document_title: 30 Days of Night (film)

question_text: where was the movie 30 days of night filmed

text: 30 Days of Night (film)

text: Plot[edit]

text: The town of Barrow, Alaska is preparing for its annual "30 Days of Night", a period during the winter when there is a month-long polar night. As the town gets ready, a stranger (Ben Foster) rows ashore from a large ship and sabotages the town's communications and transport to the outside world. Barrow's sheriff, Eben Oleson (Josh Hartnett) investigates and also learns that his estranged wife, Stella (Melissa George), missed the last plane and must stay the 30 days. That night, a coven of feral vampires, led by Marlow (Danny Huston), attack and slaughter most of the townspeople, forcing Eben, Stella, Eben's younger brother Jake (Mark Rendall), and several other survivors to take shelter in a boarded-up house with a hidden attic. Marlow finds the stranger locked up in the station. The stranger believed Marlow was going to turn him into a vampire. Marlow thanks him for doing what he asked, and then snaps his neck. Marlow ironically comments to his fellow vampires: "The things they believe."

text: Eighteen days later, when a blizzard hits, the group uses the whiteout to go to the general store for supplies, but are stranded after it ends. While the group heads for the station, Eben creates a diversion by having the vampires chase him to his grandmother's house, where he uses one of her ultraviolet lights to burn the face of Marlow's lover, Iris (Megan Franich), so badly that Marlow is forced to kill her. As he escapes, the town snow plow operator, Beau (Mark Boone Junior), creates another distraction with his tractor, killing many of the vampires, before trying to blow himself up; when he fails, Marlow crushes his head. Eben arrives at the station, where he is then forced to kill Carter (Nathaniel Lees), who has been bitten and is turning into a vampire.

text: Two weeks later, Stella and Eben see the deputy, Billy (Manu Bennett), signaling them with a flashlight and bring him back to the station, after finding out he killed his family to save them from a more painful death. The trio find the others have made for the utilidor, a power and sewage treatment station that still has power, and head over there but are separated after Stella saves Gail Robbins (Rachel Maitland-Smith), a young girl whose family was slaughtered by a vampire named Zurial (John Rawls) who was stalking her. Eben and Billy make it to the utilidor but are attacked by Arvin (Andrew Stehlin), who bites Billy; Billy knocks Arvin into the heavy-duty shredder, and in doing so, painfully grinds his own hand to a stump by accident, before being killed by Eben because he is starting to turn.

text: As the month comes to an end, with the sun due to rise, the vampires start to burn down the town to destroy evidence of their presence, and prevent any survivors from telling the world what happened. Realizing Stella is trapped and that he cannot beat the vampires in his current state, Eben turns himself into a vampire by injecting himself with Billy's infected blood. He confronts Marlow, and they get into a vicious fight, before Marlow is finally killed by having a hole punched through his head, causing the remaining vampires to flee. Knowing he will die soon, Eben and Stella go off to watch the sunrise together, sharing one last kiss. As the sun comes up, Eben's body burns to ash in Stella's arms, while she stares at the sky, coming to grips with what has happened.

text: Cast[edit]

text:
Josh Hartnett as Sheriff Eben Oleson
Melissa George as Stella Oleson
Danny Huston as Marlow
Ben Foster as The Stranger
Mark Boone Junior as Beau Brower
Mark Rendall as Jake Oleson
Amber Sainsbury as Denise
Manu Bennett as Deputy Billy Kitka
Megan Franich as Iris
Joel Tobeck as Doug Hertz
Elizabeth Hawthorne as Lucy Ikos
Nathaniel Lees as Carter Davies
Craig Hall as Wilson Bulosan
Chic Littlewood as Isaac Bulosan
Peter Feeney as John Riis
Andrew Stehlin as Arvin
John Rawls as Zurial
Jared Turner as Aaron
Kelson Henderson as Gabe
Pua Magasiva as Malekai Hamm
Grant Tilly as Gus
Rachel Maitland-Smith as Gail
Kate Elliott as Dawn
Jacob Tomuri as Seth

text: Production[edit]

text: Development[edit]

text: 30 Days of Night author Steve Niles conceived of the story in the form of a comic, but—after meeting a lack of interest in initial pitches—tried to pitch it as a film. When this did not work out, Niles shelved the idea until he showed it to IDW Publishing. IDW published the comic and Ben Templesmith provided the artwork.[3] When Niles and his agent, Jon Levin, shopped the comic around again as a potential film adaptation, Niles found that the idea "went shockingly well," with Sam Raimi and Senator International picking up the property rights based on the original concept and Templesmith's unique mood and concepts for the vampires.[4]

text: According to Raimi, the potential project was "unlike the horror films of recent years".[5]

text: Following the publication of the 30 Days of Night comic book miniseries in 2002, studios, including DreamWorks, MGM and Senator International, bid in the $1 million range for rights to a potential vampire film based on the story. Raimi expressed interest in adapting the miniseries and was negotiating a production deal with his producing partner Robert Tapert to establish a label with Senator Entertainment, of which Senator International is the sales division.[6] In July 2002, Senator International acquired the rights for 30 Days of Night in a seven-figure deal with Raimi and Tapert attached as producers.

text: By October 2002, Niles was working on adapting 30 Days of Night for the big screen, keeping the film true to the miniseries, though fleshing out the characters more significantly in the adaptation process.[7] In February 2003, Columbia Pictures partnered with Senator International to work on 30 Days of Night, which was developing under Senator International's newly established production company, Ghost House Pictures. Mike Richardson, the Dark Horse Comics publisher who supported the adaptation project from the beginning, after having turned down an offer to initially publish the project, was attached as executive producer.[8] The following March, Richardson revealed that Steve Niles had turned in the initial draft for the 30 Days of Night screenplay.[9] In March 2004, however, Columbia Pictures requested that Niles's initial screenplay to be rewritten in preparation for production.[10] Sue Binder, the business manager of Ghost House Pictures, indicated that filming for 30 Days of Night was still at least a year away, as Ghost House planned to produce three films before the vampire thriller.[10] The following May, Stuart Beattie, one of the writers for Pirates of the Caribbean: The Curse of the Black Pearl, was rewriting Niles' 30 Days of Night draft for production.[11] Niles was pleased with Beattie's faithfully rewritten script, which was submitted to the studio in October 2004.[12]

text: In September 2005, it was announced that director David Slade had signed on to 30 Days of Night, which would be distributed by Columbia Pictures mainly in North America and Mandate Pictures in international territories.[13] In March 2006, Slade revealed that screenwriter Brian Nelson, who wrote the screenplay for Slade's previous film Hard Candy, was writing a new draft of the 30 Days of Night script, replacing Beattie's draft.[14] The director said that filming would begin in summer 2006 in Alaska and New Zealand.[14]

text: Casting[edit]

text: In June 2006, it was announced that Josh Hartnett was cast as the husband of the married couple that serves as the town's sheriff team. Some criticized the choice because the main character (Eben Olemaun, with the last name changed to Oleson for the motion picture adaption) was originally Inuit in the comics.[15] Melissa George joined the 30 Days of Night cast as the wife of Hartnett's character.[16] Danny Huston joined the cast as the leader of the vampires.[17]

text: Filming[edit]

text: Filming did not begin immediately, but in a September 2006 interview, executive producer Mike Richardson said that 30 Days of Night would be shot on 35 mm film, though there had been discussion to shoot the film on Genesis.[18] In an interview prior to filming, Slade explained that the illustrations of the graphic novel's illustrator, Ben Templesmith, would be reflected in production design. Slade also considered Nelson's draft to be the most faithful to the graphic novel. He also stated his intention to make a "scary vampire film", of which he didn't think there were many. "The rest of them, they fall into all kinds of traps. We're going to try to do our best... and one of the ways we have to do it is be more naturalistic than the graphic novel, because it's very over-the-top," said Slade.[19] There was also concern expressed that while the vampires needed to communicate, talking might lessen the effect. To counter this, a fictional vampire language, with click consonants, was constructed with the help of a professor of linguistics and the nearby University of Auckland. Slade explained "we designed this really simple language that didn't sound like any particular accent that you would be aware of, that was based around really simple actions, eating, hunting, yes, no, really basic, because that's what vampires do."[20]

text: Post-production[edit]

text: By February 2007, the production phase was completed, and a rough cut of the film was prepared.[21] In April, composer Brian Reitzell was hired to score the film.[22]

text: Music[edit]

text: Brian Reitzell composed the film's score. A soundtrack was released by Invada Records, with an artwork by Marc Bessant in summer 2015 on Vinyl.[23]

text: Novelization[edit]

text: To coincide with the film's release, a novelization by Tim Lebbon was published by Pocket Star on September 25, 2007.[24] It is one of six novels based on the franchise.

text: Tim Lebbon (September 25, 2007). 30 Days of Night (Mass Market Paperback). Novelization of the film. Pocket Star. ISBN 978-1-4165-4497-5.

text: Release[edit]

text: Box office[edit]

text: 30 Days of Night was released in 2,855 cinemas in the United States and Canada on October 19, 2007. In its opening weekend, the film grossed $15,951,902,[2] placing first in the box office.[25] The film grossed $39,568,996 in the United States and Canada and $35,735,361 overseas. It has grossed $75,304,357 worldwide.[2]

text: Critical reception[edit]

text: This section needs expansion. You can help by adding to it. (February 2016)

text: On the review aggregation site Rotten Tomatoes, the film has a 51% score based on 157 reviews, with an average rating of 5.6/10. The site's consensus states: "While 30 Days of Night offers a few thrills, it ultimately succumbs to erratic execution."[26] Metacritic reports a score of 53 out of 100 from 29 reviews, considered to be mixed or average reviews.[27] Roger Ebert gave the film 2.5 stars out of a possible 4. He criticized several plot holes, such as the vampires moving with supernatural speed in some attacks but ponderous slowness in others, but also singled out Danny Huston for being "quite convincing" as the vampire leader and summed up the film as "well-made, well-photographed and plausibly acted, and is better than it needs to be."[28]

text: Home media[edit]

text: 30 Days of Night was released February 26, 2008 on DVD, Blu-ray, and UMD for PlayStation Portable in the United States. DVD sales brought in $26,949,780 in revenue, from 1,429,600 sold DVD units. This does not include Blu-ray sales.[29] The DVD is a single disc and includes eight featurettes, one of which is a full episode of the anime Blood+. The UK Region 2 release is a two disc special edition, released in April 2008. Despite being exactly the same as the theatrical release, the BBFC reclassified the film from a 15 to an 18. Even though it still only has the eight featurettes on the second disc, it includes a bonus 30 Days of Night graphic novel.

text: Sequel[edit]

text: A straight-to-DVD sequel entitled Dark Days was released on October 5, 2010.[30] The script for the sequel was written by Steve Niles and Ben Ketai with Ketai also positioned as director. When filming began on October 20, 2009, Rhys Coiro and Mia Kirshner were named as leads, with Kirshner playing the lead vampire villain Lilith.[31] Other cast named included Harold Perrineau, Kiele Sanchez, Diora Baird, Rhys Coiro, and Monique Ganderton.[32] Three days after filming began, Niles revealed that Kiele Sanchez replaced Melissa George in the role of Stella Oleson.[33] The sequel was produced on a lower budget, but being straight-to-video allowed the writers to more closely follow the comic book.[34]


document_title: List of books written by children or teenagers

question_text: who wrote a bestselling book at 8 years old

root

text: This is a list of notable books by young authors and of books written by notable writers in their early years. These books were written, or substantially completed, before the author's twentieth birthday. The list is arranged alphabetically by author.

tag: p

text:
Alexandra Adornetto (born 1993) wrote her debut novel, The Shadow Thief, when she was 13. It was published in 2007. Other books written by her as a teenager are: The Lampo Circus (2008), Von Gobstopper's Arcade (2009), Halo (2010) and Hades (2011).
Jorge Amado (1912–2001) had his debut novel, The Country of Carnival, published in 1931, when he was 18.
Daisy Ashford (1881–1972) wrote The Young Visiters while aged 9. This novella was first published in 1919, preserving her juvenile punctuation and spelling. An earlier work, The Life of Father McSwiney, was dictated to her father when she was 4. It was published almost a century later in 1983.
Amelia Atwater-Rhodes (born 1984) had her first novel, In the Forests of the Night, published in 1999. Subsequent novels include Demon in My View (2000), Shattered Mirror (2001), Midnight Predator (2002), Hawksong (2003) and Snakecharm (2004).[1]
Marjorie Bowen (1885–1952) wrote the historical novel The Viper of Milan when she was 16. Published in 1906 after several rejections, it became a bestseller.
Oliver Madox Brown (1855–1874) finished his novel Gabriel Denver in early 1872, when he was 17. It was published the following year.
Pamela Brown (1924–1989) finished her children's novel about an amateur theatre company, The Swish of the Curtain (1941), when she was 16 and later wrote other books about the stage.[2]
Flavia Bujor (born 1988) wrote The Prophecy of the Stones (2002) when she was 13.
Taylor Caldwell's The Romance of Atlantis was written when she was 12.
Félix Francisco Casanova (1956–1976), Le Don de Vorace, was published in 1974.
Hilda Conkling (1910–1986) had her poems published in Poems by a Little Girl (1920), Shoes of the Wind (1922) and Silverhorn (1924).
Abraham Cowley (1618–1667), Tragicall History of Piramus and Thisbe (1628), Poetical Blossoms (published 1633)
Maureen Daly (1921–2006) completed Seventeenth Summer before she was 20. It was published in 1942.
Juliette Davies (born 2000) wrote the first book in the JJ Halo series when she was 8 years old. The series was published the following year.
Samuel R. Delany (born 1942) published his The Jewels of Aptor in 1962.
Patricia Finney's A Shadow of Gulls was published in 1977 when she was 18. Its sequel, The Crow Goddess, was published in 1978.
Ford Madox Ford (né Hueffer) (1873–1939) included in his teenage works The Brown Owl, The Shifting of the Fire (with Joseph Conrad) and The Feather, all first published in 1892.
Anne Frank (1929–1945) wrote her diary for two-and-a-half years starting on her 13th birthday. It was published posthumously as Het Achterhuis in 1947 and then in English translation in 1952 as Anne Frank: The Diary of a Young Girl. An unabridged translation followed in 1996.
Alec Greven's How to Talk to Girls was published in 2008 when he was 9 years old. Subsequently he has published How to Talk to Moms, How to Talk to Dads and How to Talk to Santa.
Faïza Guène (born 1985) had Kiffe kiffe demain published in 2004, when she was 19. It has since been translated into 22 languages, including English (as Kiffe Kiffe Tomorrow).
Alex and Brett Harris wrote the best-selling book Do Hard Things (2008), a non-fiction book challenging teenagers to "rebel against low expectations", at age 19. Two years later came a follow-up book called Start Here (2010).
Georgette Heyer (1902–1974) had The Black Moth published when she was 19.
Susan Hill (born 1942), The Enclosure, published in 1961.
S. E. Hinton (born 1948), The Outsiders, first published in 1967.
Palle Huld (1912–2010) wrote A Boy Scout Around the World (Jorden Rundt i 44 dage) when he was 15, following a sponsored journey around the world.
George Vernon Hudson (1867–1946) completed An Elementary Manual of New Zealand Entomology at the end of 1886, when he was 19,[3] but not published until 1892.
Katharine Hull (1921–1977) and Pamela Whitlock (1920–1982) wrote The Far-Distant Oxus, a British children’s novel in 1937, followed in 1938 by Escape to Persia and in 1939 by Oxus in Summer.
Gordon Korman (born 1963), This Can't Be Happening at Macdonald Hall (1978), three sequels, and I Want to Go Home (1981).
Matthew Gregory Lewis (1775–1818) wrote the Gothic novel The Monk, now regarded as a classic of the genre, before he was twenty. It was published in 1796.
Nina Lugovskaya (1918–1993), a painter, theater director and Gulag survivor, kept a diary in 1932–37, which shows strong social sensitivities. It was found in the Russian State Archives and published 2003. It appeared in English in the same year,[4]
Joyce Maynard (born 1953) completed Looking Back while she was 19. It was first published in 1973.
Helen Oyeyemi (born 1984) completed The Icarus Girl while still 18. First published in 2005.
Christopher Paolini (born 1983) had Eragon, the first novel of the Inheritance Cycle, first published 2002.
Emily Pepys (1833–1877), daughter of a bishop, wrote a vivid private journal over six months of 1844–45, aged ten. It was discovered much later and published in 1984.[5]
Anya Reiss (born 1991) wrote her play Spur of the Moment when she was 17. It was both performed and published in 2010, when she was 18.
Arthur Rimbaud (1854–1891) wrote almost all his prose and poetry while still a teenager, for example Le Soleil était encore chaud (1866), Le Bateau ivre (1871) and Une Saison en Enfer (1873).
John Thomas Romney Robinson (1792–1882) saw his juvenile poems published in 1806, when he was 13.[6]
Françoise Sagan (1935–2004) had Bonjour tristesse published in 1954, when she was 18.
Mary Shelley (1797–1851) completed Frankenstein; or, The Modern Prometheus during May 1817, when she was 19. It was first published in the following year.
Mattie Stepanek (1990–2004), an American poet, published seven best-selling books of poetry.
Anna Stothard (born 1983) saw her Isabel and Rocco published when she was 19.
Jalaluddin Al-Suyuti (c. 1445–1505) wrote his first book, Sharh Al-Isti'aadha wal-Basmalah, at the age of 17.
John Kennedy Toole (1937–1969) wrote The Neon Bible in 1954 when he was 16. It was not published until 1989.
Catherine Webb (born 1986) had five young adult books published before she was 20: Mirror Dreams (2002), Mirror Wakes (2003), Waywalkers (2003), Timekeepers (2004) and The Extraordinary and Unusual Adventures of Horatio Lyle (February 2006).
Nancy Yi Fan published her debut Swordbird when she was 12. Other books she published as a teenager include Sword Quest (2008) and Sword Mountain (2012).

tag: ul


document_title: Power play (sporting term)

question_text: what does a power play do in hockey

question_tokens: what does a power play do in hockey

text: Power play (sporting term)

text: Temporary numerical advantage in players during a team sport[edit]

text: In several team sports, situations arise where following a rules infraction, one team is penalized by having the number of players on the field of play temporarily reduced. The term power play is commonly applied to the state of advantage the unpenalized team enjoys during this time. Specialized tactics and strategies can apply while a team is on the power play.

text: Ice hockey[edit]

text: In ice hockey, a team is said to be on a power play when at least one opposing player is serving a penalty, and the team has a numerical advantage on the ice (whenever both teams have the same number of players on the ice, there is no power play). Up to two players per side may serve in the penalty box, giving a team up to a possible 5-on-3 power play. If a goaltender commits a foul, another player who was on the ice at the time of the penalty serves.[1]

text: There are two types of penalties that can result in a power play for the non-offending team: minor (two minutes) and major (five minutes). For such penalties, the offending player is ruled off the ice and no substitute for the penalized player is permitted. A power play resulting from a minor penalty ends if the team with more players on the ice scores. If the penalty is instead a double minor, a goal scored by the team with advantage ends the first minor penalty, so that 2 goals by the team with more players are needed to end the power play. If a player is given a major penalty (five minute duration), a power play occurs, but if the team on the power play scores, the penalty is not ended, except if the goal is scored in overtime, as this ends the game. Major penalties only end when five minutes have elapsed or the game has ended. If a team is still on a power play at the end of a regulation period, or at the end of a playoff overtime period, the power play will continue into the following period. "Misconduct" penalties (10 minutes in duration), and "game misconduct" penalties (offending player is ejected for the balance of the game) allow for substitution of the offending player, so do not result in power plays.[2] However in practice, misconduct and game misconduct penalties are often assessed in addition to a major or minor penalty. A "match" penalty results in the offending player being ejected for the balance of the game and a 5-minute power play for the non-offending team. The power play does not end if the advantaged team scores a goal, identical to major penalties.

text: A goal scored by the short-handed team during a power play is called a short-handed goal; However, a short-handed goal does not affect the power play, the short-handed team must still serve the duration of the minor penalty. If a power play ends without a goal against the shorthanded team, it is said to have killed the penalty. If a team scores on the power play, it is said to have converted the power play (that is, converted the opportunity into a goal).

text: During a power play, the shorthanded team may launch the puck to the opposite end of the rink, and play will continue; icing is not called.

text: Lacrosse[edit]

text: In box lacrosse, a power play is very similar to ice hockey, with two-minute minor penalties and five-minute majors. In field lacrosse, a similar type of penalty situation exists, though the duration of the penalty is only 30 seconds for technical fouls, one minute or more for personal fouls, and up to 3 minutes for certain equipment infractions. Depending on the infraction, the penalty may "release" early if a goal is scored by the other team, or may be "non-releasable", meaning the full duration must be served. The term "power play" isn't used in field lacrosse, but called "extra man offense" (EMO) or "man up" for the team fouled and "man down" for the offending team.[3]

text: Muggle Quidditch[edit]

text: In quidditch, a power play arises when a member of the opposing team is given a yellow or red card. A player under penalty of yellow is given one minute within the penalty box or until the other team scores.[4] If a player is granted a red card, another player must be substituted in the original's stead and must wait in the penalty box for two minutes (even if the other team scores). A player's second yellow becomes a red card. If the keeper is penalised, a chaser must be given the keeper headband and becomes the keeper in that player's place for a team can never be missing a keeper.

text: Analogous concepts not generally referred to as a "power play"[edit]

text:
In water polo. a shorter version of the ice hockey or lacrosse penalty situation exists as well. It is referred to as "man up" or "man down".
In futsal there exists a situation which is essentially a power play. When a player is shown a red card and is thus ejected from the game, the penalized team must play short-handed for two minutes, similar to ice hockey. If a goal is scored, the team returns to full strength.
In other forms of indoor soccer, usually played in the United States, there also exists a power play situation similar to ice hockey.
In indoor American football, the 1988 proposed World Indoor Football League had intended to establish a perpetual power play, in which the offense would always have one man more on the field than the defense.
In rugby union, a player who is shown a yellow card is ruled off the field of play for a period of ten minutes (two minutes in the seven-a-side variation). The player may not be replaced, therefore his team must play one player short while s/he is off the field. The temporary sending-off is usually called a "sin binning".

text: Other uses of "power play"[edit]

text: Netball[edit]

text: Several variant formats of netball introduce the concept of a power play, a designated quarter where all goals scored by a team are worth twice as normal:

text:
In the original fastnet format, when a team uses it in a quarter, all goals scored by that team are worth twice as normal. This means that if a shooter (Goal Shooter or Goal Attack) scores a goal outside the goal circle, the goal is worth 4 goals instead of 2. It is also possible for both teams to use their power play in the same quarter.
In the current fast5 format, when a team uses it in a quarter, all goals scored by that team are worth twice as normal. A shooter that scores a goal within 3.5 meters from the goal post scores two points instead of one. Four points (instead of two) if the goal was scored at least 3.5 meters away from the goal post but within the goal circle. If the goal was scored from outside of the goal circle (known as a super goal), six points is scored instead of three. The winner of the coin toss chooses which quarter to have this power play and the other team must choose a different quarter for their power play. This prevents both teams from having their power plays in the same quarter.

text: Cricket[edit]

text: A powerplay is a feature introduced into One Day International (ODI) cricket in 1991 concerning fielding restrictions. It is intended to add to the excitement. In a powerplay, restrictions are applied on the fielding team: only 2 or 3 players are allowed outside the 30-yard circle (which depends upon the type of powerplay). There are two powerplays in an ODI cricket innings starting from 30 October 2012.

text: Power Snooker[edit]

text: In Power Snooker, this arises when a player pots the power ball. This triggers a period of time whereby all points scored are doubled.

text: Roller Derby[edit]

text: Commonly known as a "power jam", a power play occurs in roller derby when a team's designated scoring skater (jammer) is serving a penalty.

text: Curling[edit]

text: In the mixed doubles version of curling, a rule called a power play was introduced in the 2016-17 season. Each team can exercise the power play in one end per game, only when they have the hammer (throwing the last rock in an end). Instead of positioning the rock in the house on the center line, it is placed to a position straddling the edge of the eight-foot circle, with the back edge of the stone touching the tee line. The opponent's guard stone is place in line with the stone in the house and the hack. The power play cannot be used in an extra end.[5]


document_title: United States Marine Corps rank insignia

question_text: what is the highest enlisted rank in the marines

text: Commissioned officers[edit]

text: Commissioned officers are distinguished from other officers by their commission, which is the formal written authority, issued in the name of the President of the United States, that confers the rank and authority of a Marine Officer. Commissioned officers carry the "special trust and confidence" of the President of the United States.[1] Commissioned officer ranks are further subdivided into general officers, field-grade officers, and company-grade officers. The highest billets in the Marine Corps, the Commandant of the Marine Corps and the Assistant Commandant of the Marine Corps are, by statute, four-star ranks, as the Marine Corps is a separate naval service under the Department of the Navy.[2]

text:
Officer
Company-grade officers
Field-grade officers
General officers

Title
(Abbreviation)
Second lieutenant
(2ndLt)
First lieutenant
(1stLt)
Captain
(Capt)
Major
(Maj)
Lieutenant colonel
(LtCol)
Colonel
(Col)
Brigadier general
(BGen)
Major general
(MajGen)
Lieutenant general
(LtGen)
General
(Gen)

US DoD Pay Grade
O-1
O-2
O-3
O-4
O-5
O-6
O-7
O-8
O-9
O-10

NATO Code
OF-1
OF-2
OF-3
OF-4
OF-5
OF-6
OF-7
OF-8
OF-9

Insignia

Marine Service Uniform Insignia

tag: table

text: "Tombstone promotions" [edit]

text: The Act of Congress of March 4, 1925, allowed officers in the Navy, Marine Corps, and Coast Guard to be promoted one grade upon retirement if they had been specially commended for performance of duty in actual combat. Combat citation promotions were colloquially known as "tombstone promotions" because they conferred all the perks and prestige of the higher rank including the loftier title on their tombstones but no additional retirement pay. The Act of Congress of February 23, 1942, enabled tombstone promotions to three- and four-star grades. Tombstone promotions were subsequently restricted to citations issued before January 1, 1947, and finally eliminated altogether effective November 1, 1959. The practice was terminated in an effort to encourage senior officer retirements prior to the effective date of the change to relieve an overstrength in the senior ranks.

text: Any officer who actually served in a grade while on active duty receives precedence on the retirement list over any tombstone officer holding the same retired grade. Tombstone officers rank among each other according to the dates of their highest active duty grade.[3]

text: Warrant officers[edit]

text: Warrant Officers provide leadership and training in specialized fields and skills. Unlike other nations' militaries (which rank warrant officers as Staff NCO equivalents), the United States military confers warrants and commissions on its Warrant Officers and classifies them into a separate category senior to all enlisted grades of rank (including officer candidates), cadets, and midshipmen. As Warrant Officers are officer-level technical specialists they generally do not exercise command outside of their specialty. Warrant officers come primarily from the Staff Non-Commissioned Officer (SNCO) ranks.

text: A Chief Warrant Officer, CWO2–CWO5, serving in the MOS 0306 "Infantry Weapons Officer" carries a special title, "Marine Gunner," which does not replace his rank. A Marine Gunner replaces the Chief Warrant Officer insignia on the left collar with a bursting bomb insignia. Other warrant officers are sometimes informally referred to as "Gunner."

text:
Warrant Officers

Infantry Weapons Officer
"Marine Gunner"
Warrant Officer
(WO)
Chief Warrant Officer-2
(CWO2)
Chief Warrant Officer-3
(CWO3)
Chief Warrant Officer-4
(CWO4)
Chief Warrant Officer-5
(CWO5)

US DoD Pay Grade
W-1
W-2
W-3
W-4
W-5

NATO Code
WO-1
WO-2
WO-3
WO-4
WO-5

text: Enlisted[edit]

text: Enlisted Marines with paygrades of E-4 and E-5 are non-commissioned officers (NCOs) while those at E-6 and higher are Staff Noncommissioned Officers (SNCOs).[4] The E-8 and E-9 levels each have two ranks per pay grade, each with different responsibilities. Gunnery Sergeants (E-7) indicate on their annual evaluations (called "fitness reports") their preferred promotional track: Master Sergeant or First Sergeant. The First Sergeant and Sergeant Major ranks are command-oriented Senior Enlisted Advisors, with Marines of these ranks serving as the senior enlisted Marines in a unit, charged to assist the commanding officer in matters of discipline, administration, and the morale and welfare of the unit. Master Sergeants and Master Gunnery Sergeants provide technical leadership as occupational specialists in their specific MOS. First Sergeants typically serve as the senior enlisted Marine in a company, battery, or other unit at similar echelon, while Sergeants Major serve the same role in battalions, squadrons, or larger units.[5]

text: The Sergeant Major of the Marine Corps is a billet and with it carries a special rank insignia, conferred on the senior enlisted Marine of the entire Marine Corps, personally selected by the Commandant of the Marine Corps.[6] It and the Marine Gunner are the only billets which rate modified rank insignia in place of the traditional rank insignia.[citation needed]

text:
Enlisted
Junior enlisted
Non-commissioned officers (NCOs)
Staff non-commissioned officers (SNCOs)

Title
(Abbreviation)
Private
(Pvt)
Private first class
(PFC)
Lance corporal
(LCpl)
Corporal
(Cpl)
Sergeant
(Sgt)
Staff sergeant
(SSgt)
Gunnery sergeant
(GySgt)
Master sergeant
(MSgt)
First sergeant
(1stSgt)
Master gunnery sergeant
(MGySgt)
Sergeant major
(SgtMaj)
Sergeant Major of the Marine Corps
(SMMC)

US DoD Pay Grade
E-1
E-2
E-3
E-4
E-5
E-6
E-7
E-8
E-9

NATO Code
OR-1
OR-2
OR-3
OR-4
OR-5
OR-6
OR-7
OR-8
OR-9

Insignia
no insignia

text: Different styles of rank insignia are worn on different Marine uniforms:

text: The gold stripes on red flash are worn on the Dress Blue uniform coat, green stripes on red flash are worn on the Service uniform coat; the rank insignia are worn on the upper sleeve of both blouses. The khaki uniforms use green stripes on khaki flash, and again are worn on the upper sleeves of both long and short-sleeved service blouses. Utility uniform rank insignia are black metal pins and are worn on the collars, or black embroidered insignia sewn into patches of material when wearing a flak. Musicians in the United States Marine Band wear insignia with lyre in the center as opposed to the crossed rifles, to denote their lack of a combat mission; full-service Marines who are attached to the 10 field bands of the Operating Forces and Supporting Establishment continue to wear their normal rank insignia.[7]

text: Forms of address[edit]

text: Marines address all enlisted personnel by rank, and all commissioned officers with "sir" or "ma'am". Warrant officers, regardless of rank, are addressed just as commissioned officers are, but may also be addressed as "Warrant Officer" or "Gunner", although the latter is sometimes considered improper unless the officer is an Infantry Weapons Officer (MOS 0306). During recruit training, recruits are indoctrinated to address all superiors as "sir" or "ma'am". Addressing a commissioned officer (or any rank) as "Mister" has long been considered a grievous insult towards the individual. The most junior ranks between pay grades E-1 and E-3 (privates, privates first class, and lance corporals) are commonly referred to by their last name only, using their rank only in a formal situation. "Marine" is also a common form of address for junior Marines.

text: During recruit training, recruits are not Marines until they graduate, and must address all Marines who have completed recruit training, including instructors, as "sir" or "ma'am". Incoming recruits must also refer to themselves in the third person (i.e., "this recruit"), and their rank is replaced with the word "Recruit". This continues until the last week of bootcamp, when recruits must pass the final, grueling test of the "Crucible" in order to earn both their Eagle, Globe, and Anchor and the title of "Marine." Likewise, during officer training, officer candidates are not yet commissioned Marine officers, and must refer to themselves as "this candidate" or "the candidate", even though some officer candidates may hold an enlisted rank. During Officer Candidate School, each candidate is referred to as "candidate" and not "Marine." Unlike their enlisted counterparts, officer candidates refer to enlisted Marines, including their instructors, by their full and proper rank; only commissioned officers are addressed as "sir" or "ma'am".

text: To reinforce the leadership responsibility of the rank or to show an extra measure of respect, it is common to add the words "of Marines" after the rank itself; i.e. "Corporal of Marines" and "Sergeant of Marines." This verbiage comes straight from the USMC noncommissioned officer promotion warrants.

text: Informally, some enlisted ranks have commonly used nicknames, though they are not official and may be improper for use in formal situations. The acceptability of nickname use by juniors is at the discretion of the individual rank holder. A gunnery sergeant is typically called "Gunny" and occasionally "Guns", or very rarely, “Gunther”. A master sergeant is commonly called "Top", and a master gunnery sergeant is "Master Gunny" or "Master Guns", or, very rarely, “Master Gunther”. Differing from the Army and Air Force, all ranks containing "sergeant" are always addressed by their full rank and never shortened to simply "Sergeant" or "Sarge". A private first class is usually referred to as a PFC, instead of simply "private"; similarly, Lance Corporal is not shortened to "Corporal". Senior officers may informally address junior officers by their first name. Marines of the same rank may also address each other by their first names when among peers only and never in the presence of junior or senior Marines.

text: Finally, Marines consider it a grievous insult to be called a "soldier", as soldier is an army-specific appellation, except in the Marine Corps nom de guerre "Soldier(s) of the Sea" or its variation "Sea Soldier(s)" and in the highly generic sense of referring to any member of the military, especially those members performing ground combat missions such as Navy SEALs and Air Force special operations and Security Forces personnel. Additionally, while Marines often are collectively called "troops", it is never appropriate to address Marines individually or collectively as either a "troop" or "trooper(s)", as these terms are only properly used by the Army (originally in cavalry units but in modern use extended to armor and airborne or air assault units) and US state police forces; the proper term is always Marine. When writing journalistic or scholarly references to the Marine Corps, its elements, and individual Marines, the correct attribution is Marine(s).

text: Traditions[edit]

text: Marines have multiple traditions surrounding their rank insignia. When Marines are promoted, the promoting officer at the ceremony may give the promotee the opportunity to select one or two individuals present (such as a mentor or family member) to pin the new rank on the collar of the utility uniform. It is customary for the newly promoted Marine to hand down the old insignia from his or her former rank to a junior who shows leadership potential. It is considered an honor to be promoted with chevrons previously worn by a mentor. At annual rifle or pistol qualification, shooters who achieve expert scores sometimes remove their rank insignia from their shooting shoulder and give it to their Combat Marksmanship Coach to show appreciation for their assistance during the practice days. The coach may then pin the rank to his or her assault pack. A coach's assault pack may display many insignia of a variety of ranks.


document_title: Frequency

question_text: give the definition of the frequency of a wave

text: Frequency

text: Definitions[edit]

text:
For cyclical processes, such as rotation, oscillations, or waves, frequency is defined as a number of cycles per unit time. In physics and engineering disciplines, such as optics, acoustics, and radio, frequency is usually denoted by a Latin letter f or by the Greek letter

ν

{\displaystyle \nu }

 or ν (nu) (see e.g. Planck's formula).

text:
The relation between the frequency and the period

T

{\displaystyle T}

 of a repeating event or oscillation is given by

text: Units[edit]

text: The SI unit of frequency is the hertz (Hz), named after the German physicist Heinrich Hertz; one hertz means that an event repeats once per second. A previous name for this unit was cycles per second (cps). The SI unit for period is the second.

text: A traditional unit of measure used with rotating mechanical devices is revolutions per minute, abbreviated r/min or rpm. 60 rpm equals one hertz.[3]

text: Period versus frequency[edit]

text: As a matter of convenience, longer and slower waves, such as ocean surface waves, tend to be described by wave period rather than frequency. Short and fast waves, like audio and radio, are usually described by their frequency instead of period. These commonly used conversions are listed below:

text:
Frequency
1 mHz (10−3 Hz)
1 Hz (100 Hz)
1 kHz (103 Hz)
1 MHz (106 Hz)
1 GHz (109 Hz)
1 THz (1012 Hz)

Period
1 ks (103 s)
1 s (100 s)
1 ms (10−3 s)
1 µs (10−6 s)
1 ns (10−9 s)
1 ps (10−12 s)

text: Related types of frequency[edit]

text: Angular frequency, usually denoted by the Greek letter ω (omega), is defined as the rate of change of angular displacement, θ, (during rotation), or the rate of change of the phase of a sinusoidal waveform (e.g. in oscillations and waves), or as the rate of change of the argument to the sine function:

text: Spatial frequency is analogous to temporal frequency, but the time axis is replaced by one or more spatial displacement axes. E.g.:

text: In wave propagation [edit]

text: For periodic waves in nondispersive media (that is, media in which the wave speed is independent of frequency), frequency has an inverse relationship to the wavelength, λ (lambda). Even in dispersive media, the frequency f of a sinusoidal wave is equal to the phase velocity v of the wave divided by the wavelength λ of the wave:

text: In the special case of electromagnetic waves moving through a vacuum, then v = c, where c is the speed of light in a vacuum, and this expression becomes:

text: When waves from a monochrome source travel from one medium to another, their frequency remains the same—only their wavelength and speed change.

text: Measurement[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2015) (Learn how and when to remove this template message)

text: Measurement of frequency can done in the following ways,

text: Counting[edit]

text: Calculating the frequency of a repeating event is accomplished by counting the number of times that event occurs within a specific time period, then dividing the count by the length of the time period. For example, if 71 events occur within 15 seconds the frequency is:

text: If the number of counts is not very large, it is more accurate to measure the time interval for a predetermined number of occurrences, rather than the number of occurrences within a specified time.[4] The latter method introduces a random error into the count of between zero and one count, so on average half a count. This is called gating error and causes an average error in the calculated frequency of Δf = 1/(2 Tm), or a fractional error of Δf / f = 1/(2 f Tm) where Tm is the timing interval and f is the measured frequency. This error decreases with frequency, so it is a problem at low frequencies where the number of counts N is small.

text: Stroboscope[edit]

text: An older method of measuring the frequency of rotating or vibrating objects is to use a stroboscope. This is an intense repetitively flashing light (strobe light) whose frequency can be adjusted with a calibrated timing circuit. The strobe light is pointed at the rotating object and the frequency adjusted up and down. When the frequency of the strobe equals the frequency of the rotating or vibrating object, the object completes one cycle of oscillation and returns to its original position between the flashes of light, so when illuminated by the strobe the object appears stationary. Then the frequency can be read from the calibrated readout on the stroboscope. A downside of this method is that an object rotating at an integral multiple of the strobing frequency will also appear stationary.

text: Frequency counter[edit]

text: Higher frequencies are usually measured with a frequency counter. This is an electronic instrument which measures the frequency of an applied repetitive electronic signal and displays the result in hertz on a digital display. It uses digital logic to count the number of cycles during a time interval established by a precision quartz time base. Cyclic processes that are not electrical in nature, such as the rotation rate of a shaft, mechanical vibrations, or sound waves, can be converted to a repetitive electronic signal by transducers and the signal applied to a frequency counter. Frequency counters can currently cover the range up to about 100 GHz. This represents the limit of direct counting methods; frequencies above this must be measured by indirect methods.

text: Heterodyne methods[edit]

text: Above the range of frequency counters, frequencies of electromagnetic signals are often measured indirectly by means of heterodyning (frequency conversion). A reference signal of a known frequency near the unknown frequency is mixed with the unknown frequency in a nonlinear mixing device such as a diode. This creates a heterodyne or "beat" signal at the difference between the two frequencies. If the two signals are close together in frequency the heterodyne is low enough to be measured by a frequency counter. This process only measures the difference between the unknown frequency and the reference frequency. To reach higher frequencies, several stages of heterodyning can be used. Current research is extending this method to infrared and light frequencies (optical heterodyne detection).

text: Examples[edit]

text: Light[edit]

text: Visible light is an electromagnetic wave, consisting of oscillating electric and magnetic fields traveling through space. The frequency of the wave determines its color: 7014400000000000000♠4×1014 Hz is red light, 7014800000000000000♠8×1014 Hz is violet light, and between these (in the range 4-7014800000000000000♠8×1014 Hz) are all the other colors of the visible spectrum. An electromagnetic wave can have a frequency less than 7014400000000000000♠4×1014 Hz, but it will be invisible to the human eye; such waves are called infrared (IR) radiation. At even lower frequency, the wave is called a microwave, and at still lower frequencies it is called a radio wave. Likewise, an electromagnetic wave can have a frequency higher than 7014800000000000000♠8×1014 Hz, but it will be invisible to the human eye; such waves are called ultraviolet (UV) radiation. Even higher-frequency waves are called X-rays, and higher still are gamma rays.

text: All of these waves, from the lowest-frequency radio waves to the highest-frequency gamma rays, are fundamentally the same, and they are all called electromagnetic radiation. They all travel through a vacuum at the same speed (the speed of light), giving them wavelengths inversely proportional to their frequencies.

text: where c is the speed of light (c in a vacuum, or less in other media), f is the frequency and λ is the wavelength.

text: In dispersive media, such as glass, the speed depends somewhat on frequency, so the wavelength is not quite inversely proportional to frequency.

text: Sound[edit]

text: Sound propagates as mechanical vibration waves of pressure and displacement, in air or other substances.[5] Frequency is the property of sound that most determines pitch.[6]

text: The frequencies an ear can hear are limited to a specific range of frequencies. The audible frequency range for humans is typically given as being between about 20 Hz and 20,000 Hz (20 kHz), though the high frequency limit usually reduces with age. Other species have different hearing ranges. For example, some dog breeds can perceive vibrations up to 60,000 Hz.[7]

text: In many media, such as air, the speed of sound is approximately independent of frequency, so the wavelength of the sound waves (distance between repetitions) is approximately inversely proportional to frequency.

text: Line current[edit]

text: In Europe, Africa, Australia, Southern South America, most of Asia, and Russia, the frequency of the alternating current in household electrical outlets is 50 Hz (close to the tone G), whereas in North America and Northern South America, the frequency of the alternating current in household electrical outlets is 60 Hz (between the tones B♭ and B; that is, a minor third above the European frequency). The frequency of the 'hum' in an audio recording can show where the recording was made, in countries using a European, or an American, grid frequency.