document_title: Lunar phase

question_text: which phase of the moon follows the full moon phase

text: Lunar phase

text: Phases of the Moon[edit]

text: In Western culture, the four principal phases of the Moon are new moon, first quarter, full moon, and third quarter (also known as last quarter). These are the instances when the Moon's ecliptic longitude and the Sun's ecliptic longitude differ by 0°, 90°, 180°, and 270°, respectively.[a] Each of these phases occur at slightly different times when viewed from different points on Earth. During the intervals between principal phases, the Moon's apparent shape is either crescent or gibbous. These shapes, and the periods when the Moon shows them, are called the intermediate phases and last one-quarter of a synodic month, or 7.38 days, on average. However, their durations vary slightly because the Moon's orbit is rather elliptical, so the satellite's orbital speed is not constant. The descriptor waxing is used for an intermediate phase when the Moon's apparent shape is thickening, from new to full moon, and waning when the shape is thinning.

text: The eight principal and intermediate phases are given the following names, in sequential order:

text:
Principal and intermediate phases of the Moon

Phase
Northern Hemisphere
Southern Hemisphere
Visibility
Mid-phase
standard time
Average
moonrise time
Average
moonset time
Northern Hemisphere
Southern Hemisphere
Photograph
(view from
Northern Hemisphere)

New moon
Disc completely in Sun's shadow
(lit by earthshine only)
Invisible (too close to Sun)
Midday
6 am
6 pm

Not visible

Waxing crescent
Right side, 1–49% lit disc
Left side, 1–49% lit disc
Late morning to post-dusk
3 pm
9 am
9 pm

First quarter
Right side, 50% lit disc
Left side, 50% lit disc
Afternoon and early evening
6 pm
Midday
Midnight

Waxing gibbous
Right side, 51–99% lit disc
Left side, 51–99% lit disc
Late afternoon and most of night
9 pm
3 pm
3 am

Full moon
Completely illuminated disc
Sunset to sunrise (all night)
Midnight
6 pm
6 am

Waning gibbous
Left side, 99–51% lit disc
Right side, 99–51% lit disc
Most of night and early morning
3 am
9 pm
9 am

Third quarter (or last quarter)
Left side, 50% lit disc
Right side, 50% lit disc
Late night and morning
6 am
Midnight
Midday

Waning crescent
Left side, 49–1% lit disc
Right side, 49–1% lit disc
Pre-dawn to early afternoon
9 am
3 am
3 pm

text: Non-Western cultures may use a different number of lunar phases; for example, traditional Hawaiian culture has a total of 30 different phases (one per day).[1]

text: Waxing and waning[edit]

text: When the Sun and Moon are aligned on the same side of the Earth, the Moon is "new", and the side of the Moon facing Earth is not illuminated by the Sun. As the Moon waxes (the amount of illuminated surface as seen from Earth is increasing), the lunar phases progress through new moon, crescent moon, first-quarter moon, gibbous moon, and full moon. The Moon is then said to wane as it passes through the gibbous moon, third-quarter moon, crescent moon, and back to new moon. The terms old moon and new moon are not interchangeable. The "old moon" is a waning sliver (which eventually becomes undetectable to the naked eye) until the moment it aligns with the Sun and begins to wax, at which point it becomes new again.[2] Half moon is often used to mean the first- and third-quarter moons, while the term quarter refers to the extent of the Moon's cycle around the Earth, not its shape.

text: When an illuminated hemisphere is viewed from a certain angle, the portion of the illuminated area that is visible will have a two-dimensional shape as defined by the intersection of an ellipse and circle (in which the ellipse's major axis coincides with the circle's diameter). If the half-ellipse is convex with respect to the half-circle, then the shape will be gibbous (bulging outwards),[3] whereas if the half-ellipse is concave with respect to the half-circle, then the shape will be a crescent. When a crescent moon occurs, the phenomenon of earthshine may be apparent, where the night side of the Moon dimly reflects indirect sunlight reflected from Earth.

text: Orientation by latitude[edit]

text: In the Northern Hemisphere, if the left (east) side of the Moon is dark, then the bright part is thickening, and the Moon is described as waxing (shifting toward full moon). If the right (west) side of the Moon is dark, then the bright part is thinning, and the Moon is described as waning (past full and shifting toward new moon). Assuming that the viewer is in the Northern Hemisphere, the right side of the Moon is the part that is always waxing. (That is, if the right side is dark, the Moon is becoming darker; if the right side is lit, the Moon is getting brighter.)

text: In the Southern Hemisphere, the Moon is observed from a perspective inverted, or rotated 180°, to that of the Northern and to all of the images in this article, so that the opposite sides appear to wax or wane.

text: Closer to the Equator, the lunar terminator will appear horizontal during the morning and evening. Since the above descriptions of the lunar phases only apply at middle or high latitudes, observers moving towards the tropics from northern or southern latitudes will see the Moon rotated anti-clockwise or clockwise with respect to the images in this article.

text: The lunar crescent can open upward or downward, with the "horns" of the crescent pointing up or down, respectively. When the Sun appears above the Moon in the sky, the crescent opens downward; when the Moon is above the Sun, the crescent opens upward. The crescent Moon is most clearly and brightly visible when the Sun is below the horizon, which implies that the Moon must be above the Sun, and the crescent must open upward. This is therefore the orientation in which the crescent Moon is most often seen from the tropics. The waxing and waning crescents look very similar. The waxing crescent appears in the western sky in the evening, and the waning crescent in the eastern sky in the morning.

text: Earthshine[edit]

text: When the Moon as seen from Earth is a narrow crescent, Earth as viewed from the Moon is almost fully lit by the Sun. Often, the dark side of the Moon is dimly illuminated by indirect sunlight reflected from Earth, but is bright enough to be easily visible from Earth. This phenomenon is called earthshine and sometimes picturesquely described as "the old moon in the new moon's arms" or, as pictured here, "the new moon in the old moon's arms".

text: Calendar[edit]

text: The Gregorian calendar month, which is 1⁄12 of a tropical year, is about 30.44 days, while the cycle of lunar phases (the Moon's synodic period) repeats every 29.53 days on average. Therefore, the timing of the lunar phases shifts by an average of almost one day for each successive month. (A lunar year lasts about 354 days.)

text: Photographing the Moon's phase everyday for a month (starting in the evening after sunset, and repeating roughly 24 hours and 50 minutes later, and ending in the morning before sunrise) and arranging the series of photos on a calendar would create a composite image like the example calendar (May 8 – June 6, 2005) shown on the left. May 20 is blank because a picture would be taken before midnight on May 19 and the next after midnight on May 21.

text: Similarly, on a calendar listing moonrise or moonset times, some days will appear to be skipped. When moonrise precedes midnight one night, the next moonrise will follow midnight on the next night (so too with moonset). The "skipped day" is just a feature of the Moon's eastward movement in relation to the Sun, which at most latitudes, causes the Moon to rise later each day. The Moon follows a predictable orbit every month.

text: Calculating phase[edit]

text: Each of the 4 lunar phases lasts approximately 7 days (~7.4 days), but varies slightly due to lunar apogee and perigee.

text: The number of days counted from the time of the New Moon is the Moon's "age". Each complete cycle of phases is called a "lunation".[5]

text: The approximate age of the moon, and hence the approximate phase, can be calculated for any date by calculating the number of days since a known new moon (such as January 1, 1900 or August 11, 1999) and reducing this modulo 29.530588853 (the length of a synodic month). The difference between two dates can be calculated by subtracting the Julian Day Number of one from that of the other, or there are simpler formulae giving (for instance) the number of days since December 31, 1899. However, this calculation assumes a perfectly circular orbit and makes no allowance for the time of day at which the new moon happened, therefore may be incorrect by several hours (it also becomes less accurate the larger the difference between the required date and the reference date); it is accurate enough to use in a novelty clock application showing moon phase, but specialist usage taking account of lunar apogee and perigee requires a more elaborate calculation.

text: Effect of parallax[edit]

text: The Earth subtends an angle of about two degrees, when seen from the Moon. This means that an observer on Earth who sees the Moon when it is close to the eastern horizon sees it from an angle that is about two degrees different from the line of sight of an observer who sees the Moon on the western horizon. The Moon moves about 12 degrees around its orbit per day, so, if these observers were stationary, they would see the phases of the Moon at times that differ by about one-sixth of a day, or four hours. But in reality the observers are on the surface of the rotating Earth, so someone who sees the Moon on the eastern horizon at one moment sees it on the western horizon about 12 hours later. This adds an oscillation to the apparent progression of the lunar phases. They appear to occur more slowly when the Moon is high in the sky than when it is below the horizon. The Moon appears to move jerkily, and the phases do the same. The amplitude of this oscillation is never more than about four hours, which is a small fraction of a month. It does not have any obvious effect on the appearance of the Moon. However, it does affect accurate calculations of the times of lunar phases.

text: Misconceptions[edit]

text: It might be expected that once every month, when the Moon passes between Earth and the Sun during a new moon, its shadow would fall on Earth causing a solar eclipse, but this does not happen every month. Nor is it true that during every full moon, the Earth's shadow falls on the Moon, causing a lunar eclipse. Solar and lunar eclipses are not observed every month because the plane of the Moon's orbit around the Earth is tilted by about 5° with respect to the plane of Earth's orbit around the Sun (the plane of the ecliptic). Thus, when new and full moons occur, the Moon usually lies to the north or south of a direct line through the Earth and Sun. Although an eclipse can only occur when the Moon is either new (solar) or full (lunar), it must also be positioned very near the intersection of Earth's orbital plane about the Sun and the Moon's orbital plane about the Earth (that is, at one of its nodes). This happens about twice per year, and so there are between four and seven eclipses in a calendar year. Most of these eclipses are partial; total eclipses of the Moon or Sun are less frequent.


document_title: Movie camera

question_text: when was the first hand held camera invented

root

text: Movie camera

text: History[edit]

text: An interesting forerunner to the movie camera was the machine invented by Francis Ronalds at the Kew Observatory in 1845. A photosensitive surface was drawn slowly past the aperture diaphragm of the camera by a clockwork mechanism to enable continuous recording over a 12- or 24-hour period. Ronalds applied his cameras to trace the ongoing variations of scientific instruments and they were used in observatories around the world for over a century.[2][3]

tag: p

text: The very first patented film camera was the one devised by Wordsworth Donisthorpe in 1876. Another film camera was designed in England by Frenchman Louis Le Prince in 1888. An earlier 16 lens camera in 1887 at his workshop in Leeds. The first 8 lenses would be triggered in rapid succession by an electromagnetic shutter on the sensitive film; the film would then be moved forward allowing the other 8 lenses to operate on the film. After much trial and error, he was finally able to develop a single lens camera in 1888, which he used to shoot the first sequences of moving film in the world, including the Roundhay Garden Scene and Leeds Bridge. According to Adolphe Le Prince, who assisted his father at Leeds, Roundhay Garden was shot at 12 frame/s and Leeds Bridge at 20 frame/s.[4] His camera still exists with the National Media Museum in Bradford. He shot the film on celluloid with 1¾ inch width.

text: Another early pioneer was the British inventor William Friese-Greene. He began to experiment with the use of oiled paper as a medium for displaying motion pictures in 1885 and by 1887 he was experimenting with the use of celluloid. In 1889, Friese-Greene took out a patent for a 'chronophotographic' camera. This was capable of taking up to ten photographs per second using perforated celluloid film. A report on the camera was published in the British Photographic News on February 28, 1890.[5] He gave a public demonstration in 1890 of his device, but the low frame rate combined with the device's apparent unreliability made an unfavourable impression.

text: William Kennedy Laurie Dickson, a Scottish inventor and employee of Thomas Edison, designed the Kinetographic Camera in 1891. The camera was powered by an electric motor and was capable of shooting with the new sprocketed film. To govern the intermittent movement of the film in the camera, allowing the strip to stop long enough so each frame could be fully exposed and then advancing it quickly (in about 1/460 of a second) to the next frame, the sprocket wheel that engaged the strip was driven by an escapement disc mechanism—the first practical system for the high-speed stop-and-go film movement that would be the foundation for the next century of cinematography.[6]

text: The Lumière Domitor camera was created by Charles Moisson, the chief mechanic at the Lumière works in Lyon in 1894. The camera used paper film of 35 millimeter width, but in 1895 the Lumière brothers shifted to celluloid film, which they bought from New-York’s Celluloid Manufacturing Co. This they covered with their own Etiquette-bleue emulsion, had it cut into strips and perforated.

text: In 1894 the Polish inventor Kazimierz Prószyński constructed a projector and camera in one, an invention he called the Pleograph.[7][8][9][10][11]

text: Mass-market[edit]

text: Due to the work of Le Prince, Friese-Greene, Edison and the Lumière brothers, the movie camera had become a practical reality by the mid 1890s. The first firms were soon established for the manufacture of movie camera, including Birt Acres, Eugene Augustin Lauste, Dickson, Pathé frères, Prestwich, Newman & Guardia, de Bedts, Gaumont-Démény, Schneider, Schimpf, Akeley, Debrie, Bell & Howell, Leonard-Mitchell, Ertel, Ernemann, Eclair, Stachow, Universal, Institute, Wall, Lytax, and many others.

text: The Aeroscope was built and patented in England in the period 1909-1911 by Polish inventor Kazimierz Prószyński.[12] Aeroscope was the first successful hand-held operated film camera. The cameraman did not have to turn the crank to advance the film, as in all cameras of that time, so he could operate the camera with both hands, holding the camera and controlling the focus. This made it possible to film with the Aeroscope in difficult circumstances including from the air and for military purposes.[13]

text: The first all-metal cine camera was the Bell & Howell Standard of 1911-12. One of the most complicated models was the Mitchell-Technicolor Beam Splitting Three-Strip Camera of 1932. With it, three colour separation originals are obtained behind a purple, a green, and a red light filter, the latter being part of one of the three different raw materials in use.

text: In 1923 Eastman Kodak introduced a 16mm film stock, principally as a lower cost alternative to 35mm and several camera makers launched models to take advantage of the new market of amateur movie-makers. Thought initially to be of inferior quality to 35mm, 16mm cameras continued to be manufactured until the 2000s by the likes of Bolex, Arri and Aaton.

text: Digital movie cameras[edit]

text: Digital movie cameras for digital cinematography are digital video cameras that capture digitally rather than the historically used movie camera, which shoots on film stock. Different digital movie cameras output a variety of different acquisition formats. Cameras designed for domestic use have also been used for some low-budget independent productions.

text: Since 2010s, digital movie camera has become the dominant type of camera in the motion picture industry.

text: Technical details[edit]

text: Most of the optical and mechanical elements of a movie camera are also present in the movie projector. The requirements for film tensioning, take-up, intermittent motion, loops, and rack positioning are almost identical. The camera will not have an illumination source and will maintain its film stock in a light-tight enclosure. A camera will also have exposure control via an iris aperture located on the lens. The righthand side of the camera is often referred to by camera assistants as "the dumb side" because it usually lacks indicators or readouts and access to the film threading, as well as lens markings on many lens models. Later equipment often had done much to minimize these shortcomings, although access to the film movement block by both sides is precluded by basic motor and electronic design necessities. Advent of digital cameras in reduced the above mechanism to a minimum removing much of the shortcomings.

text: The standardized frame rate for commercial sound film is 24 frames per second. The standard commercial (i.e., movie-theater film) width is 35 millimeters, while many other film formats exist. The standard aspect ratios are 1.66, 1.85, and 2.39 (anamorphic). NTSC video (common in North America and Japan) plays at 29.97 frame/s; PAL (common in most other countries) plays at 25 frames. These two television and video systems also have different resolutions and color encodings. Many of the technical difficulties involving film and video concern translation between the different formats. Video aspect ratios are 4:3 (1.33) for full screen and 16:9 (1.78) for widescreen.

text: Multiple cameras[edit]

text: Multiple cameras may be placed side-by-side to record a single angle of a scene and repeated throughout the runtime. The film is then later projected simultaneously, either on a single three-image screen (Cinerama) or upon multiple screens forming a complete circle, with gaps between screens through which the projectors illuminate an opposite screen. (See Circle-Vision 360°) convex and concave mirrors are used in cameras as well as mirrors.

text: Sound synchronization[edit]

text: One of the problems in film is synchronizing a sound recording with the film. Most film cameras do not record sound internally; instead, the sound is captured separately by a precision audio device (see double-system recording). The exceptions to this are the single-system news film cameras, which had either an optical—or later—magnetic recording head inside the camera. For optical recording, the film only had a single perforation and the area where the other set of perforations would have been was exposed to a controlled bright light that would burn a waveform image that would later regulate the passage of light and playback the sound. For magnetic recording, that same area of the single perf 16 mm film that was prestriped with a magnetic stripe. A smaller balance stripe existed between the perforations and the edge to compensate the thickness of the recording stripe to keep the film wound evenly.

text: Double-system cameras are generally categorized as either "sync" or "non-sync." Sync cameras use crystal-controlled motors that ensure that film is advanced through the camera at a precise speed. In addition, they're designed to be quiet enough to not hamper sound recording of the scene being shot. Non-sync or "MOS" cameras do not offer these features; any attempt to match location sound to these cameras' footage will eventually result in "sync drift", and the noise they emit typically renders location sound recording useless.

text: To synchronize double-system footage, the clapper board which typically starts a take is used as a reference point for the editor to match the picture to the sound (provided the scene and take are also called out so that the editor knows which picture take goes with any given sound take). It also permits scene and take numbers and other essential information to be seen on the film itself. Aaton cameras have a system called AatonCode that can "jam sync" with a timecode-based audio recorder and prints a digital timecode directly on the edge of the film itself. However, the most commonly used system at the moment is unique identifier numbers exposed on the edge of the film by the film stock manufacturer (KeyKode is the name for Kodak's system). These are then logged (usually by a computer editing system, but sometimes by hand) and recorded along with audio timecode during editing. In the case of no better alternative, a handclap can work if done clearly and properly, but often a quick tap on the microphone (provided it is in frame for this gesture) is preferred.

text: One of the most common uses of non-sync cameras are the spring-wound cameras used in hazardous special effects, known as "crash cams". Scenes shot with these have to be kept short, or resynchronized manually with the sound. MOS cameras are also often used for second unit work or anything involving slow or fast-motion filming.

text: With advent of digital cameras, synchronization became a redundant term, as both visual and audio is simultaneously captured electronically.

text: Home movie cameras[edit]

text: Movie cameras were available before World War II often using the 9.5 mm film format. The use of movie cameras had an upsurge in popularity in the immediate post-war period giving rise to the creation of home movies. Compared to the pre-war models, these cameras were small, light, fairly sophisticated and affordable.

text: An extremely compact 35 mm movie camera Kinamo was designed by Emanuel Goldberg for amateur and semi-professional movies in 1921. A spring motor attachment was added in 1923 to allow flexible handheld filming. The Kinamo was used by Joris Ivens and other avant-garde and documentary filmmakers in the late 1920s and early 1930s.[14][15]

text: While a basic model might have a single fixed aperture/focus lens, a better version might have three or four lenses of differing apertures and focal lengths on a rotating turret. A good quality camera might come with a variety of interchangeable, focusable lenses or possibly a single zoom lens. The viewfinder was normally a parallel sight within or on top of the camera body. In the 1950s and for much of the 1960s these cameras were powered by clockwork motors, again with variations of quality. A simple mechanism might only power the camera for some 30 seconds, while a geared drive camera might work for as long as 75 – 90 seconds (at standard speeds).

text: The common film used for these cameras was termed Standard 8, which was a strip of 16 millimetre wide film which was only exposed down one half during shooting. The film had twice the number of perforations as film for 16 mm cameras and so the frames were half as high and half as wide as 16 mm frames. The film was removed and placed back in the camera to expose the frames on the other side once the first half had been exposed. Once the film was developed it was sliced down the middle and the ends attached, giving 50-foot (15 m) of Standard 8 film from a spool of 25-foot (7.6 m) of 16 mm film. 16 mm cameras, mechanically similar to the smaller format models, were also used in home movie making but were more usually the tools of semi professional film and news film makers.

text: In the 1960s a new film format, Super8, coincided with the advent of battery operated electric movie cameras. The new film, with a larger frame print on the same width of film stock, came in a cassette which simplified changeover and developing. Another advantage of the new system is that they had the capacity to record sound, albeit of indifferent quality. Camera bodies, and sometimes lenses, were increasingly made in plastic rather than the metals of the earlier types. As the costs of mass production came down, so did the price and these cameras became very popular.

text: This type of format and camera was more quickly superseded for amateurs by the advent of digital video cameras in 2000s. Since 2010s, amateurs increasingly started preferring smartphone cameras.[citation needed]


document_title: National agencies responsible for GDP measurement

question_text: who is responsible for calculating gdp for the us

text: Within each country GDP is normally measured by a national government statistical agency, as private sector organizations normally do not have access to the information required (especially information on expenditure and production by governments).

text:
Argentina: Instituto Nacional de Estadística y Censos (INDEC)
Albania: Institute of Statistics (Instituti nderkombetare i statistikave). [1]
Andorra: Departament d' Estadística del Principat d' Andorra [2]
Armenia: National Statistical Service of the Republic of Armenia. [3]
Australia: Australian Bureau of Statistics (ABS), Reserve Bank of Australia (RBA).
Austria: Statistik Austria.
Bangladesh: Bangladesh Bureau of Statistics.
Belgium: Statistics Belgium.
Bosnia and Herzegovina: Federal Office of Statistics (FBIH) [4] and Institute of Statistics (RS) [5]
Brazil: Instituto Brasileiro de Geografia e Estatística (IBGE).
Bulgaria: National Statistical Institute (NSI; Национален статистически институт).[6]
Chile: Banco Central de Chile
China, People's Republic of: National Bureau of Statistics of China (中华人民共和国国家统计局).
China, Republic of: Directorate-General of Budget, Accounting and Statistics (行政院主計處).
Colombia: Departamento Administrativo Nacional de Estadistica (DANE).
Costa Rica: Banco Central de Costa Rica (BCCR).
Croatia: Croatian Bureau of Statistics (CROSTAT).
Canada: Statistics Canada (StatCan).
Cyprus: Statistical Service (Στατιστική Υπηρεσία της Κυπριακής Δημοκρατίας; CYSTAT). [7]
Czech Republic: Czech Statistical Office (Český statistický úřad, ČSÚ).
Denmark: Danmarks Statistik.
Dominican Republic: Central Bank of the Dominican Republic
Estonia: Statistikaamet
European Union: Eurostat
Finland: Tilastokeskus
France: Institut National de la Statistique et des Etudes Economiques (INSEE)
Germany: Statistisches Bundesamt
Greece: Hellenic Statistical Authority - ELSTAT (Ελληνική Στατιστική Αρχή, ΕΛΣΤΑΤ)
Hong Kong: Census and Statistics Department (政府統計處)
Hungary: Hungarian Central Statistical Office
Iceland: Statistics Iceland
India: Ministry of Statistics and Programme Implementation
Indonesia: Badan Pusat Statistik (BPS)
Isle of Man: Isle of Man Government Economic Affairs [8]
Ireland, Republic of: Central Statistics Office Ireland (Príomhoifig Staidrimh na hÉireann)
Israel: Israel Central Bureau of Statistics
Italy: Istituto Nazionale di Statistica (ISTAT)
Japan: Cabinet Office (CO, 内閣府)
Jamaica: Statistical Institute of Jamaica (STATIN)
Korea (South): Bank of Korea (BOK, 한국은행) [9]
Kosovo: Enti i Statistikës së Kosovës (ESK) [10]
Kuwait: [الادارة المركزية للإحصاء] (ESK) Kuwait Central Statistical Bureau https://www.csb.gov.kw
Latvia: Centrālā statistikas pārvalde [11]
Lithuania: Lietuvos Statistikos Departamentas (Department of Statistics, Lithuania) [12]
Luxembourg: Service central de la statistique et des études économiques (Luxembourg Statistics) [13]
Macedonia, Republic of: Zavod za Statistika na Makedonija [14]
Malaysia: Jabatan Perangkaan Malaysia (Department of Statistics, Malaysia) [15]
Macau: Direcção dos Serviços de Estatística e Censos (DSEC) [16]
Mexico: Instituto Nacional de Estadística, Geografía e Informática (INEGI)
Moldova: Biroul Naţional de Statistică (BNS)] [17]
The Netherlands: Centraal Bureau voor de Statistiek (Statistics Netherlands)
New Zealand: Statistics New Zealand (Tatauranga Aotearoa)
Nigeria: National Bureau of Statistics [18]
Norway: Statistisk Sentralbyrå
Pakistan: Federal Bureau of Statistics [19]
Palestinian National Authority: Palestinian Central Bureau of Statistics (PCBS)
Peru: Instituto Nacional de Estadística e Informática (INEI)
Philippines: Philippine National Statistical Coordination Board [20]
Poland: Central Statistical Office (Główny Urząd Statystyczny; GUS)
Portugal: Instituto Nacional de Estatística (National Statistics Office)
Qatar: Qatar Statistics Authority; General Secretariat for Development Planning [21]
Romania: Institutul National de Statistica
Russia: Federal Service of State Statistics (Rosstat)
Saudi Arabia: Central Department of Statistics (وزارة الاقتصاد والتخطيط) [22]
Serbia: Statistical Office of the Republic of Serbia [23]
Singapore: Singapore Department of Statistics [24]
Slovakia: Štatistický úrad SR [25]
Slovenia: Statistični urad Republike Slovenije (SURS)
South Africa: Statistics South Africa (STATSSA)
Spain: Instituto Nacional de Estadística (INE)
Sweden: Statistics Sweden (SCB)
Switzerland: Swiss Statistics - Federal Statistical Office
Thailand The National Economic and Social Development Board (NESDB)[26]
Turkey: Türkiye İstatistik Kurumu (TUIK)
Ukraine: State Statistics Committee of Ukraine (Derzhkomstat; SSC)
United Kingdom: UK Statistics Authority, Office for National Statistics
United States: Bureau of Economic Analysis (BEA)
Uruguay: Instituto Nacional de Estadística (INE) [27]
Venezuela: Instituto Nacional de Estadística (INE) [28]
Vietnam: General Statistics Office (GSO, Tổng cục Thống kê) [29]

tag: ul


document_title: Ready Player One (film)

question_text: who plays the character irok in ready player one

text: Ready Player One (film)

text: Plot[edit]

text: In 2045, people seek regular escape from life through the virtual reality entertainment universe OASIS, co-created by James Halliday and Ogden Morrow of Gregarious Games. After Halliday's death, a pre-recorded message left by his avatar Anorak announces a game, granting ownership of OASIS to the first to find the Golden Easter Egg within it which is locked behind a gate requiring three keys. The contest has lured a number of ‘gunters’, or egg hunters, and the interest of Nolan Sorrento, the CEO of Innovative Online Industries (IOI) who seeks to control OASIS himself. IOI uses a number of indentured servants and employees called "Sixers" to find the egg.[a]

text: Wade Watts is an orphaned teenager living in the slums, or ‘stacks’, of Columbus, Ohio, with his Aunt Alice. In the OASIS, his avatar, Parzival, is best friends with Aech, a virtual mechanic. One day, Parzival befriends Art3mis, a well-known Gunter, sharing a common interest in Halliday's history. They review Halliday's life from the Archives with help of its Curator.  They learn Halliday had several regrets in life, including his unrequited love for Morrow’s wife Kira and losing Morrow as a friend after forcing him to sign away his part of Gregarious Games. Using this information, they solve the first two challenges of Anorak's game: a car race across an ever-shifting Manhattan cityscape and a search for Kira in the Overlook Hotel from The Shining. Aech and his friends Daito and Sho follow suit, the five becoming known as the "High Five" on the OASIS scoreboards.

text: Sorrento learns of Parzival's identity through OASIS mercenary i-R0k, and attempts to sway Wade into joining IOI, but he refuses. In retaliation, Sorrento has IOI's head of operations F'Nale Zandor bomb Wade's stack, killing Alice. Art3mis' player, Samantha Cook, rescues Wade, but they are soon found by IOI. Samantha is captured and forced into IOI's servitude, while Wade is extracted by the other High Fivers – Helen (Aech), Toshiro (Daito), and Zhou (Sho). The group tracks down Samantha's location at IOI, and they remotely help her escape, allowing her to assist them in the OASIS as Art3mis.

text: The third challenge requires one to play Halliday's favorite Atari 2600 game, in a castle on Planet Doom, which Sorrento has protected with a force field. Parzival recruits other OASIS players to help the rebels attack the IOI forces around the castle. Art3mis deactivates the force field, allowing Parzival to reach the console, but Sorrento activates the Cataclyst, a bomb that kills all the avatars on Planet Doom. However, due to having won a coin from the Archive's Curator earlier, Parzival gets an extra life, proceeding to play through Adventure to find its Easter egg; he is awarded the last key. Opening the gate, he is greeted by Anorak and given a contract to sign; however, he recognizes it as the same contract Morrow signed to turn over his part of Gregarious and refuses. Anorak changes forms to be Halliday, revealing that the contract was the final test to make sure Parzival would not make the same mistakes he did. Parzival is given the Golden Egg and control of OASIS.

text: In the real world, Sorrento and Zandor fail to stop Parzival before he wins; they are quickly arrested for the bombing. Morrow, revealed to have been the Curator, offers his services to Wade; he gladly accepts. Wade decides to run OASIS with the other High Five, agreeing to ban IOI from forcing people into servitude and to shut down the OASIS twice a week for everyone to spend more time in the real world. Meanwhile, he and Samantha move into an apartment together.

text: Cast[edit]

text:
Tye Sheridan as Parzival / Wade Watts, a Gunter who wishes to win so he can leave the stacks.
Olivia Cooke as Art3mis / Samantha Cook, a well-known Gunter who works with various allies to ensure the OASIS is kept free and out of the hands of IOI.
Ben Mendelsohn as Nolan Sorrento, the CEO of Innovative Online Industries who seeks full control over the OASIS.
Lena Waithe as Aech / Helen Harris, a Gunter and long-time friend of Wade's who works as a mechanic in the OASIS.
T.J. Miller as i-R0k, a freelance dealer and mercenary often employed by IOI.
Simon Pegg as Curator / Ogden Morrow, a co-creator of the OASIS, who eventually left the company. He is concerned about how many people have developed an unhealthy dependency on the game.
Mark Rylance as Anorak / James Halliday, the deceased co-creator of the OASIS who reveals an Easter Egg hidden in the OASIS after his passing that grants control over the OASIS to its winner.
Philip Zhao as Sho / Zhou, a Gunter and one of the "High Five".
Win Morisaki as Daito / Toshiro, a Gunter and one of the "High Five".
Hannah John-Kamen as F'Nale Zandor, IOI’s head of operations in the physical world and for their indentured servant programs.[9]

text: Additionally, Susan Lynch portrays Alice, Wade's aunt; Ralph Ineson portrays Rick, Alice's abusive boyfriend; Perdita Weeks portrays Karen "Kira" Underwood, Morrow's wife; Clare Higgins portrays Mrs. Gilmore, Wade's neighbor; and Letitia Wright portrays a rebel who can briefly be seen at the safe house. McKenna Grace and Lulu Wilson appear as elementary school children who use the OASIS.

text: Production[edit]

text: Development[edit]

text: Warner Bros. and De Line Pictures won an auction for the rights to Ernest Cline's novel Ready Player One in 2010, before it had been published.[10] Cline was set to write the script for the film, which Donald De Line and Dan Farah would produce.[10] Eric Eason rewrote Cline's script,[11] and Zak Penn was hired to rewrite the previous drafts by Cline and Eason. Village Roadshow Pictures came aboard to co-finance and co-produce the film with Warner Bros.[12] Steven Spielberg signed on to direct and produce the film, which Kristie Macosko Krieger also produced, along with De Line and Farah.[13] Ready Player One is Spielberg's first action-fantasy film since The Adventures of Tintin in late 2011.[14] Cline and Penn made several revisions while adapting the novel to film. Most of these changes were to eliminate scenes that would be uninteresting in a visual format, such as when Wade beats a high score in Pac-Man, or recites all the lines from the film WarGames.[15][16]

text: Casting[edit]

text: Three actresses were top-runners for the role of Art3mis: Elle Fanning, Olivia Cooke, and Lola Kirke;[17] In September 2015, Cooke was announced as having been cast in the coveted female lead role. In January 2016, Ben Mendelsohn joined the cast.[18] In February 2016, Tye Sheridan was confirmed as playing the lead role of Wade, after a lengthy nationwide casting call failed to produce an unknown for the part.[19] In March 2016, Simon Pegg joined the cast.[20] In April 2016, Mark Rylance joined the cast,[21] and in June 2016, T.J. Miller, Hannah John-Kamen and Win Morisaki also joined.[22][23][24][25] In July 2016, Philip Zhao joined the cast,[26] and Lena Waithe, Ralph Ineson, McKenna Grace, and Letitia Wright were later also announced to have been cast.[27][28][29][30]

text: Filming[edit]

text: Production was set to begin in July 2016.[23] Screenwriter Zak Penn tweeted on July 1, 2016 that the first week of filming had been completed.[31] In August and September 2016, filming took place in Birmingham, England; this included Livery Street in the Jewellery Quarter area of the city, which was extensively used, including the van chase that takes place towards the film's end. The chase was edited to make the street appear longer than it actually is. The backpackers hostel Hatters, also on Livery Street, was used for internal filming for a basement scene. The Ludgate Hill Car Park lot on Lionel Street, in which caravan homes were partially built was also used and a planned explosion there caused some local business and homes to call emergency services, as no prior notification were given by the production team. Other locations in the city included the former industrial area of Digbeth, in a rooftop scene that overlooks the Birmingham City Centre skyline. Some of the city's landmark buildings were erased and replaced with CGI buildings  to create a dystopian Ohio in the year 2045.[32][33] Principal photography ended on September 27, 2016.[34][35]

text: Visual effects and post-production[edit]

text: Spielberg worked with Industrial Light & Magic (ILM) to oversee the film's visual effects, meeting with ILM for 3 hours three times a week.[35] He has stated that "[t]his is the most difficult movie I've done since Saving Private Ryan."[35]

text: A significant part of the film takes place in a virtual space based on the Overlook Hotel in the film The Shining. This was mostly a digital recreation of the film using high-quality telecine of the original film, giving them some freedom of new camera angles and shots that could be generated from this recreation. The final film includes a combination of the original footage from The Shining and ILM's additional work. Only a few scenes in this sequence which involved real actors, such as the appearance of the Grady twins, required them to construct a faithful reproduction of The Shining's set for the actors to interact with. Finally, the sequence was post-processed to introduce film grain and other aging effects to make the new footage indistinguishable from the original film.[36]

text: ILM also had to faithfully produce digital recreations of several of the cultural references that appear throughout the film, including the DeLorean time machine, the Iron Giant, Chucky, and King Kong that was modeled after the 1933 version of the character.[37] The Tyrannosaurus rex from Jurassic Park was also recreated using the same base model that ILM had previously created during the original film production.[37]

text: Cultural references[edit]

text: Ready Player One, as in the book, pays homage to popular culture from various time periods, mainly the 1970s and 1980s but also extending to the 1990s, 2000s, and 2010s; reviewers have identified well over a hundred references to films, television shows, music, toys, video games, anime and comics from these eras.[38][39][40] Cline did not have any issues with these copyrighted elements when he published the book, but was aware that securing all necessary rights would be a major obstacle for a film adaptation. This task was eventually made easier thanks to Spielberg's reputation in the film industry.[15] Spielberg and producer Kristie Macosko Krieger spent several years securing the rights for the copyrighted elements used in the film long before filming began, knowing that some scenes would not be possible without certain copyrighted elements.[41][42] In the end, Spielberg estimated that they managed to get about 80% of the copyrighted elements they wanted[15], noting that in some cases, the filmmakers were able to secure rights for some but not all the characters they wanted. In negotiating with Warner Bros., they could not secure Close Encounters of the Third Kind from Columbia Pictures, despite the latter being one of Spielberg's first films as director.[43]

text: Blade Runner, which was integral to the plot of the book, was off-limits as Blade Runner 2049 was in production at the same time as Ready Player One; as a replacement, the creative team had the players play through the events of The Shining, which Spielberg was able to secure the rights to as an homage to his friend Stanley Kubrick.[15] While Cline's original work heavily used the character of Ultraman, the rights over the character were still under legal dispute, requiring them to replace Ultraman with the titular robot from The Iron Giant and RX-78-2 Gundam.[44] Spielberg recognized that his past films were a significant part of the 1980s popular culture cited in the book, and to avoid being accused of "vanity", he opted to remove many of the references to his own work.[45] Cline stated that he believed Spielberg wanted to avoid self-references to films he directed, due to the criticism he received for his film 1941, which lampooned his own previous works Jaws and Duel. Cline said he had to convince Spielberg to include some iconic elements, such as the DeLorean time machine from Back to the Future, which Spielberg conceded as the film was one he produced rather than directed.[46] Spielberg also allowed the Tyrannosaurus rex from his own Jurassic Park to be included.[37] Cline also asked ILM to include a reference to Last Action Hero, one of Penn's first screenplays, without Penn's knowledge.[47]

text: Music[edit]

text: On June 9, 2016, Variety stated that Spielberg's regular collaborator John Williams was planning to compose the film's score.[48] However, in July 2017, it was reported that Williams had left the project to work on Spielberg's The Post instead, with Alan Silvestri hired to take over scoring duties for Ready Player One.[49] The official score was released by WaterTower Music as a two-CD set on March 30, 2018,[50] with vinyl and cassette releases projected for the summer.[51] At Spielberg's request, Silvestri references his own music from Back to the Future within the film's score, as well as quoting the music by Wendy Carlos and Rachel Elkind from The Shining for the film's sequence at the Overlook Hotel.[52]

text: The film also includes licensed music from the 1970s and 1980s, which appears on the digital-only soundtrack album Ready Player One: Songs from the Motion Picture.

text: showReady Player One: Songs from the Motion PictureNo.TitlePerformed byLength1."I Wanna Be Your Lover"Prince5:482."Everybody Wants to Rule the World"Tears for Fears4:123."Just My Imagination (Running Away with Me)"The Temptations3:494."Stand on It"Bruce Springsteen3:065."One Way or Another"Blondie3:276."Can't Hide Love"Earth, Wind & Fire4:097."Blue Monday"New Order7:248."Stayin' Alive"Bee Gees4:459."We're Not Gonna Take It"Twisted Sister3:3810."You Make My Dreams"Hall & Oates3:1211."Pure Imagination (feat. Merethe Soltvedt)"Bryan Nguyen2:33

tag: table

text: showReady Player One (Original Motion Picture Soundtrack)No.TitleWriter(s)Length1."The Oasis"Alan Silvestri1:492."Hello, I'm James Halliday"Alan Silvestri2:013."Why Can't We Go Backwards?"Alan Silvestri4:184."An Orb Meeting"Alan Silvestri4:115."Real World Consequences"Alan Silvestri3:306."Sorrento Makes an Offer"Alan Silvestri3:347."Welcome to the Rebellion"Alan Silvestri3:148."High 5 Assembles"Alan Silvestri4:249."Orb of Osuvox"Alan Silvestri3:4510."Sorrento Punked"Alan Silvestri3:5711."Wade's Broadcast"Alan Silvestri5:5112."Arty on the Inside"Alan Silvestri2:3313."Looking for a Truck"Alan Silvestri5:3614."She Never Left"Alan Silvestri2:4115."Last Chance"Alan Silvestri3:2116."Get Me Out of This"Alan Silvestri1:3517."Hold on to Something"Alan Silvestri5:1418."This Is Wrong"Alan Silvestri3:4919."What Are You?"Alan Silvestri3:2920."There's Something I Need to Do"Alan Silvestri5:0121."Main Title"Alan Silvestri2:2722."End Credits"Alan Silvestri8:04

text: Release[edit]

text: Ready Player One was initially scheduled to be released on December 15, 2017,[53] but was pushed back to March 30, 2018, to avoid competition with Star Wars: The Last Jedi.[54] In January 2018, it was announced the film's release date had been moved up one day to March 29, 2018.[55] The film had its world premiere at the Paramount Theatre in Austin, Texas on March 11, 2018 (as part of the South by Southwest Film Festival).[4]

text: Warner Bros. Pictures distributed the film worldwide, with Village Roadshow Pictures distributing in several overseas territories.[56]

text: Home media[edit]

text: Ready Player One was released by Warner Bros. Home Entertainment on digital copy on July 3, 2018, and on 4K UHD Blu-ray, Blu-ray 3D, Blu-Ray, and DVD on July 24, 2018.[57]

text: Reception[edit]

text: Box office[edit]

text: Ready Player One has grossed $137 million in the United States and Canada, and $445.2 million in other territories, for a worldwide total of $582.2 million.[6] Made on a production budget of $175 million, with about $150 million more spent on global marketing costs, the film needed to gross at least $440 million in order to break-even.[58]

text: North America[edit]

text: In the United States and Canada, Ready Player One was released alongside God's Not Dead: A Light in Darkness and Acrimony, and was projected to gross $40–50 million from 4,100 theaters over its first four days.[59] It made $12.1 million on its first day, including $3.75 million from Wednesday night previews. It ended up grossing $41.8 million in its opening weekend (for a four-day total of $53.7 million), marking Spielberg's biggest debut since 2008's Indiana Jones and the Kingdom of the Crystal Skull.[60] In its second weekend it grossed $25.1 million (a drop of 40%), finishing second behind newcomer A Quiet Place ($50 million).[61] In its third weekend the film made $11.2 million, coming in fourth behind Rampage, A Quiet Place and Blumhouse's Truth or Dare.[62] In its fourth weekend the film made $7.4 million, finishing sixth at the box office [63] In its fifth weekend it grossed $2.4 million, a drop of 67% from previous weekend and finishing ninth.[64]

text: Other territories[edit]

text: Worldwide, the film was released day-in-date in 62 countries, including China, where it was expected to make $100–120 million in its opening weekend.[59] It grossed $2.9 million on its first day from 11 countries, including $980,000 from Korea.[65] In China the film made $14.75 million on its first day and earned a score of 9.2 from audiences on Douban (compared to the average 6–7 earned by Hollywood films).[58] It grossed $61.7 million in China in its opening weekend which is the highest opening ever for Warner Bros in said territory. The film's other major opening weekend territories were South Korea ($8.1 million), United Kingdom ($7.3 million), Russia ($6.1 million) and France ($6 million).[66] In its second weekend in China it grossed $42 million, and in third weekend grossed $13.9 million.[67][68] The film grossed $81.7 million in its second weekend overseas, dropping only 35% and is ahead of other newcomers A Quiet Place and Blockers.[67] In its third weekend it grossed $33.8 million overseas dropping 58.6%.[68] On April 21, 2018, the film topped $200 million in China, becoming the tenth-biggest U.S. release ever in the country.[69] In its fourth weekend in China, it grossed $8.24 million finishing third at the box office and has a total gross of $207 million.[70] It grossed $23 million overseas from 67 territories in its fourth weekend.[71] It opened in Japan, its final major market and grossed $4.4 million.[71] In its fifth weekend overseas, it grossed $8.6 million from 63 territories.[72] In China, the weekend was $2.4M to push it past Avatar as the no. 9 Hollywood title ever in the market with $213.8M (RMB 1.34B).[72] Japan's third frame held well during Golden Week with just a 6% drop from the last session. The total there is currently at $17.5M.[73] In its sixth weekend in China, it bumped up 10% from last session to lift the local cume to $220.2M.[73] The film's largest markets after China are Japan ($23.4 million), United Kingdom ($21.3 million), France ($21.5 million), Korea ($18.6 million), and Russia-CIS ($13.1 million).[74]

text: Critical response[edit]

text: On the review aggregator website Rotten Tomatoes, the film holds an approval rating of 72% based on 353 reviews, and an average rating of 6.9/10. The website's critical consensus reads, "Ready Player One is a sweetly nostalgic thrill ride that neatly encapsulates Spielberg's strengths while adding another solidly engrossing adventure to his filmography."[75] On Metacritic, the film has a weighted average score of 64 out of 100, based on 54 critics, indicating "generally favorable reviews".[76] Audiences polled by CinemaScore gave the film an average grade of "A–" on an A+ to F scale, while PostTrak reported filmgoers gave it an 82% overall positive score and a 65% "definite recommend".[58]

text: In a review for RogerEbert.com, Brian Tallerico wrote that the film's "overwhelming" nature and non-stop action will likely thrill fans of pop culture; while he observed narrative weaknesses, such as a lack of depth among the supporting characters, he felt that they ultimately do not hinder the film from working "on the level of technical, blockbuster mastery that Spielberg helped define".[77] Writing for Variety, Owen Gleiberman called the film a "coruscating explosion of pop-culture eye candy", and found the sequence based on The Shining to be "irresistible". However, he also criticized Spielberg's dichotomization of fantasy and reality, as well as the film having "more activity than it does layers".[78] IndieWire's Eric Kohn characterized the film as "an astonishing sci-fi spectacle and a relentless nostalgia trip at once" and praised both the sequence based on The Shining as well as Penn's screenplay, particularly with respect to Mendelsohn's character. Nevertheless, he remarked that the film "drags a bunch in its final third".[79]

text: Alissa Wilkinson, writing for Vox, praised both the quality and quantity of the world building. She also commented on just how dystopian the future portrayed is, where the main characters fight to save the OASIS and the escape from reality it represents, with arguably less concern for the problems of the real world.[80]

text: Monica Castillo was more critical of the film in her review for The Guardian and drew attention to the absence of character arcs, the lack of resolution for plot holes in the novel, and the bloating of scenes in the film by trivia.[81] Matt Bobkin scored the film a 6 out of 10 for Exclaim! saying the film "is not so much a groundbreaking recontextualizing, more doe-eyed affection with no critical commentary".[82] Movie Metropolis noted that the film "is an absolute thrill-ride from start to finish and is pure Spielberg in the very best way" and awarded it 4 out of 5 stars.[83]

text: Film and television critic Matt Zoller Seitz praised Ready Player One and noted the undercurrent of sadness present in the film, stating that "I don't think Spielberg gets enough credit for making sad films that most people interpret as happy, and complex films that are immediately dismissed as simple or confused".[84][85][86] Seitz concluded that the film "is a mess, but it is a fascinating and complex one..."[87]

text: Possible sequel[edit]

text: Cline is working on a sequel to the novel.[88] For a sequel to the film, he stated, "[...] I think there's a good chance that, if this one does well, Warner Bros. will want to make a sequel. I don't know if Steven [Spielberg] would want to dive back in, because he would know what he is getting into. He's said that it's the third-hardest film he's made, out of dozens and dozens of movies".[89][90] Co-star Olivia Cooke, and presumably the rest of the cast, is "contracted to sequels".[91]

text: Notes[edit]

text: Jump up ^ IOI employees are called Sixers because their employee IDs are six digits long and begin with the number 6

tag: ol


document_title: United States foreign policy in the Middle East

question_text: when did the us first go into the middle east

text: History[edit]

text: The United States' relationship with the Middle East prior to World War I was limited, although commercial ties existed even in the early 19th century. President Andrew Jackson established formal ties with the Sultan of Muscat and Oman in 1833. (The Sultan saw the U.S. as a potential balance to Britain's overwhelming regional influence.) Commercial relations opened between the U.S. and Persia in 1857, after Britain persuaded the Persian government not to ratify a similar agreement in 1851.[3]

text: In comparison to European powers such as Britain and France which had managed to colonize almost all of the Middle East region after defeating the Ottoman Empire in 1918, the United States was "popular and respected throughout the Middle East".[4] Indeed, "Americans were seen as good people, untainted by the selfishness and duplicity associated with the Europeans."[5] American missionaries had brought modern medicine and set up educational institutions all over the Middle East. Moreover, the United States had provided the Middle East with highly skilled petroleum engineers.[6] Thus, there were some connections made between the United States and the Middle East before the Second World War. Other examples of cooperations between the U.S. and the Middle East are the Red Line Agreement signed in 1928 and the Anglo-American Petroleum Agreement signed in 1944. Both of these agreements were legally binding and reflected an American interest in control of Middle Eastern energy resources, namely oil, and moreover reflected an American "security imperative to prevent the (re)emergence of a powerful regional rival".[7] The Red Line Agreement had been "part of a network of agreements made in the 1920s to restrict supply of petroleum and ensure that the major [mostly American] companies … could control oil prices on world markets".[8] The Red Line agreement governed the development of Middle East oil for the next two decades. The Anglo-American Petroleum Agreement of 1944 was based on negotiations between the United States and Britain over the control of Middle Eastern oil. Below is shown what the American President Franklin D. Roosevelt had in mind for to a British Ambassador in 1944:

text: Persian oil … is yours. We share the oil of Iraq and Kuwait. As for Saudi Arabian oil, it's ours.[9]

text: On August 8, 1944, the Anglo-American Petroleum Agreement was signed, dividing Middle Eastern oil between the United States and Britain. Consequently, political scholar Fred H. Lawson remarks, that by the mid-1944, U.S. officials had buttressed their country's position on the peninsula by concluding an Anglo-American Petroleum Agreement that protected "all valid concession contracts and lawfully acquired rights" belonging to the signatories and established a principle of "equal opportunity" in those areas where no concession had yet been assigned.[10] Furthermore, political scholar Irvine Anderson summarises American interests in the Middle East in the late 19th century and the early 20th century noting that, "the most significant event of the period was the transition of the United States from the position of net exporter to one of net importer of petroleum."[11]

text: By the end of the Second World War, the United States had come to consider the Middle East region as "the most strategically important area of the world."[12] and "one of the greatest material prizes in world history," argues Noam Chomsky.[12] For that reason, it was not until around the period of World War II that America became directly involved in the Middle East region. At this time the region was going through great social, economic and political changes and as a result, internally the Middle East was in turmoil. Politically, the Middle East was experiencing an upsurge in the popularity of nationalistic politics and an increase in the number of nationalistic political groups across the region, which was causing great trouble for the English and French colonial powers.

text: History scholar Jack Watson explains that "Europeans could not hold these lands indefinitely in the face of Arab nationalism".[13] Watson then continues, stating that "by the end of 1946 Palestine was the last remaining mandate, but it posed a major problem".[14] In truth, this nationalistic political trend clashed with American interests in the Middle East, which were, as Middle East scholar Louise Fawcett argues, "about the Soviet Union, access to oil and the project for a Jewish state in Palestine".[15] Hence, Arabist Ambassador Raymond Hare described the Second World War, as "the great divide" in United States' relation with the Middle East, because these three interests would later serve as a backdrop and reasoning for a great deal of American interventions in the Middle East and thus also come to be the cause of several future conflicts between the United States and the Middle East.[5]

text: Formation of Israel[edit]

text: In 1947, the U.S. and the Truman administration, under domestic political pressure, pushed for a solution and resolution on the Arab–Israeli conflict, and in May 1948 the new state of Israel came into existence. This process was not without its fights and loss of lives. Nevertheless, "the first state to extend diplomatic recognition to Israel was the United States; the Soviet Union and several Western nations quickly followed suit. No Arab state, however, recognized Israel."[16]

text: Syria: 1949[edit]

text: Syria became an independent republic in 1946, but the March 1949 Syrian coup d'état, led by Army Chief of Staff Husni al-Za'im, ended the initial period of civilian rule. Za'im met at least six times with CIA operatives in the months prior to the coup to discuss his plan to seize power. Za'im requested American funding or personnel, but it is not known whether this assistance was provided. Once in power, Za'im made several key decisions that benefitted the United States. He approved the Trans-Arabian Pipeline (TAPLINE), an American project designed to transport Saudi Arabian oil to Mediterranean ports. Construction of TAPLINE had been delayed due to Syrian intransigence. Za'im also improved relations with two American allies in the region: Israel and Turkey. He signed an armistice with Israel, formally ending the 1948 Arab–Israeli War and he renounced Syrian claims to Hatay Province, a major source of dispute between Syria and Turkey. Za'im also cracked down on local communists. However, Za'im's regime was short-lived. He was overthrown in August, just four and a half months after seizing power.[17][18][19][20]

text: Mosaddeq and the Shah[edit]

text: Opposed to foreign intervention in Iran and a keen nationalist, Mohammed Mosaddeq became the prime minister of Iran in 1951. Thus, when Mosaddeq was elected he chose to nationalize the Iranian oil industry, where previously British holdings had generated great profits for Britain through the Anglo-Iranian Oil Company. Furthermore, prior to the nationalisation of Iranian oil Mosaddeq had also cut all diplomatic ties with Britain.[21] The Shah of Iran, Mohammad Reza Pahlavi was opposed to the nationalisation of Iranian oil as he feared this would result in an oil embargo, which would destroy Iran's economy and thus, the Shah was very concerned with the effect of Mosaddeq's policies on Iran. Equally worried were workers in the Iranian oil industry, when they experienced the economic effect of the sanctions on Iranian oil exports which Mosaddeq's policies had resulted in, and riots were happening across Iran.[22]

text: Thus, Mohammad Reza Pahlavi asked Mosaddeq to resign, as was the Shah's constitutional right, but Mosaddeq refused, which resulted in national uprisings. The Shah, fearing for his personal security, fled the country but nominated General Fazlollah Zahedi as new Prime Minister. Although General Fazlollah Zahedi was a nationalist, he did not agree with the Mosaddeq's lenient attitude towards the communist Tudeh party, which the United States had also become increasingly concerned with, fearing Soviet influence spreading in the Middle East. Therefore, in late 1952, the British government asked the U.S. administration for help with the removal of Mohammed Mosaddeq. President Harry S. Truman thought Mossadeq was a valuable bulwark against Soviet influence.[23] However, Truman left office in January 1953, and the new administration of Dwight Eisenhower shared British concern over Mossadeq. Allen Dulles, the director of the CIA, approved one million dollars on April 4, 1953 to be used "in any way that would bring about the fall of Mossadegh"[24] Consequently, after a failed attempt on August 15, "on August 19, 1953, General Fazlollah Zahedi succeeded [with the help of the United States and Britain] and Mossadegh was overthrown. The CIA covertly funneled five million dollars to General Zahedi's regime on August 21, 1953."[24]

text: This CIA operation, often referred to as Operation Ajax and led by CIA officer Kermit Roosevelt, Jr., ensured the return of the Shah on August 22, 1953.[22]

text: The Suez Crisis[edit]

text: Today more than a quarter of the world's oil is shipped through the Suez Canal.[25]

text: Although accepting large sums of military aid from the United States in 1954, by 1956 Egyptian leader Nasser had grown tired of the American influence in the country. The involvement that the U.S. would take in Egyptian business and politics in return for aid, Nasser thought "smacked of colonialism."[26] Indeed, as political scholar B.M. Bleckman argued in 1978, "Nasser had ambivalent feelings toward the United States. From 1952 to 1954 he was on close terms with U.S. officials and was viewed in Washington as a promising moderate Arab leader. The conclusion of an arms deal with the USSR in 1955, however, had cooled the relationship between Cairo and Washington considerably, and the Dulles-Eisenhower decision to withdraw the offer to finance the Aswan High Dam in mid-1956 was a further blow to the chances of maintaining friendly ties. Eisenhower's stand against the British, French, and Israeli attack on Egypt in October 1956 created a momentary sense of gratitude on the part of Nasser, but the subsequent development of the Eisenhower Doctrine, so clearly aimed at 'containing' Nasserism, undermined what little goodwill existed toward the United States in Cairo."[27] "The Suez Crisis of 1956 marked the demise of British power and its gradual replacement by USA as the dominant power in the Middle East."[28] The Eisenhower Doctrine became a manifestation of this process. "The general objective of the Eisenhower Doctrine, like that of the Truman Doctrine formulated ten years earlier, was the containment of Soviet expansion."[29] Furthermore, when the Doctrine was finalised on March 9, 1957, it "essentially gave the president the latitude to intervene militarily in the Middle East … without having to resort to Congress."[30] indeed as, Middle East scholar Irene L. Gerdzier explains "that with the Eisenhower Doctrine the United States emerged "as the uncontested Western power … in the Middle East."[31]

text: Meanwhile, in Jordan nationalistic anti-government rioting broke out and the United States decided to send a battalion of marines to Lebanon in case of possibly having to intervene in Jordan later that year. Moreover, attempting to keep the pro-American King Hussein of Jordan in power, the CIA started to make secret payments of millions of dollars a year to King Hussein. In the same year, the U.S. supported allies in Lebanon, Iraq, Turkey and Saudi Arabia and sent fleets to be near Syria as Syria's government had executed nationalistic and pro-Soviet policies the same year.[32] However, 1958 was to become a difficult year in U.S. foreign policy; in 1958 Syria and Egypt were merged into the "United Arab Republic", anti-American and anti-government revolts started occurring in Lebanon, causing the Lebanese president Chamoun to ask America for help, and the very pro-American King Feisal the 2nd of Iraq was overthrown by a group of nationalistic military officers.[33] It was quite "commonly believed that [Nasser] … stirred up the unrest in Lebanon and, perhaps, had helped to plan the Iraqi revolution."[34]

text: The Six Day War and Black September[edit]

text: In June 1967 Israel fought with Egypt, Jordan, and Syria in the Six-Day War. As a result of the war, Israel captured the West Bank, Golan Heights, and the Sinai Peninsula. The U.S. supported Israel with weapons and continued to support Israel financially throughout the 1970s. On September 17, 1970, with U.S. and Israeli help, Jordanian troops attacked PLO guerrilla camps, while Jordan's U.S.-supplied air force dropped napalm from above. The U.S. deployed the aircraft carrier Independence and six destroyers off the coast of Lebanon and readied troops in Turkey to support the assault.

text: The American interventions in the years before the Iranian revolution have all proven to be based in part on economic considerations, but more so have been influenced and led by the international Cold War context.[35]

text: Iran–Iraq War[edit]

text: Support for Iraq[edit]

text: Support for Iran[edit]

text: Saudi Arabia[edit]

text: Saudi Arabia and the United States are strategic allies,[36][37][38] but relations with the U.S. became strained following September 11 attacks.[39]

text: In March 2015, President Barack Obama declared that he had authorized U.S. forces to provide logistical and intelligence support to the Saudis in their military intervention in Yemen, establishing a "Joint Planning Cell" with Saudi Arabia.[40] The report by Human Rights Watch stated that US-made bombs were being used in attacks indiscriminately targeting civilians and violating the laws of war.[41]

text: Afghanistan and Pakistan[edit]

text: Afghanistan and Pakistan, though situated in South Asia, are considered part of the Greater Middle East. U.S. intervention in both Afghanistan and Pakistan started with the Carter Administration after the Soviet invasion of Afghanistan. The relations of the U.S. with Afghanistan and Pakistan have been closely tied to the War on terrorism that has happened there. American policy has been instrumental in coordinating the ongoing conflicts in Afghanistan and northwestern Pakistan. In recent times, political situations of both countries have been bracketed under a single theater of operations, denoted by the newly coined American term "AfPak."[42]

text: Iraq (2003–present)[edit]

text: Libya (2011–present)[edit]

text: Syria (2011–present)[edit]

text: Turkey[edit]

text: Coup attempt (2016)[edit]

text: On 15 July 2016, a coup d'état was attempted in Turkey by a faction within the Turkish Armed Forces against state institutions, including, but not limited to the government and President Recep Tayyip Erdoğan.

text: The Turkish government accused the coup leaders of being linked to the Gülen movement, which is designated as a terrorist organization by the Republic of Turkey and led by Fethullah Gülen, a Turkish businessman and cleric who lives in Pennsylvania, United States. Erdoğan accuses Gülen of being behind the coup—a claim that Gülen denies—and accused the United States of harboring him. President Recep Tayyip Erdoğan accused the head of United States Central Command, chief General Joseph Votel[43] of "siding with coup plotters," (after Votel accused the Turkish government of arresting the Pentagon's contacts in Turkey).[44]

text: American allies[edit]

text:
Israel (see Israel–United States relations)
Saudia Arabia (see Saudi Arabia–United States relations)

text: Iraqi Kurdistan (see Iraqi Kurdistan–United States relations)

text:
Syrian Democratic Forces
Free Syrian Army

text: Criticism[edit]


document_title: Deadpool 2 (soundtrack)

question_text: who sings the x force song at the end of deadpool 2

text: Deadpool 2 (soundtrack)

text: Background[edit]

text: Work on a sequel to the 2016 film Deadpool began before that film's release in February of that year,[1] with the creative team of star/producer Ryan Reynolds, director Tim Miller, and writers Rhett Reese and Paul Wernick all set to return.[2][3] However, Miller left the film that October citing "mutual creative differences" with Reynolds.[4] Subsequently, Junkie XL announced he would not be returning for the sequel after composing the score for the first film, given that Miller was "the driving force behind" him working on that film in the first place.[5] Miller was replaced as director for the sequel by David Leitch,[6] and in October 2017 it was confirmed that Tyler Bates would be writing the score for Deadpool 2 after doing the same for Leitch's previous films.[7]

text: Original score[edit]

text: Bates felt his role was to stay out of the way of the film's comedy and instead support the action and emotional elements of the film. He described the film as a "a true Rubik's Cube" to score because of all the different elements involved, and found a "learning curve" as he discovered how to balance these different parts of the film.[8] Bates approached the music with a slight rock sensibility,[8] and created an "obvious superhero theme" that he felt fit within the established X-Men franchise.[9] Bates wrote a specific motif for the character Cable which is for both the electronic and orchestral sides of the score, and reflects the character's physique and weaponry.[10]

text: Due to Deadpool's mask, the creative team was able to change the character's dialogue up to the film being officially completed; Reynolds took this opportunity to keep adding new jokes to the film as long as possible, with Bates consistently receiving new versions of the film to score throughout the post-production process.[8] These new versions often included new timings for dialogue and jokes, and Bates had to adjust his music to match as Bates approached the film's dialogue as if it was the lead vocals of a song he was writing, for which his music would have to compliment the tonal range and timbre of the characters' voices.[11] This left very little time for Bates to prepare the final score for recording, and for the film's final sound mix to be delivered. Bates' pacing was also based on the film's editing, while the cinematography helped inspire the score's "tonal palette".[9]

text: For the score, Bates used a distorted guitar run through a wah-wah pedal, microsynths to add "unique colors", and a choir.[8] The choir originally sang "meaningless, faux-Latin phrases" for an aggressive vocal cue, which was being recorded on a day that Leitch was visiting the 20th Century Fox recording studio. Bates discussed with Leitch potentially replacing the nonsense phrases with scene-appropriate lyrics, and the pair worked during a 20-minute break in recording with choral contractor Sally Stevens and orchestrator-conductor Tim Williams to write the new lines. The lyrics they wrote, which follow the rhythm of the original music, include "you can’t stop this motherfucker" and "holy shit balls!", which ultimately earned the score a parental advisory warning. It is the first score album to receive such a warning. Bates felt this was not "merit-less debauchery, it was just fun. It’s very rare that we can work on something at such a high professional level that embraces the irreverence of Deadpool."[12]

text: Songs[edit]

text: Leitch felt that retaining the personal stakes of the first film by focusing on "an existential crisis and a deeply personal cause" for Deadpool was going to be more compelling for audiences than trying to build the film around global stakes,[13] and as part of that he wanted to create an original song for the film that served as an emotional through-line for the film's characters in the vein of "Take My Breath Away" and "My Heart Will Go On".[14] He and music supervisor John Houlihan "ended up discovering" the song "Ashes" as written by Petey Martin, Jordan Smith, and Tedd T.[14][15] After further discussions between Leitch and Reynolds, the latter asked Céline Dion to record the song for the film.[14] The soundtrack also features an original collaboration between Diplo, French Montana, Zhavia Ward and Lil Pump called "Welcome to the Party".[16]

text: As explained by co-writer Reese, the song "We Belong" by Pat Benatar was used in the film to illustrate the theme of family that they were exploring, and was almost used a second time during the X-Force parachuting sequence but was replaced with AC/DC's "Thunderstruck" which was used as a "pump me up" song—because of its "straight" tone and use in Iron Man 2—to help sell the excitement of the audience before the X-Force characters are unexpectedly killed.[17] While writing the film's score, Bates was kept aware of the licensed songs that were being used in conjunction with his music because he felt it was "paramount" to his understanding of the film and Reynolds' intentions for it. He also attempted to compose the music on either side of each song in such a way that it could augment the songs and elevate their intended effects.[10]

text: Release[edit]

text: Singles[edit]

text: "Ashes" was released as a single by Columbia Records on May 3, 2018, along with a music video directed by Leitch.[18][14] "Welcome to the Party" was released on May 15.[16]

text: Deadpool 2 (Original Motion Picture Score)[edit]

text: Sony Classical Records released a score album for the film on May 11, 2018. It is the first score album to receive a parental advisory warning—it is labelled "Parental Advisory: Explicit Content" for the phrases sung by the choir in the score.[12] A vinyl release for the album is scheduled for August 17.[19]

text: Standard release[edit]

text: All music composed by Tyler Bates:[12]

text: No.TitleLength1."X-Men Arrive"0:582."Fighting Dirty"2:033."Hello Super Powers"0:574."Escape"2:135."Vanessa"1:556."Weasel Interrogation"1:117."Holy S*** Balls"1:328."Mutant Convoy"3:599."The Name is Cable"1:2310."Sorry for Your Loss"1:0111."You Can’t Stop this Mother F*****"1:1012."Ice Box"1:1913."Docking"1:1614."Make the Whole World our B****"3:1515."Pity D***"0:5816."Knock Knock"0:5117."Let Me In"1:4318."Maximum Effort"1:3819."The Orphanage"2:5720."Cable Flashback"1:2321."Genuine High Grade Lead"1:5322."Courage Mother F*****"1:27

text: Vinyl release[edit]

text: All music composed by Tyler Bates:[19]

text: Side ANo.TitleLength1."X-Men Arrive"0:582."Fighting Dirty"2:033."Hello Super Powers"0:574."Escape"2:135."Vanessa"1:556."Weasel Interrogation"1:117."Holy S*** Balls"1:328."Mutant Convoy"3:599."The Name is Cable"1:2310."Sorry for Your Loss"1:0111."You Can’t Stop this Mother F*****"1:10

text: Side BNo.TitleLength12."Ice Box"1:1913."Docking"1:1614."Make the Whole World our B****"3:1515."Pity D***"0:5816."Knock Knock"0:5117."Let Me In"1:4318."Maximum Effort"1:3819."The Orphanage"2:5720."Cable Flashback"1:2321."Genuine High Grade Lead"1:5322."Courage Mother F*****"1:27

text: Deadpool 2 (Original Motion Picture Soundtrack)[edit]

text: A soundtrack album compiling the songs from the film, including the previously released singles "Ashes" and "Welcome to the Party", as well as a cue from Bates' score was released by Columbia Records on May 18, 2018, coinciding with the film's release.[20][21]

text: No.TitleWriter(s)Producer(s)Length1."Ashes" (performed by Celine Dion)Petey MartinJordan SmithTedd TSteve Mac3:192."Welcome to the Party" (Diplo, French Montana and Lil Pump featuring Zhavia Ward)Thomas Wesley PentzKarim KharbouchGazzy GarciaValentino KhanJocelyn DonaldDiploValentino Khan3:013."Nobody Speak" (DJ Shadow featuring Run the Jewels)Josh DavisJaime MelineMichael RenderDJ Shadow3:164."In Your Eyes" (Peter Gabriel)GabrielGabrielBill LaswellDaniel Lanois5:295."Take On Me" (MTV Unplugged – Summer Solstice) (A-Ha)Magne FuruholmenMorten HarketPål WaaktaarLars HorntvethA-haMartin Terefe4:146."If I Could Turn Back Time" (Cher)Diane WarrenWarrenGuy Roche4:017."9 to 5" (Dolly Parton)PartonGregg Perry2:458."All Out of Love" (Air Supply)Clive DavisGraham RussellRobie Porter4:039."We Belong" (Pat Benatar)David Eric LowenDan NavarroNeil GiraldoPeter Coleman3:4210."Tomorrow" (Alicia Morton)Charles StrouseMartin Charnin 2:3011."Mutant Convoy" (Tyler Bates)BatesBates3:5912."Bangarang" (Skrillex featuring Sirah)Sonny MooreSkrillex3:35

text: Deadpool 2 (Original Motion Picture Soundtrack) [Deluxe – Super Duper Cut][edit]

text: A soundtrack album covering all of the songs previously released in the soundtrack album, including "Ashes" and the cue from Bates' score, and adding six tracks including songs heard only in the extended cut of the film was released by Columbia Records on August 10, 2018, ahead of the extended cut's release on August 21.[22]

text: No.TitleWriter(s)Producer(s)Length1."Ashes" (performed by Celine Dion)Petey MartinJordan SmithTedd TSteve Mac3:192."Welcome to the Party" (Diplo, French Montana and Lil Pump featuring Zhavia Ward)Thomas Wesley PentzKarim KharbouchGazzy GarciaValentino KhanJocelyn DonaldDiploValentino Khan3:013."You Can’t Stop this Mother F***** (Choir Only Mix)" (Tyler Bates)Tyler BatesTyler Bates1:104."Deadpool Rap (X-Force Remix)" (Teamheadkick)TeamheadkickTeamheadkick2:205."Nobody Speak" (DJ Shadow featuring Run the Jewels)Josh DavisJaime MelineMichael RenderDJ Shadow3:166."In Your Eyes" (Peter Gabriel)Peter GabrielPeter GabrielBill LaswellDaniel Lanois5:297."Take On Me" (MTV Unplugged – Summer Solstice) (A-Ha)Magne FuruholmenMorten HarketPål WaaktaarLars HorntvethA-haMartin Terefe4:148."If I Could Turn Back Time" (Cher)Diane WarrenDiane WarrenGuy Roche4:019."9 to 5" (Dolly Parton)Dolly PartonGregg Perry2:4510."All Out of Love" (Air Supply)Clive DavisGraham RussellRobie Porter4:0311."We Belong" (Pat Benatar)David Eric LowenDan NavarroNeil GiraldoPeter Coleman3:4212."Tomorrow" (Alicia Morton)Charles StrouseMartin Charnin 2:3013."Mutant Convoy" (Tyler Bates)Tyler BatesTyler Bates3:5914."Bangarang" (Skrillex featuring Sirah)Sonny MooreSkrillex3:3515."Ashes" (Jordan Smith)Petey MartinJordan SmithTedd TSteve Mac3:1116."Love Hurts" (The Osborne Brothers)Boudleaux Bryant 2:5117."Fight Dirty" (Guignol and Mischief Brew)Erik PetersonGuignol 4:0218."Fly Like an Eagle" (Steve Miller Band)Steve MillerSteve Miller4:42

text: Reception[edit]

text: Charts[edit]

text: Deadpool 2 (Original Motion Picture Soundtrack) debuted on the US Billboard 200 chart at number 18, surpassing the peak of the first Deadpool film soundtrack (number 30 in 2016).[23] It also peaked at number 3 on the soundtrack albums charts in the United States and the United Kingdom.[24][25] In Australia, Deadpool 2 (Original Motion Picture Soundtrack) reached number 9 on the ARIA Top 100 Albums Chart.[26]

text:
Chart (2018)

Peak position

Australian Albums (ARIA)[26]

9

Austrian Albums (Ö3 Austria)[27]

29

Belgian Albums (Ultratop Wallonia)[28]

133

Canadian Albums (Billboard)[29]

16

Czech Albums (ČNS IFPI)[30]

44

German Albums (Offizielle Top 100)[31]

68

Irish Compilation Albums (IRMA)[32]

2

Japanese Albums (Billboard Japan)[33]

57

Japanese Albums (Oricon)[34]

65

Japanese International Albums (Oricon)[35]

12

New Zealand Heatseeker Albums (RMNZ)[36]

3

South Korean Albums (Gaon)[37]

44

South Korean International Albums (Gaon)[38]

2

Swiss Albums (Schweizer Hitparade)[39]

29

Taiwanese Western Albums (5-Music)[40]

2

UK Soundtrack Albums (OCC)[25]

3

US Billboard 200[41]

18

US Soundtrack Albums (Billboard)[24]

3

text: Critical response[edit]

text: Writing for Movie Music UK, Jonathan Broxton praised Bates' score as a "blast", describing it as "like night and day" compared to Junkie XL's score for the first film which Broxton felt had "failed on every conceivable level". He specifically called the use of choir "hilarious and brilliant", and the main theme of the score "outstanding", considering it to be better than the thematic work done by many of the other composers who have worked on the X-Men franchise. He concluded that Bates "fully understood the needs of this film and delivered exactly what was required, but remembered to imbue it with a great deal of personality". On the soundtrack, Broxton was positive about the songs chosen for the film, and particularly praised "Ashes" as both "hilarious" and a genuine contender for the Academy Award for Best Original Song.[42]

text: Mikey Mason praised Bates' score as "upbeat, energetic and fun" when reviewing the soundtrack for We Are Geeks of Color, highlighting the tracks "Mutant Convoy" and "You Can’t Stop This Motherf*****". He felt each song chosen for the film was used perfectly, especially "Ashes" which he felt "makes total, genius sense in context" and was able to balance humor with heartbreak.[43] Chuck Campbell of Knoxville News gave the soundtrack album three out of five, calling it an "ultimately disposable" compilation that is still "fun in the moment". Campbell praised "Ashes" for its earnest effect, but felt the main positive of the soundtrack was its "campy collection of decades-old hits".[44] An editor's note on the iTunes website described the score as "that rarest of treats: an actually funny action-film soundtrack".[45]