsina", "Elsje", "Elske", "Eltica", "Eltina", "Eltine", "Eltio", "Elton", "Elunde", "Elvera", "Elvi", "Elvida", "Elvie", "Elvieke", "Elviera", "Elvin", "Elvina", "Elvira", "Elwin", "Ely", "Elycia", "Elyne", "Elyon", "Elyse", "Elyseo", "Elysha", "Elza", "Elzard", "Elze", "Elzelien", "Elzeline", "Elzemiek", "Elzerd", "Elzo", "Eléna", "Elía", "Elöise", "Emalise", "Emanuel", "Emardo", "Emelie", "Emely", "Emerance", "Emerentia", "Emeric", "Emese", "Emi", "Emie", "Emiel", "Emile", "Emilia", "Emilie", "Emilio", "Emilva", "Emily", "Emina", "Emke", "Emma", "Emmaline", "Emmaly", "Emme", "Emmeke", "Emmelie", "Emmeliek", "Emmelien", "Emmeline", "Emmelotte", "Emmely", "Emmerick", "Emmerson", "Emmie", "Emmily", "Emmy", "Emmylou", "Emond", "Emrah", "Emre", "Emsley", "Emy", "Enara", "Enes", "Engbert", "Enis", "Enja", "Enna", "Enneke", "Ennie", "Eno", "Enoch", "Enola", "Enrico", "Ente", "Enya", "Enze", "Enzio", "Enzo", "Ephraïm", "Epke", "Eral", "Eray", "Erben", "Erdin", "Erhan", "Eri", "Eric", "Erica", "Erich", "Erick", "Erik", "Erika", "Erin", "Erinke", "Erinn", "Eritia", "Erja", "Erjan", "Erlinde", "Erline", "Ernick", "Ernie", "Ernst", "Ernstjan", "Erol", "Eros", "Erris", "Errol", "Erszi", "Ervin", "Ervinda", "Erwin", "Eryk", "Esdert", "Esdra", "Esger", "Eshelle", "Eshmé", "Eske", "Eslem", "Esley", "Esli", "Eslie", "Esma", "Esmaralda", "Esmay", "Esmee", "Esmeralda", "Esmilia", "Esmond", "Esmé", "Esmée", "Espen", "Espérance", "Esra", "Esrah", "Esri", "Esry", "Esteban", "Estee", "Estefanía", "Estel", "Estella", "Estelle", "Ester", "Estevan", "Esther", "Esti", "Estrea", "Esty", "Estée", "Eswin", "Eszra", "Etchika", "Ethama", "Ethan", "Ethelle", "Etienne", "Etiënne", "Eugeen", "Eugénie", "Euníce", "Euwen", "Eva", "Evalien", "Evalina", "Evaluna", "Evan", "Evander", "Evangeline", "Evany", "Eve", "Evelien", "Eveliene", "Eveline", "Evelyn", "Evelyne", "Evenne", "Everdien", "Everhart", "Evert", "Evi", "Evianne", "Evie", "Evin", "Evina", "Evine", "Evita", "Evy", "Ewa", "Ewald", "Ewan", "Eward", "Ewart", "Ewoud", "Ewout", "Eyzo", "Ezar", "Ezra", "Fab", "Fabia", "Fabiaan", "Fabian", "Fabiana", "Fabien", "Fabienne", "Fabio", "Fabiola", "Fabiènne", "Fabiën", "Fabiënne", "Fabrice", "Fabricio", "Fadila", "Fagmar", "Fai", "Fairy", "Faisal", "Faith", "Faiçal", "Falcke", "Falco", "Falisha", "Falk", "Falko", "Famke", "Fammeke", "Fancy", "Fania", "Fannie", "Fanny", "Faraaz", "Farah", "Fardau", "Farid", "Faris", "Farley", "Faroek", "Farrah", "Farshaad", "Fascal", "Fasillio", "Fastwin", "Fatima", "Faustino", "Fausto", "Fauve", "Fawn", "Fay", "Fayan", "Faye", "Fayette", "Fayola", "Fayrouz", "Faysal", "Fayyaz", "Fayza", "Faïza", "Feargal", "Febe", "Fedde", "Fedderi", "Feddrick", "Feddrik", "Feder", "Fedhi", "Fedor", "Fee", "Feije", "Feike", "Feiko", "Feite", "Feitze", "Fekke", "Feli", "Felice", "Felicia", "Felicita", "Felicity", "Felien", "Feline", "Felisha", "Felitsa", "Felix", "Feliza", "Femi", "Femia", "Femke", "Femme", "Femmelina", "Femmie", "Femmina", "Fen", "Fenanda", "Fenda", "Fenke", "Fenna", "Fenne", "Fenneke", "Fenno", "Fenny", "Fera", "Ferd", "Ferdi", "Ferdie", "Ferdinand", "Ferdjo", "Ferdy", "Fere", "Ferenc", "Ference", "Ferencz", "Ferjo", "Fern", "Fernan", "Fernanda", "Fernandez", "Fernando", "Ferran", "Ferre", "Ferrie", "Ferris", "Ferron", "Ferry", "Fester", "Feyona", "Fian", "Fianna", "Fianne", "Fiano", "Fidel", "Fidelma", "Fidessa", "Fieke", "Fien", "Fiene", "Fienna", "Fientje", "Fifianne", "Figo", "Figou", "Fije", "Fijnanda", "Fik", "Fikri", "Filip", "Filippa", "Filique", "Filou", "Fimke", "Fimme", "Fin", "Fineke", "Finet", "Finette", "Finja", "Finlay", "Finley", "Finn", "Finne", "Finola", "Fintan", "Fiona", "Fiore", "Fip", "Fir", "Fira", "Firenze", "Fitzgerald", "Fjäll", "Flavio", "Flavié", "Fleur", "Fleurien", "Fleurine", "Fleurita", "Fleurke", "Fleurtje", "Flint", "Flip", "Flo", "Floid", "Floor", "Floorke", "Floortje", "Flor", "Flora", "Floran", "Florance", "Flore", "Florean", "Floren", "Florence", "Florens", "Florent", "Florentien", "Florentin", "Florentine", "Florenzo", "Florian", "Floriane", "Florianne", "Florieke", "Florien", "Florieneke", "Florinde", "Florine", "Floris", "Florith", "Floyd", "Flynn", "Foeke", "Foke", "Fokje", "Fokke", "Folckert", "Folker", "Folkert", "Folkje", "Folmer", "Foléor", "Fonger", "Fongman", "Fonne", "Fons", "Foor", "Forra", "Forrianne", "Fos", "Foske", "Fouke", "Franca", "France", "Frances", "Francesca", "Francesco", "Franchesco", "Francien", "Francies", "Francijn", "Francina", "Francine", "Francis", "Francisca", "Francy", "Frank", "Franka", "Franke", "Franky", "Franny", "Frans", "Fransien", "Fransina", "Fransis", "Franske", "François", "Frauke", "Fraukje", "Freark", "Fred", "Freddy", "Frederick", "Frederiecke", "Frederiek", "Frederieke", "Frederik", "Frederika", "Frederike", "Frederique", "Fredie", "Fredolina", "Freek", "Freeke", "Freekje", "Freemer", "Freerk", "Freesje", "Freija", "Freke", "Fren", "Frenk", "Frenklin", "Frenny", "Frens", "Frenske", "Freyja", "Frida", "Fridse", "Frieda", "Friedarica", "Friedeke", "Friederieke", "Frieke", "Frija", "Frim", "Frisian", "Friso", "Frits", "Fritsjan", "Fronnie", "Frouk", "Froukje", "Frouktje", "Frouwke", "Frytskje", "Fréderique", "Frédéric", "Frédérique", "Fulco", "Funda", "Funs", "Fygo", "Fyor", "Fánus", "Fèdde", "Fé", "Fébe", "Félice", "Félicien", "Féline", "Félipe", "Férieke", "Fótis", "Gaatze", "Gaauwe", "Gabe", "Gabi", "Gable", "Gabor", "Gabri", "Gabriela", "Gabriele", "Gabriël", "Gabriëla", "Gabriëlla", "Gabriëlle", "Gabry", "Gaby", "Gaetano", "Gaia", "Gaime", "Gaius", "Gajanan", "Galina", "Galliano", "Gallyon", "Gardy", "Garke", "Garp", "Garreth", "Garrie", "Gary", "Gaudenso", "Gauthier", "Gavin", "Gawein", "Gaya", "Gayle", "Gayrlan", "Gaël", "Gaëlle", "Gaëtan", "Gea", "Geanne", "Geart", "Geartsje", "Gebke", "Gedeona", "Gedieke", "Gedy", "Geeke", "Geena", "Geerhart", "Geerine", "Geert", "Geerte", "Geerten", "Geerthilde", "Geertjan", "Geertje", "Geery", "Geesje", "Gejo", "Geke", "Gekelien", "Gelein", "Gelina", "Gelindo", "Gelisa", "Gemayel", "Gemke", "Gemma", "Gemme", "Gemmy", "Genardo", "Genaud", "Gene", "Geneva", "Genevieve", "Geneviève", "Geneyro", "Geniefjeiva", "Genise", "Genita", "Geoffrey", "Geoneal", "Geordi", "Geordy", "George", "Georgette", "Georgia", "Georgina", "Georgo", "Georgos", "Georgy", "Geovanna", "Ger", "Gera", "Gerald", "Geralda", "Geraldien", "Geraldine", "Geralise", "Geralt", "Geranka", "Gerard", "Gerarda", "Gerardje", "Gerardy", "Gerbart", "Gerben", "Gerber", "Gerbert", "Gerbine", "Gerbrand", "Gerbrich", "Gerbrig", "Gerco", "Gerd", "Gerda", "Gerdien", "Gerdin", "Gerdinand", "Gerdine", "Gerdo", "Gerelbe", "Gerenda", "Gerhard", "Gerharda", "Gerhart", "Geri", "Gerian", "Gerianne", "Gerie", "Gerieke", "Geriena", "Geriene", "Gerije", "Gerike", "Gerinda", "Gerinde", "Gerjan", "Gerjanna", "Gerjanne", "Gerjen", "Gerjo", "Gerjon", "Gerke", "Gerkje", "Gerlanda", "Gerlien", "Gerlin", "Gerlina", "Gerlinda", "Gerlinde", "Gerline", "Gerlineke", "Gerlise", "Germa", "Germain", "Germaine", "Germana", "Germen", "Germer", "Germie", "Gernaldo", "Gernand", "Gero", "Gerola", "Gerolf", "Gerona", "Geroy", "Gerrald", "Gerralt", "Gerreke", "Gerret", "Gerrianne", "Gerrie", "Gerrieke", "Gerrieta", "Gerrine", "Gerrit", "Gerrita", "Gerritte", "Gerro", "Gerronne", "Gerry", "Gershon", "Gersjom", "Gersom", "Gerson", "Gert", "Gertia", "Gertie", "Gertina", "Gertjan", "Gertrude", "Gerty", "Gerwald", "Gerwilmer", "Gerwim", "Gerwin", "Geryanne", "Geryo", "Gesanneke", "Gesine", "Geske", "Gesley", "Getwin", "Geurt", "Geurtjan", "Geza", "Ghalid", "Ghalith", "Gheena", "Ghilaine", "Ghino", "Ghislain", "Ghislaine", "Giacomo", "Giada", "Gian", "Gianluca", "Gianna", "Gianni", "Giannini", "Giano", "Gideon", "Gidion", "Gido", "Gidon", "Giel", "Gielijan", "Gienus", "Gieske", "Gigi", "Gijan", "Gijs", "Gijsbert", "Gijsbertine", "Gila", "Gilano", "Gilene", "Gilermo", "Giliam", "Gilian", "Gilke", "Gilles", "Gillian", "Gilliano", "Gina", "Gineke", "Ginette", "Ginger", "Ginny", "Gino", "Gio", "Gioia", "Giome", "Giomi", "Giora", "Giorgina", "Giorginio", "Giorgio", "Giorgo", "Giorny", "Giovanna", "Giovanni", "Giovanny", "Giray", "Girtje", "Giselle", "Gismaro", "Githe", "Gitta", "Gittan", "Gitte", "Giulia", "Giuliano", "Giulietta", "Giusi", "Givanny", "Givanti", "Giverney", "Giyo", "Gjerryt", "Gjilke", "Gladys", "Glein", "Glen", "Glenda", "Glenn", "Glennys", "Glenys", "Gloria", "Glyn", "Glynnis", "Godain", "Godert", "Goedele", "Goke", "Golan", "Goldie", "Gonda", "Gonnie", "Goof", "Goofy", "Goord", "Goos", "Gooswijn", "Goran", "Gosen", "Gosse", "Goudje", "Govanni", "Govanny", "Govert", "Grace", "Gracia", "Graciëla", "Graciëlla", "Gradsie", "Graham", "Granville", "Graziëlla", "Greca", "Greggy", "Gregoor", "Gregor", "Gregory", "Greta", "Gretje", "Gretske", "Grianne", "Grieanda", "Grietina", "Grietje", "Grietsje", "Griffhin", "Griffin", "Gringa", "Griselda", "Groucho", "Guerchôm", "Guerlain", "Guichelle", "Guidione", "Guido", "Guiguitte", "Guillaume", "Guillermo", "Guillette", "Guilliano", "Guinevere", "Guiv", "Gulian", "Gulyan", "Guna", "Gunhild", "Gunnar", "Gunther", "Gus", "Gusta", "Gustaaf", "Gustin", "Guurtje", "Guus", "Guusje", "Guust", "Guy", "Guydo", "Guylian", "Guynan", "Guyon", "Guyrin", "Gwen", "Gwendolien", "Gwendolyn", "Gwendolynn", "Gwenne", "Gwennis", "Gwenny", "Gwyn", "Gwynedd", "Gwyneth", "Gwynn", "Gydo", "Gylan", "Gyon", "Gysbert", "Gyselke", "Gyselle", "Gysette", "Gyöngyi", "Gábor", "Gé", "Géan", "Géke", "Géline", "Géraud", "Gösta", "Gülin", "Haaije", "Haaye", "Haci", "Hadassa", "Hadassah", "Haddah", "Hadewych", "Hafez", "Haico", "Haije", "Haike", "Haiko", "Haitsen", "Haitske", "Hakim", "Halbert", "Haley", "Halima", "Hallina", "Hamanda", "Han", "Hanan", "Hananja", "Hanco", "Haniff", "Hanjo", "Hanka", "Hanke", "Hanna", "Hannae", "Hannah", "Hannalore", "Hannan", "Hanne", "Hanneke", "Hannelies", "Hannelinde", "Hannelore", "Hannerieke", "Hannes", "Hannewil", "Hannie", "Hannine", "Hans", "Hansje", "Hara", "Harald", "Harber", "Harbert", "Hardo", "Harjan", "Harke", "Harley", "Harlinde", "Harm", "Harma", "Harmanna", "Harmen", "Harmke", "Harnt", "Harold", "Haron", "Harrie", "Harris", "Harrison", "Harriët", "Harro", "Harrold", "Harron", "Harry", "Harryt", "Hart", "Harvey", "Harvrey", "Harwin", "Haryan", "Has", "Hasse", "Hayco", "Haylee", "Hayley", "Hayo", "Hazel", "Heather", "Heatherly", "Heaven", "Heavenly", "Hebe", "Hebel", "Heber", "Hedde", "Heddy", "Hedera", "Hedser", "Hedwich", "Hedwig", "Hedy", "Hedzer", "Heerco", "Heide", "Heidi", "Heidy", "Heije", "Heike", "Heiki", "Heiko", "Heilien", "Hein", "Heino", "Heiralde", "Helder", "Heleanne", "Heleen", "Helen", "Helena", "Helga", "Helger", "Helina", "Heline", "Hella", "Helle", "Hellen", "Helm", "Helma", "Helmer", "Helmi", "Helmien", "Helmus", "Helmut", "Helscha", "Hemmo", "Henaly", "Henda", "Henderik", "Hendi", "Hendri", "Hendrie", "Hendrik", "Hendrika", "Hendrinand", "Hendriënne", "Hendry", "Hendryetta", "Henja", "Henjoëlle", "Henk", "Henkjan", "Henko", "Henna", "Henneke", "Hennelien", "Hennes", "Hennie", "Henno", "Henny", "Henri", "Henria", "Henrick", "Henrico", "Henriek", "Henrieke", "Henriene", "Henrik", "Henrita", "Henritha", "Henriët", "Henriëtte", "Henry", "Henske", "Herbert", "Herco", "Heriëtte", "Herjan", "Herjanne", "Herlinde", "Herliëth", "Herman", "Hermanus", "Hermina", "Hermine", "Herna", "Hero", "Herrald", "Herry", "Hervé", "Herwald", "Herwin", "Hesco", "Hessel", "Hester", "Hette", "Heva", "Hiba", "Hidde", "Hieke", "Hielke", "Hielkje", "Hielko", "Hijko", "Hijlke", "Hijmke", "Hilaya", "Hilbert", "Hilco", "Hilda", "Hilde", "Hildo", "Hilja", "Hilke", "Hilko", "Hillary", "Hille", "Hilleane", "Hilleen", "Hillene", "Hillianne", "Hillyanne", "Hilma", "Hilse", "Hilsje", "Hiltjo", "Hilâl", "Himmet", "Hind", "Hindrik", "Hindrikje", "Hinse", "Hischia", "Hiske", "Hizkia", "Hjalmar", "Hjordis", "Hobbe", "Hobie", "Hoi", "Holger", "Hong", "Hortie", "Houda", "Hristo", "Huey", "Hugine", "Hugo", "Huib", "Huibert", "Huibertje", "Huppie", "Huub", "Huyen", "Hyleco", "Hylke", "Hèlanie", "Hélène", "Hémke", "Hüliya", "Hülya", "Ian", "Ianthe", "Iard", "Ibe", "Iboyca", "Ibrahim", "Ibsa", "Ibtissam", "Ichelle", "Ico", "Ida", "Idelette", "Idhuna", "Idris", "Ids", "Idske", "Idwer", "Iede", "Iefke", "Iekelien", "Ieme", "Iep", "Ifa", "Ifna", "Igmar", "Ignaat", "Ignace", "Ignacio", "Ignas", "Igor", "Igrayne", "Ihab", "Ihlay", "Iida", "IJde", "IJmert", "IJsbrand", "IJtzen", "Ike", "Ikenna", "Ikram", "Ilan", "Ilana", "Ilaniek", "Ilayda", "Ildi", "Ildiko", "Ileen", "Ilhami", "Ilias", "Ilie", "Ilja", "Iljoes", "Ilka", "Ilke", "Ilker", "Illin", "Ilna", "Ilon", "Ilona", "Ilonda", "Ilone", "Ilonka", "Iloy", "Ilsa", "Ilse", "Ilske", "Ilva", "Ilvie", "Ilvy", "Ilya", "Ilze", "Ilène", "Iman", "Imane", "Imani", "Imany", "Imara", "Imare", "Imaro", "Imelda", "Imgert", "Imke", "Imko", "Immanuel", "Imme", "Imogen", "Imoghean", "Imran", "Imre", "Imro", "Inayah", "Indi", "India", "Indiana", "Indira", "Indra", "Indy", "Ine", "Ineke", "Ines", "Inessa", "Inesse", "Inez", "Inga", "Inge", "Ingeborg", "Ingela", "Ingelien", "Ingelise", "Ingemar", "Inger", "Ingfielt", "Ingmar", "Ingo", "Ingrid", "Inja", "Inje", "Inke", "Inne", "Inneke", "Innes", "Ino", "Inouchka", "Inouschka", "Inti", "Inès", "Ioannis", "Iona", "Ionah", "Iorio", "Iphnan", "Ippe", "Ira", "Irah", "Irana", "Iraïs", "Irbe", "Ireen", "Ireentje", "Irem", "Irena", "Irene", "Ireneo", "Irha", "Irian", "Irin", "Irina", "Irini", "Iris", "Irisa", "Irish", "Irja", "Irma", "Irmen", "Irmin", "Irna", "Irone", "Iroska", "Iroy", "Irsa", "Irsan", "Irthe", "Irvin", "Irwin", "Isa", "Isaac", "Isaak", "Isabeau", "Isabel", "Isabella", "Isabelle", "Isaiah", "Isaura", "Isaäk", "Isca", "Ise", "Isfaha", "Isha", "Ishana", "Ishara", "Ishri", "Ishwar", "Isis", "Iskander", "Isla", "Ismael", "Ismay", "Ismaël", "Ismene", "Ismini", "Isobel", "Isolde", "Isra", "Issa", "Issaschar", "Istar", "Istref", "István", "Itchie", "Iteke", "Iva", "Ivan", "Ivana", "Ivanca", "Ivancka", "Ivania", "Ivanka", "Ivanna", "Ivano", "Ivar", "Ive", "Iven", "Ives", "Ivette", "Ivo", "Ivon", "Ivonne", "Ivor", "Ivy", "Iwan", "Iwein", "Iwen", "Iwikje", "Ixora", "Iza", "Izaac", "Izabella", "Izak", "Ize", "Izem", "Izi", "Izy", "Iñigo", "Jaan", "Jaantje", "Jaap", "Jabco", "Jabik", "Jabir", "Jabuck", "Jacco", "Jaccy", "Jace", "Jacek", "Jacintha", "Jacinthe", "Jack", "Jackelien", "Jackie", "Jacklynn", "Jacko", "Jackson", "Jacky", "Jaclyn", "Jaco", "Jacob", "Jacobien", "Jacobiene", "Jacobine", "Jacolien", "Jacoliene", "Jacoline", "Jacomien", "Jacon", "Jacopo", "Jacquelien", "Jacqueline", "Jacques", "Jacquiëlle", "Jacy", "Jada", "Jade", "Jaden", "Jadey", "Jadi", "Jadian", "Jadine", "Jaditha", "Jady", "Jadzyah", "Jaeike", "Jael", "Jaela", "Jaey", "Jahmairo", "Jaibreyon", "Jaiden", "Jaider", "Jaidy", "Jaier", "Jaike", "Jaime", "Jaimee", "Jaimey", "Jaimie", "Jaimy", "Jaimé", "Jainy", "Jair", "Jairo", "Jairzinho", "Jaitse", "Jaivy", "Jake", "Jakko", "Jako", "Jakob", "Jakolien", "Jaleesa", "Jaleesha", "Jalena", "Jalessa", "Jalien", "Jalinde", "Jalisa", "Jalisca", "Jalou", "Jalyssa", "Jamaica", "Jamaine", "Jamal", "James", "Jametta", "Jamey", "Jami", "Jamie", "Jamiel", "Jamil", "Jamila", "Jamilla", "Jamir", "Jamirico", "Jamiro", "Jamon", "Jamy", "Jan", "Jana", "Janay", "Janco", "Jandar", "Jander", "Jane", "Janeck", "Janelin", "Janelle", "Janet", "Janette", "Janey", "Jani", "Janice", "Janick", "Janida", "Janiek", "Janieke", "Janienke", "Janike", "Janilée", "Janin", "Janina", "Janine", "Janinka", "Janique", "Janita", "Janke", "Janko", "Janna", "Jannah", "Jannart", "Janne", "Janneau", "Jannec", "Janneke", "Jannelena", "Jannelie", "Jannemarie", "Jannemiek", "Jannemieke", "Jannes", "Jannet", "Jannette", "Jannice", "Jannick", "Jannicke", "Jannie", "Jannieke", "Jannik", "Jannika", "Jannina", "Jannine", "Jannita", "Janno", "Jannoula", "Jano", "Janoe", "Janosh", "Janou", "Janoux", "Jansina", "Janske", "Janthe", "Janthijs", "Jantiena", "Jantiene", "Jantina", "Jantine", "Jantje", "Jap", "Japke", "Jappie", "Jaqueline", "Jara", "Jarco", "Jard", "Jarda", "Jarde", "Jarden", "Jardi", "Jardy", "Jared", "Jarell", "Jari", "Jarick", "Jaricko", "Jarie", "Jarieke", "Jarik", "Jarin", "Jarina", "Jarine", "Jarino", "Jarisha", "Jarissa", "Jaritsa", "Jarkko", "Jarl", "Jarle", "Jarmen", "Jarmo", "Jarne", "Jarni", "Jarnick", "Jarnik", "Jarno", "Jaro", "Jarod", "Jarold", "Jarom", "Jaromir", "Jaron", "Jaronie", "Jaroslav", "Jarreau", "Jarren", "Jarrik", "Jarrod", "Jarryd", "Jarryl", "Jarst", "Jart", "Jarusha", "Jarvi", "Jarwin", "Jaryl", "Jaré", "Jascha", "Jaschenca", "Jashinka", "Jashvant", "Jasinka", "Jaska", "Jasmien", "Jasmijn", "Jasmin", "Jasmine", "Jason", "Jasper", "Jassin", "Jassine", "Jatinka", "Javaid", "Javea", "Javier", "Javina", "Jawad", "Jay", "Jay-Jay", "Jaya", "Jayant", "Jayanti", "Jayce", "Jaycee", "Jayda", "Jaydee", "Jayden", "Jaydey", "Jayke", "Jayla", "Jayleigh", "Jaylo", "Jaymie", "Jaymz", "Jayne", "Jaynie", "Jaypal", "Jaysen", "Jayson", "Jazz", "Jazzley", "Jazzy", "Jaël", "Jaëla", "Jaïro", "Jealine", "Jeamène", "Jean", "Jeanella", "Jeanet", "Jeanette", "Jeaney", "Jeanicque", "Jeanien", "Jeanine", "Jeanineke", "Jeanique", "Jeanne", "Jeannet", "Jeannine", "Jeannita", "Jeanno", "Jeanny", "Jeanot", "Jearon", "Jearrel", "Jebbie", "Jedidiah", "Jedidja", "Jedinja", "Jeditha", "Jeeco", "Jeen", "Jeewan", "Jef", "Jeff", "Jeffrey", "Jeffrie", "Jeffry", "Jefke", "Jefta", "Jega", "Jehan", "Jelany", "Jelbrig", "Jelco", "Jelda", "Jeldert", "Jeleesa", "Jelger", "Jeli", "Jelien", "Jelina", "Jelisa", "Jelke", "Jelle", "Jelleke", "Jellena", "Jellie", "Jellien", "Jellina", "Jelline", "Jellis", "Jelly", "Jelmar", "Jelme", "Jelmer", "Jelrik", "Jelske", "Jelt", "Jelte", "Jeltina", "Jeltje", "Jeltse", "Jeltsje", "Jelyn", "Jemaine", "Jemaira", "Jemmy", "Jen-Ai", "Jenco", "Jendy", "Jenell", "Jeneska", "Jenessa", "Jeniek", "Jenieke", "Jenienke", "Jenine", "Jenita", "Jenna", "Jenneke", "Jennely", "Jennemie", "Jennemiek", "Jennette", "Jennica", "Jennie", "Jenniek", "Jennieke", "Jennifer", "Jennika", "Jenno", "Jenny", "Jens", "Jense", "Jensen", "Jensey", "Jenske", "Jent", "Jente", "Jentel", "Jenthe", "Jentina", "Jenty", "Jephta", "Jerco", "Jere", "Jeremaih", "Jeremias", "Jeremie", "Jeremy", "Jerfaas", "Jerfy", "Jergus", "Jeri", "Jerica", "Jericho", "Jerina", "Jermain", "Jermaine", "Jermo", "Jermy", "Jerney", "Jeroen", "Jerom", "Jerome", "Jeron", "Jeronimo", "Jerphaas", "Jerre", "Jerrel", "Jerrian", "Jerrold", "Jerry", "Jersey", "Jertske", "Jerusha", "Jerwin", "Jerôme", "Jesca", "Jesco", "Jesine", "Jeske", "Jesko", "Jesler", "Jeslin", "Jesmer", "Jesper", "Jessa", "Jessalyn", "Jessamy", "Jesse", "Jesselyn", "Jessey", "Jessi", "Jessica", "Jessie", "Jessley", "Jessy", "Jessyca", "Jester", "Jet", "Jethro", "Jetse", "Jetske", "Jette", "Jettie", "Jetze", "Jewel", "Ji", "Jia", "Jibbe", "Jidde", "Jidske", "Jielis", "Jielles", "Jiery", "Jifke", "Jigal", "Jigaye", "Jijs", "Jikke", "Jilby", "Jilda", "Jildar", "Jildau", "Jilde", "Jildes", "Jildit", "Jildou", "Jilke", "Jill", "Jillan", "Jille", "Jilles", "Jillian", "Jilliano", "Jillin", "Jillis", "Jilly", "Jilske", "Jilva", "Jim", "Jimco", "Jimi", "Jimlee", "Jimme", "Jimmie", "Jimmy", "Jimte", "Jin", "Jindra", "Jindy", "Jinke", "Jinne", "Jinske", "Jinte", "Jiovanni", "Jip", "Jippe", "Jirana", "Jirina", "Jirka", "Jirre", "Jirrin", "Jirska", "Jiry", "Jisca", "Jisk", "Jiska", "Jiske", "Jismerai", "Jisse", "Jisvy", "Jita", "Jits", "Jitse", "Jitske", "Jitta", "Jitte", "Jitze", "Jivika", "Jizreël", "JJ", "Jo", "Joa", "Joab", "Joachim", "Joan", "Joanan", "Joanie", "Joanique", "Joanita", "Joanka", "Joanna", "Joanne", "Joanneke", "Joanny", "Joany", "Joaquin", "Joaquina", "Joardy", "Joas", "Job", "Jobbe", "Jobber", "Jobien", "Jobke", "Jocelyn", "Jochanan", "Joche", "Jochebed", "Jochem", "Jochiem", "Jochim", "Jodene", "Jodie", "Jody", "Joe", "Joek", "Joelle", "Joep", "Joepke", "Joeri", "Joerie", "Joery", "Joes", "Joey", "Joffra", "Joffrey", "Jogchum", "Johan", "Johann", "Johanna", "Johanne", "Johanneke", "Johannes", "Johara", "John", "Johndy", "Johnnie", "Johnno", "Johnny", "Johr", "Joia", "Joice", "Jojanneke", "Jok", "Jokelien", "Jola", "Jolanda", "Jolande", "Jolani", "Jolanthe", "Jolein", "Jolene", "Joleyn", "Jolie", "Jolieke", "Jolien", "Joliene", "Jolijn", "Jolijne", "Jolijt", "Jolina", "Jolinda", "Jolinde", "Joline", "Jolinka", "Jolisa", "Jolita", "Jolize", "Jolke", "Jolle", "Jolmer", "Jolyn", "Jolynn", "Jon", "Jona", "Jonah", "Jonan", "Jonar", "Jonas", "Jonat", "Jonatan", "Jonathan", "Jondalar", "Jonella", "Jonet", "Joni", "Jonie", "Jonine", "Jonna", "Jonne", "Jonneke", "Jonno", "Jonti", "Jontsje", "Jony", "Jools", "Joop", "Joos", "Joosje", "Joost", "Jop", "Jopie", "Joppe", "Joram", "Joran", "Jorben", "Jord", "Jordan", "Jorden", "Jordi", "Jordie", "Jordin", "Jordy", "Jorel", "Jorell", "Joren", "Jorg", "Jorghino", "Jorgi", "Jorgo", "Jorgé", "Jori", "Jorian", "Jorick", "Jorie", "Jorieke", "Jorien", "Joriena", "Joriene", "Joriet", "Jorijn", "Jorik", "Jorike", "Jorim", "Jorin", "Jorina", "Jorinda", "Jorinde", "Jorine", "Jorinke", "Jorino", "Jorique", "Joris", "Jorissa", "Jorit", "Jorja", "Jorke", "Jorn", "Jorne", "Jornt", "Jorran", "Jorren", "Jorrian", "Jorrick", "Jorrin", "Jorrit", "Jorryn", "Jorryt", "Jort", "Jorus", "Jos", "Josanne", "Josbert", "Josca", "Josee", "Josefa", "Josefien", "Joselyn", "Joseph", "Josephien", "Josephine", "Josette", "Josh", "Josha", "Joshe", "Joshka", "Joshua", "Josianne", "Josie", "Josine", "Josip", "Josje", "Joska", "Joske", "Josse", "Josselijn", "Josselin", "Josseline", "Jossica", "Jossie", "Josta", "Jostein", "Joster", "Josua", "Josyne", "José", "Joséphine", "Jotam", "Jotan", "Jotta", "Jouke", "Jouri", "Joury", "Jovana", "Jovanie", "Jovanka", "Jovanni", "Jovino", "Jowan", "Jowelle", "Jowi", "Jowieke", "Jowim", "Jowin", "Joy", "Joya", "Joyca", "Joyce", "Jozef", "Jozefien", "Jozien", "Jozua", "Joälle", "Joël", "Joëll", "Joëlla", "Joëlle", "Joëy", "Juan", "Juanita", "Juanito", "Jubinka", "Judie", "Judine", "Judith", "Judy", "Juenna", "Jula", "Jule", "Jules", "Julia", "Juliaan", "Julian", "Juliana", "Julianne", "Juliano", "Julias", "Julicke", "Julie", "Julien", "Julienne", "Juliet", "Julietta", "Juliette", "Julika", "Julina", "Julio", "Julisa", "Julisca", "Juliska", "Julissa", "Julius", "Julièn", "Juliën", "Juliët", "Juliëtte", "Julot", "July", "Julya", "Juma", "Jun", "June", "Junior", "Juno", "Junyfer", "Jur", "Juran", "Juray", "Jurdy", "Jure", "Jurek", "Jurgen", "Juri", "Juriaan", "Jurian", "Jurie", "Jurjan", "Jurjen", "Jurmaine", "Jurn", "Jurre", "Jurren", "Jurriaan", "Jurrian", "Jurriën", "Jusni", "Jussi", "Just", "Justa", "Juste", "Justen", "Justian", "Justien", "Justijn", "Justin", "Justine", "Justus", "Justy", "Jutta", "Juul", "Juulke", "Juultje", "Juup", "Jynte", "Jytte", "Järvi", "Jéhène", "Jéremy", "Jérien", "Jérôme", "Jöran", "Jörren", "Jørgen", "Jørre", "Jülide", "Jürgen", "Kaat", "Kaatje", "Kadeem", "Kadem", "Kadji", "Kady", "Kaely", "Kah", "Kahlan", "Kai", "Kaien", "Kaij", "Kailey", "Kaily", "Kaipo", "Kaisa", "Kaithlyn", "Kaitlyn", "Kaj", "Kaja", "Kajal", "Kalea", "Kaleb", "Kalina", "Kalineke", "Kalinka", "Kalle", "Kallisty", "Kam", "Kamiela", "Kamil", "Kamilia", "Kamin", "Kamran", "Kamyar", "Kandis", "Kane", "Kanisha", "Kanta", "Kanzy", "Kaoutar", "Kapinda", "Karan", "Kardo", "Kareem", "Karel", "Karelle", "Karen", "Karesla", "Kari", "Karianne", "Kariem", "Karije", "Karim", "Karimah", "Karin", "Karina", "Karjolieke", "Karlene", "Karli", "Karlien", "Karlijn", "Karly", "Karna", "Karola", "Karolien", "Karoline", "Karosh", "Kars", "Karst", "Karsten", "Kartika", "Kas", "Kasal", "Kashmira", "Kasim", "Kasper", "Katanja", "Kate", "Kateleine", "Kathalijn", "Katharina", "Kathelijn", "Kathelijne", "Katherine", "Kathi", "Kathinka", "Kathleen", "Kathlijn", "Kathy", "Katiana", "Katie", "Katinka", "Katja", "Kato", "Katouscha", "Katrien", "Katrijntje", "Katrin", "Katrina", "Katrine", "Kattelijn", "Katy", "Kavita", "Kay", "Kaya", "Kayanda", "Kaydee", "Kayla", "Kaylee", "Kayleigh", "Kayley", "Kaylie", "Kaylin", "Kaylée", "Kayne", "Kayo", "Kayra", "Kaz", "Kaïn", "Kaïs", "Keagan", "Kealey", "Kealy", "Keanu", "Keaven", "Keefer", "Keelan", "Keely", "Keenan", "Kees", "Keesjan", "Keetie", "Keetje", "Keevil", "Keije", "Keimpe", "Keith", "Keke", "Kelby", "Kelfey", "Kelhi", "Keli", "Kelian", "Kelley", "Kellin", "Kelly", "Kelsey", "Kelten", "Kelvin", "Kely", "Kemi", "Kemy", "Kenan", "Kendra", "Kendrick", "Kenjiro", "Kenly", "Kenna", "Kennard", "Kenneth", "Kennith", "Kenny", "Kenosha", "Kenrick", "Kent", "Kenya", "Kenzo", "Kenzy", "Keona", "Keresztély", "Keri", "Keriam", "Kerim", "Kersten", "Kervin", "Kerwin", "Kes", "Keshia", "Kessy", "Kety", "Keupie", "Keven", "Kevin", "Kevyn", "Keyanu", "Keye", "Keyon", "Keysha", "Khadija", "Khalil", "Khalisha", "Khusboo", "Kia", "Kian", "Kiandra", "Kiani", "Kiara", "Kiaya", "Kibo", "Kick", "Kicky", "Kid", "Kiefer", "Kiek", "Kieron", "Kiki", "Kikianne", "Kikki", "Kilay", "Kiley", "Kilian", "Killian", "Kim", "Kimani", "Kimara", "Kimber", "Kimberleigh", "Kimberley", "Kimberly", "Kimly", "Kimme", "Kimmelotte", "Kimmely", "Kimmo", "Kimmy", "Kimshana", "Kina", "Kindra", "Kine", "Kineke", "Kinny", "Kino", "Kinzi", "Kiomy", "Kiona", "Kira", "Kiran", "Kirby", "Kiri", "Kirian", "Kirin", "Kirina", "Kirmen", "Kirmie", "Kirolos", "Kiron", "Kirsi", "Kirsten", "Kirstin", "Kirsty", "Kirth", "Kirti", "Kiruna", "Kiryan", "Kishan", "Kishen", "Kiske", "Kit", "Kitana", "Kitty", "Kiyaro", "Kizzy", "Kjara", "Kjartan", "Kjel", "Kjeld", "Kjell", "Kjenta", "Kjetill", "Kjield", "Klaartje", "Klaas", "Klaasjan", "Klaes", "Klarieke", "Klarinda", "Klarine", "Klarissa", "Klasien", "Klasina", "Klasine", "Klaske", "Klazien", "Klaziena", "Klazina", "Klazine", "Kobe", "Kobie", "Koen", "Koene", "Koert", "Kommer", "Koob", "Koos", "Koosje", "Kor", "Korneel", "Kornel", "Korrie", "Kors", "Korstiaan", "Kos", "Kosse", "Kostas", "Kostein", "Koushirou", "Koyan", "Krijn", "Krineke", "Kris", "Krishna", "Krissie", "Krissy", "Krista", "Kristel", "Kristen", "Kristi", "Kristiaan", "Kristian", "Kristianne", "Kristie", "Kristien", "Kristin", "Kristina", "Kristine", "Kristof", "Kristy", "Kristél", "Krystina", "Krystle", "Kudret", "Kumara", "Kurt", "Kuun", "Kwabena", "Kyan", "Kyana", "Kyane", "Kyano", "Kyapwa", "Kyara", "Kyla", "Kyle", "Kyler", "Kylian", "Kylianna", "Kylie", "Kyllian", "Kyllie", "Kyma", "Kymara", "Kymora", "Kynja", "Kyo", "Kyoma", "Kyon", "Kyona", "Kyra", "Kyran", "Kyrana", "Kyrill", "Kyro", "Kyrola", "Käthe", "Kélian", "La", "Laas", "Lachlan", "Laetitia", "Lai-Fung", "Laila", "Laisa", "Lajea", "Lajla", "Lajos", "Laki", "Lakishia", "Lakshmi", "Lalique", "Lamanda", "Lamar", "Lamara", "Lambertine", "Lamindah", "Lammertine", "Lammie", "Lan", "Lana", "Lance", "Lander", "Lando", "Lani", "Lanny", "Lanon", "Lante", "Laquisha", "Lara", "Lard", "Larissa", "Lariz", "Larno", "Larry", "Lars", "Laschenko", "Lasse", "Laszlo", "Latifa", "Latifah", "Latisha", "Latoya", "Laudine", "Laudy", "Lauke", "Laura", "Lauraine", "Lauran", "Laurande", "Lauranne", "Laure", "Laureanne", "Laureen", "Laureline", "Lauren", "Laurena", "Laurence", "Laurens", "Laurensz", "Laurent", "Lauri", "Laurian", "Laurianne", "Laurie", "Laurien", "Lauriene", "Laurika", "Laurina", "Laurine", "Laurissa", "Laurit", "Laury", "Lauryn", "Laurèl", "Laurèlle", "Laushana", "Lauwrence", "Lauwrens", "Lavendel", "Lavigna", "Lavinia", "Lavita", "Lavonne", "Lawrence", "Layla", "Layos", "Layton", "Lazlo", "Laätzar", "Laïka", "Lea", "Leahna", "Lean", "Leander", "Leandra", "Leandro", "Leandros", "Leaniek", "Leann", "Leanna", "Leanne", "Lechana", "Leco", "Lee", "Leen", "Leena", "Leenard", "Leendert", "Leentje", "Leeroy", "Leeza", "Lefteris", "Leia", "Leida", "Leide", "Leigh", "Leighann", "Leih", "Leijn", "Leike", "Leila", "Leilia", "Leja", "Lejah", "Lejan", "Lejobe", "Lejon", "Leks", "Lela", "Lemmy", "Len", "Lena", "Lenada", "Lenardo", "Lendert", "Lene", "Lenhart", "Lenja", "Lenn", "Lenna", "Lennard", "Lennart", "Lenne", "Lenneke", "Lenner", "Lennert", "Lennie", "Lenno", "Lennon", "Lenny", "Lenore", "Lenrine", "Lente", "Lenthe", "Leny", "Leo", "Leon", "Leona", "Leonard", "Leonardo", "Leonce", "Leone", "Leoni", "Leonie", "Leoniek", "Leonieke", "Leonien", "Leonique", "Leonoor", "Leonora", "Leonore", "Leontien", "Leontine", "Leontyne", "Leony", "Leorah", "Leroij", "Leroy", "Lerôn", "Les", "Lesha", "Lesharo", "Lesley", "Leslie", "Lesly", "Lesse", "Letho", "Leticia", "Lette", "Lettie", "Lev", "Levey", "Levi", "Leviath", "Levien", "Levijah", "Levina", "Levinia", "Levy", "Lewis", "Lex", "Lexi", "Lexmy", "Lexy", "Leya", "Leyla", "Leyona", "Leôn", "Lhaksmi", "Li", "Lia", "Liam", "Lian", "Liana", "Lianca", "Liane", "Lianne", "Liannon", "Libby", "Licelle", "Lichella", "Lichelle", "Lida", "Liddy", "Lideke", "Lidewei", "Lideweij", "Lidewey", "Lidewij", "Liduina", "Lidwine", "Lidy", "Lidyhan", "Liecke", "Liedeke", "Liedy", "Liefke", "Liejèn", "Lieke", "Lien", "Liene", "Lieneke", "Lienke", "Lies", "Liesa", "Liesanne", "Liesbeth", "Liese", "Liesel", "Lieselot", "Lieselotte", "Lieset", "Lieske", "Liesl", "Lieuwe", "Lieuwke", "Lieve", "Lieveken", "Lieven", "Lieze", "Ligaya", "Liiban", "Lijanne", "Lijkel", "Lijon", "Lika", "Like", "Lila", "Lili", "Lilian", "Liliana", "Liliane", "Lillian", "Lilly", "Lillyjade", "Lilo", "Lilou", "Lily", "Lilya", "Lilyan", "Limahl", "Limalh", "Lin", "Lina", "Lincy", "Linda", "Linday", "Linde", "Linden", "Lindert", "Lindey", "Lindi", "Lindie", "Lindo", "Lindsay", "Lindsey", "Lindsy", "Lindy", "Line", "Lineke", "Linelle", "Linette", "Ling", "Linic", "Linn", "Linnea", "Linny", "Lino", "Linoesja", "Linor", "Linquenda", "Linsey", "Linsy", "Linthon", "Linton", "Linzy", "Lio", "Liola", "Lion", "Liona", "Lionda", "Lione", "Lionel", "Lioney", "Lionne", "Liora", "Lioz", "Lique", "Lirije", "Lis", "Lisa", "Lisabeau", "Lisah", "Lisalon", "Lisalotte", "Lisan", "Lisanka", "Lisanne", "Lise", "Liselore", "Liselot", "Liselotte", "Lisenka", "Liset", "Lisette", "Lisha", "Liske", "Lissa", "Lisse", "Lissey", "Litmar", "Liv", "Livay", "Livia", "Liviu", "Livius", "Livvy", "Livy", "Liz", "Liza", "Lizalorra", "Lizan", "Lizanne", "Lize", "Lizelot", "Lizette", "Lizz", "Lizzi", "Lizzie", "Lizzy", "Liël", "Ljubica", "Llorenç", "Lloyd", "Lloïc", "Lobke", "Lode", "Lodewijk", "Lody", "Loe", "Loed", "Loek", "Loeka", "Loeki", "Loekie", "Loes", "Loesan", "Loet", "Lois", "Lola", "Lolita", "Lon", "Long", "Lonne", "Lonneke", "Lonni", "Looy", "Lora", "Loraine", "Lorainne", "Loran", "Lore", "Loreane", "Loreen", "Loreena", "Loreine", "Lorella", "Loren", "Lorena", "Lorentz", "Lorenzo", "Lorenzs", "Loretta", "Lori", "Lorien", "Lorijn", "Lorin", "Lorinda", "Loris", "Lorraine", "Lorre", "Lory", "Lot", "Lotar", "Lotje", "Lotta", "Lotte", "Lottelein", "Lotty", "Lotus", "Lou", "Louana", "Loubna", "Loucinda", "Loudi", "Louella", "Loues", "Louie", "Louis", "Louisa", "Louise", "Louisiana", "Louk", "Louka", "Louky", "Loulou", "Loure", "Louren", "Lourens", "Lourenz", "Lousanne", "Louwe", "Louwra", "Lovely", "Lowie", "Loyce", "Loys", "Loïc", "Loïs", "Luan", "Lubbert", "Lubberta", "Lubbigje", "Lubert", "Lubina", "Lubèr", "Luc", "Luca", "Lucardy", "Lucas", "Lucel", "Luchien", "Luchina", "Lucia", "Lucian", "Luciano", "Lucie", "Luciel", "Lucien", "Lucienne", "Lucile", "Lucinda", "Lucinde", "Lucky", "Luco", "Lucy", "Lucya", "Lucyle", "Ludchano", "Ludo", "Ludwien", "Ludwig", "Luigi", "Luis", "Luisa", "Luit", "Luite", "Luitzen", "Luka", "Lukas", "Luke", "Lula", "Lulu", "Luna", "Lune", "Luscha", "Lusha", "Lute", "Lutina", "Lutske", "Luuc", "Luud", "Luuk", "Luuke", "Luut", "Luã", "Lyan", "Lyanna", "Lyanne", "Lybrich", "Lyckele", "Lydi", "Lydia", "Lydie", "Lydwien", "Lyette", "Lyke", "Lymee", "Lyn", "Lynda", "Lyndi", "Lyndsay", "Lynet", "Lynette", "Lynn", "Lynne", "Lyone", "Lyonne", "Lyotte", "Lysa", "Lysandro", "Lysanne", "Lysenka", "Lysette", "Lysian", "Lyske", "Lyssa", "Lyudmyla", "Lyzette", "Lâtife", "Léa", "Léan", "Léander", "Léanne", "Léanore", "Léjanne", "Léon", "Léoni", "Léonie", "Léroy", "Lòra", "Lútsen", "Maaik", "Maaike", "Maan", "Maaren", "Maarten", "Maartje", "Maas", "Maayke", "Mabs", "Mabèl", "Macey", "Macha", "Machael", "Machela", "Machella", "Machelle", "Machiel", "Machteld", "Macie", "Mack", "Macy", "Madalien", "Madani", "Madde", "Maddie", "Maddy", "Madeleen", "Madelein", "Madeleine", "Madelief", "Madelijn", "Madelinde", "Madelon", "Madelyn", "Madelène", "Madieke", "Madison", "Madita", "Mado", "Mads", "Mady", "Madé", "Mae", "Maedy", "Maeike", "Maelynn", "Maemi", "Maeve", "Magaidh", "Magali", "Magalie", "Magdaleen", "Maggie", "Magid", "Magnus", "Magteld", "Mahelia", "Mahez", "Mahsooma", "Mai", "Maica", "Maick", "Maickel", "Maico", "Maik", "Maike", "Maikel", "Maiko", "Maiky", "Maira", "Mairenn", "Mairin", "Maisha", "Maite", "Maitenna", "Maité", "Maja", "Majella", "Majka", "Majken", "Majlen", "Majlis", "Maks", "Malco", "Malcolm", "Malee", "Malek", "Malik", "Malika", "Malin", "Malinda", "Malindi", "Malissa", "Mallika", "Mallon", "Mallory", "Maloe", "Malon", "Malou", "Malouke", "Malu", "Malvin", "Malya", "Malynn", "Manal", "Manasse", "Mandely", "Mandy", "Maneesha", "Manel", "Manello", "Manet", "Manieska", "Manisha", "Manissa", "Manita", "Maniëlle", "Manja", "Mannes", "Mannetha", "Manny", "Mano", "Manoah", "Manoeska", "Manoli", "Manolya", "Manon", "Manou", "Manouk", "Manous", "Manousha", "Manoushka", "Mans", "Manu", "Manuel", "Manuela", "Manuelle", "Manus", "Manó", "Mao", "Mara", "Maraea", "Marald", "Maraly", "Maram", "Maran", "Maranata", "Marasha", "Marath", "Maraya", "Marc", "Marcel", "Marcelina", "Marcella", "Marcello", "Marcha", "Marchella", "Marchelle", "Marchien", "Marchim", "Marcia", "Marciano", "Marcin", "Marcio", "Marck", "Marco", "Marcus", "Marcy", "Mardi", "Mardieke", "Mardy", "Mare", "Marec", "Mareen", "Marek", "Marelda", "Marelien", "Marell", "Maren", "Marena", "Marene", "Marenne", "Mareno", "Marens", "Marenthe", "Maresa", "Maresha", "Maresi", "Marette", "Mareva", "Marga", "Margareth", "Margaretha", "Margaritha", "Margaux", "Margie", "Margies", "Margit", "Margite", "Margje", "Margo", "Margonda", "Margot", "Margreet", "Margreeth", "Margret", "Margreth", "Margriet", "Margryt", "Margy", "Marhilde", "Mari", "Maria", "Mariam", "Marian", "Mariangela", "Marianka", "Marianne", "Mariati", "Marick", "Maricke", "Marie", "Mariecke", "Mariek", "Marieke", "Marieken", "Marielle", "Marielse", "Marien", "Marieneke", "Marienes", "Marienjo", "Marienke", "Maries", "Mariet", "Marieta", "Mariete", "Marij", "Marija", "Marije", "Marijke", "Marijn", "Marijne", "Marijntje", "Marijon", "Marijs", "Marijse", "Marijt", "Marijtje", "Marika", "Marike", "Mariken", "Marilaine", "Marilee", "Marileen", "Marilene", "Marilieke", "Marilieze", "Marilinde", "Mariloe", "Marilotte", "Marilou", "Marilva", "Marilyn", "Marilène", "Marin", "Marina", "Marinda", "Marinde", "Marine", "Maringe", "Marinka", "Marinke", "Marinko", "Marinne", "Marinske", "Marinthe", "Marinus", "Mario", "Marion", "Marionne", "Marique", "Maris", "Marisa", "Marisca", "Marise", "Marisha", "Marisja", "Mariska", "Mariske", "Marisol", "Marissa", "Marisse", "Marisya", "Marit", "Marita", "Marith", "Maritza", "Marius", "Marize", "Mariël", "Mariëlla", "Mariëlle", "Mariësse", "Mariët", "Mariëtta", "Mariëtte", "Marjan", "Marjanka", "Marjanna", "Marjanne", "Marjet", "Marjette", "Marjoes", "Marjoke", "Marjolein", "Marjoleine", "Marjolie", "Marjolien", "Marjolijn", "Marjon", "Marjonne", "Marjos", "Marjus", "Mark", "Marka", "Markaryd", "Marko", "Markus", "Markwin", "Marla", "Marle", "Marlee", "Marleen", "Marleentje", "Marlen", "Marlene", "Marlette", "Marley", "Marli", "Marlia", "Marlie", "Marliek", "Marlieke", "Marlien", "Marlies", "Marlijn", "Marlijna", "Marlijne", "Marlijnn", "Marlim", "Marlin", "Marlinda", "Marlinde", "Marline", "Marlissa", "Marlisse", "Marlize", "Marloe", "Marloeke", "Marloes", "Marloeska", "Marlon", "Marlot", "Marlotte", "Marlou", "Marloucha", "Marlouk", "Marlouke", "Marlous", "Marluza", "Marly", "Marlynn", "Marlène", "Marn", "Marnelle", "Marnick", "Marnik", "Marnix", "Marné", "Maroes", "Maroesjka", "Marolise", "Maron", "Marouan", "Marouane", "Maroucha", "Maroula", "Marouscha", "Marouschka", "Maroushka", "Maroussia", "Marre", "Marrigje", "Marrit", "Marriële", "Marriët", "Marriëtte", "Marron", "Marry", "Mars", "Marscha", "Marschinka", "Marsha", "Marshall", "Mart", "Martan", "Marte", "Marteijn", "Martel", "Marten", "Martha", "Marthe", "Marthijn", "Marthijs", "Marti", "Martiene", "Martijn", "Martijntje", "Martika", "Martin", "Martina", "Martine", "Martinus", "Martje", "Marttanja", "Martène", "Marvin", "Marvy", "Marvyn", "Marwa", "Marwan", "Marwin", "Mary", "Marylene", "Maryline", "Marylse", "Marysa", "Maryse", "Marytha", "Maràyah", "Marçanne", "Marèl", "Marèll", "Marèse", "Masami", "Masaya", "Masha", "Maske", "Masny", "Mat", "Matan", "Matanja", "Matanya", "Mathea", "Mathee", "Matheo", "Mathew", "Mathias", "Mathien", "Mathies", "Mathieu", "Mathiez", "Mathijn", "Mathijs", "Mathilde", "Mathis", "Mathyn", "Mathé", "Matias", "Matija", "Matiji", "Matisse", "Mats", "Matt", "Mattanja", "Matteo", "Mattessa", "Matthea", "Mattheo", "Mattheus", "Matthew", "Matthia", "Matthias", "Matthieu", "Matthijs", "Matthys", "Matthé", "Matti", "Mattia", "Mattias", "Mattie", "Mattijn", "Mattijs", "Mattis", "Matts", "Matty", "Mattya", "Matté", "Matyi", "Matys", "Matz", "Maud", "Maudy", "Mauk", "Maup", "Maura", "Maureen", "Maurenke", "Mauri", "Maurice", "Maurick", "Maurien", "Mauries", "Maurijn", "Maurik", "Maurits", "Maurizio", "Mauro", "Maury", "Max", "Maxiem", "Maxien", "Maxim", "Maxime", "Maximiliaan", "Maximilian", "Maxine", "Maya", "Maybritt", "Mayella", "Mayelle", "Mayenne", "Mayke", "Maykel", "Mayken", "Mayla", "Maylo", "Maylon", "Mayon", "Mayra", "Mayron", "Mayté", "Mayuko", "Mayuri", "Mazarine", "Mazurka", "McKenzo", "Mea", "Meaghan", "Meake", "Meandra", "Meanne", "Mearle", "Mechelina", "Mechelle", "Mechiel", "Medde", "Medy", "Meehna", "Meerle", "Meerte", "Meerten", "Meerthe", "Mees", "Meeuwis", "Meg", "Megan", "Meggie", "Meghan", "Meghann", "Megin", "Mehdi", "Mehdy", "Mehmet", "Mei", "Meical", "Meie", "Meike", "Meindert", "Meinke", "Meint", "Meira", "Meisha", "Meissie", "Mejdoulin", "Mekel", "Mel", "Mela", "Melan", "Melanie", "Melany", "Melatti", "Melcher", "Melchert", "Melchior", "Melchor", "Melda", "Melenie", "Melenka", "Melianthe", "Melicio", "Meliek", "Melika", "Melinda", "Meline", "Melis", "Melisa", "Melisande", "Melissa", "Mellan", "Mellaney", "Mellanie", "Mellany", "Melle", "Melleny", "Mellijn", "Melline", "Mellis", "Mellisa", "Mellissa", "Melody", "Melony", "Melroy", "Mels", "Melse", "Melvin", "Melvyn", "Melwin", "Mendel", "Mendie", "Mendy", "Menje", "Menjous", "Menk", "Menka", "Menke", "Menko", "Menna", "Mennard", "Menne", "Menno", "Ment", "Mentha", "Menthe", "Menze", "Merana", "Merande", "Merav", "Mercedes", "Mercedez", "Mercella", "Merchier", "Merchy", "Mercè", "Meredith", "Merel", "Mereline", "Meren", "Merethé", "Meriam", "Merijn", "Merissa", "Merit", "Merith", "Merle", "Merlen", "Merlijn", "Merlin", "Merlinda", "Merlinde", "Merlissa", "Merre", "Merredith", "Mert", "Merten", "Merthe", "Merve", "Merwin", "Mery", "Meryam", "Meryem", "Meryl", "Mesach", "Messalina", "Metah", "Metehan", "Mette", "Mex", "Mexi", "Mexx", "Mexy", "Meya", "Meyke", "Meyra", "Mia", "Miarca", "Micaela", "Micah", "Micha", "Michael", "Michaell", "Michal", "Michan", "Michanou", "Michar", "Michaèl", "Michaël", "Michaëla", "Micheal", "Michel", "Michela", "Micheline", "Michelle", "Michiel", "Michon", "Michou", "Michèl", "Michèle", "Michèlle", "Michél", "Michéle", "Michélle", "Mick", "Mickay", "Mickeal", "Mickey", "Mickkel", "Micky", "Micolas", "Midas", "Midge", "Midun", "Miek", "Mieka", "Mieke", "Miel", "Mieneke", "Mienke", "Miep", "Miera", "Mies", "Mietek", "Migaela", "Miggy", "Migiel", "Mignon", "Miguel", "Mija", "Mijanou", "Mijntje", "Mik", "Mika", "Mikael", "Mikai", "Mikail", "Mikal", "Mikay", "Mike", "Mikela", "Mikey", "Mikki", "Miklos", "Miklós", "Mikolaj", "Mila", "Milada", "Milan", "Milaya", "Mildred", "Mileen", "Milena", "Milenco", "Milenka", "Milenko", "Miles", "Milette", "Milique", "Milka", "Milko", "Milla", "Mille", "Millie", "Milly", "Milo", "Miloe", "Milon", "Milos", "Milou", "Miloud", "Milouda", "Milroy", "Milton", "Mimi", "Min", "Mina", "Mindou", "Mindy", "Minette", "Minh", "Minjon", "Minjonet", "Mink", "Minka", "Minke", "Minne", "Minoesch", "Minou", "Minouk", "Minte", "Mintya", "Mioma", "Miora", "Miqaëla", "Miquel", "Miquitte", "Miquél", "Miquéle", "Miquël", "Mira", "Miran", "Miranda", "Mireau", "Mirei", "Mireille", "Mirel", "Mirella", "Mirelle", "Mirga", "Miria", "Miriam", "Mirije", "Mirim", "Mirja", "Mirjam", "Mirjana", "Mirke", "Mirko", "Mirl", "Mirlaine", "Mirle", "Mirli", "Mirlin", "Mirly", "Mirne", "Miro", "Miron", "Mirre", "Mirren", "Mirron", "Mirte", "Mirthe", "Miryam", "Miryea", "Miryeah", "Mirza", "Mirèse", "Mirée", "Misaël", "Mischa", "Misha", "Misja", "Misjèl", "Misra", "Misrie", "Mistral", "Misty", "Mitch", "Mitchel", "Mitchell", "Mitchey", "Mitran", "Mitsy", "Mitta", "Mitzi", "Mitzy", "Miëlla", "Mo", "Moana", "Modesty", "Modine", "Moed", "Mohammed", "Moira", "Moisha", "Moncef", "Mondie", "Monica", "Moniek", "Monika", "Monique", "Monir", "Monisha", "Mons", "Monte", "Montse", "Moo", "Moon", "Moos", "Moran", "Morane", "Moreno", "Morgan", "Morgana", "Morgane", "Morghane", "Morino", "Moritz", "Morris", "Morrison", "Morten", "Morvenna", "Moréno", "Moshe", "Moundir", "Mounir", "Moya", "Moïbe", "Moïse", "Muel", "Muhammad", "Mumtaz", "Muqet", "Muriël", "Muriëlle", "Murk", "Murphy", "Mushirah", "Muus", "Myanou", "Myck", "Myke", "Mylaine", "Mylan", "Mylia", "Mylie", "Mylon", "Mylou", "Mylène", "Myléne", "Mynthe", "Myon", "Myra", "Myrcea", "Myrdhin", "Myren", "Myriam", "Myrle", "Myrlin", "Myrna", "Myro", "Myron", "Myronne", "Myrren", "Myrte", "Myrthe", "Myrtle", "Mysthe", "Mária", "Mârlon", "Mèdellin", "Mèlani", "Mèlanie", "Mèranne", "Mélanie", "Mélischa", "Mérette", "Mêgan", "N'Dea", "N'kulu", "Na", "Na'shaya", "Nabila", "Nada", "Nadal", "Nadda", "Nadeche", "Nadedja", "Nadeem", "Nadi", "Nadia", "Nadiah", "Nadide", "Nadie", "Nadieh", "Nadiene", "Nadine", "Nadir", "Nadisha", "Nadiye", "Nadja", "Nadjara", "Nadjesdha", "Nadya", "Nadyl", "Nadyne", "Nadéche", "Naftali", "Naila", "Naim", "Naire", "Najola", "Nakisha", "Nakita", "Naletta", "Nalini", "Namara", "Nan", "Nana", "Nance", "Nanco", "Nancy", "Nanda", "Nander", "Nandine", "Nandini", "Nandio", "Nando", "Nandy", "Nanet", "Nanette", "Nanine", "Nanisha", "Nanja", "Nanko", "Nanna", "Nanne", "Nanneke", "Nannerelle", "Nannet", "Nannick", "Nannie", "Nanno", "Nanny", "Nanoek", "Nanou", "Nanouche", "Nanouck", "Nanouschka", "Nanya", "Naomi", "Naomy", "Narada", "Nard", "Narda", "Nardo", "Nardy", "Naresh", "Narjena", "Narouz", "Nash", "Nashara", "Nasheela", "Nasrin", "Nassim", "Nassma", "Nastassia", "Natacha", "Natalie", "Natalja", "Natanaël", "Natanja", "Natanya", "Natascha", "Natasha", "Natashia", "Natasja", "Nathalia", "Nathalie", "Nathalja", "Nathalya", "Nathan", "Nathanaël", "Nathaniel", "Nathanja", "Nathanje", "Nathascha", "Nathasja", "Nathilja", "Nathánaël", "Naud", "Naut", "Navajo", "Nawal", "Nawin", "Nayan", "Nayra", "Naza", "Nazaré", "Nazila", "Nazir", "Nazmi", "Naïem", "Neal", "Neeke", "Neel", "Neele", "Neeley", "Neelke", "Neels", "Neeltje", "Nehemia", "Nehuén", "Neil", "Neill", "Neis", "Nejia", "Nel", "Nele", "Neletta", "Nelian", "Nelianne", "Neline", "Nelinho", "Nelis", "Nelissa", "Nelize", "Nelle", "Nelleke", "Nellianne", "Nellie", "Nelline", "Nelske", "Nelson", "Nemi", "Nemo", "Nena", "Nencio", "Neno", "Nenske", "Neo", "Neomi", "Neomie", "Nephtis", "Nera", "Nerissa", "Nerisse", "Neryah", "Nese", "Nesia", "Nesrine", "Nette", "Nevada", "Nevin", "Niallan", "Nianne", "Nica", "Nichola", "Nicholas", "Nick", "Nickardo", "Nickey", "Nickie", "Nickolai", "Nicky", "Nico", "Nicol", "Nicola", "Nicolaas", "Nicolai", "Nicolas", "Nicolay", "Nicole", "Nicolet", "Nicolette", "Nicolien", "Nicoline", "Nicolás", "Nicôle", "Nidia", "Nieck", "Nieco", "Niek", "Nieke", "Niekee", "Niekele", "Niel", "Nielis", "Niels", "Nielse", "Niene", "Nieneke", "Nienja", "Nienke", "Niesje", "Niesjèn", "Nieske", "Nigel", "Nijs", "Nijswin", "Nik", "Nika", "Nikana", "Nikay", "Nike", "Nikhila", "Niki", "Nikie", "Nikita", "Nikki", "Nikkie", "Nikky", "Nikolai", "Nikor", "Nikos", "Niky", "Nikya", "Nikè", "Nikèle", "Niké", "Nikée", "Nilay", "Nili", "Nillis", "Nilou", "Nils", "Nilvana", "Nina", "Ninanda", "Nine", "Nineke", "Ninette", "Ninharra", "Ninho", "Ninja", "Ninke", "Nino", "Ninon", "Ninotchka", "Nirea", "Nisa", "Nisha", "Nishant", "Niske", "Nisma", "Nisrine", "Nita", "Nitida", "Nitin", "Nitish", "Nivard", "Niël", "Noa", "Noach", "Noah", "Noam", "Nobbie", "Nobilé", "Noecki", "Noek", "Noeka", "Noeki", "Noelia", "Noemie", "Noesjka", "Noey", "Nola", "Nolan", "Nolay", "Noleen", "Nollie", "Nomad", "Nomi", "Nomie", "Nona", "Nonja", "Nonke", "Nonna", "Noor", "Noora", "Noortje", "Nora", "Norah", "Noraly", "Noran", "Norbert", "Norbertus", "Nordin", "Norick", "Norieke", "Norman", "Norsiah", "Nort", "Nosa", "Nouchka", "Noud", "Noudie", "Nouk", "Noukje", "Nour", "Noura", "Nourdin", "Nourdine", "Nouri", "Nourthe", "Noury", "Nouschka", "Noushin", "Nousjka", "Nout", "Nova", "Novak", "Novel", "Nowell", "Nowi", "Noémi", "Noémie", "Noë", "Noël", "Noëlla", "Noëlle", "Noëmi", "Noïna", "Noömy", "Nubi", "Nuij", "Nur", "Nura", "Nusharat", "Nusiya", "Nutte", "Nyckele", "Nydia", "Nyika", "Nylas", "Nymke", "Nymphe", "Nyne", "Nynke", "Nándor", "Nèjet", "Núria", "Oane", "Oasis", "Obbe", "Obe", "Obed", "Ocean", "Oceanne", "Ocki", "Océane", "Oda", "Odessa", "Odette", "Odilio", "Odin", "Odinah", "Oebele", "Oedger", "Oege", "Oene", "Oetske", "Ofelia", "Ofra", "Oguz", "Ok", "Oka", "Okan", "Okke", "Okki", "Oktjen", "Olaf", "Olav", "Ole", "Olga", "Olgert", "Oliander", "Oliver", "Olivia", "Olivier", "Olle", "Olleke", "Ollie", "Olly", "Olmo", "Olof", "Olwen", "Omaira", "Omar", "Omer", "Omri", "Ona", "Onno", "Onur", "Onurcan", "Oona", "Ophélie", "Orban", "Orbo", "Orfeo", "Orhan", "Orian", "Orinda", "Oriona", "Orkun", "Orlando", "Orline", "Ornella", "Orrin", "Orriona", "Oscar", "Oshra", "Osin", "Oskar", "Oswin", "Ot", "Otger", "Othniël", "Otis", "Otje", "Otte", "Ottelien", "Otteliene", "Otto", "Otty", "Oualid", "Ouassim", "Ouren", "Outjer", "Owen", "Owyn", "Ozzie", "Pablo", "Pacelle", "Paco", "Paddy", "Padrick", "Pai-Lin", "Paige", "Palasha", "Paloma", "Pam", "Pammi", "Panchero", "Pander", "Panji", "Pank", "Paolo", "Parisch", "Paroene", "Parveenie", "Pascal", "Pascale", "Pascalle", "Pasha", "Pasqual", "Pasquale", "Passchier", "Pat", "Patjoelah", "Patricia", "Patrick", "Patriek", "Patrique", "Patty", "Paul", "Paula", "Pauley", "Pauli", "Paulie", "Paulien", "Paulina", "Pauline", "Paulinho", "Pauly", "Pauwel", "Pavel", "Pax", "Payel", "Pearl", "Pearly", "Pebbles", "Peder", "Pedram", "Pedro", "Peer", "Peerke", "Peet", "Peggy", "Peije", "Pel", "Pelle", "Pellina", "Pelueyne", "Penelope", "Penny", "Pepijn", "Peppa", "Per", "Percy", "Perine", "Perla", "Perlita", "Pernella", "Pernilla", "Pernille", "Perrie", "Perry", "Persia", "Persijn", "Peter", "Petra", "Petran", "Petri", "Petrie", "Petry", "Petter", "Petty", "Petula", "Peyton", "Phaedra", "Phanna", "Phebe", "Pherenikè", "Phil", "Phileine", "Philia", "Philine", "Philip", "Philipp", "Philippa", "Philippe", "Philippine", "Phill", "Philly", "Philo", "Phine", "Phoebe", "Phoenix", "Phylicia", "Phyline", "Phyllis", "Phyrine", "Phébe", "Pi-Jee", "Pia", "Pieja", "Pien", "Pierkje", "Pierre", "Piet", "Pieter", "Pieterbas", "Pieterjan", "Pieterke", "Pieternella", "Pietrix", "Pike", "Pilar", "Pilou", "Pim", "Pinnie", "Pippa", "Pippie", "Pirmin", "Piroska", "Piter", "Pjiërra", "Pjort", "Pjotr", "Pleuke", "Pleun", "Pleuni", "Pleunie", "Plien", "Pol", "Polle", "Polly", "Pom", "Pomeline", "Pommelien", "Pranay", "Prashant", "Prativinda", "Prayesh", "Precilla", "Prescilla", "Preshwand", "Pria", "Pricilla", "Prilissa", "Primo", "Princella", "Prisca", "Priscilla", "Priscillia", "Prissilla", "Priya", "Priyanka", "Prosper", "Ptesaem", "Puck", "Puk", "Purcy", "Purdey", "Pybe", "Pymm", "Pyne", "Pythia", "Pytrik", "Qian", "Qienie", "Qiëlle", "Qruun", "Quanah", "Quanilla", "Queeny", "Quemio", "Quentin", "Quentyn", "Querida", "Querine", "Quifaina", "Quilaine", "Quillermo", "Quin", "Quinby", "Quincey", "Quincie", "Quincy", "Quinlan", "Quinn", "Quinny", "Quint", "Quinta", "Quinte", "Quinten", "Quintijn", "Quintin", "Quintina", "Quinto", "Quinton", "Quintus", "Quinty", "Quinz", "Quirein", "Quirien", "Quirijn", "Quirin", "Quirine", "Quiriën", "Quiryn", "Quita", "Quyonne", "Qy", "Rabecca", "Rabia", "Rachana", "Rachaël", "Rachel", "Rachela", "Rachella", "Rachelle", "Rachid", "Rachma", "Rachèl", "Radha", "Radjend", "Radya", "Raemon", "Raf", "Rafael", "Rafaela", "Rafaël", "Rafaëla", "Rafaëlla", "Rafaëlle", "Raff", "Raffaela", "Rafid", "Rafik", "Rafiq", "Raghield", "Ragna", "Ragnar", "Ragni", "Ragnor", "Rahina", "Rahoel", "Railey", "Raimonda", "Rainaldo", "Rainier", "Rainy", "Raisa", "Raj", "Raja", "Rajeev", "Rajenco", "Rajiv", "Rajko", "Rajsa", "Raju", "Rakeseh", "Rakoen", "Ralf", "Ralph", "Rama", "Ramano", "Ramie", "Ramira", "Ramiro", "Ramon", "Ramona", "Ramses", "Ramzi", "Ramzy", "Ramón", "Ran", "Rana", "Ranald", "Ranchel", "Randall", "Randi", "Randie", "Randsley", "Randy", "Ranec", "Rani", "Rania", "Ranish", "Ranjit", "Rano", "Raoul", "Raphael", "Raphaela", "Raphay", "Raphaël", "Raphaëla", "Raquel", "Rard", "Rashel", "Rashil", "Raul", "Raun", "Raveena", "Raven", "Ravenna", "Ravi", "Ravien", "Ravindra", "Ravinia", "Ravish", "Ravy", "Rawi", "Rawita", "Ray", "Raychel", "Rayelle", "Rayen", "Rayene", "Rayenne", "Rayke", "Rayko", "Raymon", "Raymond", "Raymonde", "Raymone", "Rayna", "Rayner", "Raynold", "Raynor", "Rayvano", "Razia", "Raïsa", "Raïssa", "Raúl", "Raül", "Reamon", "Reanna", "Reanne", "Rebecca", "Rebekka", "Redmar", "Redmer", "Redmond", "Redney", "Redouan", "Reduan", "Reece", "Reemond", "Reena", "Reenie", "Refaël", "Rega", "Reggie", "Reggy", "Regiany", "Regien", "Regieta", "Regilio", "Regina", "Reginald", "Regis", "Regit", "Reguillo", "Reijer", "Rein", "Reina", "Reinalde", "Reinalt", "Reinard", "Reinate", "Reinbert", "Reinder", "Reindert", "Reineke", "Reinetta", "Reinhard", "Reinieke", "Reinier", "Reinike", "Reino", "Reinoud", "Reinout", "Reint", "Reitse", "Relano", "Relinde", "Relise", "Rembrandt", "Remco", "Remen", "Remi", "Remie", "Remke", "Remkje", "Remko", "Remmelt", "Remo", "Remon", "Remona", "Remy", "Renald", "Renalda", "Renaldo", "Renard", "Renate", "Renato", "Renco", "Renda", "Rende", "Rendi", "Renee", "Renelle", "Renettha", "Renger", "Rengernier", "Renie", "Reninka", "Renisha", "Renko", "Reno", "Renout", "Rens", "Rense", "Rensie", "Renske", "Reny", "Renze", "Renzo", "René", "Renée", "Reon", "Resa", "Reshma", "Reslyn", "Resy", "Reuben", "Reuven", "Revano", "Revee", "Revelino", "Revina", "Revlie", "Revée", "Rewhi", "Rex", "Reyer", "Reymbold", "Reynald", "Reynaldo", "Reynoud", "Reyyan", "Reza", "Rhandy", "Rhea", "Rhianne", "Rhiannon", "Rho", "Rhodee", "Rhoderick", "Rhodé", "Rhona", "Rhyonnah", "Rhys", "Riaan", "Rian", "Riana", "Rianda", "Rianka", "Rianke", "Rianna", "Riannah", "Rianne", "Riano", "Ricardo", "Riccardo", "Richaldo", "Richalle", "Richard", "Richarda", "Richel", "Richell", "Richella", "Richelle", "Richenel", "Richey", "Richie", "Richy", "Rick", "Ricky", "Rico", "Ricole", "Ridge", "Ridley", "Riduan", "Ridvan", "Ridwan", "Ridzert", "Riejanne", "Rieke", "Riekelt", "Riekie", "Riekje", "Rieko", "Rieks", "Riekus", "Rieky", "Riemer", "Rien", "Rieneke", "Rienette", "Rieni", "Rienk", "Rients", "Ries", "Riet", "Rieteke", "Rietje", "Rieuwert", "Riezel", "Riezé", "Rifka", "Rifky", "Rigo", "Rigobert", "Rigulmo", "Rijanne", "Rijck", "Rijk", "Rijkie", "Rijn", "Rijna", "Rijnko", "Rik", "Rikjan", "Rikke", "Rikko", "Rikst", "Rikus", "Rilana", "Riley", "Rili", "Rim", "Rima", "Rimco", "Rimke", "Rimmer", "Rimmie", "Rimona", "Rimsky", "Rina", "Rinath", "Rindert", "Rineke", "Rinel", "Rinesh", "Ringa", "Ringo", "Rinia", "Rinie", "Rink", "Rinke", "Rinkie", "Rinkja", "Rinkje", "Rinnert", "Rinnie", "Rins", "Rinse", "Rinske", "Rinskje", "Rintje", "Rinze", "Rio", "Rionne", "Riordan", "Ris", "Rischa", "Rishi", "Rishiewand", "Rishvan", "Risto", "Rita", "Ritch", "Ritchey", "Ritchie", "Ritchy", "Ritsaert", "Ritu", "Riva", "Rivaldo", "Rivano", "Rivka", "Rivo", "Rixt", "Rixte", "Riyad", "Riza", "Riëlle", "Riët", "Riëtta", "Roald", "Roan", "Roanne", "Rob", "Robbe", "Robbert", "Robbertjan", "Robbie", "Robbin", "Robby", "Robert", "Robertino", "Roberto", "Robertus", "Robey", "Robi", "Robias", "Robie", "Robien", "Robin", "Robina", "Robine", "Robinne", "Robrecht", "Roby", "Robyn", "Robynne", "Rocco", "Rochella", "Rochelle", "Roché", "Rocio", "Rocky", "Roderick", "Roderik", "Rodi", "Rodin", "Rodinde", "Rodney", "Rodny", "Rodolf", "Rodolfo", "Rodrigo", "Rody", "Roeanne", "Roel", "Roeland", "Roelanda", "Roele", "Roelfiena", "Roelie", "Roeliene", "Roelinda", "Roeline", "Roelinka", "Roelof", "Roemer", "Roepesh", "Roeshil", "Roewena", "Roger", "Rogerio", "Rogier", "Rogé", "Rogér", "Rohald", "Rohan", "Rohini", "Rohy", "Roisin", "Rojanne", "Rokus", "Rolan", "Roland", "Rolanda", "Rolf", "Rolien", "Rolinca", "Rolinda", "Rolinde", "Rolinka", "Rolph", "Roma", "Romaisa", "Roman", "Romana", "Romando", "Romane", "Romanie", "Romano", "Romany", "Romanya", "Romar", "Romario", "Romax", "Rombout", "Romec", "Romeck", "Romee", "Romeny", "Romeo", "Romero", "Romi", "Romie", "Romijn", "Romina", "Rominy", "Romke", "Rommert", "Rommie", "Romy", "Romynique", "Romé", "Romée", "Ron", "Ronald", "Ronaldo", "Ronan", "Ronell", "Ronella", "Ronin", "Ronique", "Roniëlle", "Ronja", "Ronne", "Ronnie", "Ronny", "Ronschau", "Rony", "Roo", "Roos", "Roosanne", "Roosje", "Rooske", "Roosmarie", "Roosmarijn", "Rorich", "Rory", "Rosa", "Rosalee", "Rosalia", "Rosalie", "Rosalien", "Rosalin", "Rosalinde", "Rosaline", "Rosaly", "Rosalyn", "Rosalyne", "Rosan", "Rosanna", "Rosannah", "Rosanne", "Rose", "Roselie", "Roselies", "Roselijne", "Roseline", "Roselique", "Rosemarie", "Rosemarije", "Rosemarijn", "Rosemary", "Rosemieke", "Rosemijn", "Rosemyn", "Roshan", "Roshila", "Roshni", "Roshnie", "Rosie", "Rosiena", "Rosita", "Rositha", "Ross", "Rossanno", "Roswell", "Roswita", "Roswitha", "Rouven", "Roviëny", "Rowaine", "Rowan", "Rowana", "Rowanda", "Rowanne", "Rowaya", "Rowdy", "Rowen", "Rowena", "Rowie", "Rowiena", "Rowin", "Rowina", "Rowinda", "Rowney", "Rowshan", "Rowy", "Roxaan", "Roxan", "Roxana", "Roxane", "Roxann", "Roxanna", "Roxanne", "Roxena", "Roxenne", "Roxy", "Roy", "Royi", "Roza", "Rozan", "Rozemarie", "Rozemarijn", "Rozemarijne", "Rozina", "Roëlle", "Ruan", "Ruben", "Rubert", "Rubin", "Ruby", "Rubya", "Rubèn", "Ruchama", "Ruchika", "Rudi", "Rudie", "Rudiëngelo", "Rudmer", "Rudo", "Rudolf", "Rueben", "Rufano", "Ruginio", "Rui", "Ruigi", "Ruiz", "Rumi", "Rumo", "Runa", "Runar", "Rune", "Rupert", "Russel", "Russell", "Rutger", "Rutgert", "Ruth", "Rutmer", "Ruud", "Ruudtje", "Ruurd", "Ruurdsje", "Ruël", "Ryan", "Ryanne", "Ryelle", "Rykold", "Rylana", "Ryn", "Ryon", "Réanna", "Régie", "Régis", "Rémon", "Rénan", "Réni", "Röwena", "Rúbia", "Rümeysa", "Saakien", "Saar", "Saartje", "Sabah", "Sabahat", "Sabeau", "Sabina", "Sabine", "Sabriena", "Sabrina", "Sabrine", "Sacha", "Sadriane", "Sadé", "Sadée", "Safanja", "Saffira", "Safiena", "Safiera", "Safira", "Sagitha", "Sagitta", "Sahièla", "Sahrone", "Sai", "Said", "Saida", "Saidou", "Saiën", "Saja", "Sajeda", "Sakina", "Sal", "Saladin", "Saleh", "Salem", "Salena", "Salina", "Salinia", "Sally", "Salma", "Salo", "Salome", "Salvador", "Salves", "Salvi", "Sam", "Samah", "Samantha", "Samara", "Samarinda", "Samenda", "Samentha", "Sami", "Samia", "Samiah", "Samien", "Samieo", "Samier", "Samih", "Samila", "Samina", "Samir", "Samira", "Samirah", "Samja", "Sammie", "Sammy", "Samo", "Samora", "Samuel", "Samuelle", "Samuël", "Samy", "Sana", "Sanaa", "Sancha", "Sanco", "Sander", "Sanderijn", "Sandhia", "Sando", "Sandor", "Sandra", "Sandrie", "Sandrien", "Sandrina", "Sandrine", "Sandro", "Sandré", "Sandy", "Sanette", "Sangita", "Sanja", "Sanjana", "Sanjay", "Sanjeeva", "Sanjiv", "Sanjula", "Sanna", "Sannah", "Sanne", "Sanneke", "Sannelieke", "Sannelien", "Sannemarije", "Sannemarijn", "Sannie", "Sanno", "Sanny", "Sanse", "Sansorei", "Santana", "Santiago", "Santina", "Santino", "Santoucha", "Sanya", "Sanza", "Saoed", "Saona", "Saphir", "Sara", "Sarah", "Sarai", "Sarana", "Saranda", "Saranne", "Saraya", "Sardee", "Sarella", "Sarena", "Saressa", "Sari", "Sarianne", "Sarina", "Sarine", "Sarissa", "Sarita", "Sarith", "Saritha", "Sarnia", "Saronna", "Sarra", "Saryo", "Sascha", "Sasha", "Sashenka", "Sasja", "Sasker", "Saskia", "Satnin", "Savan", "Savannah", "Savenna", "Savine", "Saviël", "Sawina", "Sayenna", "Saylenna", "Sayrah", "Saïda", "Saša", "Scanny", "Scarlet", "Scarlett", "Scato", "Schelte", "Schelyna", "Scott", "Scout", "Sean", "Seb", "Sebas", "Sebastiaan", "Sebastian", "Sebastien", "Sebastièn", "Sebastiën", "Sebby", "Sebnem", "Seda", "Sedat", "Seegert", "Sef", "Sefa", "Sefanja", "Seger", "Selena", "Selfina", "Selian", "Selim", "Selin", "Selina", "Selinde", "Seline", "Sella", "Selly", "Sellym", "Selma", "Selmo", "Seloua", "Selva", "Selwin", "Selwyn", "Sem", "Semia", "Semme", "Semmy", "Sen", "Sena", "Sendré", "Sendy", "Senn", "Senna", "Senne", "Sennie", "Senta", "Sentia", "Senze", "Sep", "Sepp", "Seppe", "Sequenna", "Sera", "Seraf", "Serafien", "Serah", "Seraina", "Serana", "Seranda", "Seray", "Seraya", "Serena", "Sergamy", "Serge", "Sergen", "Sergio", "Serhat", "Serina", "Serjana", "Serjay", "Serlo", "Serra", "Serrahya", "Serrano", "Serv", "Servie", "Serylio", "Seth", "Setje", "Setscha", "Setzer", "Sevan", "Sevanna", "Severin", "Severine", "Sevgi", "Sevven", "Seyhan", "Seyla", "Seymour", "Sezen", "Seán", "Shadee", "Shadé", "Shadée", "Shafira", "Shahira", "Shahnaz", "Shahzaad", "Shaila", "Shailesh", "Shaira", "Shaja", "Shakiel", "Shakyra", "Shalaina", "Shalamar", "Shalana", "Shalane", "Shaleen", "Shalina", "Shaline", "Shalini", "Shalinie", "Shamaila", "Shamiera", "Shamira", "Shamon", "Shan", "Shana", "Shanaya", "Shanda", "Shandia", "Shandro", "Shane", "Shaney", "Shania", "Shanice", "Shanigua", "Shanise", "Shanita", "Shanna", "Shannah", "Shanne", "Shannen", "Shannon", "Shanon", "Shanou", "Shanti", "Shanty", "Shanua", "Shanya", "Shanée", "Shaquille", "Shara", "Sharay", "Sharaya", "Sharda", "Shardé", "Shardée", "Shareev", "Sharella", "Sharelle", "Sharena", "Sharette", "Shari", "Sharida", "Sharief", "Sharif", "Sharifa", "Shariff", "Sharin", "Sharina", "Sharissa", "Sharita", "Sharlaine", "Sharlane", "Sharlon", "Sharmain", "Sharmaine", "Sharmayne", "Sharon", "Sharona", "Sharonique", "Sharonne", "Sharron", "Shary", "Sharyn", "Sharél", "Shasa", "Shatis", "Shaun", "Shauna", "Shauni", "Shaunté", "Shauny", "Shavenna", "Shawn", "Shawna", "Shawnee", "Shawny", "Shay", "Shay-Ann", "Shayen", "Shayenne", "Shaylee", "Shayne", "Shaynee", "Shaznay", "Shaïna", "Shaúla", "Shean", "Sheanne", "Sheba", "Shedy", "Sheelah", "Sheena", "Sheenika", "Sheila", "Sheilah", "Sheina", "Shelby", "Shelena", "Sheline", "Shelley", "Shelly", "Shelsey", "Shemara", "Shemayma", "Shena", "Shenena", "Shenna", "Shennelyn", "Shera", "Sheralee", "Sheranie", "Sherasade", "Shereen", "Sherick", "Sherida", "Sherien", "Sherilyn", "Sherina", "Sherinda", "Sherine", "Sherisha", "Sherley", "Sherlynn", "Shermain", "Sherona", "Sherryl", "Sherwin", "Sheryl", "Shesney", "Shevaun", "Shevon", "Shifaz", "Shifaët", "Shifra", "Shimon", "Shimroy", "Shinook", "Shinouk", "Shira", "Shiraaz", "Shireleah", "Shiri", "Shirien", "Shirin", "Shirley", "Shirly", "Shiva", "Shivam", "Shivane", "Shivani", "Shiyania", "Shoeraya", "Shoko", "Sholakhsana", "Shona", "Shoshoni", "Shreef", "Shri", "Shulie", "Shunita", "Shyrita", "Shéryl", "Shétiel", "Siard", "Sibe", "Sibel", "Sibold", "Sibren", "Sibrich", "Sicco", "Sicilia", "Sid", "Sidin", "Sidney", "Sido", "Sieb", "Siebe", "Siebrand", "Siebranda", "Siebrant", "Siebren", "Siebretta", "Sied", "Sieger", "Sieglin", "Sieglinde", "Siego", "Siegrid", "Siella", "Siem", "Sieme", "Siemen", "Siemke", "Sien", "Siena", "Sienna", "Siep", "Sierd", "Sierra", "Siert", "Sierus", "Sies", "Sietse", "Sietske", "Sietz", "Sietze", "Sieuwerd", "Siewerd", "Sifra", "Sigalle", "Siger", "Sigi", "Siglinde", "Sigo", "Sigourney", "Sigourny", "Sigrid", "Siham", "Sijanne", "Sijarina", "Sijbren", "Sijdine", "Sije", "Sijke", "Sijmen", "Sijrine", "Sijt", "Sijta", "Sika", "Sikira", "Sil", "Silas", "Silina", "Silja", "Silje", "Silke", "Sill", "Silva", "Silvain", "Silvan", "Silvana", "Silvanno", "Silvano", "Silvester", "Silvia", "Silvie", "Silvijn", "Silvio", "Silvy", "Sim", "Simar", "Simcha", "Simeon", "Simmie", "Simo", "Simon", "Simona", "Simone", "Sina", "Sinai", "Sinan", "Sinclair", "Sindhu", "Sindia", "Sindy", "Sineke", "Sinne", "Sino", "Sinsothany", "Sinta", "Sinyo", "Siobhan", "Siobhán", "Sip", "Siplo", "Sir", "Sira", "Sirach", "Siri", "Sis", "Siska", "Sissie", "Sita", "Sivar", "Siân", "Siënna", "Siërra", "Sjaak", "Sjaantje", "Sjacco", "Sjacky", "Sjadée", "Sjanie", "Sjaniene", "Sjanne", "Sjanoek", "Sjantana", "Sjardo", "Sjeel", "Sjef", "Sjeffrey", "Sjefke", "Sjenette", "Sjeng", "Sjimmie", "Sjir", "Sjirk", "Sjo", "Sjoerd", "Sjoeriene", "Sjoertje", "Sjon", "Sjors", "Sjouk", "Sjouke", "Sjoukje", "Sjuul", "Sjuulke", "Skender", "Skip", "Sky", "Skye", "Skylar", "Skyler", "Soefjen", "Soeminie", "Soenita", "Soeraya", "Soeredj", "Soesja", "Soetkin", "Sofia", "Sofian", "Sofie", "Sofieke", "Sofietje", "Sohan", "Sohanie", "Solange", "Solayka", "Soleil", "Soleine", "Solinah", "Solveig", "Solène", "Someya", "Sonay", "Sonia", "Sonique", "Sonja", "Sonnie", "Sonny", "Sonson", "Sooreechay", "Sophanna", "Sophia", "Sophie", "Sophieke", "Sophine", "Soraya", "Sorayda", "Sorcha", "Sosha", "Soufian", "Soufyan", "Souhaila", "Souhaïla", "Soundry", "Souverein", "Spike", "Sraja", "Staas", "Stacey", "Stacy", "Staffan", "Stafke", "Stan", "Stanley", "Stanneke", "Stans", "Stanse", "Stars", "Stash", "Stasz", "Steef", "Stef", "Stefaan", "Stefan", "Stefania", "Stefanie", "Stefano", "Steff", "Steffan", "Steffanie", "Steffany", "Steffen", "Steffi", "Steffie", "Stefi", "Stefke", "Steijn", "Stein", "Stella", "Stellios", "Sten", "Steph", "Stephan", "Stephana", "Stephanie", "Stephany", "Stephen", "Sterre", "Stevan", "Steve", "Steven", "Stevianne", "Stevie", "Steye", "Steyn", "Steyntje", "Stien", "Stig", "Stije", "Stijn", "Stijna", "Sting", "Stoffel", "Stojan", "Stoney", "Storm", "Storn", "Stuart", "Stèphanie", "Stéphane", "Stéphanie", "Sue", "Sueandra", "Sueraya", "Suganty", "Suleika", "Sulya", "Sumeya", "Sunaina", "Sundri", "Sundus", "Sunna", "Sunniva", "Sunny", "Suraj", "Suraya", "Sus", "Susan", "Susana", "Susanna", "Susannah", "Susanne", "Suse", "Susie", "Susilla", "Susy", "Suus", "Suzan", "Suzana", "Suzanna", "Suzanne", "Suze", "Suzet", "Suzette", "Suzi", "Suzy", "Svanne", "Svea", "Sven", "Svend", "Svenja", "Svenne", "Svennie", "Svenno", "Svenny", "Sverre", "Swa", "Swanette", "Sweder", "Swen", "Swinda", "Sya", "Syar", "Syb", "Sybe", "Sybren", "Sybrich", "Sybrine", "Sydney", "Sydo", "Syed", "Syfra", "Sykira", "Syl", "Sylke", "Syllia", "Sylvain", "Sylvan", "Sylvana", "Sylvano", "Sylvesta", "Sylvester", "Sylvia", "Sylvian", "Sylvie", "Symen", "Symena", "Synthia", "Syra", "Syralene", "Syri", "Syrina", "Sytse", "Sytske", "Sytze", "Syvart", "Sywarde", "Szymon", "Sèlena", "Sébastien", "Séréna", "Séverine", "Sêre", "Sínticha", "Sólon", "Sören", "Süeda", "Sümeyye", "Tabbe", "Tabitah", "Tabitha", "Tacilo", "Taco", "Tadinda", "Taeke", "Tahmee", "Tahnee", "Taika", "Take", "Tako", "Talbert", "Talia", "Talina", "Talisa", "Talishia", "Talissa", "Talitha", "Talja", "Talle", "Tallechien", "Tally", "Tama", "Tamar", "Tamara", "Tamarah", "Tamarind", "Taminho", "Tamino", "Tamira", "Tammy", "Tanea", "Tanguy", "Tanika", "Tanisha", "Tanit", "Tanita", "Tanja", "Tanne", "Tanneke", "Tanno", "Tanné", "Tanver", "Tanya", "Tanysha", "Tara", "Tarah", "Taran", "Tari", "Tarick", "Tarik", "Tariq", "Tarissa", "Tarquin", "Tasch", "Tasha", "Tashina", "Tassoula", "Tatchiana", "Tatiana", "Tatijana", "Tatjana", "Tatum", "Tatyana", "Tavi", "Tawny", "Taylor", "Tchissy", "Teade", "Teake", "Teanne", "Teatske", "Tecla", "Ted", "Teddie", "Teddy", "Teije", "Teis", "Temke", "Tenika", "Tenischa", "Tenynke", "Teo", "Teon", "Tequischa", "Terence", "Terje", "Terlissa", "Terra", "Terrence", "Terri", "Terry", "Tes", "Teske", "Tess", "Tessa", "Tesse", "Tessel", "Tessi", "Tessie", "Tessy", "Tet", "Tetsje", "Tetske", "Tettje", "Teun", "Teunard", "Teunette", "Teuni", "Teuntje", "Teus", "Tex", "Thalassa", "Thaleah", "Thalia", "Thalien", "Thalina", "Thalisa", "Thalita", "Thalya", "Thamea", "Thanh", "Thanos", "Thara", "Thari", "Tharischa", "Tharisha", "Thassia", "Thayrence", "Thaïsa", "Thaïsha", "Thaïsia", "Thea", "Theimen", "Thejon", "Thekla", "Thelma", "Themar", "Themba", "Thembi", "Theo", "Theodros", "Theon", "Therese", "Theresia", "Thessa", "Thetmar", "Theu", "Theun", "Theunis", "Theuntje", "Thiadrik", "Thiago", "Thiald", "Thialda", "Thibault", "Thibaut", "Thibo", "Thieme", "Thiemen", "Thiemo", "Thieri", "Thierry", "Thies", "Thije", "Thijm", "Thijme", "Thijmen", "Thijn", "Thijs", "Thilde", "Thildy", "Thilo", "Thim", "Thimar", "Thimo", "Thimon", "Thirsa", "Thirza", "Thirze", "Thisca", "Thiska", "Thiuri", "Thièrro", "Thobian", "Thom", "Thomas", "Thonke", "Thony", "Thor", "Thora", "Thorbe", "Thorben", "Thore", "Thorgal", "Thorne", "Thorsten", "Thriksy", "Thula", "Thulaï", "Thura", "Thy", "Thybeau", "Thye", "Thygo", "Thymen", "Thymo", "Thyn", "Thyra", "Thyrsah", "Thyrza", "Thys", "Thysa", "Thécla", "Théon", "Thérèse", "Tia", "Tiago", "Tialda", "Tialna", "Tiana", "Tianda", "Tianka", "Tiara", "Tiarde", "Tiba", "Tibbe", "Tibey", "Tibo", "Tibor", "Ticha", "Ticho", "Tico", "Tiede", "Tielke", "Tiemar", "Tieme", "Tiemen", "Tieneke", "Tienus", "Tiertje", "Ties", "Tietsje", "Tieu", "Tiffanny", "Tiffany", "Tiga", "Tigo", "Tije", "Tijen", "Tijl", "Tijme", "Tijmen", "Tijn", "Tijs", "Tika", "Tilde", "Tim", "Timar", "Timboy", "Timco", "Timen", "Timme", "Timmie", "Timmy", "Timo", "Timon", "Timothy", "Tina", "Tine", "Tineke", "Tinet", "Tinia", "Tinie", "Tinka", "Tinke", "Tinko", "Tinne", "Tinneke", "Tino", "Tinus", "Tirsa", "Tirza", "Tirzah", "Tisha", "Tishaawna", "Tishania", "Tissa", "Tithia", "Titus", "Titzya", "Tiuri", "Tivan", "Tiäna", "Tjabine", "Tjadda", "Tjade", "Tjaka", "Tjakko", "Tjalle", "Tjalling", "Tjamke", "Tjapco", "Tjarco", "Tjarda", "Tjardo", "Tjardy", "Tjark", "Tjarko", "Tjedrowald", "Tjeeraldo", "Tjeerd", "Tjendo", "Tjerk", "Tjerry", "Tjeu", "Tjibbe", "Tjilde", "Tjimkje", "Tjinta", "Tjitse", "Tjitske", "Tjitte", "Tjobbe", "Tjomme", "Tjongkonnie", "Toanne", "Tobi", "Tobian", "Tobias", "Tobie", "Tobit", "Toby", "Toine", "Toiny", "Tole", "Tom", "Tomas", "Tomaz", "Tommas", "Tommer", "Tommi", "Tommie", "Tommy", "Tomás", "Tonci", "Toni", "Tonie", "Toninho", "Tonio", "Tonka", "Tonke", "Tonki", "Tonko", "Tonnie", "Tonny", "Tony", "Toon", "Toontje", "Toos", "Tooske", "Torben", "Torfinn", "Tori", "Torkjell", "Torstein", "Tosca", "Toyah", "Tracy", "Travis", "Trees", "Tren", "Treney", "Tresan", "Tresita", "Trevor", "Trey", "Trieneke", "Trijnke", "Trijntje", "Trineke", "Trinke", "Trishtán", "Trista", "Tristan", "Tristen", "Troy", "Truderieke", "Trudi", "Trudie", "Trynette", "Trèfainyan", "Tsaya", "Tseard", "Tsilla", "Tsjalle", "Tsjalling", "Tsjerk", "Tsjikke", "Tsjisse", "Tuan", "Tudor", "Tufan", "Tujuh", "Tulsi", "Tum", "Tumsa", "Tuncer", "Tunnis", "Tuulia", "Tuur", "Twan", "Twannie", "Twanny", "Twinkel", "Twirre", "Tyana", "Tyara", "Tyard", "Tyas", "Tybalt", "Tyche", "Tycho", "Tyeisha", "Tygo", "Tyka", "Tyla", "Tyler", "Tymeck", "Tymen", "Tymo", "Tymon", "Tyra", "Tyrell", "Tyrese", "Tyron", "Tyrone", "Tyrza", "Tysha", "Tyso", "Tyson", "Tzivya", "Téo", "Tù", "Tünde", "Uddo", "Ufuk", "Ugo", "Uilke", "Ulmt", "Ulrike", "Umut", "Urs", "Ursel", "Ursela", "Usama", "Uschi", "Vaisa", "Vaitaira", "Valaine", "Valco", "Valdano", "Valentijn", "Valentin", "Valentina", "Valentine", "Valentino", "Valeria", "Valerie", "Valerio", "Valerye", "Valesca", "Vallerie", "Valèrie", "Valérie", "Valéry", "Vaneeta", "Vanessa", "Vanita", "Vanity", "Vanja", "Vanna", "Vasco", "Vasthi", "Veda", "Vedat", "Vedran", "Veerle", "Veikko", "Veiko", "Venice", "Venise", "Venna", "Venne", "Vera", "Veran", "Verde", "Vere", "Verelle", "Verena", "Verginia", "Veri", "Verie", "Vernon", "Vero", "Veron", "Verona", "Veronic", "Veronica", "Veronie", "Veronika", "Veronique", "Verron", "Very", "Vesna", "Vesta", "Vianne", "Vianney", "Vic", "Vicki", "Vicky", "Victoire", "Victor", "Victoria", "Victorine", "Vida", "Vienna", "Viggo", "Vigo", "Vijay", "Vikash", "Vikita", "Vikram", "Vikthor", "Viktor", "Viktorien", "Vilaya", "Vilja", "Viljar", "Vilmar", "Vilmor", "Vinand", "Vince", "Vincent", "Vincenzo", "Vinesh", "Vinish", "Vinnie", "Vinz", "Viola", "Violet", "Violetta", "Violette", "Vionne", "Virea", "Viresh", "Virgil", "Virgillia", "Virginie", "Virginnia", "Virna", "Vishani", "Vita", "Vital", "Vitas", "Vito", "Vitoria", "Vitto", "Vittòre", "Vivanne", "Vivian", "Viviane", "Vivianne", "Vivica", "Vivien", "Vivienne", "Vivike", "Vivièn", "Viviënne", "Viënna", "Vjera", "Vlinder", "Vogelina", "Volkert", "Vosmar", "Vosse", "Vreni", "Vreny", "Vroni", "Vronie", "Vroukje", "Vrouwke", "Vy", "Vydeline", "Vynia", "Vyo", "Váso", "Véronie", "Véronique", "Waatze", "Wai", "Wai-Co", "Walid", "Walinka", "Walt", "Walter", "Walther", "Wander", "Wanne", "Wannes", "Ward", "Warre", "Warren", "Warry", "Wasilis", "Watse", "Waukena", "Wauter", "Waylon", "Wayne", "Weam", "Weijma", "Welmoed", "Wen", "Wencke", "Wenda", "Wendel", "Wendell", "Wendie", "Wendy", "Wenke", "Wenneke", "Wernard", "Werner", "Werschell", "Wes", "Wescel", "Wesley", "Wesly", "Wessel", "Weyert", "Whitley", "Whitney", "Wia", "Wian", "Wianda", "Wianette", "Wianka", "Wianne", "Wiardi", "Wibe", "Wibo", "Wibout", "Wibren", "Wicher", "Wichert", "Wick", "Wicky", "Widrik", "Wiebart", "Wiebe", "Wieberen", "Wiebke", "Wiebo", "Wiebren", "Wiecke", "Wieger", "Wiek", "Wieke", "Wieland", "Wiemela", "Wienanda", "Wieneke", "Wienie", "Wiep", "Wierd", "Wieresh", "Wies", "Wiesje", "Wieske", "Wieteke", "Wietse", "Wietske", "Wietze", "Wiger", "Wijcher", "Wije", "Wijke", "Wijmke", "Wijnand", "Wijneliene", "Wikash", "Wikke", "Wil", "Wilber", "Wilbert", "Wilco", "Wildrik", "Wilger", "Wilgertine", "Wilhelm", "Wilianne", "Wiljan", "Wiljo", "Wiljon", "Wilke", "Wilkin", "Wilko", "Willanka", "Willard", "Willart", "Willeditke", "Willeke", "Willem", "Willemarthe", "Willemiek", "Willemieke", "Willemien", "Willemijke", "Willemijn", "Willemijnne", "Willemine", "William", "Willianne", "Williejanne", "Willine", "Willow", "Willy", "Willyjanne", "Willyon", "Wilma", "Wilmar", "Wilmer", "Wilmy", "Wilrieke", "Wilrik", "Wilte", "Wim", "Wimar", "Wimjan", "Wimke", "Winanneke", "Winant", "Wineke", "Winesh", "Winneke", "Winnie", "Winny", "Wino", "Winona", "Winston", "Wirna", "Wiske", "Wisse", "Witalik", "Witse", "Wivineke", "Wiwien", "Wladek", "Wladimir", "Woes", "Wolf", "Wolke", "Wolter", "Wonmen", "Wopke", "Woud", "Wouda", "Wout", "Wouter", "Wouterjan", "Wouthilde", "Wridzer", "Wrister", "Wubbo", "Wubby", "Wybe", "Wybren", "Wycher", "Wyko", "Wymer", "Wynette", "Wynona", "Wyona", "Wytse", "Wytske", "Wytze", "Xam", "Xan", "Xander", "Xandra", "Xandrine", "Xandro", "Xanne", "Xanthe", "Xanto", "Xarain", "Xarella", "Xaver", "Xaverio", "Xavier", "Xaviera", "Xaviéra", "Xem", "Xena", "Xenja", "Xenna", "Xennith", "Xeréa", "Xian", "Xilan", "Ximena", "Xin", "Xinia", "Xiomara", "Xochil", "Xynthia", "Ya-Ya", "Yabbo", "Yacin", "Yacintha", "Yade", "Yael", "Yagho", "Yakima", "Yale", "Yalenka", "Yalisa", "Yalmar", "Yami", "Yamiko", "Yamina", "Yammie", "Yana", "Yanaika", "Yancey", "Yandé", "Yanice", "Yanick", "Yaniek", "Yanieke", "Yanika", "Yanna", "Yannah", "Yannai", "Yanne", "Yanneke", "Yannemieke", "Yannic", "Yannick", "Yanniek", "Yannis", "Yanos", "Yanou", "Yanouck", "Yanív", "Yara", "Yardenah", "Yared", "Yaren", "Yari", "Yarich", "Yarin", "Yarmilla", "Yarmo", "Yarni", "Yarno", "Yaro", "Yarrick", "Yarron", "Yasemin", "Yasmijn", "Yasmin", "Yasmina", "Yasmine", "Yasper", "Yassin", "Yassine", "Yassir", "Yastika", "Yayla", "Yaz", "Yazz", "Yaël", "Yaëll", "Yaëlle", "Yaïka", "Yaïr", "Yaïra", "Yaïsha", "Ybe", "Ybele", "Yberè", "Yboya", "Yeala", "Yehya", "Yelmar", "Yelmer", "Yemi", "Yenca", "Yencie", "Yenna", "Yente", "Yentel", "Yenthe", "Yenthel", "Yenthl", "Yentl", "Yermo", "Yerne", "Yervin", "Yesenia", "Yesse", "Yessica", "Yessin", "Yesswan", "Yfke", "Yfonne", "Ygram", "Yhaël", "Yi", "Yilgör", "Yimo", "Ying", "Yinthe", "Yirca", "Yiri", "Yismerai", "Yke", "Ylai", "Ylenia", "Yliana", "Ylja", "Yllja", "Ylona", "Ylonka", "Ylse", "Ylva", "Ylze", "Ymca", "Ymco", "Yme", "Ymke", "Ymkje", "Ymme", "Yna", "Yno", "Ynse", "Ynske", "Yntse", "Ynze", "Yob", "Yocaste", "Yodi", "Yoek", "Yoeki", "Yoeran", "Yoerd", "Yoeri", "Yoerik", "Yoes", "Yoesri", "Yoica", "Yolan", "Yolanda", "Yole", "Yolin", "Yolinde", "Yoline", "Yollin", "Yona", "Yonah", "Yonathan", "Yonca", "Yoni", "Yonie", "Yonina", "Yonis", "Yonna
5407	dbpedia	3	21	https://www.bu.edu/sequitur/2016/04/29/schoenberger-tinguely/	en	Jean Tinguely’s Cyclograveur: The Ludic Anti-Machine of Bewogen Beweging			[ "https://www.bu.edu/sequitur/files/2016/04/Screen-Shot-2016-04-25-at-9.23.48-AM.png", "https://www.bu.edu/sequitur/files/2016/04/Screen-Shot-2016-04-25-at-9.23.56-AM.png" ]	[]	[]	[ "" ]	null	[]	2016-04-29T00:00:00		en	https://www.bu.edu/sequi…-precomposed.png		https://www.bu.edu/sequitur/2016/04/29/schoenberger-tinguely/	Bewogen Beweging (Moved Movement) was an exhibition held at the Stedelijk Museum, Amsterdam, from March 10 to April 17, 1961. Curated by two museum directors—the Stedelijk’s Willem Sandberg and Pontus Hultén, from the Moderna Museet, Stockholm—together with artists Daniel Spoerri and Jean Tinguely (1925–1991),[1] the show constituted a survey of Kinetic art as it presented nearly two hundred works by over seventy artists, all of whom contributed to the novel spectacle of rusty wheels, chains, broken typewriters, strollers, and alarm clocks that moved and made noises. Many of the works on display incorporated bicycles in various forms.[2] A Netherlandish metaphor for both play and utility, the bicycle is at once a child’s toy and the predominant mode of transportation for adults in Amsterdam. Examining in particular Tinguely’s Cyclograveur—a sculpture based primarily on the bicycle—this essay reveals that the exhibition deployed the illogical movements of mechanical components in a ludic critique of the rapid industrialization and modernization of the Netherlands after World War II. Tinguely was well represented in Bewogen Beweging, with twenty-eight works on display.[3] He constructed his Cyclograveur of rusty parts scavenged from bicycles, automobiles, and baby carriages (Figure 1).[4] The saddle, originally a two-person motorcycle seat installed sideways, was placed on a post twice the height of that of a typical bicycle, while the pedals were connected to several gears and four wheels. A large drawing board extended about a meter beyond the pedals. Cyclograveur became kinetic when a museumgoer climbed onto the bicycle to push the pedals. This action caused a fifth wheel behind the drawing board to rotate around the surface via lanky arm-like metal rods while another rod, positioned in front of the board, held a drawing implement that would create an artwork. The bare bones of a toy car were towed behind the Cyclograveur, as if from an appendage, in a metaphor of subordination that mocked the ascendancy of the automobile (Figure 2). Typical of Tinguely’s works, the artist attached a cymbal and an upside-down metal bucket drum that were struck by mallets, reminiscent of a one-man band, to augment the already ridiculous clamor of the rickety machine. Tinguely had created an anti-machine beneath a veneer of fun, the absurdity of which softened his critique of modern mechanization while at the same time inviting reconsideration of it. Rather than directly confronting the blind embrace of modernization, Tinguely employed humor to allow room for the viewer to form his or her own judgment. In his 1975 book Art: Action and Participation, art historian Frank Popper (b. 1918) examines Cyclograveur’s place in Kinetic art.[5] Explaining how critique functioned by way of humor in Tinguely’s work, Popper writes: “For Tinguely, we must bear in mind, the machine incarnates human intelligence: its beauty as well as its capacity for movement help to explain its attraction for him. Thus we can expect that the metamorphoses of the machine will bring about a corresponding dynamic effect in the spectacle, which reaches the ‘summit of absurdity’ through its own intrinsic logic.”[6] The absurdity of a machine endowed with human characteristics addressed the Dutch anxiety about rapid industrialization by poking fun at the “promises” of automation. By presenting a purposeless object that subverted the functionality of the very purposeful bicycle, Cyclograveur humorously encouraged visitors to question their presumptions about machines and their expectations of the coming “machine age”. Anxiety over technological advances was not new in the 1960s. French philosopher Henri Bergson (1859–1941) was distressed by the increasing mechanization of the modern world, a notion that informed his central belief about what generates laughter. In his study Laughter: An Essay on the Meaning of the Comic (1911),[7] Bergson describes the comical as “something mechanical encrusted on the living.” As an example, Bergson cites a man tripping and falling. The humor in such an act is found in a man’s “lack of elasticity.”[8] In this example, the unfortunate man “continued like a machine in the same straight line” demonstrating a “mechanical inelasticity.”[9] For Bergson, humor is man’s embodiment of machine-like characteristics: the inability to catch his balance by spontaneously reacting to changes in the environment, as early machines could not adjust to obstacles. But while Cyclograveur addressed anxiety about machines, its humor is found in the inverse of Bergson’s principle. Here, the comical is not embodied in a human assuming mechanical characteristics, but rather in Tinguely’s machine becoming anthropomorphic. As Popper articulates, we see the artwork adopt peculiarly human traits, such as the capacity to create. The very ludicrousness of the comical machine and its imperfect human operator demands that the viewer reconsider both. This conflation of man and machine evidently struck a chord with Dutch audiences in the 1960s. Nearly all the reviews of Bewogen Beweging reference Tinguely’s anti-machines—and frequently Cyclograveur—in their texts or illustrations.[10] For example, a reviewer in the progressive newspaper Vrij Nederland writes of Tinguely’s contributions: “His machines are as messy as people, but they still work miraculously and present a balanced slapstick,” and continues, “there are a lot of laughs at ‘Bewogen Beweging’, and not laughing at but laughing with the exhibition.”[11] This comment on the amusing quality of the show highlights a problem inherent in ludic art: due to its playful nature Cyclograveur was misunderstood by some as merely innocuous humor. While some critics paid more attention to the spectacle apparent in Cyclograveur and Bewogen Beweging, a more sophisticated and nuanced view also emerged at the time. A review in the left-wing newspaper Volkskrant asserts that the exhibition was “an attack on the technocracy of our time,” although it continues to point out the lightheartedness of the show: “the grotesque and utterly useless, but diligently moving constructions, which you bump into here, are trying to be a witty provocation—certainly a challenge to the mechanization of all that is human.”[12] As the anonymous Volkskrant review suggests, exhibiting non-functional machines, or anti-machines, constitutes a critique of postwar functionalism and an alternate view of the social norms of the previous decade.[13] As did all the works in Bewogen Beweging, Tinguely’s Cyclograveur addressed the postwar transformation in Dutch society.[14] But while Tinguely was critiquing the increasing mechanization of modern society, what resonated most powerfully with Dutch audiences was that he communicated in a language that every Dutchman understood: Tinguely spoke Bike. Janna Schoenberger Endnotes: Unless otherwise indicated, translations are the author’s. [1]After its stay at the Stedelijk Museum, Bewogen Beweging traveled to the Moderna Museet under the title Rörelse Konsten (Movement in Art), with additions by Tinguely, including his Ballet des Pauvres (Ballet of the Poor). [2] One artwork based on a bicycle, Robert Müller’s La Veuve du Coureur (1957), received press attention because it was deemed “pornographic.” It was a gray, elongated version of a stationary bicycle that looks as though the frame of a bicycle had merged with a coat rack. Müller had carved a hole in the saddle through which protruded a cream-colored phallic object. The object was rigged to the chain in such a way that it would move up and down through the hole while the apparatus was pedaled. Criminal charges were levied against Sandberg for displaying the work, but were eventually dropped. When the press asked about the affair, Sandberg quoted from the Bible (in German): “Dem Reinen ist alles Rein” (To the pure, all things are pure). The director’s wit echoed the ludic nature of the exhibition. “Geen vervolging om ‘de Weduwe’,” April 22, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam. [3] Spoerri, on the other hand, acted solely as a curator without contributing artwork. Most artists were represented by one to three works, but a few showed more: Pol Bury (7), Alexander Calder (8), Marcel Duchamp (7), Robert Müller, (6), Bruno Munari, (6), Man Ray (9), Dieter Roth (8), Nicolas Schöffer (7), and Raphael Soto (10). The relative degrees of representation reflect these artists’ association with the avant-garde or Kinetic art or both. [4] While Cyclograveur (Bicycle Engraver) is presented in Tinguely’s Meta-matic (Drawing Machine) series in Museum Tinguely’s collection in Basel, the term graveur suggests that the machine engraved rather than drew; in fact, it could be equipped to do either. The work is described in great detail in the review: “Pijltje gooien naar een vast gespijkerd overhemd,” March 09, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam. [5] Popper did not identify Tinguely’s work by its title, but rather described it as his “bicycle seat sculpture (1961),” in which “the spectator actually pedals the bicycle.” Frank Popper, Art: Action and Participation (New York: New York University Press, 1975), 216. [6] Ibid. [7] Henri Bergson, Laughter: An Essay on the Meaning of the Comic (1911), trans. Cloudesley Brereton and Fred Rothwell (Dover Publications, 2005), 18; 24. [8] Ibid., 5. [9] Ibid. [10] Two articles stand out for reproducing images of Tinguely’s work, especially Cyclograveur, thereby demonstrating the greater attention paid to his artwork: “ ‘Bewogen Beweging’ beweegt,” March 15, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam; and, “Bewegende kunst in Stedelijk Museum van Amsterdam: Extreme gemotoriseerde oud-ijzer formaties,” March 25, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam. Not all the critical attention was positive. In one article, “The Bicycle Repairman’s Nightmare,” the author admits that he does not understand the work, but then proceeds to give an earnest detailed mechanical analysis of Cyclograveur, explaining the flaws in the workings of the wheel and chain. This review, while perhaps not enlightening from an art-critical standpoint, shows how the formal qualities of Tinguely’s work attracted the attention of a wide audience. Moreover, it underscores the seriousness with which Dutch audiences regarded their bicycles. “De nachtmerrie van een fietsenmaker,” March 17, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam. [11] Ibid. [12] “Potsierlijke anti-machines in Stedelijk Museum,” March 15, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam. [13] The majority of reviewers, however, failed to recognize the political import of the exhibition, viewing it instead as innocuous carnivalesque fun. V.d. W, “Bewogen Beweging,” April 13, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam. [14] Undergoing industrialization later than its neighbors Belgium and Germany, the Netherlands experienced a dramatic increase in industrial production during World War II, which continued through the 1950s. James Kennedy, Nieuw Babylon in aanbouw: Nederland in de jaren zestig, trans. Simone Kennedy-Doornbos (Amsterdam: Boom, 1997), 10 –12. Download Article
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5407	dbpedia	2	57	https://www.northcountrypublicradio.org/news/npr/g-s1-9920/wait-wait-for-july-13-2024-with-not-my-job-guests-sam-sanders-and-zach-stafford	en	'Wait Wait' for July 13, 2024: With Not My Job guests Sam Sanders and Zach Stafford	https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x2250+0+534/resize/3000x2250!/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fff%2F0d4483a3457cba99a2f2d8358951%2Fgioncarlosvalentinestitchercovervibecheck.jpg?s=1000	https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x2250+0+534/resize/3000x2250!/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fff%2F0d4483a3457cba99a2f2d8358951%2Fgioncarlosvalentinestitchercovervibecheck.jpg?s=1000	[ "https://www.northcountrypublicradio.org/images/ncpr_home_icon_16.png", "https://www.northcountrypublicradio.org/news/images/NorthernLight_1800x1800.png", "https://www.northcountrypublicradio.org/news/images/sotdlogo_2.0.png", "https://www.northcountrypublicradio.org/programs/images/Beat_Authority_logo_RnB_500.png", "https://www.northcountrypublicradio.org/programs/images/deanslistlogo.png", "https://www.northcountrypublicradio.org/programs/images/folkshowlogo_150.jpg", "https://www.northcountrypublicradio.org/programs/images/tenspotlogo_150.jpg", "https://www.northcountrypublicradio.org/programs/images/radioboblogo_150.jpg", "https://www.northcountrypublicradio.org/programs/images/stringfeverlogo_150.jpg", "https://www.northcountrypublicradio.org/programs/images/threadlogo_150.png", "https://www.northcountrypublicradio.org/programs/images/3OS-ShowGraphic_150.png", "https://www.northcountrypublicradio.org/programs/images/trailmixlogo_cond.png", "https://www.northcountrypublicradio.org/news/images/Underscore-logo-v2_1400_1.png", "https://www.northcountrypublicradio.org/news/images/IfAllElseFails3000x3000.png", "https://www.northcountrypublicradio.org/news/images/Northwords_logo_1400.png", "https://www.northcountrypublicradio.org/news/images/NorthernLight_1800x1800.png", "https://www.northcountrypublicradio.org/news/images/sotdlogo_2.0.png", "https://www.northcountrypublicradio.org/news/images/HowlPodcast1400x1400.png", "https://www.northcountrypublicradio.org/news/images/Underscore-logo-v2_1400_1.png", "https://www.northcountrypublicradio.org/css/images/60x60/facebook.png", "https://www.northcountrypublicradio.org/css/images/60x60/twitter.png", "https://www.northcountrypublicradio.org/css/images/60x60/instagram.png", "https://www.northcountrypublicradio.org//news/images/sotdlogo_2.0.png", "https://www.northcountrypublicradio.org//news/images/NorthernLight_1800x1800.png", "https://www.northcountrypublicradio.org/news/images/HowlPodcast.png", "https://www.northcountrypublicradio.org//news/images/Northwords_logo_1400.png", "https://www.northcountrypublicradio.org//news/images/Underscore-logo-v2_1400_1.png", "https://npr.brightspotcdn.com/dims3/default/strip/false/crop/3000x2250+0+534/resize/3000x2250!/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fff%2F0d4483a3457cba99a2f2d8358951%2Fgioncarlosvalentinestitchercovervibecheck.jpg?s=1000", "https://www.northcountrypublicradio.org//support/images/uw/creatives/AFC tile for ncpr 250x250.png", "https://www.northcountrypublicradio.org//support/images/uw/creatives/uw_PPNYSAS_250.png", "https://www.northcountrypublicradio.org/news/images/sluicon.gif", "https://www.northcountrypublicradio.org/images/nprlogo_36.png", "https://www.northcountrypublicradio.org/images/apmlogo_36.png", "https://www.northcountrypublicradio.org/images/prilogo_36.png", "https://www.northcountrypublicradio.org/programs/images/prxlogo_24.jpg" ]	[]	[]	[ "" ]	null	[]	null	This week, Wait Wait is live in Chicago with special guests Sam Sanders and Zach Stafford and panelists Tom Papa, Paula Poundstone, and Emmy Blotnick		/apple-touch-icon.png?v=E6jl8KmrJW	NCPR	https://www.northcountrypublicradio.org/news/npr/g-s1-9920/wait-wait-for-july-13-2024-with-not-my-job-guests-sam-sanders-and-zach-stafford	Audio transcript JENNIFER MILLS, BYLINE: The following program was taped in front of an audience of real, live people. (SOUNDBITE OF MUSIC) CHIOKE I'ANSON: From NPR and WBEZ Chicago, this is WAIT WAIT... DON'T TELL ME, the NPR news quiz. I'm the voice on Bill Kurtis' voicemail, Chioke I'Anson. And here is your host at the Studebaker Theater in the Fine Arts Building in Chicago, Ill., Peter Sagal. PETER SAGAL, HOST: Thank you, Chioke. (CHEERING) SAGAL: And thank you, everybody. (CHEERING) SAGAL: Ah. That's what really helps our show - day drinking. (LAUGHTER) SAGAL: Later on, on our show today, we are going to be speaking to two of the hosts of the hit podcast "Vibe Check," Zach Stafford and Sam Sanders. Now, Sam, of course, used to be a colleague of ours at NPR, and I am so excited to ask him what it is like to finally be able to swear into a microphone... (LAUGHTER) SAGAL: ...And then watch his reaction when he realizes that he can't again. (LAUGHTER) SAGAL: But first, we want you to watch your manners when you call in to play our games. The number is 1-888-WAIT-WAIT. That's 1-888-924-8924. Hi, you are on WAIT WAIT... DON'T TELL ME. MARY ELIZABETH: Hey. My name's Mary Elizabeth (ph), and I'm calling from Annandale, Va. SAGAL: Great. What do you do there in Annandale? MARY ELIZABETH: So I work for a legal services nonprofit in D.C. as an executive assistant. SAGAL: Well, that's cool. That's cool. That's good work. So you help people who need legal services but cannot normally afford them? MARY ELIZABETH: So that's what we do as an organization. I just read emails all day. PAULA POUNDSTONE: That's OK. SAGAL: Strange. So do I. Well, welcome to the show, Mary Elizabeth. Let me introduce you to our panel this week. First, she's a comedian that you can see at the Comedy Cellar in New York City. It's Emmy Blotnick. EMMY BLOTNICK: Hi. Hi, Mary Elizabeth. MARY ELIZABETH: Hello. (APPLAUSE) SAGAL: And a comedian and host of the hit podcast "Breaking Bread With Tom Papa." That would be Tom Papa. (APPLAUSE) TOM PAPA: Hello. MARY ELIZABETH: Hi. SAGAL: And a comedian performing on September 14 at the McAninch Arts Center in Glen Ellyn, Ill., and host of the podcast "Nobody Listens To Paula Poundstone." That would be, of course, Paula Poundstone. (CHEERING) POUNDSTONE: Hey, Mary Elizabeth. MARY ELIZABETH: Hi, Paula. SAGAL: So, Mary Elizabeth, welcome to our show. You're going to play Who's Chioke This Time? Chioke I'Anson, filling in for Bill Kurtis, is going to read you three quotations from this week's news. If you can correctly identify or explain just two of them, you'll win our prize, the voice from our show that you might want on your voicemail message. You ready to go? MARY ELIZABETH: Absolutely. SAGAL: All right. Let's do it. Your first quote is a pretty good example of optimism. I'ANSON: This is an exciting time for democracy. SAGAL: That was senior Democratic official George Clooney... (LAUGHTER) SAGAL: ...In a New York Times op-ed asking Joe Biden to do what? MARY ELIZABETH: Step down from the Democratic nomination. SAGAL: Yes, to drop out of the... (SOUNDBITE OF BELL) SAGAL: ...Presidential race. That's right. (APPLAUSE) SAGAL: So two weeks ago, Joe Biden did a debate that was organized to finally put to rest the question of whether he was too old to be president, and good news - it did. (LAUGHTER) SAGAL: So now President Biden is being urged to drop out of the race by all kinds of people. David Axelrod has weighed in. James Carville - and a bunch of other people who are also too old to be making important decisions. (LAUGHTER) POUNDSTONE: OK, I - this argument over whether he can be the president or not - he is the president. He's being the president now. I - one night, he hung his mouth open a lot... SAGAL: Yeah. (LAUGHTER) SAGAL: It happens. POUNDSTONE: ...Which I wish he hadn't, but... SAGAL: I mean, I leave my garage door open sometimes all day. POUNDSTONE: Exactly. SAGAL: And nobody tells me I have to quit. POUNDSTONE: Yeah, I did. I - did anybody else feel the need to lunge at the television and, like, just push his jaw up? (LAUGHTER) POUNDSTONE: You know, I've certainly enjoyed the "Ocean's Elevens" movies, but... (LAUGHTER) SAGAL: Now, the - we - now, here's... PAPA: Well, no, but Paula's - I feel Paula's - I know. It's a worry because I went from girlfriend to girlfriend my whole life, and I never broke up with a girlfriend unless I knew I had another girlfriend that was a possibility. (LAUGHTER) PAPA: And everyone's saying we should - Biden should just - we should break up with him. Who's next? POUNDSTONE: Right. PAPA: Like, if you came in and said, we've got something solid. We could all get around it. POUNDSTONE: Right. PAPA: But we're just like, let's kick him out and see what happens in the next four months. SAGAL: Well, that's actually one of the big questions - is, like, if Biden were to drop out, who would then run as the Democratic candidate for president? Many people say, OK, it's obviously going to be Vice President Kamala Harris. POUNDSTONE: Yes. SAGAL: But she - you know, that's not good. That's awkward. She never planned becoming president by running when Biden is forced to drop out. She planned to become president by him dying in office. (LAUGHTER) SAGAL: She's been practicing (ph) her sad face for four years. POUNDSTONE: I'm self-employed. So when I try to get me to step down... (LAUGHTER) POUNDSTONE: ...It's going to be obvious. SAGAL: Yes. (LAUGHTER) SAGAL: All right. (LAUGHTER) SAGAL: Mary Elizabeth, we have more news to discuss. Here is your next quote. It is a sign you might see an angry person holding up in Barcelona. I'ANSON: Go home. SAGAL: That is a message seen all over that city as people there are telling who to go home? MARY ELIZABETH: Tourists. SAGAL: Tourists. Yes, exactly. (SOUNDBITE OF BELL) SAGAL: Barcelona... (APPLAUSE) SAGAL: ...Like a lot of major cities in Europe, is absolutely overrun with tourists this summer, making it practically unlivable for the residents. So the locals are shouting at tourists to go home and - this is true - actually squirting them with water pistols when they see them. (LAUGHTER) SAGAL: Fortunately, not a single American, of course, speaks Spanish. So they're all like, oh, honey, this is great. They're baptizing us. (LAUGHTER) POUNDSTONE: Do we - you know, in Chicago, in the summer, if someone - you were here as a tourist, and somebody sprayed you with a water gun, you'd be grateful. SAGAL: That's true. You know, it is rather hot. POUNDSTONE: It's so mercilessly hot... SAGAL: That is nice. POUNDSTONE: ...sometimes. Like, wow, they do the nicest thing there. SAGAL: Yeah. (LAUGHTER) PAPA: No, I think this is why the campaign isn't really going to work 'cause when you try and kick out tourists, everybody who's there is thinking - is looking at the other tourists and going, oh, look at these tourists. They're the worst. SAGAL: Yeah, I know. PAPA: But I've got it. Like, they really know that - like, I could totally blend in. SAGAL: You know what you could do if you really didn't like tourists? This just occurred to me. Just put on a very practical suit and good walking shoes, hold up an umbrella - right? - and then just lead people directly into the sea. (LAUGHTER) POUNDSTONE: I - sometimes, when I go other places, I try to pretend that I am the tour guide. SAGAL: Do you really? POUNDSTONE: Yeah, even though I don't know anything about anything. Like, at Washington, D.C., you know, there's so many tourists there all the time. And there's always - you always see people. So I will - I'll just go up to a group of people and go, Washington, our nation's capital. (LAUGHTER) PAPA: I was in Venice, and that place - they come in with these giant cruise ships. SAGAL: It's terrifying 'cause the cruise... PAPA: And they just dump 5,000 people there and go, go get lunch. (LAUGHTER) PAPA: It's horrible. It's a horrible place. These giant, big, white porcelain toilets with 5,000 people on them. SAGAL: Yeah. Well, that's why in Barcelona, they're using water pistols, and in Venice, they're using torpedoes. (LAUGHTER) SAGAL: But, I mean - all right. I mean, I get it. I get it that it's a problem, and they're trying to lower the impact of tourists on their city. But did Venice really have to put Rick Steves' head on a pike at the main entrance? (LAUGHTER) POUNDSTONE: Have we gone too dark? (LAUGHTER) POUNDSTONE: Am I reading the room correctly? - Rick Steves' head on a pike. SAGAL: Well, you know. Your - Mary Elizabeth, your last quote is a hypothetical situation that is posed by The Washington Post. I'ANSON: Your boyfriend liked an Instagram model's bikini photos. SAGAL: OK. Now, according to the social mores of today, that action now counts as what? MARY ELIZABETH: Cheating. SAGAL: Yes, cheating. MARY ELIZABETH: Yes. SAGAL: Exactly right. (SOUNDBITE OF BELL) SAGAL: Yes, cheating. Specifically, that sort of thing is now called microcheating, right? That's a thing now... PAPA: Right. SAGAL: ...You have to worry about. Micro cheating - liking a bikini model's pic or commenting on your ex's Instagram post. That is now - we are told - effectively cheating on your current partner, even if you didn't leave a comment that says, also, terrific sex yesterday in the motel next to your office. (LAUGHTER) PAPA: I've been married for 24 years, and I can say we have built up enough trust in our relationship that if my wife were to see that I put a little heart emoji on one of my ex's pages, my wife would kill me with an axe. SAGAL: Yeah. That's great. (LAUGHTER) SAGAL: And that's - and that kind of knowledge, that sense that you know her so deeply... PAPA: Yeah. SAGAL: ...Only comes after 24 years of marriage. PAPA: A hundred percent - we don't call it microcheating. SAGAL: No, no, no. PAPA: We call it divorce. (LAUGHTER) POUNDSTONE: The thing about micro cheating is you can have 10 incidents of microcheating, and it is one cheat. SAGAL: That's it. That is the unit of exchange. PAPA: Oh. SAGAL: That's exactly right. POUNDSTONE: So yeah. BLOTNICK: Get one free... POUNDSTONE: Yeah. PAPA: Right. BLOTNICK: ...Or is it... POUNDSTONE: No, you don't - no, it just goes right - you carry it. PAPA: All right. POUNDSTONE: You carry it. SAGAL: Yeah. POUNDSTONE: Like... (LAUGHTER) POUNDSTONE: Ah. A lot of... PAPA: So if you could stop at nine and then go to another ex, you can... SAGAL: Yeah. PAPA: ...You're still safe. SAGAL: Yeah. And... POUNDSTONE: I think so. A lot of really strong relationships actually have an abacus there in the kitchen. (LAUGHTER) PAPA: And the kids keep track. POUNDSTONE: Yeah. PAPA: (Laughter). SAGAL: Chioke, how did Mary Elizabeth do in our quiz? I'ANSON: With all three right, Mary Elizabeth is a macrowinner. PAPA: Yeah. SAGAL: There you are, Mary Elizabeth. POUNDSTONE: There you go. SAGAL: Congratulations. PAPA: Yeah. MARY ELIZABETH: Thank you. (APPLAUSE) SAGAL: Well done, and thank you so much for calling. MARY ELIZABETH: Thanks so much. SAGAL: Bye-bye. (SOUNDBITE OF CARRIE UNDERWOOD SONG, "BEFORE HE CHEATS") SAGAL: Right now, panel, it is time for you to answer some questions about this week's news. Paula, this week, we learned about a hot new place for young people to grab a bite or, you know, just hang out. Where is it? POUNDSTONE: The school cafeteria. SAGAL: No, not quite. (LAUGHTER) POUNDSTONE: Oh, something different than that? SAGAL: Other end of the age range. POUNDSTONE: Oh, nursing homes. SAGAL: Pretty much. Senior centers... (SOUNDBITE OF BELL) SAGAL: ...Senior living centers. POUNDSTONE: It's a good idea, actually. SAGAL: According to an article in Fast Company that was written by your grandparents... (LAUGHTER) SAGAL: ...The coolest place to have lunch these days is in a senior living center. And by coolest, we mean literally. They've got the AC cranked up to freezing. They like it that way. (LAUGHTER) SAGAL: Senior living communities are adding cafes and restaurants open to the public to provide their residents the opportunity to mingle with the, quote, "everyday person." It's a great idea - right? - because if you've been to a senior home before, you know it is the best place to walk in, meet a stranger who will tell you the saddest story you have ever heard. (LAUGHTER) PAPA: So wait. So they're inviting young people to just hang out in the White House. (LAUGHTER) PAPA: It was lobbed in there. SAGAL: I know. PAPA: It was - I don't even believe it, Paula. POUNDSTONE: Yeah. PAPA: But it was lobbed in there. (SOUNDBITE OF PETER BJORN AND JOHN SONG, "YOUNG FOLKS") SAGAL: Coming up, our panelists get on the historic registry. It's our Bluff the Listener game. Call 1-888-WAIT-WAIT to play. We'll be back in a minute with more of WAIT WAIT... DON'T TELL ME from NPR. (SOUNDBITE OF MUSIC) I'ANSON: From NPR and WBEZ Chicago, this is WAIT WAIT... DON'T TELL ME, the NPR news quiz. I'm Chioke I'Ansen filling in for Bill Kurtis. We're playing this week with Paula Poundstone, Tom Papa and Emmy Blotnick. And here again is your host at the Studebaker Theater in Chicago, Ill., Peter Sagal. SAGAL: Thank you, Chioke. Thank you, everybody. (CHEERING) SAGAL: Thanks, everybody. (APPLAUSE) SAGAL: I am excited, too, because it is time for the WAIT WAIT... DON'T TELL ME Bluff the Listener game. Call 1-888-WAIT-WAIT to play all of our games on the air. Hi, you are on WAIT WAIT... DON'T TELL ME. STEPHANIE: Hi, this is Stephanie (ph) from Longmont, Colo. SAGAL: Hey. Longmont, I know that. What do you do there? STEPHANIE: I am a program manager at a medical device company. SAGAL: Oh. STEPHANIE: And I also manage a 15-year-old theater kid and three cats. SAGAL: Wow. Which is more moody? (LAUGHTER) STEPHANIE: Well, I do have a very moody cat, so they compete for moodiest. SAGAL: Right. STEPHANIE: It's a tough call. SAGAL: Which do you find more often sitting in their room and, like, listening to emo music? (LAUGHTER) STEPHANIE: Both of them, actually, but... (LAUGHTER) STEPHANIE: You know... SAGAL: It'll happen. Well, welcome to the show, Stephanie. You're going to play the game in which you must try to tell truth from fiction. Chioke, what is Stephanie's topic? I'ANSON: George Washington slept here. SAGAL: What is the difference between an old, rundown shack and a historical landmark? Apparently, a famous person taking a nap there - this week, we found out about a new place that's probably going to get a plaque on the front door because of something that just happened. Our panelists are going to tell you about it. Pick the one who's telling the truth, and you will win the WAIT WAITer of your choice on your voicemail. Are you ready to play? STEPHANIE: I'm ready. SAGAL: OK, great. Your first story comes from Paula Poundstone. POUNDSTONE: While reaching for a half a watermelon on the bed of ice on the large display in the center of the produce section at the Ledy Green Grocery (ph) in Stockholm, Sweden, Esbjorn Ekblad (ph) caught sight of a nose in the ice. He then recoiled in shock when Jane Fonda rose up from beneath the ice. (LAUGHTER) POUNDSTONE: Ice cubes were tumbling off of Jane Fonda, says Ekblad, and then I hear peals of laughter coming from behind a cardboard nut display, and Greta Thunberg steps out laughing like a hyena. (LAUGHTER) POUNDSTONE: Jane and I wanted to bring attention to alternatives to air conditioning, Thunberg explains. She's such a climate change warrior. She'll do anything, but maybe we hadn't thought it out quite enough. Fonda suffered frostbite on the skin surrounding her elbows and the shrinkage to her red woolen tam. We're reducing our air conditioning use, and customers tell me they really appreciated the effort, said Bankt Boriensen (ph), and our watermelon sales are the best they've ever been. SAGAL: Jane Fonda found under the ice in a produce section in Norway. Your next claim to fame comes from Emmy Blotnick. BLOTNICK: When you're out and about, it can be hard to find a public bathroom. Take it from superstar musician Elton John, who was out shopping for shoes in the French city of Nice with his teenage sons, when nature called. According to TMZ, after the shop owner told him there was no toilet available, Elton asked his bodyguard for an empty bottle. He stepped away from the other customers, and then he took out his Bennie and turned on the jets. (LAUGHTER) BLOTNICK: And what's crazier is the shop owner didn't recognize him. That might be the most shocking part of this story, a French man whose job is shoes not knowing Elton John. (LAUGHTER) BLOTNICK: When he asked him what he does for a living, Elton John said, I'm Elton John. (LAUGHTER) BLOTNICK: Again, this took place in Nice. If you want more details, just be aware that it will look like you Googled Elton John, shoe store, pee bottle, nice. (LAUGHTER) SAGAL: Elton John... (APPLAUSE) SAGAL: ...Not being nice in Nice. Your last story of a location legend comes from Tom Papa. PAPA: Big Lou's Pizzeria (ph) had been a mainstay of Bayonne, N.J., since it opened in 1965. But it wasn't until Joe Pesci came in last week and ate 25 chicken parmesan sandwiches in one sitting that it became famous. Everyone was excited just to see him, said owner Big Lou Primo (ph). He came in and ordered a chicken parm sandwich and a Diet Coke. But then the guy next to him says, be careful. That's a big sandwich for such a little guy. (LAUGHTER) PAPA: Joe was really P-O'd (ph). His eyes got red, smoke poured out of his ears, and I swear, he stood at the counter and ate that sandwich in two bites. Then Joe turns to the guy and says, watch this, you big mouth. And he orders two more sandwiches. The irritated star of "My Cousin Vinny" proceeded to order sandwich after sandwich. A crowd started to form, and not just because there is nothing else to do in Bayonne. (LAUGHTER) PAPA: By the time he was done, Joe Pesci had eaten 25 chicken parms, ordered a cannoli for dessert and kicked the guy right in his profiteroles. (LAUGHTER) PAPA: And Big Lou's Pizzeria was on the map. SAGAL: All right. POUNDSTONE: That's all it takes. (APPLAUSE) SAGAL: Someday soon, there will be a place in the world with a plaque on it, marking an important occasion. Will it be, from Paula Poundstone, a grocery store in Norway that'll say, Jane Fonda was found under ice in our produce section? Will it be, from Emmy Blotnick, a shoe store in Nice with a sign saying, Elton John peed in a bottle inside here; or from Tom Papa, a pizzeria in Bayonne, with a sign saying Joe Pesci himself ate 25 chicken parm sandwiches on this date? Which of these is the real plaque that might be? STEPHANIE: I'm going Elton John. SAGAL: You can't miss with Elton John... (APPLAUSE) SAGAL: ...Seminal musician that he is. All right. Your choice then is Emmy's story of Elton John relieving himself in a bottle in a shoe store in Nice. Well, to bring you the correct answer, we spoke to someone who, in fact, reported on the real story. DANIELLE CHELOSKY: The sneaker shop owner was upset, and he asked him what he did for a living. And Elton John said, I'm Elton John. (LAUGHTER) SAGAL: That was Danielle Chelosky, an editor and writer at Stereogum, reporting on Sir Elton's makeshift john. (LAUGHTER) SAGAL: So you got it right. Emmy was, in fact, telling the truth. She wins a point. You win our prize. Congratulations. (APPLAUSE) STEPHANIE: Awesome. Thank you so much. SAGAL: Thank you for playing. (SOUNDBITE OF SONG, "GOODBYE YELLOW BRICK ROAD") ELTON JOHN: (Singing) So goodbye yellow brick road, where the dogs of society howl. SAGAL: And now the game where we ask people about things they know nothing about. It's called Not My Job. If you're going to do a podcast with just you and two of your friends talking about stuff, you better be absolutely incredible at it, which is why "Vibe Check" was named one of the best podcasts by The New York Times. Think of it as the group chat you wish you were cool enough to be on. Two of "Vibe Check's" hosts, Zach Stafford and our old friend from NPR, Sam Sanders, join us now. Zach and Sam, welcome to WAIT WAIT... DON'T TELL ME. SAM SANDERS: Thank you. (CHEERING) ZACH STAFFORD: This is such an honor. (APPLAUSE) SAGAL: It is a thrill to have you. Our coolness quotient is raised just by you joining us here on stage. Let me - I think, for people who have not been fortunate enough to hear it, we should describe "Vibe Check." But you guys did it yourself... SANDERS: Yeah. SAGAL: ...On - just in a recent podcast, where - and I have to change this for NPR standards. You might remember them, Sam. SANDERS: I sure do. SAGAL: You called it just the three of you pooping and chatting. (LAUGHTER) STAFFORD: Pooping and chatting - wow. Yeah. (CROSSTALK) SAGAL: Pooping and chatting. SANDERS: Chatting. STAFFORD: Pooping and chatting, yeah. SANDERS: That's what we said last episode, yeah. That's how this show started. I think everyone experienced this during the pandemic, where you were at home a lot more, so a lot of your social interaction moved to your phone. And I was blessed enough to end up in some really fun group chats. But the group chat I was in - I'm still in with Zach and Saeed - it was just so great. STAFFORD: And what I have to say is Sam is really the reason why the show came to life because I don't do things unless there's a check or a contract already. SANDERS: (Laughter). STAFFORD: And Sam was like, oh, we had so much fun on my show on NPR. People loved it. People did love it. SANDERS: Yeah. STAFFORD: And he was like, let's do a SoundCloud. And I was like, I'm not a rapper. SANDERS: (Laughter). STAFFORD: I'm not doing a SoundCloud demo. And he did it, and people just loved it, and it kind of took off from there. So... SANDERS: Yeah. SAGAL: I know this is a hard thing to describe about your own work, but everybody knows that the stereotypical podcast is just two or three people, usually guys, just talking to each other and thinking that the rest of the world will find them as interesting as they find themselves. Ninety-nine percent of the time, they are wrong. (LAUGHTER) SAGAL: You guys, as the results have shown, were right. So do you know what gives your show, "Vibe Check," like, that pass to be just as fascinating to everybody else as it is to the three of you? SANDERS: I have thoughts, but I want to hear yours first. STAFFORD: You want me first? SANDERS: I want you first. STAFFORD: Yeah, well, I think our show - we're really obsessed with failing in public, which is very masochistic, I think. But we realized, as journalists, that we were being trained to always be on and be perfect and say the right thing all the time and not talk about how we actually felt. And, you know, I have a long journalistic background, Sam does, and so does Saeed. So we were like, let's do a show where everyone knows we did our research. We did our homework. We report it but talk about it how other people talk about it with each other. So that's what the show does - is we're having those conversations you're having, but with some more - you know, we've talked to, like, the White House maybe, or we've talked to some sources, and we're just talking about it in a really accessible way. SAGAL: Right. SANDERS: Yeah, yeah. SAGAL: So you're catty but informed. SANDERS: Yes. STAFFORD: Exactly. SANDERS: Well, and... (LAUGHTER) SANDERS: ...What I love about the show is that, like, it's pretty much a really big bait and switch. So when we launched the show, by virtue of the three of us being the three of us, all of the initial wave of press was like, here's this new show from a Black queer perspective. STAFFORD: Yeah (laughter). SANDERS: And you're like, the three of us don't agree on anything. (LAUGHTER) SANDERS: And, like, that's the beauty of it. So... POUNDSTONE: But that's so like Black queers. SANDERS: It is. (LAUGHTER) SANDERS: Let me tell you. STAFFORD: Oh, my God. SAGAL: Oh, yeah. SANDERS: Let me tell you. STAFFORD: Oh, my God. Pride just ended. Wow. SAGAL: Oh, my God. All those... SANDERS: But, like, I swear to you - and I love it because we get to argue it in a real way that feels, like, expansive with an A. Like, I tell Saeed and Zach that our disagreements are expansive. SAGAL: You have guests on your podcast... SANDERS: We do. SAGAL: ...Very impressive ones. SANDERS: Yeah. SAGAL: Can you tell me who your favorite one has been? STAFFORD: For me, it'd probably be our friend, Jenna Wortham. Jenna's a writer at The New York Times, the magazine, specifically. And she, one day, was tweeting or talking about nude beaches. And I was fascinated by this 'cause I have been to them, but I had never been nude on a nude beach. I was more voyeuristic, I guess. SAGAL: Wait a minute. So you've been to nude beaches? STAFFORD: Yes, I'm gay. Yes. (LAUGHTER) SANDERS: Wait. Whoa, whoa, whoa, whoa. I didn't know that was part of the test. STAFFORD: Sam Sanders, have you been to a nude beach? SANDERS: Whatever. (LAUGHTER) SAGAL: Did - they didn't tell you that at the initiation? SANDERS: That was not at the initiation. SAGAL: That was not part of the onboarding process? SANDERS: No, no. SAGAL: Oh, and by the way, sir, you will have to go to nude beaches. SANDERS: Yeah, yeah. SAGAL: So wait a minute. But getting back to you, Zach, you've been to a nude beach, but you have not been nude. STAFFORD: No. SAGAL: So you're just a guy who, like, wanders on in a business suit and just wanders around, hands in pockets... STAFFORD: This suit... SAGAL: ...Looking around. STAFFORD: Yes. This suit... SAGAL: That suit... STAFFORD: ...Actually, yes. SAGAL: ...The suit you are wearing now. STAFFORD: No. I was wearing - I wore a bathing suit when I went... SAGAL: Right. STAFFORD: ...Before. So I wanted to interview Jenna Wortham on her time, finally, also getting nude on a nude beach in Mexico. And so the day before we did the interview, my partner was like, isn't it ridiculous that you're talking to someone about a nude beach and you've never been naked on one? So then he made me drive to San Diego - be naked - to do the show. POUNDSTONE: And you were in New York at the time? STAFFORD: I was in LA. (LAUGHTER) STAFFORD: And so I did it. And so I got to come out as a - I guess, a temporary nudist on our show. And me and Jenna Wortham had the most amazing conversation about water. And it's a very Pisces conversation, but it was very much about the healing power of being naked and gender and identity. SANDERS: They called it blue spaces. STAFFORD: Blue spaces. SANDERS: It was so smooth. SAGAL: Wow. SANDERS: It was so smooth. STAFFORD: Yeah, it was nice. I get paid to do that, too. That's wild, yeah. SANDERS: (Laughter). SAGAL: And Sam, I think our audience will know your background, at least part of it, because... SANDERS: Sure. SAGAL: ...You were, of course, with NPR for many years. SANDERS: I was. SAGAL: I know. And the only... SANDERS: The greatest 13 years. They still are (ph). SAGAL: I mean, you know how they say, like, somebody who's been in prison - you know, what's the first thing you're going to eat when you get outside? So the first time you got in front of a microphone... SANDERS: Oh, I cursed. SAGAL: ...Not owned by NPR... SANDERS: I cursed like a sailor. (LAUGHTER) SANDERS: I cursed like a sailor. I probably say [expletive] the most on the microphone. STAFFORD: Yes. You curse a lot, actually. SAGAL: Yeah. I did listen. STAFFORD: Yeah. SAGAL: I did not... STAFFORD: Yeah. SAGAL: ...Know that side of you. STAFFORD: Yeah. SAGAL: Remarkable. SANDERS: It is free-flowing. STAFFORD: My mother listens. So I think of that every day I go into the studio. So... (LAUGHTER) SANDERS: I think my Aunt Betty stopped listening. STAFFORD: Yeah. SANDERS: It's funny. She started - so my Aunt Betty was a big staple in my last show, and she's a booster. And I remember the first few weeks the show was out, she'd say, I'm listening. I'm listening. And then as weeks went on, she'd just be like, how you doing? (LAUGHTER) SAGAL: Well, Sam and Zach, it is great talking to you, and we have invited you here to play a game we're calling... I'ANSON: "Vibe Check," meet Libe (ph) Check. STAFFORD: Wow. SANDERS: Wow. SAGAL: Wow. You guys are vibrarians (ph). SANDERS: I'm keeping that. (LAUGHTER) SAGAL: We just made that up... SANDERS: I'm keeping that - vibrarians. SAGAL: ...Just so we could ask you what you knew about librarians. We're going to ask you three questions about the things librarians have to deal with every day. Get two out of three right, and you'll win our prize for one of our listeners. Chioke, who are Sam and Zach playing for? I'ANSON: Grant Wiens (ph) of Chicago, Ill. SAGAL: Chicago, Ill. All right. (CHEERING) STAFFORD: Hi, Grant. SANDERS: What's up, Grant? (APPLAUSE) SAGAL: All right. As I'm sure - all right. Ready to do this? SANDERS: Yes. SAGAL: All right. As you probably could easily imagine, a common complaint among librarians is people damaging books while they are checked out. One librarian had a book returned to the library with bite marks, water damage and covered in crayon. What was the name of the book? A, "Keeping Your Collectibles In Mint Condition"... POUNDSTONE: (Laughter). SAGAL: ...B, "Destroy This Book," or C, "What To Expect: The Toddler Years"? (LAUGHTER) SANDERS: I know what I want it to be. Well... STAFFORD: What do you want it to be? I want it to be C, too. SANDERS: Yeah. STAFFORD: Let's go with C. SANDERS: Let's go with C. SAGAL: That's the correct answer, yeah. (SOUNDBITE OF BELL) STAFFORD: Yay. (APPLAUSE) SANDERS: Teamwork dreamwork. STAFFORD: Look at that. SANDERS: I love it. STAFFORD: Our brains. SANDERS: Teamwork dreamwork. (APPLAUSE) SAGAL: A completely destroyed library book is pretty much what you'd expect in the toddler years. So there you are. All right, next question. Damaged books aren't the only way to upset a librarian as in which of these very real cases? A, a patron who made the joke, Dewey Decimal - well, I sure don't... (LAUGHTER) SAGAL: ...Every day for six months; B, a man walked into the library and requested a book about taxidermy, while holding a, quote, "recently dead skunk"... SANDERS: Oh, that happened. That happened. STAFFORD: For real (ph). SAGAL: ...Or C, a woman who pushed in a double stroller with two crying children asked the librarian, can you keep an eye on them? - and immediately left to go to a yoga class? (LAUGHTER) STAFFORD: Oh, my gosh. SANDERS: It's between B and C. But I want to believe B 'cause as soon as you said, a man, I was like, he did it. SAGAL: Yeah. STAFFORD: Yeah. (LAUGHTER) SAGAL: He did it. STAFFORD: The inflection was very... SANDERS: I mean... STAFFORD: Yeah. SAGAL: Pretty much as soon as anything terrible happens, just look for the nearest man. SANDERS: There you go. STAFFORD: Yes. SAGAL: That'll be it. STAFFORD: Are we right? SAGAL: Are you going to go with B, officially? Yes, that's exactly what happened. STAFFORD: Hey. SANDERS: See? (SOUNDBITE OF BELL) SANDERS: Man, am I right? (APPLAUSE) STAFFORD: God bless feminism, yeah. (LAUGHTER). SAGAL: Last question - even celebrities have run-ins with librarians, like which of these famous people? A, Kid Rock, who angrily returned a book to a Michigan library, complaining when he swiped his finger across the page, nothing happened... (LAUGHTER) SAGAL: ...P - B, I should say - B, pilot Sully Sullenberger, who had to call his local library when the book he had borrowed sunk into the Hudson River with his plane after his famous crash landing... SANDERS: He would do that. SAGAL: ...Or C... SANDERS: He would do that. SAGAL: ...Or C, Tom Cruise, who asked the Beverly Hills library for a book exactly 8 inches thick 'cause he needed to reach a particular shelf? (LAUGHTER) STAFFORD: There are so many... SANDERS: Wait. Tell me what A is again. SAGAL: A was Kid Rock... STAFFORD: Kid Rock. SAGAL: ...Who returned a book... SANDERS: OK. SAGAL: ...'Cause nothing happened... SANDERS: All right. SAGAL: ...When he swiped his fingers. SANDERS: Here's my thing. I want to believe B, but what do you feel? STAFFORD: Let's do different ones. You do B. I do A. SANDERS: Can we do that? SAGAL: You're going to say B. So Zach says A, and Sam says B, and the award goes to Sam. (SOUNDBITE OF BELL) SAGAL: His logic was impeccable. (APPLAUSE) SAGAL: Sully Sullenberger did, after his famous emergency landing on the Hudson where he saved all those people - he did have to go to the librarian and say, I'm sorry. The book I borrowed is now at the bottom of the Hudson. And they said, Captain Sullenberger, it's OK. (LAUGHTER) SANDERS: He's just the best. He's just the best. SAGAL: He really is. SANDERS: A good man. STAFFORD: Yes. SAGAL: Chioke, how did Sam Sanders and Zach Stafford do in our quiz? I'ANSON: I mean, if we're just going off vibes... SANDERS: (Singing) Hey. STAFFORD: Yes. SAGAL: Pretty much, that's their style. Why not? I'ANSON: ...They got them all right. STAFFORD: Yeah. SAGAL: You got them all right, man. (LAUGHTER) SAGAL: The vibes - a vibe of success. SANDERS: The vibes are on. SAGAL: Zach... SANDERS: Oh, my God. (APPLAUSE) SAGAL: ...Stafford - Zach Stafford and Sam Sanders are two of the hosts of the podcast "Vibe Check," which is available wherever you get your podcasts. Give it a listen. Join the group chat. Zach Stafford, Sam Sanders, what a pleasure to have you with us. SANDERS: This was an honor. STAFFORD: Thank you. SAGAL: What a great... (CHEERING) SANDERS: Thank you, Peter. (CROSSTALK) SANDERS: Thank y'all so much. SAGAL: Give it up for them. STAFFORD: This was so fun. Thank you. POUNDSTONE: You did great. Thank you very much. STAFFORD: Thank you, Paula. (SOUNDBITE OF SONG, "VIBEZ") ZAYN: (Singing) Don't keep me waiting. I've been waiting all night to get closer. You know the vibes - know the vibes - put it on you. SAGAL: In just a minute, Chioke will blow your mind with his crazy animal facts in our Listener Limerick Challenge. Call 1-888-WAIT-WAIT to join us on the air. We'll be back in a minute with more of WAIT WAIT... DON'T TELL ME from NPR. (SOUNDBITE OF MUSIC) I'ANSON: From NPR and WBEZ Chicago, this is WAIT WAIT... DON'T TELL ME, the NPR news quiz. I'm Chioke I'Anson, filling in for Bill Kurtis. We're playing this week with Paula Poundstone, Emmy Blotnick and Tom Papa. And here again is your host at the Studebaker Theater in Chicago, Ill., Peter Sagal. SAGAL: Thank you, Chioke. Thanks so much. (APPLAUSE) SAGAL: In just a minute, Chioke sings "Rhyme Around The Rosie" in our Listener Limerick Challenge. If you'd like to play, give us a call at 1-888-WAIT-WAIT. That's 1-888-924-8924. Right now, panel, though, some more questions for you from the week's news. Paula, the San Diego Zoo welcomed two new giant pandas from China this week. That's the first pair of giant pandas to arrive in the U.S. in 20 years. They will not be on view to the public, though, for several weeks because they first have to do what? POUNDSTONE: Fill out forms. (LAUGHTER) SAGAL: That's what you'd expect. POUNDSTONE: Yeah. SAGAL: No. I will give you a hint. A lot of people do this when they move to the U.S. from a foreign country. They... POUNDSTONE: They have to unpack. SAGAL: Yeah, well... (LAUGHTER) SAGAL: ...Obviously. POUNDSTONE: Do this when they.... SAGAL: ...When they move to the U.S. from a foreign country. POUNDSTONE: They have to learn the language. SAGAL: Yes, that's exactly right. They have to... (SOUNDBITE OF BELL) POUNDSTONE: Oh, they have to learn English? PAPA: Wow. SAGAL: They have - the pandas have to learn English. POUNDSTONE: Is it - are they in, like, a total immersion class? (LAUGHTER) SAGAL: I guess if you go to a zoo where the zookeepers are talking to you all day in English, that is a kind of total immersion. POUNDSTONE: Yeah. SAGAL: But, yeah, they are in a quarantine period of several weeks. And they're acclimating to the U.S., and that includes learning English so the zookeepers can talk to them because they - like dogs, they listen. They know certain words and can respond. It's... POUNDSTONE: Yeah. SAGAL: But it's - so the pandas are learning English. It is so adorable when they use their giant paws to work Duolingo. POUNDSTONE: Yeah. (LAUGHTER) POUNDSTONE: And when they - you know, there is nothing cuter than seeing a panda conjugate. (LAUGHTER) SAGAL: I'm only going to say - I mean, as you know, they're very endangered, and if they just would conjugate more, we wouldn't have that problem. (LAUGHTER) SAGAL: In addition, as you probably know, giant pandas eat only bamboo. POUNDSTONE: Of course, I know. SAGAL: Of course. POUNDSTONE: Like I never had a panda at my house. (LAUGHTER) SAGAL: Oh, is that what happened to them? POUNDSTONE: Like I never had a progressive panda dinner party. Come on. (LAUGHTER) POUNDSTONE: We go to the first panda's house, and we have bamboo. And then you go to the second panda's house, and there's bamboo. Yeah. (LAUGHTER) POUNDSTONE: It's all they eat, is bamboo. Of course... SAGAL: It's true. POUNDSTONE: ...I know. You know, you talk to me sometimes, Peter, like I'm an idiot. (LAUGHTER) SAGAL: Well, since you know that pandas only eat bamboo, you'll know that one of the things they have to do is they get - have to get used to American bamboo, specifically the only kind we serve in America - flaming hot bamboo. (LAUGHTER) POUNDSTONE: Oh, it's totally different here... SAGAL: Yeah. POUNDSTONE: ...The bamboo... SAGAL: Yeah. POUNDSTONE: ...Than, you know, the bamboo of yore. SAGAL: Yeah. (LAUGHTER) SAGAL: Tom, an Ohio lawyer was, this week, reinstated to the bar after he was suspended simply for doing what in a Pringles can? PAPA: I mean, I know the answer. I'm just trying to think of a way to say it on NPR. POUNDSTONE: Yeah. (LAUGHTER) PAPA: [Expletive] in it? SAGAL: Yeah. That's... (SOUNDBITE OF BELL) SAGAL: You got it in one. (APPLAUSE) SAGAL: So, yes, after... POUNDSTONE: Wow. BLOTNICK: Do all the turds... SAGAL: ...Getting suspended for pooping in a Pringles can... (LAUGHTER) SAGAL: ...This lawyer was reinstated after only six months. Still, Rudy Giuliani has fallen so far. (LAUGHTER) POUNDSTONE: To eating Pringles. SAGAL: Yeah. PAPA: (Laughter). POUNDSTONE: I'm not a Pringles fan. PAPA: I love Pringles. POUNDSTONE: Oh, my gosh. No, they're terrible, and it's too much packaging. PAPA: Oh. POUNDSTONE: And they're just not good. There's nothing - you know, I'm a Ruffles person. But there's nothing remotely potato-ish (ph) about what's in a Pringles can... PAPA: No, but it... POUNDSTONE: ...Especially now. (LAUGHTER) SAGAL: Anyway... PAPA: Yeah. SAGAL: You're all thinking, OK - what? - you poop in a Pringles can once - right? - and you don't get to be a lawyer anymore. POUNDSTONE: Yeah. SAGAL: Well... PAPA: Wow. SAGAL: This guy did it 10 times... PAPA: Whoa. SAGAL: ...In one year. POUNDSTONE: Wow. All right. PAPA: Whoa. POUNDSTONE: So that's... PAPA: Wow. POUNDSTONE: What, was one time micro? SAGAL: Yeah. (LAUGHTER) BLOTNICK: Well, in his defense, the turds did all fit into a perfect stack... SAGAL: That's true. BLOTNICK: ...On top of each other. (LAUGHTER) SAGAL: Yeah. PAPA: And if you do it once, you're like, I can't believe - I can't do that again. SAGAL: Yeah. (LAUGHTER) PAPA: The aim... SAGAL: Bet you can't poop just one. (SOUNDBITE OF SONG, "BREAKING THE LAW") JUDAS PRIEST: (Singing) Breaking the law, breaking the law. Breaking the law, breaking the law. Breaking the law, breaking the law. Breaking the law, breaking the law. SAGAL: Coming up, it's Lightning Fill In The Blank. But first, it's the game where you have to listen for the rhyme. If you'd like to play on air, call or leave a message at 1-888-WAIT-WAIT. That's 1-888-924-8924. You can catch us here most weeks at the beautiful Studebaker Theater in Chicago, or come see us on the road. We'll be in Minneapolis on August 29 and 30. And the WAIT WAIT Stand-Up Tour, it's back on sale now with shows in Fort Lauderdale, Tampa, Orlando and Atlanta from September 5 through the 8. For tickets and information, just go over to nprpresents.org. And you can follow us on Instagram @waitwaitnpr. Come on. We dare you. (LAUGHTER) SAGAL: Hi, you're on WAIT WAIT... DON'T TELL ME! JORDAN: Hi, this is Jordan (ph). SAGAL: Hey, Jordan. How are you? JORDAN: Great, thanks. How are you? SAGAL: I'm well, thank you. Where are you calling from? JORDAN: I currently live in New York City. SAGAL: New York City. POUNDSTONE: Heard of it. (LAUGHTER) SAGAL: So what do you do there? JORDAN: I started a graduate program. SAGAL: Oh, great - in something useful and profitable, I hope. JORDAN: Oh, absolutely - playwriting. SAGAL: Oh, yeah, terrific. (LAUGHTER) SAGAL: Well, you are headed for untold wealth. (LAUGHTER) SAGAL: Well, welcome to the show, Jordan. Now you are going to play our Listener Limerick Challenge. That means that Chioke I'Anson, filling in for Bill Kurtis, is going to read you three news-related limericks with the last word or phrase missing from each. If you can fill in that last word or phrase correctly in two of the limericks, you will be a winner. Are you ready to go? JORDAN: Yes. SAGAL: All right. Let's begin. Here's your first limerick. I'ANSON: When downtowns are deserted and struggle, entertainers can help ease those troubles. They are flashy and loud, but they draw a big crowd. Get performers who sing, dance and... JORDAN: Juggle. SAGAL: Juggle, yes. (SOUNDBITE OF BELL) SAGAL: According to The Wall Street Journal... (APPLAUSE) SAGAL: ...Some cities are now hiring buskers, jugglers and mimes to, quote, "make empty office districts feel safer and less depressing," unquote, 'cause there's nothing that makes me feel safer than a guy lighting three machetes on fire and saying, want to see something cool? (LAUGHTER) SAGAL: All right. PAPA: It's so weird that they say the economy's doing well, when you have these big, major cities with nobody working and now people just juggling there. SAGAL: Yeah. (LAUGHTER) SAGAL: Well, they're being paid to juggle. So they're - the jobs are back, I guess. That's a job. PAPA: Oh, that's how economics works. (LAUGHTER) SAGAL: I love circus acts, but they should stay at the circus. Like, downtown Baltimore used to be sketchy, but now they have all these clowns who stare at you. (LAUGHTER) SAGAL: All right, Jordan, here is your next limerick. I'ANSON: That purplish wet cloud in the sky is a hippo that went zooming by. It weighs more than a ton, so when it starts to run, a big hippo will take off and... JORDAN: Fly. SAGAL: Fly. Yes, Jordan. (SOUNDBITE OF BELL) SAGAL: A new study... (APPLAUSE) SAGAL: ...From the U.K.'s Royal Veterinary School (ph) says hippos can fly, briefly. POUNDSTONE: (Laughter). SAGAL: While running at high speed, hippos are able to lift their bodies off the ground and fly for 0.3 seconds. And before you say, well, that's not very long, ask yourself, when's the last time you picked up a Chevy Blazer and held it in the air for 0.3 seconds? (LAUGHTER) SAGAL: See? PAPA: I don't know a lot about a lot of things. POUNDSTONE: Let's just leave it at that. PAPA: But I think that's jumping. (LAUGHTER) SAGAL: Well, that's one way of looking at it, if you have no sense of romance and wonder. (LAUGHTER) SAGAL: OK, Jordan, here is your last limerick. I'ANSON: The reentry of metal's no good 'cause it makes much more waste than it should. When spacecrafts return, they should have a clean burn. So our satellite's made out of... JORDAN: Wood. SAGAL: Yes, wood. (SOUNDBITE OF BELL) SAGAL: After years of experiments, a Japanese engineer has, he says, perfected the first wooden satellite, which he hopes to launch later this year. It's part of Kyoto Universitiy's what-other-crap-can-we-put-in-space initiative. (LAUGHTER) SAGAL: See, here's the thing - and we've reported on this before; we're excited to see it come to fruition - when normal metal satellites reenter Earth's orbit, they burn up. A lot of toxic stuff enters the atmosphere. The hope is when the wooden satellite bursts into flames, all it will release is a cozy cabincore vibe. (LAUGHTER) POUNDSTONE: Nice. SAGAL: It's also true that satellites made of wood are far safer against alien attacks than this engineer's first idea - satellites made of straw. (LAUGHTER) POUNDSTONE: Yeah. He's got to take that next step. SAGAL: He really does. You think he should go all the way? POUNDSTONE: Yeah. SAGAL: Yeah. POUNDSTONE: Brick. SAGAL: Yep. POUNDSTONE: Brick satellites. (LAUGHTER) POUNDSTONE: That's not going to work good in an earthquake, though. SAGAL: I don't think they have - just - I'm not a scientist. I don't... POUNDSTONE: No. Cut it out. Cut it out. (LAUGHTER) SAGAL: But I did want to make a point that I don't think they have earthquakes in space. POUNDSTONE: They do. There's - OK, they're not earthquakes 'cause they're not on Earth, obviously, but spacequakes - what? - are you kidding me? (LAUGHTER) BLOTNICK: It's an excellent strain of sativa - spacequakes. PAPA: Yes. (LAUGHTER) PAPA: I thought it was a cereal. SAGAL: Chioke, how did Jordan do in our quiz? I'ANSON: When Jordan wins that Tony for being a playwright... SAGAL: Yes. I'ANSON: ...We'll say we knew them from winning the Listener Limerick Challenge. SAGAL: There you go. POUNDSTONE: Nice. PAPA: Nice. (APPLAUSE) SAGAL: Congratulations, Jordan. JORDAN: Thank you. SAGAL: All right. We'll look for you Off-Off-Broadway. POUNDSTONE: Yeah, bye, Jordan. JORDAN: Perfect. Bye. SAGAL: Bye-bye. (SOUNDBITE OF THE METERS'S "FUNKY MIRACLE") SAGAL: Now in our final game, Lightning Fill In The Blank, each of our players will have 60 seconds in which to answer as many Fill In The Blank questions as they can. Each correct answer now worth two points. Chioke, can you give us the scores as they stand? I'ANSON: Tom and Paula have two. Emmy has four. SAGAL: OK. POUNDSTONE: Wait a minute. PAPA: Whoa. Wait a minute. BLOTNICK: Yeah, pop open that can of pringles. How about that? (LAUGHTER) PAPA: Wow. POUNDSTONE: All right. SAGAL: All right. But that means that Tom and Paula are tied. I'm going to arbitrarily choose you, Tom, to go first. Here we go. PAPA: OK, Peter. SAGAL: The clock will start when I begin your first question. Fill in the blank. During his opening speech at the NATO summit. President Biden promised new air defense for blank. PAPA: Ukraine. SAGAL: Yes. (SOUNDBITE OF BELL) SAGAL: On Monday, the Kansas Supreme Court reaffirmed the state's constitutional right to blank. PAPA: To abortion. SAGAL: Right. (SOUNDBITE OF BELL) SAGAL: This week, millions of people in Texas were left without power after hurricane blank hit that state. PAPA: Boyle (ph). Beryl. SAGAL: Beryl. Right. (SOUNDBITE OF BELL) SAGAL: This week, a man in Hong Kong was detained by customs after he tried to hide 100 blanks in his blanks. PAPA: Bullets. SAGAL: No, 100 snakes in his pants. On Wednesday, comedian and former talk show host blank announced she was retiring from show business. PAPA: Ellen DeGeneres. SAGAL: Right. On Thursday... (SOUNDBITE OF BELL) SAGAL: ...An emergency was declared in Colorado after a blank outbreak at an egg factory. PAPA: Plague. SAGAL: No, bird flu. This week, a first-time flyer in China... (SOUNDBITE OF GOING) SAGAL: ...Caused a commotion when she got up from her seat to use the bathroom and blanked. PAPA: And opened the exit door. SAGAL: Yes, she opened the emergency exit door. (SOUNDBITE OF BELL) SAGAL: Very good. She mistook the emergency exit for the bathroom, opened the door and launched the inflatable slide. Fortunately for everybody involved, the plane was still sitting there on the tarmac, so no one was injured. (LAUGHTER) SAGAL: The slide did have to be replaced because, of course, she then went ahead and peed on it. (LAUGHTER) PAPA: That wasn't my best performance. SAGAL: Well, let's find out. Chioke, how did Tom Papa do in our quiz? I'ANSON: Tom got five right for 10 more points. That's a total of 12. Tom now has the lead. SAGAL: All right, Paula, you are up next. Fill in the blank. On Sunday, a leftist alliance won the most votes during snap elections in Blank. POUNDSTONE: Paris. SAGAL: In France, yes. This week... (SOUNDBITE OF BELL) SAGAL: ...NASA said it has no plans to use a SpaceX rocket to rescue astronauts stuck on the Blank. POUNDSTONE: Well, they're on the space station, but they went up on the Starliner. SAGAL: That's right. On Tuesday... (SOUNDBITE OF BELL) SAGAL: ...Health officials in Colorado confirmed a human case of blank. POUNDSTONE: Bird flu. SAGAL: No, the plague. (LAUGHTER) POUNDSTONE: Wow. PAPA: I knew it. (APPLAUSE) PAPA: I knew there was plague in Colorado. POUNDSTONE: Wow. PAPA: Everyone laughed at me. POUNDSTONE: Yeah. (LAUGHTER) SAGAL: This week, a Chicago Cubs player was put on the injury list because he broke his hand blanking. POUNDSTONE: High-fiving. SAGAL: No, punching the wall of the dugout in anger. On Thursday, BMW announced they were recalling almost half a million vehicles with faulty blanks. POUNDSTONE: W's. SAGAL: No. (LAUGHTER) SAGAL: Oh, that would be funny. Oh, is that your new BMM? (LAUGHTER) SAGAL: No, airbags. Known for her roles... POUNDSTONE: Oh, God. (LAUGHTER) SAGAL: Known for her roles, among many others, in "The Shining" and "Nashville," blank passed away this week at the age of 75. POUNDSTONE: Shelley Duvall. SAGAL: Right. (SOUNDBITE OF BELL) SAGAL: This week, diners in Australia were upset after a couple walked in... (SOUNDBITE OF GONG) SAGAL: ...And put their blank on the table. POUNDSTONE: And put their blank on the table? SAGAL: Yes. POUNDSTONE: Some people dining in Australia. Well, they put their koala on the table, which is gross. (LAUGHTER) SAGAL: You're so close. They put their dog on the table. POUNDSTONE: Oh. SAGAL: They did. Yes. Not only did they walk into the restaurant and put their dog on the table amidst all the food, but it was one of those communal table restaurants. POUNDSTONE: Oh, well, that's different. SAGAL: So not only did the other customers have an animal sitting there right next to their meals, but they had to make conversation with it. POUNDSTONE: Wow. Yeah. It would have been worse if it was at Benihana. (LAUGHTER) SAGAL: Chioke, how did Paula do on our quiz? POUNDSTONE: I don't think we should even find out. (LAUGHTER) I'ANSON: Paula got three right for... POUNDSTONE: Whoa. I'ANSON: ...Six more points. POUNDSTONE: OK. I'ANSON: That's a total of eight. POUNDSTONE: Yeah. I'ANSON: Tom is still in the lead. POUNDSTONE: Well, that doesn't seem right. SAGAL: All right then, how many does Emmy need to win? I'ANSON: Emmy needs four to tie and five to win. SAGAL: All right, Emmy. PAPA: If you need any help. If you need any help. (LAUGHTER) SAGAL: Yeah. On Monday, Donald Trump tried to distance himself from the Heritage Foundation's Project Blank. BLOTNICK: 2025. SAGAL: Right. (SOUNDBITE OF BELL) SAGAL: This week, the involuntary manslaughter trial of actor blank began in New Mexico. BLOTNICK: Alec Baldwin. SAGAL: Right. For the first time... (SOUNDBITE OF BELL) SAGAL: ...Since the start of the pandemic, U.S. blank prices fell. BLOTNICK: Milk. SAGAL: No, Well, yes, I'll give it to you. Consumer prices. (SOUNDBITE OF BELL) SAGAL: This week, a cyclist in the Tour de France was fined after he blanked during the race. BLOTNICK: Did drugs? SAGAL: Stopped for a second to give his wife a kiss. After just three weeks in theaters, "Inside Out 2" has become Blank's highest-grossing movie ever. BLOTNICK: Pixar's. SAGAL: Right. On Thursday... (SOUNDBITE OF BELL) SAGAL: Apple warned users in 100 countries about new spyware attacks targeting the Blank. BLOTNICK: iPhone? SAGAL: Right. This week... (SOUNDBITE OF BELL) SAGAL: A tourist being attacked on the streets of San Francisco by someone described... (SOUNDBITE OF GONG) SAGAL: ...As a crazy pirate guy with a blow torch was saved by blank. BLOTNICK: A DJ? SAGAL: No, by two nudists. (LAUGHTER) SAGAL: According to onlookers, the nude samaritans knocked the assailant over, causing him to flee the scene. They were hailed as heroes, but when the story was covered by the local news, one of the nudists declined to comment. And this is true because he, quote, "values his privacy." (LAUGHTER) SAGAL: Still, one thing you have to say for these two men, they were ballsy. (LAUGHTER) SAGAL: Chioke, did Emmy Blotnick do well enough to win? I'ANSON: Oh, my goodness. Emmy got five right for 10 more points. So with a... POUNDSTONE: There it is. I'ANSON: ...Total of 14 points, Emmy is the winner. (APPLAUSE) POUNDSTONE: Good job. SAGAL: Congratulations. BLOTNICK: Wow. SAGAL: Yay, Emmy. BLOTNICK: It's huge. SAGAL: It is big. It's the biggest thing... BLOTNICK: It's a big deal to me. PAPA: That was big. SAGAL: It's the biggest thing that's happened today. In just a minute, we'll ask our panelists to predict after his big op-ed about Biden in The New York Times, what will actor George Clooney weigh in on next. WAIT WAIT... DON'T TELL ME is a production of NPR and WBEZ Chicago. In association with Urgent Haircut Production is Doug Berman, benevolent overlord. Philipp Goedicke writes our limericks. Our public address announcer is Paul Friedman. Our tour manager is Shayna Donald. Thanks to the staff and crew at the Studebaker Theater. B.J. Leiderman composed our theme. Our program is produced by Jennifer Mills, Miles Doornbos and Lillian King. Special thanks this week to Monica Hickey and Shantira Jackson. Our employee of the month is Peter Gwinn. Emma Choi is our vibe curator. Technical direction is from Lorna White. Technical thanks this week to Gary Yak. Our CFO is Colin Miller. Our production manager, that's Robert Neuhaus. Our senior producer is Ian Chillag. And the executive producer of WAIT WAIT... DON'T TELL ME is Mike Danforth. Now, panel, what will actor and bon vivant George Clooney weigh in on next? Emmy Blotnick. BLOTNICK: I hope he screws the wheels back on aircraft at Boeing. (LAUGHTER) SAGAL: Tom Papa. PAPA: He's going to weigh in on all the things Simone Biles is doing wrong on the beam. (LAUGHTER) SAGAL: And Paula Poundstone. POUNDSTONE: Well, if he wants to make himself actually useful, he could push Trump out. (LAUGHTER) I'ANSON: And if any of that happens, panel, we'll ask you about it on WAIT WAIT... DON'T TELL ME. SAGAL: Thank you, Chioke I'Anson. You're doing such a great job filling in for Bill. Thanks also to Tom Papa, Emmy Blotnick, Paula Poundstone. Thanks to our fabulous audience here at our home at the Studebaker Theater in downtown Chicago. Thanks to all of you out there in the wider world for listening. I'm Peter Sagal. We'll all see you next week. This is NPR.
5407	dbpedia	1	1	http://caligraph.org/resource/Simone_Kennedy-Doornbos	en	Simone Kennedy	http://caligraph.org/resources/icon/caligraph_icon_whitering.ico	http://caligraph.org/resources/icon/caligraph_icon_whitering.ico	[ "http://caligraph.org/resources/images/DWS-Logo-2019.jpg" ]	[]	[]	[ "" ]	null	[]	null	CaLiGraph is a large-scale semantic knowledge graph with a rich ontology which is compiled from the DBpedia ontology, and Wikipedia categories & list pages. View all the information about 'Simone Kennedy-Doornbos' that is contained in the knowledge graph.		/resources/icon/caligraph_icon_whitering.ico		null	CaLiGraph is created and provided by the Data and Web Science Group, University of Mannheim. For questions and other matters, feel free to contact us.
5407	dbpedia	1	55	https://ideas.repec.org/e/c/pli184.html	en	Jeffrey B. Liebman	https://ideas.repec.org/favicon.ico	https://ideas.repec.org/favicon.ico	[ "https://ideas.repec.org/ideas4.jpg", "https://ideas.repec.org/ideas4.jpg", "https://ideas.repec.org/images/mastodon.svg" ]	[]	[]	[ "Jeffrey B. Liebman", "Economics", "Author", "Research", "IDEAS" ]	null	[]	null	Jeffrey B. Liebman: current contact information and listing of economic research of this author provided by RePEc/IDEAS		/favicon.ico		null	RePEc Genealogy Who was a student of whom, using RePEc MPRA Upload your paper to be listed on RePEc and IDEAS
5407	dbpedia	2	20	https://www.bu.edu/sequitur/2016/04/29/schoenberger-tinguely/	en	Jean Tinguely’s Cyclograveur: The Ludic Anti-Machine of Bewogen Beweging			[ "https://www.bu.edu/sequitur/files/2016/04/Screen-Shot-2016-04-25-at-9.23.48-AM.png", "https://www.bu.edu/sequitur/files/2016/04/Screen-Shot-2016-04-25-at-9.23.56-AM.png" ]	[]	[]	[ "" ]	null	[]	2016-04-29T00:00:00		en	https://www.bu.edu/sequi…-precomposed.png		https://www.bu.edu/sequitur/2016/04/29/schoenberger-tinguely/	Bewogen Beweging (Moved Movement) was an exhibition held at the Stedelijk Museum, Amsterdam, from March 10 to April 17, 1961. Curated by two museum directors—the Stedelijk’s Willem Sandberg and Pontus Hultén, from the Moderna Museet, Stockholm—together with artists Daniel Spoerri and Jean Tinguely (1925–1991),[1] the show constituted a survey of Kinetic art as it presented nearly two hundred works by over seventy artists, all of whom contributed to the novel spectacle of rusty wheels, chains, broken typewriters, strollers, and alarm clocks that moved and made noises. Many of the works on display incorporated bicycles in various forms.[2] A Netherlandish metaphor for both play and utility, the bicycle is at once a child’s toy and the predominant mode of transportation for adults in Amsterdam. Examining in particular Tinguely’s Cyclograveur—a sculpture based primarily on the bicycle—this essay reveals that the exhibition deployed the illogical movements of mechanical components in a ludic critique of the rapid industrialization and modernization of the Netherlands after World War II. Tinguely was well represented in Bewogen Beweging, with twenty-eight works on display.[3] He constructed his Cyclograveur of rusty parts scavenged from bicycles, automobiles, and baby carriages (Figure 1).[4] The saddle, originally a two-person motorcycle seat installed sideways, was placed on a post twice the height of that of a typical bicycle, while the pedals were connected to several gears and four wheels. A large drawing board extended about a meter beyond the pedals. Cyclograveur became kinetic when a museumgoer climbed onto the bicycle to push the pedals. This action caused a fifth wheel behind the drawing board to rotate around the surface via lanky arm-like metal rods while another rod, positioned in front of the board, held a drawing implement that would create an artwork. The bare bones of a toy car were towed behind the Cyclograveur, as if from an appendage, in a metaphor of subordination that mocked the ascendancy of the automobile (Figure 2). Typical of Tinguely’s works, the artist attached a cymbal and an upside-down metal bucket drum that were struck by mallets, reminiscent of a one-man band, to augment the already ridiculous clamor of the rickety machine. Tinguely had created an anti-machine beneath a veneer of fun, the absurdity of which softened his critique of modern mechanization while at the same time inviting reconsideration of it. Rather than directly confronting the blind embrace of modernization, Tinguely employed humor to allow room for the viewer to form his or her own judgment. In his 1975 book Art: Action and Participation, art historian Frank Popper (b. 1918) examines Cyclograveur’s place in Kinetic art.[5] Explaining how critique functioned by way of humor in Tinguely’s work, Popper writes: “For Tinguely, we must bear in mind, the machine incarnates human intelligence: its beauty as well as its capacity for movement help to explain its attraction for him. Thus we can expect that the metamorphoses of the machine will bring about a corresponding dynamic effect in the spectacle, which reaches the ‘summit of absurdity’ through its own intrinsic logic.”[6] The absurdity of a machine endowed with human characteristics addressed the Dutch anxiety about rapid industrialization by poking fun at the “promises” of automation. By presenting a purposeless object that subverted the functionality of the very purposeful bicycle, Cyclograveur humorously encouraged visitors to question their presumptions about machines and their expectations of the coming “machine age”. Anxiety over technological advances was not new in the 1960s. French philosopher Henri Bergson (1859–1941) was distressed by the increasing mechanization of the modern world, a notion that informed his central belief about what generates laughter. In his study Laughter: An Essay on the Meaning of the Comic (1911),[7] Bergson describes the comical as “something mechanical encrusted on the living.” As an example, Bergson cites a man tripping and falling. The humor in such an act is found in a man’s “lack of elasticity.”[8] In this example, the unfortunate man “continued like a machine in the same straight line” demonstrating a “mechanical inelasticity.”[9] For Bergson, humor is man’s embodiment of machine-like characteristics: the inability to catch his balance by spontaneously reacting to changes in the environment, as early machines could not adjust to obstacles. But while Cyclograveur addressed anxiety about machines, its humor is found in the inverse of Bergson’s principle. Here, the comical is not embodied in a human assuming mechanical characteristics, but rather in Tinguely’s machine becoming anthropomorphic. As Popper articulates, we see the artwork adopt peculiarly human traits, such as the capacity to create. The very ludicrousness of the comical machine and its imperfect human operator demands that the viewer reconsider both. This conflation of man and machine evidently struck a chord with Dutch audiences in the 1960s. Nearly all the reviews of Bewogen Beweging reference Tinguely’s anti-machines—and frequently Cyclograveur—in their texts or illustrations.[10] For example, a reviewer in the progressive newspaper Vrij Nederland writes of Tinguely’s contributions: “His machines are as messy as people, but they still work miraculously and present a balanced slapstick,” and continues, “there are a lot of laughs at ‘Bewogen Beweging’, and not laughing at but laughing with the exhibition.”[11] This comment on the amusing quality of the show highlights a problem inherent in ludic art: due to its playful nature Cyclograveur was misunderstood by some as merely innocuous humor. While some critics paid more attention to the spectacle apparent in Cyclograveur and Bewogen Beweging, a more sophisticated and nuanced view also emerged at the time. A review in the left-wing newspaper Volkskrant asserts that the exhibition was “an attack on the technocracy of our time,” although it continues to point out the lightheartedness of the show: “the grotesque and utterly useless, but diligently moving constructions, which you bump into here, are trying to be a witty provocation—certainly a challenge to the mechanization of all that is human.”[12] As the anonymous Volkskrant review suggests, exhibiting non-functional machines, or anti-machines, constitutes a critique of postwar functionalism and an alternate view of the social norms of the previous decade.[13] As did all the works in Bewogen Beweging, Tinguely’s Cyclograveur addressed the postwar transformation in Dutch society.[14] But while Tinguely was critiquing the increasing mechanization of modern society, what resonated most powerfully with Dutch audiences was that he communicated in a language that every Dutchman understood: Tinguely spoke Bike. Janna Schoenberger Endnotes: Unless otherwise indicated, translations are the author’s. [1]After its stay at the Stedelijk Museum, Bewogen Beweging traveled to the Moderna Museet under the title Rörelse Konsten (Movement in Art), with additions by Tinguely, including his Ballet des Pauvres (Ballet of the Poor). [2] One artwork based on a bicycle, Robert Müller’s La Veuve du Coureur (1957), received press attention because it was deemed “pornographic.” It was a gray, elongated version of a stationary bicycle that looks as though the frame of a bicycle had merged with a coat rack. Müller had carved a hole in the saddle through which protruded a cream-colored phallic object. The object was rigged to the chain in such a way that it would move up and down through the hole while the apparatus was pedaled. Criminal charges were levied against Sandberg for displaying the work, but were eventually dropped. When the press asked about the affair, Sandberg quoted from the Bible (in German): “Dem Reinen ist alles Rein” (To the pure, all things are pure). The director’s wit echoed the ludic nature of the exhibition. “Geen vervolging om ‘de Weduwe’,” April 22, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam. [3] Spoerri, on the other hand, acted solely as a curator without contributing artwork. Most artists were represented by one to three works, but a few showed more: Pol Bury (7), Alexander Calder (8), Marcel Duchamp (7), Robert Müller, (6), Bruno Munari, (6), Man Ray (9), Dieter Roth (8), Nicolas Schöffer (7), and Raphael Soto (10). The relative degrees of representation reflect these artists’ association with the avant-garde or Kinetic art or both. [4] While Cyclograveur (Bicycle Engraver) is presented in Tinguely’s Meta-matic (Drawing Machine) series in Museum Tinguely’s collection in Basel, the term graveur suggests that the machine engraved rather than drew; in fact, it could be equipped to do either. The work is described in great detail in the review: “Pijltje gooien naar een vast gespijkerd overhemd,” March 09, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam. [5] Popper did not identify Tinguely’s work by its title, but rather described it as his “bicycle seat sculpture (1961),” in which “the spectator actually pedals the bicycle.” Frank Popper, Art: Action and Participation (New York: New York University Press, 1975), 216. [6] Ibid. [7] Henri Bergson, Laughter: An Essay on the Meaning of the Comic (1911), trans. Cloudesley Brereton and Fred Rothwell (Dover Publications, 2005), 18; 24. [8] Ibid., 5. [9] Ibid. [10] Two articles stand out for reproducing images of Tinguely’s work, especially Cyclograveur, thereby demonstrating the greater attention paid to his artwork: “ ‘Bewogen Beweging’ beweegt,” March 15, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam; and, “Bewegende kunst in Stedelijk Museum van Amsterdam: Extreme gemotoriseerde oud-ijzer formaties,” March 25, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam. Not all the critical attention was positive. In one article, “The Bicycle Repairman’s Nightmare,” the author admits that he does not understand the work, but then proceeds to give an earnest detailed mechanical analysis of Cyclograveur, explaining the flaws in the workings of the wheel and chain. This review, while perhaps not enlightening from an art-critical standpoint, shows how the formal qualities of Tinguely’s work attracted the attention of a wide audience. Moreover, it underscores the seriousness with which Dutch audiences regarded their bicycles. “De nachtmerrie van een fietsenmaker,” March 17, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam. [11] Ibid. [12] “Potsierlijke anti-machines in Stedelijk Museum,” March 15, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam. [13] The majority of reviewers, however, failed to recognize the political import of the exhibition, viewing it instead as innocuous carnivalesque fun. V.d. W, “Bewogen Beweging,” April 13, 1961, Knipselmap Bewogen Beweging, Stedelijk Museum Amsterdam. [14] Undergoing industrialization later than its neighbors Belgium and Germany, the Netherlands experienced a dramatic increase in industrial production during World War II, which continued through the 1950s. James Kennedy, Nieuw Babylon in aanbouw: Nederland in de jaren zestig, trans. Simone Kennedy-Doornbos (Amsterdam: Boom, 1997), 10 –12. Download Article
5407	dbpedia	2	36	https://citysidejournalism.org/support/supporters/	en	Our supporters – Cityside Journalism	https://citysidejournali…-card-scaled.jpg	https://citysidejournali…-card-scaled.jpg	[ "https://citysidejournalism.org/site/assets/themes/cityside2022/resources/img/support-2-subscribe.jpg", "https://citysidejournalism.org/site/assets/themes/cityside2022/resources/img/support-3-follow.jpg", "https://citysidejournalism.org/site/assets/themes/cityside2022/resources/img/support-1-donate.jpg", "https://citysidejournalism.org/site/assets/themes/cityside2022/resources/img/support-3-follow.jpg", "https://citysidejournalism.org/site/assets/themes/cityside2022/resources/img/shop-shirt1.jpg", "https://citysidejournalism.org/site/assets/themes/cityside2022/resources/img/contact-interview.jpg", "https://citysidejournalism.org/site/assets/uploads/2021/10/funders-hero.jpg" ]	[]	[]	[ "support local journalism", "Civic-minded local journalism", "berkeleyside", "oaklandside", "berkeley california", "cityside" ]	null	[]	2021-09-16T13:33:28+00:00	Trusted, independent local journalism has never been more important, yet the resources for strong civic reporting are in ever-shorter supply. Cityside is determined to change that dynamic.		/apple-touch-icon.png	Cityside Journalism	https://citysidejournalism.org/support/supporters/	Prior to the formation of Cityside as a nonprofit, Berkeleyside raised more than $1 million in 2016-18 from its readers in an innovative direct public offering. We refer to these key supporters as Cityside’s Foundation Members, and we are forever grateful for their pledge of support. Our Foundation Members So you’ve decided to donate to help keep local journalism free and accessible – amazing. But just how far does your donation go? What can you expect from it? Well, let’s find out.
5407	dbpedia	2	61	https://www.peekyou.com/simone_kern	en	Simone Kern Facebook, Instagram & Twitter on PeekYou	https://pkimgcdn.peekyou…bfd936207c1.jpeg	https://pkimgcdn.peekyou…bfd936207c1.jpeg	[ "https://www.peekyou.com/images/frontpage/logo_letter.png", "https://www.peekyou.com/images/frontpage/logo.png", "https://www.peekyou.com/images/frontpage/logo.png", "https://images.peekyou.com/3612/6046/simone_kern_361260467.jpg", "https://images.peekyou.com/3612/6051/simone_kern_361260511.jpg", "https://www.peekyou.com/images/green_arrow.svg?0405", "https://www.peekyou.com/images/green_arrow.svg?0405", "https://www.peekyou.com/images/red_arrow.svg?0405", "https://www.peekyou.com/images/red_arrow.svg?0405" ]	[]	[]	[ "" ]	null	[]	null	Looking for Simone Kern? Found 2 people named Simone Kern along with free Facebook, Instagram, Twitter, and TikTok profiles on PeekYou - true people search.	en	/favicon.ico	PeekYou	https://www.peekyou.com/simone_kern	What is Simone Kern's famous for? Simone Jeanet Kennedy-Doornbos is a Dutch politician of the Christian Union. Raised in a Reformed family in 't Harde, Kennedy studied medical biology at the University of Amsterdam. As a student, she ran for the municipal council of Amsterdam in 1991 as the lead candidate of the Reformed Political League (GPV) – a precursor of the Christian Union. She married historian James Kennedy in 1994, and the couple moved to Iowa that same year.. You can find more here. Are PeekYou social results accurate? PeekYou is a free people-focused search engine that uncovers information typically buried by other search engines. Its clean and user-friendly format makes it easy to navigate. The platform offers accurate data and conveniently links to an individual's social media profiles and other public websites with which they are associated.
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5407	dbpedia	3	17	https://www.urmc.rochester.edu/people/112359171-emma-ciafaloni	en	Emma Ciafaloni, M.D.	https://www.urmc.rochest…ile_web/6750.jpg	https://www.urmc.rochest…ile_web/6750.jpg	[ "https://www.urmc.rochester.edu/getmedia/2d3c0d22-0eae-4ef9-b5cd-2051e0747bd8/UR-Medicine-logo-svg.svg?maxsidesize=400&resizemode=force", "https://www.urmc.rochester.edu/ecv_binary/faculty/generated/profile_web/6750.jpg" ]	[]	[]	[ "" ]	null	[]	null	The University of Rochester Medical Center (URMC) is one of the nation’s leading academic medical centers. It forms the centerpiece of the University of Rochester’s health research, teaching and patient care missions. The University of Rochester Medical Center is a private, coeducational, nonsectarian, and nonprofit research university.	en		University of Rochester Medical Center	https://www.urmc.rochester.edu/people/112359171-emma-ciafaloni	Fourth meeting of the European Neurological Society 25-29 June 1994 Barcelona, Spain : Abstracts of Symposia and free communications. Harms L, Bock A, JÄnisch W, Valdueza J, Weber J, Link I, De Keyser J, Goossens A, Wilczak N, Vedeler C, Bjorge L, Uvestad E, Conti G, Williams K, Ginsberg L, Rafique S, Rapoport SI, Gershfeld NL, De La Meilleure G, Crevits L, Faiss JH, Heye N, Blanke J, Sackmann A, Kastrup O, Doornbos R, van der Worp HB, Kappelle LJ, Bar PR, Davie CA, Barker GJ, Brenton D, Miller DH, Thompson AJ, Block F, Schwarz M, Delodovici L, Baruzzi F, Bonaldi G, Dario A, Marra A, Mercuri A, Dworzak F, Cavallari P, Confalonieri P, Zuffi M, Antozzi C, Cornelio F, Baldissera F, Chassande B, Ameri A, Eymard B, Poisson M, Vérier A, Brunet P, Congia S, Murgia PL, Cannas A, Borghero G, Uselli S, Mellino G, Ferrai R, Lampis R, Massa R, Muzzetto B, Giannini F, Rossi S, Cioni R, d'Aniello C, Guarneri A, Battistini N, Ceriani F, Del Santo A, Poloni M, Campo JF, Iglesias F, Guitera MV, Farinas C, Pascual J, Leno C, Berciano J, Thorpe IW, Kendall BE, McDonald WI, Moulignier A, Dromer F, Baudrimont M, Dupont B, Gozlan J, El Amrani M, Petit JC, Roullet E, Sterzi R, Causaran R, Protti A, Riva M, Erminio F, Arena O, Villa F, Maccagnano E, Miletta M, Spinelli F, Ben-Hur T, Weidenfeldl J, Rao NS, Chari CC, Laforet P, Matheron S, Adams D, Chemouilli P, Desi M, Said G, Davous P, Lionnet F, Pulik M, Genet P, Rozenberg F, Cartier LM, Castillo JL, Cea JG, Villagra R, de Saint Martin L, Mahieux F, Manifacier MJ, Mattos K, Queiros C, Publio L, Vinhas V, PeÇanha-Martins AC, Melo A, Liska U, Zifko U, Budka H, Drlicek M, Grisold W, Kaufmann R, Kaiser R, Czygan M, Gomes I, Jones N, Cunha S, EmbiruÇu EK, Vieira V, Araujo I, Alexandra M, Ferreira A, Goes J, Chemouilli P, Israel-Biet , Masson H, Lacroix C, Gasnault J, Hildebrandt-Müller B, Oschmann P, Krack P, Willems WR, Dorndorf W, Freitas V, Bittencourt A, Fernandes D, Nascimento MH, Severo M, Moraes D, Muller M, Hasert K, Merkelbach S, Schimrigk K, van Oosten BW, Lai M, Polman CH, Bertelsmann FW, Hodgkinson S, Cabre PH, Volpe L, Smadja D, Vernant JP, Villaroya H, Violleau K, Younes-Chennoufi AB, Baumann N, Villanueva-Hemandez P, Ballabriga J, Basart E, Arbizu TX, Perez-Serra J, Vinuels F, Giron JM, Castilla JM, Redondo L, Izquierdo G, Lauer K, Henneberg A, Bittmann N, Link D, Wollinsky KH, Mobner R, Fassbender K, Kuhnen J, Schwartz A, Hennerici M, Miller A, Lider O, Abramsky O, Weiner HL, Offner H, Vanderbark AA, Paoino E, Fainardi E, Addonizio MC, Ruppi P, Tola MR, Granieri E, Carreras M, Sazdovitch V, Joutel A, Verdier-Taillefer MH, Heinzlef O, Radder C, Tournier-Lasserve E, Brenner RE, Munro PM, Williams SC, Bell JD, Hawkins CP, Filippi M, Campi A, Dousset V, Canal N, Comi G, Zhu J, Weber F, Retska R, List J, Zhang L, Brock M, Taphoorn MJ, Heimans JJ, van der Veen EA, Karim AB, Sarazin M, Argentino N, Delattre JY, Derkinderen P, Buchwald B, Schroter G, Serve G, Franke CH, Conrad B, Kitchen ND, Thomas DG, Forman AD, Ang KK, Price R, Stephens C, Salmaggi A, Nermni R, Silvani A, Forno MG, Luksch R, Boiardi A, Grzelec H, Fryze C, Nowacki P, Zdziarska B, Sanson M, Merel P, Richard S, Rouleau G, Thomas G, Olsen NK, Pfeiffer P, Egund N, Bentzen SM, Johannesen L, Mondrup K, Rose C, Zyluk B, Wondrusch E, Berger O, Fast N, Jellinger K, Lindner K, Urman A, Thibault JL, Duyckaerts C, Strik H, Muller B, Richter E, Krauseneck P, Steinbrecher A, Schabet M, Hess C, Bamberg M, Dichgans J, Counsell CE, McLeod M, Grant R, Creel GB, Claus D, Sieber E, Engelhardt A, Rechlin T, Thierauf P, Neubauer U, Peresson M, Di Giovacchino G, Romani GL, Di Silverio F, Danek A, Kuffner M, Hoermann R, Schopohl J, Laska M, Heye B, Zangaladze AT, Valls-SoIè J, Cammarota A, Alvarez R, Tolosa E, Hallett M, Ulbricht D, Ganslandt O, Kober H, Vieth J, Grummich P, Pongratz H, Brigel C, Fahlbusch R, Serra FP, Palma V, Nolfe G, Buscaino GA, Rothstein TL, Gibson JM, Morrison PM, Collins AD, Eiselt M, Wagnur H, Zwiener U, Schindler T, Efendi H, Ertekin C, Erfas M, Larsson LE, Sirin H, AraÇ N, Toygar A, Demir Y, Seddigh S, Vogt TH, Hundemer H, Visbeck A, Pastena L, Faralli F, Mainardi G, Gagliardi R, Linden D, Berlit P, Lopez OL, Becker JT, Jungreis C, Brenner R, Rezek D, Dekesky ST, Estol C, Boller F, Fernandez JM, Mederer S, Batlle J, Turon A, Codina A, Hitzenberger P, Vila N, Valls-SolÇ J, Chamorro A, Pouget J, Schmied A, Morin D, Azulay JP, Vedel JP, Montalt J, Escudero J, Barona R, Campos A, Varli K, Ertem E, Uludag B, Yagiz A, Privorkin Z, Steinvil Y, Kott E, Combarros O, Sanchez-Pernaute R, Orizaola P, Mokrusch T, Kutluaye E, Selcuki D, Ertikin C, Zettl U, Gold R, Harvey GK, Hartung HP, Toyka KV, Wokke JH, Oey PL, Ippel PF, Jansen GH, Franssen H, Toyooka K, Fujimura H, Ueno S, Yoshikawa H, Yorifuji S, Yanagihara T, Talamon C, Tzourio C, Kiefer R, Jung S, Toyka K, Ruolt I, Tranchant C, Mohr M, Warter JM, Younger DS, Rosoklija G, Hays AP, Kurita R, Hasegawa O, Matsumto M, Komiyama A, Nara Y, Oueslati S, Belal S, Turki I, Ben Hamida C, Hentati F, Ben Hamida M, Kwiecinski H, Krolicki L, Domzal-Stryga A, Dellemijn PL, van Deventer P, van Moll B, Drogendijk T, Vecht CJ, Nemni S, Amadio , Fazio R, Galardin G, Delodovici ML, Peghi E, Monticelli ML, Sessa A, Viguera ML, Palomar M, Gamez J, Cervera C, Navarro C, Serena J, Duran I, Fernandez AL, Comabella M, Nos C, Rio J, Montalban J, Navarro X, Verdu E, Darbra S, Buti M, Mrabet A, Fredj M, Gouider R, Tounsi H, Khalfallah N, Haddad A, Dbaiss T, Ghnassia R, Rouillet E, Chedru F, Porsche H, Strenge H, Li SW, Young YP, Garcia AA, Baron P, Scarpini E, Bianchi R, Conti A, Livraghi S, Rees JH, Gregson NA, Hughes RA, Sedano MJ, Calleja J, Canga E, Bahou Y, Biary N, Al Deeb SM, Guern EL, Gugenheim M, Tardieu S, Aisonobe TM, Agid Y, Bouche P, Brice A, Rautenstrauss B, Nelis E, Grehl H, Van Broeckhoven C, Pfeiffer RA, Liehr T, Ganzmann E, Gehring C, Neundörfer B, Geremia L, Doronzo R, Sacilotto G, Sergi P, Pastorino GC, Scarlato G, Planté-Bordeneuve V, Mantel A, Baas F, Moser H, Antonini A, Psylla M, Günther I, Vontobell P, Beer HF, Leenders KL, Chaudhuri KR, Parker J, Pye IF, Millac PA, Abbott RJ, Sutter M, Albani C, de Rijk MC, Breteler MM, Graveland GA, van der Mechè FG, Hofman A, Keipes M, Hilger C, Diederich N, Metz H, Hentges F, Pollak P, Benabid AL, Limousin P, Hoffmann D, Benazzouz A, Perret J, Laihinen A, Rinne JO, Ruottinen H, Nagren K, Lehikoinen P, Oikonen V, Ruotsalainen U, Rinne UK, Cocozza S, Pizzuti A, Cavalcanti F, Monticelli A, Pianese L, Redolfi E, Paiau F, Di Donato S, Pandolfo M, Palau F, Monros E, De Michele G, Smeyers P, Lopez-ArLandis J, Uilchez J, Filla A, Genis D, Matilla T, Volpini V, Blanchs MI, Davalos A, Molins A, Rosell J, Estivill X, De Jonghe P, Smeyers G, Krols L, Mercelis R, Hazan J, Weissenbach J, Martin JJ, Warner TA, Williams L, Orb AS, Harding AE, Giunti P, Sweeney MG, Spadaro M, Jodice C, Novelletto A, Malaspina P, Frontali M, Salmon E, Gregoire , Del Fiore , Comar , Franck G, Scheltens PH, Siegfried K, Dartigues E, De Deyn P, Horn R, , Nelson I, Hanna MG, Morgan-Hughes JA, Collinge J, Palmer MS, Campbell T, Mahal S, Sidle K, Humphreys C, Tavitian B, Pappata S, Jobert A, Crouzel AM, DiGiamberardino L, Steimetz G, Barbanti P, Fabbrini G, Salvatore M, Buzzi MG, Di Piero V, Petraroli R, Sbriccoli A, Pocchiari M, Macchi G, Lenzi GL, Spiegel R, Maguire P, Schmid W, Ott A, Bots ML, Grobbe DE, Hofman A, Howard RS, Russell S, Losseff N, Hirsch NP, Couderc R, Bailleul S, Nargeot MC, Touchon J, Picot MC, Rizzo M, Watson G, McGehee D, Dingus T, Kappos L, Radü EW, Haas J, Hartard CH, Spuler S, Yousry T, Voltz R, Scheller A, Holler E, Hohlfeld R, Scolding NJ, Sussman J, Kolar OJ, Farlow MR, Rice PH, Zipp F, Sotgiu S, Weiss EH, Wekerle H, Chalmers R, Robertson N, Compston DA, Martino G, Clementi E, Brambilla E, Moiola L, Martinelli V, Colombo B, Poggi A, Rovaris M, Grimaldi LM, Roth MP, Descoins P, Ballivet S, Ruidavets JB, Waubant E, Nogueira L, Cambon-Thomsen A, Clanet M, Leppert D, Hauser S, Lugaresi A, Tartaro A, D'aurelio P, Befalo LL, Thomas A, Malatesta G, Gambi D, Benedikz JE, Magnusson H, Poser CM, Guomundsson G, Bates TE, Davies SE, Clark JB, Landon DN, Ùther JR, Rautenberg W, Overgaard K, Sereghy T, Pedersen H, Boysen G, Diez-Tejedor E, Carceller F, Gutierrez M, Lopez-Pajares R, Roda JM, Chandra B, Ricart W, Gonzalez-Huix F, Molina A, Rundek T, Demarin V, De Reuck J, Boon P, Decoq D, Strijckmans K, Goethals P, Lemahieu I, Nibbio A, Chabriat H, Vahedi K, Nagy T, Verin M, Mas JL, Julien J, Ducrocq X, Iba-Zizen MT, Cabanis EA, Bousser MG, Rolland Y, Landgraf F, Bompais B, Lemaitre MH, Edan G, Vorstrup S, Knudsen L, Olsen KS, Videbaek C, Schroeder T, van Gijn J, Jansen HM, Pruim J, Paans AM, Willemsen AT, Hew JM, Vd Vliet AM, Haaxma R, Vaalburg W, Minderhoud JM, Korf J, Soudain SE, Ho TW, Mishu B, Li CY, Nachainkin I, Gao CY, Cornblath DR, Griffin JW, Asbury AK, Blaser MJ, McKhann GM, Ho T, Macko C, Xue P, Stadlan EM, Ramos-Alvarez M, Valenciano L, Visser LH, van der Meché FG, van Darn PA, Meulstee J, Schmitz PI, Jacobs B, Oomes PG, Kleyweg RP, , Jacobs BC, Endtz HP, van Doorn PA, van der Mech FG, Van den Berg LH, Mollee I, Logtenberg T, Thomas PK, Plant G, Baxter PJ, Luis RS, Matsumoto M, Notermans NC, Wokke JH, Lokhorst HM, van der Graaf Y, Jennekens FG, Azulay JP, Bille-Turg F, Valentin P, Farnarier GG, Pellissier JF, Serratrice G, Quasthoff S, Schneider U, Grafe P, Hilkens PH, Moll JW, van der Burg ME, Planting AS, van Putten WL, van den Bent MJ, Birklein F, Spitzer A, Lang E, Neundorfer B, Diehl RR, Lücke D, Smith GD, Mathias CJ, Serra J, Campera M, Ochoa JL, Ray Chaudhuri K, Pavitt D, Alam M, Handwerker HO, Bleasdale-Barr K, Smith G, Murray NM, Hawkins P, Pepys M, Gellera C, DiDonato S, Taroni F, Uncini A, Di Muzio A, Servidei S, Silvestri G, Lodi R, Iotti S, Barbiroli B, Morrissey SP, Borruat FX, Francis D, Mosely I, Hansen HC, Helmke K, Kunze K, Sadzot B, Maquet P, Lemaire , Plenevaux , Damhaut , Sommer C, Myers RR, Berta E, Mantegazza R, Argov Z, Shapira Y, Wirguin I, Beuuer J, Franke C, Roberts M, Willison H, Vincent A, Newsom-Davis J, Morrison KE, Damels R, Francis M, Campbell L, Davies KE, Kohler W, Bucka C, Hertel G, Kanovsky P, Auer D, Ackermann H, Klose U, Naegele T, Bien S, Voigt K, Fink GR, Stephan KM, Wise RJ, Mullatti N, Hewer L, Frackowiak RS, Weiller CS, Rijnites M, Jueptner M, Bauermann T, Krams M, Diener HC, van Walderveen MA, Barkhof F, Hommes OR, Valk J, Willmer JP, Guzman DA, Passingham RE, Silbersweig D, Ceballos-Baumann A, Frith CD, Frackowiak R, Lucas CH, Goullard L, Marchau MJ, Godefroy O, Rondepierre PH, Chamas E, Mounier-Vehier F, Leys D, Renato J, Verdugo MS, Campero M, Jose L, Ochoa DS, Vivancos F, Tejedor ED, Martinez N, Roda J, Frank A, Barreiro P, Satoh Y, Nagata K, Maeda T, Hirata Y, YalÇinerner B, Ozkara C, Ozer F, Ozer S, Hanoglu L, Zunker P, Pozo JL, Oberwittler C, Schick A, Buschmann H-, Ringelstein EB, Lara M, Anzola GP, Magoni M, Volta GD, Tarasov A, Feigin V, Beaudry MG, Carrier S, Chicoutimi , Henriques IL, Bogoussslavsky J, van Melle G, Mathieu J, Perusse L, Allard P, Prevost C, Cantin L, Bouchard JM, De Braekeleer M, Agbo C, Neau JP, Tantot AM, Dary-Auriol M, Ingrand P, Gil R, Baltadjiev D, Zekin D, Sabey K, Gennaula CP, Pope BA, Caparros-Lefebvre D, Girard-Buttaz I, Pruvo JP, Petit H, Hipola D, Martin M, Giménez-Roldan S, Ivanez V, Japaridze G, Carrasco JL, Picomell I, Herranz JL, Macias JA, Nieto M, Noya M, Oller L, Kiteva-Trencevska G, Delgado MR, Liu H, Luengo A, Parra J, Colas J, Fernandez MJ, Manzanares R, Kornhuber ME, Malashkhia V, Orkodashili G, Martinez M, Bonaventura I, Porta G, Martinez I, Fernandez A, Aguilar M, Masnou P, Drouet A, Dreyfus M, Cartron J, Morel-Kopp MC, Tchernia G, Kaplan C, Lammers MW, Hekster YA, Keyser A, Meinardi H, Renier WO, Boon PA, Have MD, Kint B, Cruz P, Cadilha A, Almeida R, Goncalves M, Pimenta M, Ramos LM, Polder TW, Broere CA, Polman L, Rother I, Rother M, Schlaug G, Arnold S, Holthausen H, Wunderlich G, Ebner A, Luders H, Witte OW, Seitz RJ, Serra LL, Gallicchio B, Rotondi F, Wieshmann U, Meierkord H, Sabev K, Di Carlo V, Gueguen B, Derouesné C, Ancri D, Bourdel MC, Guillou S, Aliaga R, Chornet MA, Rodrigo A, Pascual AP, Catala MD, Pascual-Leone A, Benbadis SR, Dinner DS, Chelune GJ, Lüders HO, Piedmonte MR, Blanco T, Lopez MP, Romero B, Deltoro A, Pascual A, Pascual L, Bolgert F, Josse MO, Tassan P, Touze E, Laplane D, Godenberg F, Brizioli E, Del Gobbo M, Pelliccioni G, Scarpino O, Durak H, Damlacik G, Tunca Z, Fidaner H, Yurekli Y, Yemez B, Kaygisiz A, Anllo EA, Esperet E, Giovagnoli AR, Casazza M, Spreafico R, Avanzini G, Mascheroni S, Vecchio I, Tornali C, Antonuzzo A, Grasso AA, Bella R, Pennisi G, Raffaele R, Broeckx J, Schildermans F, Hospers W, Deberdt W, Carney JM, Aksenova M, Chen MS, Juncadella M, Busquets N, De la Fuente I, Rodriguez A, Rubio F, Soler R, Khati C, Pillon B, Deweer B, Malapani C, Malichard N, Dubois B, Rancurel G, Lopez DL, Jungreia G, DeKosky ST, Boiler F, Weiller C, Rijntjes M, Mueller SP, Maguire EA, Burke ET, Staunton H, Phillips J, Rousseaux M, Pena J, Bertran I, Santacruz P, Lopez R, Catafau A, Lomena F, Blesa R, Rampello L, Nicoletti A, Cabaret M, Lesoin F, Steinling M, Tournev I, Maier-Hauff K, Schroeder M, Wolf A, Cochin JP, Noel I, Augustin P, Auzou P, Hannequin D, Maria V, Lopez-Bresnahan , Danielle DM, Antin-Ozerkis BA, Bartels E, Rodiek SO, Flugel KA, Campos DM, Salas-Puig J, Del Rio JS, Vidal JA, Lahoz CH, Eraksoy M, Barlas O, Barlas M, Bayindir C, Ozcan H, Birbamer G, Gerstenbrand F, Felber S, Luz G, Aichner F, Seidel G, Kaps M, Hutzelmann A, Gerriets T, Kruggel F, Martin PJ, Gaunt ME, Abbot RJ, Naylor AR, Meary E, Dilouya A, Meder JF, De Recondo J, Lebtahi R, Neff KW, Meairs S, Viola S, Matta E, Aquilone L, Rise IR, Authier FJ, Kondo H, Ghnassia RT, Degos JD, Gherardi RK, Bardoni A, Ciafaloni E, Comi GP, Bresolin N, Robotti M, Moggio M, Rigoletto C, Roses A, Scarlato G, Castelli E, Turconi A, Bresolin N, Perani D, Felisari G, Chariot P, de Pinieux G, Astier A, Jacotot B, Gherardi R, Fischer-Gagnepain V, Louboutin JP, Crespo F, Florea-Strat A, Fromont G, Sabourin J-, Gonano E-, Moroni I, Prelle A, Iannaccone S, Quattrini A, deRino F, Sessa M, Golzi V, Smirne S, Nemni R, Turpin JC, Lucotte G, Jacobs SC, Willems PW, Bootsma AL, Lasa A, Calaf M, Baiget M, Gallano B, Fichter-Gagnepain V, Mazzucchelli F, D'Angelo MG, Velicogna M, Bet L, Comi GP, Bordoni A, Gonano EF, Bazzi P, Rapuzzi S, Moggio M, Fagiolari G, Ciscato P, Messina A, Battistel A, Ryniewicz B, Sangla I, Desnuelle C, Paquis V, Cozzone PJ, Bendahan D, Sturenburg HJ, Kohncke G, Castellli E, Linssen W, Stegeman D, Binkhorst R, Notermans S, Jaspert A, Fahsold R, de Munain AL, Cobo A, Martorell L, Poza JJ, Navarrete Palau D, Emparanza JI, Sanchez-Roy R, Vilchez JJ, Hernandez M, Tena JG, Perla C, Koutroumanidis M, Papathanasopoulos P, Papadimitriou A, Papapetropoulos TH, Divari R, Hadjigeorgiou GM, Anastasopoulos I, Sansone V, Rotondo G, Meola G, Rigoletto C, Messina S, Szwabowska-Orzeszko E, Jozwiak S, Michalowicz R, Szaplyko W, Petrella MA, Della Marca G, Masullo G, Mennuni GF, 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Pastor I, Estelies MA, Del Ser T, Ochoa HS, Munoz D, Hachinski V, Cucinotta D, Senin U, Girardello R, Crepaldi G, Croria F, Schens DB, Vigo-Pelfrey C, SempereE AP, Ortega MP, Bava L, Magni E, Aronovich BD, Treves TA, Bornstein NM, Van Blercom N, Blecic S, Violon P, Hildebrand J, Zamboni M, Ambrosoli L, Poli A, Kuehnen J, Tilgner C, Raltzig M, Moering B, Faiss J, Deeb SM, Daif A, Sharif H, Tatay J, Caroeller F, Avendano C, Vinogradova T, Pinto AN, Canhao P, Neau J-, Pacquereau J, Meurice J-, Schwab M, Bauer R, Deeb MA, Tjan TJ, Aabed M, Berges S, Crepin-Leblond T, Chavot D, Cattin F, Snidaro MH, Chopard JL, Ley CO, Alameda F, Alfonso S, Podobnik-Sarkanji S, Pniewski J, Torbicki A, Mieszkowski J, Plaza I, Petrunjashev V, Velcheva I, Hadjiev D, Yancheva S, Petrov L, Karakaneva S, Petkov A, Nikolov E, Niehaus L, Sacchetti ML, Toni D, Fiorelli M, Gori C, Argentino C, Lyrer P, Radu EW, Gratzl O, Rondepierre P, Leclerc X, Marchau M, Scheltens P, Hamon M, Janssens E, Henon H, Lucas C, KuÇukoglu H, Baybas S, Dervis A, YalÇiner B, Yilmaz N, Ozturk M, Arpaci B, Navarro JA, Arenas J, Perez-Sempere A, Egido JA, Soriano-Soriano C, Beau P, Gergaud J-, Coudero C, Dierckx RA, Dobbeleir A, Timmermans E, Vandevivere J, Lucas CH, Gomez M, Aguirre J, Berenguer A, Duran C, Parrilla J, Gonzalez F, Gironell A, Rey A, Marti-Vilalta JL, de Lecinana MA, Federico F, Conte C, Simone IL, Giannini P, Liguori M, Lucivero V, Picciola E, Tortorella C, Drislane F, Wang AM, Di Mascio R, Marchioli R, Vitullo F, Di Pasquale A, Sciulli L, Kramer V, Tognoni G, Levivier M, Del Olmo A, Caballero E, Degaey I, de Bruijn SF, Tchaoussoglou I, Bastianello S, Pozzilli C, Cervello A, Catala N, Koskas F, Kieffer E, Botia E, Vivancos J, Leon T, Segura T, Ramo C, Lopez F, Karepov VG, Gur AJ, Berlanga B, Gracia V, Fiol C, Kurtel H, Ozkutlu U, Yegen B, Grau AJ, Buggle F, Heindle S, Steichen-Wiehn C, Banerjee T, Maiwald M, Becher H, Villafana W, Medina F, Fernandez-Real JM, Soler S, Planas E, Iceman E, Doganer I, Badlan G, Genc B, Yulug K, Ideman E, Dural H, Kutlul K, Damalik G, Baklan Y, Metin B, Tekinsoy E, Iriarte I, Subira ML, Crockar AD, Treacy M, McNell TA, Grazzi L, Ediboglu N, Bilgin H, Ertas S, Goument J-, Basset C, Campos Y, Garcia-Silva T, Cabello A, Bussaglia E, Tizzano E, Colomer J, Gimbergues P, Campagne D, Bommelaer C, Delaguillaume B, Ramtami H, Ait-Kaci-Ahmed M, Pascual LF, Fernandez T, Hortells M, Sanz C, Morales F, Lauritzen L, Picard F, Sellal F, Collard M, Avramidis T, Alexiou E, Anastopoulos T, Frongillo D, Delfino FA, Cannata M, Calo L, Vichi R, Antonini G, Fragola V, Cannata D, Salas M, Ruiz C, Angelard B, Lacau J, Guily S, Sendtner M, Goadsby PJ, Quin NP, Gadian DG, Roland PE, Seitz RJ, Frackowiak RS, Becker G, Krone A, Schmidt K, Hofmann E, Bogdahn U, Rosenfeld MR, Meneses P, Kaplitt MG, Dalmau J, Posner J, Cordon-Cardon C, Hoang-Xuan K, Vega F, Nishisho I, Moisan JP, Theillet C, Delattre O, Zhu J, Walther W, Posner JB, Roelcke U, von Ammon K, Pellikka R, Lucking CH, Walon C, Boucquey D, -Van Rijckevorsel KH, Lannoy N, Verellen-Dunoulin C, Liszka U, Cavaletti G, Casati B, Kolig C, Bogliun G, Marzorati L, Johannsen L, Chio A, Ruda R, Vigliani MC, Sciolla R, Seliak D, Hoang-Xuang K, Villanueva JA, Montalban X, Arboix A, Colosimo C, Albanese A, Hughes AJ, de Bruin V, Lees AJ, Kowalski JW, Banfi S, Santoro L, Perretti A, Castaldo I, Barbieri F, Campanella G, Bhatia KP, Mardsen CD, de Bruin VS, Machedo C, Ceballos-Baumann D, Marsden CD, Brooks DB, Wennlng GK, Quinn N, McDonald WL, Warner TT, Bain PC, Davis MB, Conway D, Shaunak S, O'Sullivan E, Crawford T, Lawden M, Blunt S, Rapoport A, Sarova-Pinchas I, de Beyl DZ, Mavroudakis N, Blanc S, Godinot C, Lenoir G, Barkhof MS, Tas MW, Baron PL, Constantin C, Cassatella MA, Langdon DW, Webb S, Gasparini P, Zeviani A, Kidd D, Mammi S, Cahalon L, Hershkoviz R, Lahat N, Wallach D, Annunziata P, Martino T, Maimone D, Guazzi GC, Porrini AM, Dell'Arciprete L, Rothwell PM, Stewart RR, Cull RE, Willmes K, Poeck K, Russell D, Braekken SK, Brucher R, Svennevig J, Hermesl M, Bruckmann H, Biraben A, Sliwka U, Meyer B, Schondube F, Noth J, Lavenu I, Lammers C, Waldecker B, Haberbosch W, Stam J, Schneider R, Gautier JC, Berlit TP, Fauser B, Kuhne D, Geraud G, Danielli A, Larrue V, Bes A, Timmerman E, Bono F, Bruni AC, Valalentino P, Montesi MP, Talerico G, Zappia M, Sabatelli M, Quattrone A, Pareyson D, Lorenzetti D, Sghirlanzoni A, Castellotti B, Lupski JR, Archidiacono N, Antonacci R, Marzella R, Rocchi M, Samuel D, Goulon-Goeau C, Costa PP, Bismuth H, Said G, De Jongh P, Lofgren A, Timmerman V, Vance JM, Van Broeckhoven C, Martin J-, Martinez AC, Bort S, Arpa J, Misra P, King RH, Badhia K, Anderson M, Caballo A, Vichez J, Gabriel JM, Erne B, Miescher GC, Ulrich J, Vital A, Vital C, Steck A, Petry K, Labatut I, Hilmi S, Ellie E, Ferrini-Strambi L, Zucconl M, Marchettini P, Palazzi S, Oehlschlager M, Pepinsky RB, Gemignani F, Marbini A, Pavesi G, Di Vittorio S, Manganelli P, Mancia D, Vermersh P, Roche J, Durocher AM, Dewailly P, Dettmers C, Fink G, Lemon R, Stephan K, Passingham D, Weder B, Knorr U, Huang Y, Butterfield DA, Peris ML, Peiro C, Pascual AP, Bottini G, Folnegovic-Smalc V, Knezevic S, Bokonjic R, Ersmark B, Torres MG, Guiraud-Chaumeil B, Haugaard K, Jovicic A, Chr L, Levic Z, Parra CM, Ochoa JP, Titlbach O, Wikkelso C, , Caparros-Lefevre D, Debachy B, Verier A, Cantinho G, Santos AI, Godinho F, Bagunya J, Roig T, Ensenyat A, Santiag O, Trabucchi H, De Leo D, Koch C, Zeumer H, Matkovic Z, Morris P, Donaghy M, Köhler W, Kammer T, Röther J, Navon R, Fontaine B, Wu Y, Capdevila A, Guardiola MJ, van Dijk GW, Notermans NC, Kruize AA, Kater L, Bertelt C, Hesse S, Friedrich H, Mauritz K-, Giron LT, Watanabe IS, Ewing D, Koepp M, Lempert T, Sander B, Kauerz U, Mehdorn HM, Hezel J, Eickhoff W, Kryst T, Timsit S, Gardeur D, Reis MG, Secor E, Filho AA, Silva MC, Santos SR, Vasilaski G, Reis EA, Velupillai P, Harn DA, Tigera JG, Dreke RM, Crespo RP, Besses C, Acin P, Massons J, Florensa L, Oliveres M, Sans-Sabrafen J, Wicklein EM, Pleiffer G, Kunre K, Dieterich M, Brandt T, Guarino M, Stracciari A, Pazzaglia P, D'Alessandro R, Santilli I, Donato M Journal of neurology.. 1994 June 241 (Suppl 1):1-164. 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5407	dbpedia	2	6	https://en.wikipedia.org/wiki/James_Kennedy_(historian)	en	James Kennedy (historian)	https://upload.wikimedia…ames-kennedy.jpg	https://upload.wikimedia…ames-kennedy.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-Ambox_important.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-Ambox_important.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/b/b4/Ambox_important.svg/40px-Ambox_important.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a2/James-kennedy.jpg/220px-James-kennedy.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2008-07-24T19:25:29+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/James_Kennedy_(historian)	American historian (born 1963) James Carleton Kennedy (born 1963 in Orange City, Iowa) is an American historian. He is the son of E.W. (Bill) and Nella Kennedy. The elder Dr. Kennedy was for years an eminent professor of religion at Northwestern College. Kennedy was born and grew up in Orange City, Iowa, a Reformed village with a large portion of the population having roots in Netherlands. His mother is a Dutch-born immigrant. He studied foreign service at Georgetown University, obtaining his B.S. in 1986, Christian studies at Calvin Theological Seminary in Grand Rapids, Michigan, obtaining his M.A. in 1988, and took his PhD in history from the University of Iowa in 1995. He performed several jobs in the field of history before becoming an assistant professor of European history and research fellow at the A. C. Van Raalte Institute, Hope College in Holland, Michigan in 1997. In 2003, Kennedy moved to the Netherlands because he was appointed a professor of modern history (20th century) at the Vrije Universiteit Amsterdam. In 2007 he changed to the University of Amsterdam, where he became a professor of the history of the Netherlands. In 2009 he succeeded professor Piet de Rooy, head of the section of the history of the Netherlands. Between October 1, 2015, and December 2020, Kennedy was Dean of University College Utrecht. Kennedy takes a special interest in post-war Dutch history. Because of his Christian belief he considers himself a Christian historian although he is reserved to point out how God is guiding human history. Politically, he characterizes himself as an independent. However, in the presidential campaign of 2004 he was in favor of John Kerry, the presidential candidate of the Democrats. James Kennedy is married to Simone Kennedy-Doornbos, a Dutch politician for the ChristianUnion, who has been serving as a Senator since 2023. They have three children. The Kennedy family is a member of the Reformed Churches in the Netherlands (Liberated), an orthodox reformed denomination. Building new Babylon: cultural change in the Netherlands during the 1960s (1995, dissertation), translated in Dutch as Nieuw Babylon in aanbouw: Nederland in de jaren zestig, Amsterdam, Boom, 1995) History of the Low Countries (New York, Berghahn Books, 1999), adapted translation from the Geschiedenis van de Nederlanden, Hans Blom and Emiel Lamberts, 1993) Een weloverwogen dood. De opkomst van de euthanasie in Nederland (Amsterdam, Bakker, 2002) - about the development of euthanasia in the Netherlands Bezielende verbanden. Gedachten over religie, politiek en maatschappij in het moderne Nederland (Amsterdam, Bakker, 2009) Stad op een berg. De publieke rol van protestantse kerken (Zoetermeer, Boekencentrum Uitgevers, 2010) A Concise History of the Netherlands (Cambridge, Cambridge University Press, 2017) Aan Het Werk (Amsterdam, Prometheus, 2021) Equivalent article on the Dutch Wikipedia
5407	dbpedia	3	40	https://www.uwyo.edu/news/2020/07/university-of-wyoming-spring-semester-presidents-honor-roll-resident.html	en	University of Wyoming Spring Semester President’s Honor Roll: Resident	https://www.uwyo.edu/_re…-images/news.jpg	https://www.uwyo.edu/_re…-images/news.jpg	[ "https://www.uwyo.edu/_resources/images/search-icon-white.svg", "https://www.uwyo.edu/_resources/images/white-logo.png", "https://www.uwyo.edu/_resources/images/search-icon.svg", "https://www.uwyo.edu/_resources/images/search-icon-white.svg", "https://www.uwyo.edu/_resources/images/social-media-icons/facebook.png", "https://www.uwyo.edu/_resources/images/social-media-icons/twitter.png", "https://www.uwyo.edu/_resources/images/social-media-icons/facebook.png", "https://www.uwyo.edu/_resources/images/social-media-icons/twitter.png", "https://www.uwyo.edu/_resources/images/coffee-logo.png" ]	[]	[]	[ "" ]	null	[]	2024-03-13T11:03:31.553539-07:00		en	https://www.uwyo.edu/favicon.ico	UWYO News	https://www.uwyo.edu/news/2020/07/university-of-wyoming-spring-semester-presidents-honor-roll-resident.html	The University of Wyoming lists the following students from Wyoming on the 2020 spring semester President’s Honor Roll. The President’s Honor Roll consists of regularly enrolled undergraduates who earned a 4.0 (“A”) grade-point average for the semester. To be eligible, students must have been enrolled for a minimum of 12 credit hours taken for letter grades. Students are: Afton Macy Erickson Shay Erickson Shaylee Erickson Hailey Jensen Jacob J. Thompson Alpine Kylie Rose Anderson Kaitlyn Marie Bearden Forrest K. Bucholz Cassidy Joy Post Garrett Post Alta Alexy Vada Nelson Zachary Ward Banner Madison E. Belus Noah Colin Gustafson Rachel Petersburg Anne-Marie Stratton Bar Nunn Daiven C. Francis Basin Christopher James Kampbell Beulah Richard Logan Stefanich Madeline F. Stoddard Big Horn Andrew R. Ratty Big Piney Joby E. Banks Gregory B. Bell Karson K. Bradley McKenzi Davison Kyler D. Griffin Britany T. Kirkwood Jak F. Tanner Boulder Anita L. Benjamin Magen R. Rohrer Buffalo Ian S. Cohoon Sadie Lauren Gruntmeir Marie Ann Ihnat Hallie R. Jette Madeline J. Killian Carrie Monroe Kyler Muffett Shea M. Musselman Isolina G. Nimick Ashlee A. Purcella Hailee Erin Riddle Jennifer R. Seeman Emmaline Andrea Velasquez Marc A. Wodahl Burlington Callee E. Catlin Kye D. Catlin James M. Davidson Burns Mercedes L. Bartels Jack D. Ickes Mallory Jeanne Ickes Casper Nathan Lee Aagard Landree G. Adams Austin R. Anderson Shelly Ann Claire E. Bailey Autumn Baker Emily Balfour Holly N. Bauchert Hope Becker Annika Grace Belser Erin C. Bergman Brian Kenneth Bessey Matthew J. Bjornson Dalton Lee Blase Madison Nicole Brandt Jarod D. Brownlow Lydia Buckingham Laura Michelle Butler Megan T. Byrd Trey Campbell Garrett R. Catlin Mackenzie Chadderdon Kristen Lauretta Cheser Michael T. Choma Mathew G. Christopherson Makenzie Colling Connor Arthur Coughenour Madison M. Coventry Sage E. Coventry Madeline Cox Jenna Crouse Maddison Dedic Felicia Dickerson Richelle L. Dietz Melissa Dimas Skylar MayaRae Eades Nicole M. Eckhart Jaclyn June Edwards Katelyn Elston Sharon C. Fancher Emilie Jeanette Fittje Chandra N. Frank Gail M. Fullerton Veronica Garcia Benjamin Paul Grant Jarred Louis Grant Hanna R. Hall Payton Hallsted Gracyn Hansen Ashtyn A. Harmsen Taylor Morgan Hatcher Benjamin L. Heady Lee S. Hedges Lane J. Hendricks Eleanor J. Holloway Alexis G. Holscher Stephen Hoversland Denise Hull Brianna Kaley Hunter Crissa A. Jennings Johnathan T. Jensen Trevor Johnson Sara A. Jones Sarah R. Jones Levi P. Kaiser Abbey Caroline Kersenbrock Kassandra Lesco Aja M. Lewis Marcus Aaron Manzanares Brandon Thomas Myers Sarah I. Noel Jannelle Ordiway Christine L. Palmer Torin B. Perrett Bailee N. Peterson Troy D. Phillips Jillian R. Phipps Karson Potter Emily Marlene Pyska Jordan M. Quig Ben P. Radosevich Maddison E. Reed Quillan F. Reed Dakota Reeves Zachary K. Richards LuAnna Eleanor Rochelle Ellie A. Rone Jordan Ruckle Rachel Sandler Elizabeth Jean-Marie Sanford Bryanna E. Schiller Madeline E. Schwahn Bryan Allen Siedschlag Jesi Skretteberg Jenna Marie Spaulding Mariah J. Spearman Dillan Spence Tayler E. Stephenson Heather Stibley Adrienne Stockton Taylee M. Stone Joel Martin Strube Joenon Sulzen Madison Rae Tinker Kennedee V. True Kasen G. Urhammer Kynsie Marine Valdez Hannah Marie Van Tassel Bradley John VanderVoort Emilie VenJohn Grace Ann Vigneri Morgan Janine Walsh Tiffany K. Wambeke Kai Wentz Courtney T. Westbrook Makayla Serene Wheeler Travis J. Wicks Sara Williams Joanna Wilson Britni A. Yeigh Centennial Rio S. Spiker-Miller Cheyenne Colter D. Anderson Maren N. Anderson Taylor Andrew Arnold Alexis R. Baca Alexa Becerra Kelsy Anne Begin Stephanie Benedict Isabel V. Bivona Trey A. Blackwell Bridger Kenneth Bogus Riley C. Boltz Kelsie May Bowcutt Rayann E. Bowen Baillie R. Brandt Marcis James Bravo Taylor John Britt Sarah N. Brooksmith Cade Brower Rayann Brown Irene Dejakai Gabriella Brown Christopher H. Bruce Cailin L. Brugger Molly A. Burns Heather N. Casey Tanner Steven Cassel Thomas D. Cassidy Justyn B. Christensen Matthew Cirillo Kaycee O. Clark-Mellott Kaley Nicole Clift Jordan E. Conine Matthew J. Contreras Ann E. Dahill Gia Davis Kortni M. Davis Grace C. Dereemer Shawnie DeTavernier Rachel A. Dey Sarah Marie Dey Jordan Lee Ditty-Suggs Gabriella Rosalind Dodgson Mackenzie Dryden Cody R. Dugas Justice Dunn Alexis R. Eledge Elijah Andrew Ellis Abigail R. Erickson Hunter T. Ernst Alyssa E. Ernste Kelsey L. Faircloth Mackenzie K. Faircloth Joshua Michael Fearing Jordan Fitzgerald Isabel Fleischli Azure S. Flowers Jennica Marie Fournier Japheth Joseph Frauendienst Shannon L. Gallion Hunter Galluzzo Andrew Gardner Michala M. Glover Jenna M. Goodrich Uriah Gracia Jillian Mae Guest Mackenzie B. Hall Dustin B. Hansen Jennifer Sue Hansen Emily S. Harmon Garrett Paul Hartigan James T. Hartman Lauren Hawkins Jared S. Heddins Kinsey K. Hein Natasha Victoria Heins Jacob B. Hendricks Meghan A. Higgins Cassidy B. Hixon Ashley De Etta Ingerle Logan M. Inghram Kameron Douglas Jensen Katelynn R. Johnson Sierra Storm Jurgens Kayla J. Kant Averi N. Kastens Hayden R. Kastens Princika KC Aaron J. Kersh Jeremiah L. Keslar Tyrell Kirchhefer Jessie Klein Paige A. Klipstein Maeve S. Knepper Makala Louise Knox Gary A. Kroeger Rachel Jean LaFaso Andrew Lane Hannah Kay Lewis Jiajia Li Hannah S. Linde Michael James Lindman Anne Elizabeth Lloyd Katelynn A. Loken Isabelle Lovato Tori Lucas Ryan Lynch Giavanna Marchetti Makayla C. McBride Sydney McClure Ryan G. McCulloch Katherine J. McDougall Madison L. McInerney Tanner Jorgensen McKay Morgan J. McKelvey Guy McVeigh Peter N. Mead Emma Katherine Meese Mark Thomas Menghini Stephanie M. Mestack Renzo C. Milatzo Reese G. Milburn Kevin J. Millsap Christian M. Moncrief Cole A. Munari Anna Naig Thanh Nguyen Katrina Nicole Norris Angela Oliverius Claire Peyton Olson Curtis P. Olson Mikayla Nicole Olson Paige Osborn Mackenzie J. Paintner Anna Papadopoulos Mathew R. Pierson Suzanne Michelle Piver Emily Purifoy Gilberto Revuelta Grace A. Ritschard Taylor R. Rogers Jackson Rudolph Ashley M. Rutledge Lauren M. Salsgiver Samantha Schmidt Dariann Scott Jonathon C. Scott Adrian M. Seiloff Taylen E. Sewell Abigail Elizabeth Shameklis Sylvia R. Shanklin Madison Rae Shippy Abigail Sisneros Kenzie R. Spear Sierra Ann Stellern Austin James Stephen Taylor M. Stoetzel Taylor D. Stoinski Macey C. Stratton Tyler J. Stromberg Hunter Dane Swilling Amber J. Thompson Alexa E. Trees Ashley N. Tyler Tristin E. Waggener Sydne Kate Weber Tyler A. Wedl Sarah K. Wessenberg Kassidy J. Williams Katelyn Jeanette Williams Stephen A. Williams Grace Avena Withers Tessa Woods Mingna Zeng Chugwater Katie A. Currier Cody James Harvey Bell Ashlyn B. Bower Abbey D. Brasher Cameron W. Cloud Trystton P. Cole Katie Denise Couture Meg R. Dickerman Brooke L. Gordon Mary Kate Gorman Hunter Graves Greg Gross David Henrich Blake A. Hinze Nathan A. Hunt Dallin Jones Gage LaFave Williams Denallie Moore Drew Michael Morris Logan G. Oberheu Andre Parsons Sydney Pomajzl Matthew J. Poto Sarina Poto Paige Powell Jenna L. Slikker Margaret E. Solie Tristen Spitzer Aurora Stenulson Beverly R. Teeter Ashley M. Umphlett Jakoby J. Vipperman Evan Frederick Wambeke Jessica Ann Williams Erin Woolley Cokeville Jackson Martin Linford Kaycee Claudia Linford Cowley Marissa M. Arnold Kalley Mae Collins Crowheart Ranelle Jean Hindman Riley Rux Daniel Aisha Auradou Katelyn Hayward Autumn Ruskell Savannah J. Rutsch Dayton Libby Faith Heimbaugh Mary E. Miller Douglas Jacy Ciara Busboom Emma Carr Kirsten L. Caskey Joseph M. Dammeyer Janie Dziardziel Morgan M. Grosdidier Megan L. Hertz Ashlee E. Lawson Kaelie Oliver Magdalena G. Pellatz Mallory Joyce Renner Spencer C. Romberg Aubri L. Schuldies Sydni Scott Schuldies Danica J. Shearer Zoe E. Short Dubois Natalie Bills Baker Amy Grant Abbigail Hinkle Amber M. Sessock Kallen E. Smith Katelyn R. Suda Megan L. Yaracz Encampment Bailey R. Miller Karah M. Pantle Etna Clare J. Doornbos Piper Marie Thompson Evanston Dulce Alvarez Rylee Kay Berger Nicole Connie Bott Sierra A. Burleigh Kaytlen Freeland DeeLynn S. Miller Todd Matthew Muller Francisco Saabedra Brady Wagstaff Kevin West Evansville Shannon Dewitt Malaya Lynn Harris Morisette Kale D. Kuhlman Dawson T. Rivera Ashleigh M. Suko Farson Keanan Foy Jason D. Lux Fort Bridger Austin D. Houskeeper Gillette Tiffany Jo Allen Kennedy Ayers Kiana C. Ayers Garrett D. Baker Kaylee Bass Karley Borchers Marlene Marie Burr Kolby N. Carpenter Ainsley M. Carson Julia M. Cathey Zach Alan Clausen Shaylee N. Connely Laura Dale Kodi L. Edwards Nicholas Erickson Max W. Hayden Matthew W. Hines David Harrison Holmes Addi K. Iken Brandon Dale Izatt Zachary J. Jewell Molly Marie Kuhbacher Joyie Lass Jillian Victoria B. Marinas Jolin Mills Whitney D. Mohr Dalton C. Nichols Alexis Maree Parra Rylie Nicole Pilon Triston D. Schwab Krystal J. Shelton Maria Swartz Hunter T. Sylte Wyatt Tarver Claire M. Thomas Sarrah Tresch Sierra Vetter Paige M. Walker Samuel C. Weinzierl Taylor A. Wilde Grace McKenna Wiley Morgan R. Williams Alexis Danielle Wingfield Glendo Holly Storm Fertig Glenrock Elizabeth Elaine Albrandt Madeleine K. Brant Jacob William Dalman Payton K. Steinmetz Enoch Edward Williams Gideon J. Williams Green River Abigail Alcorn Valerie Alicia Barajas Kelsee G. Barton Averee R. Cobb Kendahl Lea Coy Veronica Raye Coy Nina M. Dodd Taylor L. Draney Andrew G. Halverson Alondra I. Hamilton Chance S. Hofer Robyn Jauregui Allison G. Kloepper Isabel Anna Leininger Kendra F. Lewis Justin C. Marcy Francheska MarDean Riley Brianna N. Rundell Hannah C. Thomas Garrett David Young Greybull Cody B. Blair Shayne Sarafia Mazur Guernsey McKenzie Jean Romero Hillsdale Emily D. Keiter Hudson Noah Ryan Knell Jackson Neil Anderson Kasen C. Arriola Kyler Marvin Arriola Paige Asbell Spencer B. Berezay Benjamin J. Brown Nicole Collins Clara Daniele Delahaye Samantha Espinoza Uriel C. Felipe-Castro Colin Finlay Brayden Croft Gaston Sarah K. Greger Adeline Gayle Hart Sarah-Jane E. Huser Tania V. Jimenez Riley S. Liljestrom Analeise S. Mayor Yazmin Montiel Jamison L. Peacock Justin James Reppa Parker M. Rowe Samantha X. Smith Jamie V. Vargas Abigail Laurel Zuk Jelm Venice R. Sheehan Kaycee Elena J. Lompe Chesney Mae Malson Kelly Halie McGough Kemmerer Abby M. Brunski Louis S. Failoni Ty A. Hysell Shauna C. Jones Bailey Ann Schramm LaGrange Myre Pauls Mckenzie Ward Lander Allison N. Brown Taurey Rosenhahn Carr Caleb E. Cecrle Kayley Beth Hart Katrin Herden Alexandra Joy Jacobson Rachel P. Kauffman Maria Kulow Anne Peick Sydney Polson Danika R. Rohn Connor Wilkinson Madison Kristine Williams Laramie Luna V. Adelt Fadhel Alali Tija Allen Tara L. Andera Megan Andersen Clayton Anderson Bernat Andras Mackenzie C. Armijo Wil E. Atencio Oreoluwa Adeola Babatunde Rebekah K. Baggerly Cindy Franchesca Baker Nicolas Bard Mary Barnes Anna Beauvais Blaise L. Becker Jordan Elizabeth Becker Connor Beeston Mikayla L. Benson Amari Yvonne Bertagnolli Lonnie J. Besneatte Taylor Rene Bever Brett B. Bingham Mickelle Bisbee Raine L. Blanchard Joshua Blaney Jared L. Bloomston Serephine Bonnell Amanda L. Borders Megan Borders Emily Anne Brande Austynne Nicole Brenize Evan Harper Brewer Abigail S. Buchanan Samuel Bunn Lindsay C. Burr Annie Burton Christopher A. Bury Victoria Lynne Bustos Driskill Jenessa Marie Canen Nunzio Giorgio Gempis Carducci Megan E. Cartwright Helena Caspari Anthony G. Castano Olivia C. Cate Heather Elizabeth Chandler Krishna Sai Chemudupati Chris Chung Hang Cheng Kendal K. Chipperfield Kristina A. Clarson Lauren B. Collins Sabrina J. Considine Carlyn Fletcher Cook Patrick E. Corcoran Paloma Costa Heather L. Craig Jessica Crawford Erika Jade Crickon Brienna Marie Culnan Tyler J. Dahl Madison Rily Dale John Edward Deines Lihan Deng Erin Riley Dennis Riley E. Dimick Allison G. Dodds Ashley M. Dodds Sean J. Doherty Olivia L. 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Inghram Astrid Mercedes Iturbe Franzius Katrina Ivers Michael Ivers Adlynn Qistina Jamaludin Briley Mckenna James Cole G. James Cole Jensen Cora Jensen Connor Kasarda Ray J. Kenworthy Isaac M. Kern Isaiah Kiefer Michelle Kitchen Eva Koplin Ida Krause Jada Linn Kruse Luke Kwan Jessica Ann LaBozetta Jason G. Landen Shaun Kenneth Lappi Michael Aidan Lawton Vy Le Colby Limb Jordan P. Lindstrom Caroline C. Lockard Ryan Richard Lowe Blanca Daniela Luna Rocha Venkat Santosh Madhyanam Gabe P. Maldonado Weston Joseph Manor Clara Mansart Addison Rose Marr Alison B. Martin Carlee Michelle Martin Amber Martinez Alexandra I. Martino Maeve Rose McCaffrey Aaron McClellan Madison R. McConnell Jayden Cole McKay Kristyn Diane McKnight Maricris Cosejo McLane Ryan Thomas McManamen Brianna Reine McMaster Mary Mead Ashly Moeller Savanna Moore Zachary Moore Katelyn Elizabeth Moorman Matthew Anderson Moran Jacob Morgan Scott Palmer Mullin Lindsey Myers Benjamin Alan Nathan Sai Kit Ng Adam J. 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Conner Kaitlin Cunningham Emily A. Dayton Lena Kathleen Dechert Nicholas Shane Fenton Kate Blythe Gamble Kathryn Jean Hazlewood Rebekah L. Hutchison Mackenzie Kellner Shaylee L. Ketelhut Brook T. Thompson Kirstee Kaye Trees Robertson Britan M. Woody Rock Springs Steven Anselmi-Stith Erick Arellano Brittany L. Atkinson Alexis N. Bedard Sasha S. Bentley Ceejay M. Berg Joshua E. Bigley Cory Allyn Cordova Ashley Noel Dewey Carley N. Ebert James Matthew Fantin Chloe K. Garcia Jordan Renee Goldman Krista Ranae Heikes Chandler Craig Howe Alyssa M. Jordan Karina Kachnowski Karolina Rozalia Klatka Keeri Ann Klein Haley Kathleen LeFaivre Kristin D. McCrann Cheylynn Parker Lena Peacock Garret Michael Phillips Racheal Breanne Pinkham Aidan E. Propst Shad R. Sellers Kyra J. Seppie Sydney Shannon Deborah J. Smith Sydnye Karen Spicer Brooklynne D. Stauffer Amanda Mulan Verheydt Madeline O. Verheydt Maya Verheydt Fletcher Wadsworth Drew Anthony Yerkovich Bailey Young Rozet Andreana Kali Armstrong Anya Maddalena Blakemore Zoe G. Worthen Saratoga Bradley A. Bifano Aubrey Jennings Cheyanne Jordan Katie Nicole Loose Anthony J. Sandoval Thatcher Spiering Derek Walton Alicia Renee Zaragoza Shawnee Lane Chaput Shell Skylar A. Grant Sheridan Beknazar Y. Alikulov Brynn Bateman Colton Bates Kailee E. Becking Clara V. Bouley Cheyna Bradshaw Marissa L. Brenneman Gabriel Briggs Katelynn M. Brooks Cheyenne N. Buyert Kirby Coe-Kirkham Marissa G. Coon Kyle M. Custis Jennae L. Fieldgrove Kaycie Garner Lydia Rose Gilbert Gabrielle Rachel Golinvaux Kristin L. Grammens Patrick M. Hamilton Heather Joy Heath Alix Ann Marie Hegy Peyton Henry Emily Hooge Hailey Marrissa Jones Bhadshah Q. Khan Naveed Khan Joseph Klebba Amanda Lindberg Caige D. McComb Kaylin Mae McKinley Ryan T. Miller Monte David Monchamp Tyler Emery Myers Ashley A. Phillips Brendan R. Phipps Dakotah Price Nathan J. Roma Abraham L. Ross Jacqueline S. Ross Aeriana Nirel Roth Cassidy N. Solti Callie Christine Terrell Kayli R. Turlington Samuel D. Walker Tanner Caleb Warder Katherine R. Weitz Andrew White Shoshoni Katelyn Sims Jason Thoren Smoot McKenna M. Aullman Cassie J. Hunsaker Sundance Shelby Heaster Haley Grace Marchant Jonas Pridgeon Skyler L. Wagaman
5407	dbpedia	1	6	https://www.ask-oracle.com/birth-chart/simone-kennedy-doornbos/	en	Simone Kennedy-Doornbos Age, Birthday, Zodiac Sign and Birth Chart	https://www.ask-oracle.c…808509_Small.jpg	https://www.ask-oracle.c…808509_Small.jpg	[ "https://www.ask-oracle.com/charts_cache/birth-chart/s/1970/bcw_wheel_simone-kennedy-doornbos.png", "https://www.ask-oracle.com/charts_cache/birth-chart/s/1970/bcw_aspect_simone-kennedy-doornbos.png", "https://www.ask-oracle.com/charts_cache/birth-chart/s/1970/bc__simone-kennedy-doornbos_D1.png" ]	[]	[]	[ "" ]	null	[]	2010-06-25T09:37:49+00:00	Astrology details of Simone Kennedy-Doornbos such as age, birthday, zodiac sign, and natal chart. Analyze their birth chart and kundli to understand their personality and cause of death through astrology.	en	https://www.ask-oracle.c…04/favicon32.png	Ask Oracle	https://www.ask-oracle.com/birth-chart/simone-kennedy-doornbos/	Zodiac Sign (Western) Sagittarius Sunsign, Tropical Zodiac Zodiac Sign (Vedic) Leo Moonsign, Sidereal Zodiac Age (Today) 53 years, 7 months, 27 days Your next birthday is 125 days away. Birthday Saturday, December 19, 1970 Place of Birth Kampen Time Zone - Europe/Amsterdam (1:0 E) Chinese Zodiac Sign Dog (狗) Birth Number 1 Life Path Number 3 Name Number (Chaldean) 89 => 8 Name Number (Pythagorean) 3 Meaning of the name - Simone listener, God has heard Read Full Simone Name Analysis December 19, 1970 Facts Generation Group Simone Kennedy-Doornbos belongs to the Generation X group. Place of Birth: Kampen Place of Death: Cause of Death: Educated At: University of Amsterdam Occupation: travel agent \| biologist \| translator \| politician Spouses: James Kennedy Children: Employers: Awards Received: Astrology Analysis Western Astrology Chart North Indian Kundli Ephemeris for December 19, 1970 Note: Moon position is location and time sensitive. Planet Position (Tropical, Western) Transits on December 19, 2023 Secondary Progressions for December 19, 2023 Sun 27 Sagittarius 8 27 Sagittarius 16 21 Aquarius 3 Moon 11 Virgo 43 23 Pisces 2 22 Leo 27 Mercury 14 Capricorn 5 4 Capricorn 56 3 Aquarius 54 Venus 15 Scorpio 46 17 Scorpio 27 5 Capricorn 20 Mars 8 Scorpio 6 18 Sagittarius 4 11 Sagittarius 31 Jupiter 24 Scorpio 59 5 Taurus 47 3 Sagittarius 48 Saturn 16 Taurus 43 2 Pisces 12 16 Taurus 28 Uranus 13 Libra 12 19 Taurus 44 13 Libra 22 Neptune 1 Sagittarius 34 24 Pisces 56 2 Sagittarius 55 Pluto 29 Virgo 39 28 Capricorn 58 29 Virgo 16 Rahu 26 Aquarius 37 21 Aries 32 23 Aquarius 48 Ketu 26 Leo 37 21 Libra 32 23 Leo 48 More For Sagittarius Free Horoscopes Love Compatibility Personality Traits Sagittarius Man Sagittarius Woman Chandra Kundali (Equal House, North Indian Diamond Chart) Astrology Transits Analysis for Year 2024 Note: Multiple transits occurring in close proximity often signify a major event in a person's life. Simone Kennedy-Doornbos's 2024 Transits to Natal Planets Mars conjunction Sun Exact: 01 January, 2024 Jupiter opposition Mars Exact: 10 February, 2024 Jupiter trine Moon Exact: 01 March, 2024 Saturn opposition Moon Exact: 21 March, 2024 Jupiter opposition Venus Exact: 21 March, 2024 Jupiter trine Mercury Exact: 21 March, 2024 Jupiter conjunction Saturn Exact: 31 March, 2024 Mars aspects Mars Exact: 10 May, 2024 Saturn sextile Saturn Exact: 10 May, 2024 Mars aspects Venus Exact: 20 May, 2024 Mars opposition Mars Exact: 19 June, 2024 Mars square Moon Exact: 08 August, 2024 Saturn sextile Saturn Exact: 18 August, 2024 Mars aspects Rahu Exact: 27 October, 2024 Saturn opposition Moon Exact: 16 November, 2024