document_title: Quinn Fabray

question_text: who does quinn end up with in glee

question_tokens: who does quinn end up with in glee

text: Quinn Fabray

text: Storylines[edit]

text: Season 1[edit]

text: Quinn is introduced as the captain of the cheerleading squad at William McKinley High School, the "Cheerios", coached by Sue Sylvester (Jane Lynch). She comes from a conservative Christian family,[3] and is president of the celibacy club.[4] When her teenage boyfriend Finn Hudson (Cory Monteith) joins the glee club, New Directions, Quinn worries about his interaction with the group's star, Rachel Berry (Lea Michele), and joins New Directions herself along with her fellow Cheerios Santana (Naya Rivera) and Brittany (Heather Morris). Sue then enlists the three of them to help her destroy the glee club from the inside.[5]

text: Upon discovering her pregnancy, Quinn convinces Finn that he is the father, despite the fact that they never actually had a sexual encounter. Quinn claims that due to his premature ejaculation problem, and during their time in a hot-tub, Finn had ejaculated in the tub and Quinn had received the sperm. The real father is Finn's best friend Puck (Mark Salling), who offers to support Quinn and the baby, but is rejected for his irresponsibility.[6] Quinn decides to have the baby adopted, and agrees to give it to Terri (Jessalyn Gilsig), the wife of glee club director Will Schuester (Matthew Morrison), who is faking a pregnancy.[7] When news of her pregnancy is revealed to the school, Quinn is cut from the cheerleading squad and her popularity declines.[8] Her parents evict her, and Quinn moves in with Finn and his mother.[9] She begins to reconsider having the baby adopted, and gives Puck a chance to prove himself, but he is not reliable so she returns to her plan of giving the baby to Terri.[10] Quinn blackmails Sue into letting her rejoin the Cheerios, but ultimately decides against it, preferring to remain with the glee club, where she feels accepted.[11] Finn learns the truth about the baby's paternity from Rachel, and breaks up with Quinn. Puck again offers to support her, but she turns him down and tells him that she wants to handle the pregnancy by herself.[12] She moves in with Puck's family,[13] but after forming a friendship with fellow New Directions member Mercedes Jones (Amber Riley), Quinn lives with her family instead.[14] She gives birth to a daughter, named Beth by Puck, who is adopted by Shelby Corcoran (Idina Menzel), coach of rival glee club Vocal Adrenaline and Rachel's biological mother.[15]

text: Season 2[edit]

text: At the beginning of the new school year, Quinn is reinstated as head cheerleader.[16] She begins dating new glee club member Sam Evans (Chord Overstreet),[17] and later accepts a promise ring from him.[18] When Sue forces Quinn, Santana and Brittany to choose between cheerleading and the glee club, all three initially go with the Cheerios to retain their popularity, but are later convinced by Finn to defect to New Directions. Quinn cheats on Sam with Finn,[19] and Sam dumps Quinn after she lies to him about her time with Finn. She and Finn reunite, and Quinn starts campaigning for junior prom king and queen elections. Lauren Zizes (Ashley Fink), Puck's new girlfriend and one of Quinn's rivals for prom queen, discovers that before transferring to McKinley High, Quinn was known by her first name, Lucy. She was overweight and unpopular, and after slimming down and having rhinoplasty, reinvented herself as Quinn, using her middle name.[20] At prom, Finn is thrown out for fighting with Rachel's date Jesse St. James (Jonathan Groff). Quinn is not named prom queen, and blames Rachel for her loss. She slaps her, but immediately regrets it and apologizes. Finn later breaks up with Quinn when he realizes he has a deeper connection with Rachel.[21]

text: Season 3[edit]

text: At the start of her senior year, Quinn has completely reinvented herself and refuses to rejoin either the Cheerios or New Directions, although when New Directions performs "You Can't Stop The Beat" in the auditorium Quinn can be seen watching them with a conflicted look on her face.[22] Shelby lets Puck see Beth, but rejects Quinn's desire to do likewise due to Quinn's bad-girl attitude, appearance and behavior.[23] After seeing a picture of a happy Beth and Puck, Quinn resumes her normal appearance, and Will and the New Directions welcome her back into the club, but Quinn reveals to Puck she is only pretending to behave in order to take Beth back from Shelby, and intends to pursue full custody.[23] After Puck tells Shelby of Quinn's true intentions, Shelby informs Quinn that she does not want her in Beth's life.[24] Quinn later reveals a desire to have a second baby with Puck.[25] Puck refuses, and tries to comfort her; he offers to share an important secret if she promises not to tell anyone, which ultimately results in Quinn planning to get Shelby fired for sleeping with a student, Puck. Quinn decides not to reveal Shelby's secret for Beth's sake.[25][26]

text: Quinn advises Rachel to refuse Finn's marriage proposal and leave her past behind.[27] Quinn has done so, and she has been accepted at Yale.[27] Quinn asks to allow her to rejoin the Cheerios, but Sue refuses.[28] However, following Regionals, she changes her mind. Quinn also changes her mind about Finn and Rachel's marriage and supports it.[28] Rachel is reluctant to start the subsequent wedding without Quinn, and texts Quinn.[28] Quinn is responding to Rachel's text when a truck crashes into the driver's side of her car.

text: Quinn's car accident has left her in a wheelchair, suffering from a severely compressed spine.[28] By "Prom-asaurus" she is able to stand and to walk a few steps in the sessions.[29][30] When Quinn is nominated for prom queen, Finn agrees to campaign with her, but is outraged when he discovers that she has been hiding the fact that she can now stand for the sympathy vote.[30] When Quinn and Santana count the votes, they discover that Finn has won and so has Quinn.[30] Quinn realizes that the victory means nothing.[30] She and Santana falsely report the prom queen results as a write-in victory for Rachel.[30] Her recovery is rapid enough to allow her to dance in the "Nationals" competition episode, which New Directions wins.[31] Quinn helps Puck study for the test he needs to pass in order to graduate. She tells him that with all they went through, they are bonded for life, and she kisses him. Emboldened, Puck passes his test. Later, Quinn returns her cheerleading uniform to Sue, and the two have a tearful farewell.

text: Season 4[edit]

text: Quinn returns to Lima for Thanksgiving in the eighth episode of the season, and helps to mentor the new members of New Directions as they prepare for Sectionals competition.[32] Quinn is partnered with Kitty Wilde (Becca Tobin). Kitty convinces Quinn, whom she idolizes, that Jake Puckerman (Jacob Artist), Puck's half brother, is pressuring Marley into having sex with him. Quinn becomes hostile towards Jake, Santana confronts Quinn about having discovered that Kitty has given Marley laxatives in order to further Marley's bulimia. Quinn, who is dating one of her teachers at Yale, accuses Santana of being jealous of her and projecting her hostility in their surrogates, leading to a fight before Quinn storms out of the choir room.[32] Quinn travels to New York to give Rachel helpful advice over whether or not to do a nude scene in a short film in "Naked".[33] Quinn returns to Lima for Will and Emma's wedding in "I Do", and evidently single again, vents her frustrations about men. She and Santana get drunk at the wedding reception and sleep together, which they agree was a fun one-time, and then two time, experimentation for Quinn.[34]

text: Season 5[edit]

text: Quinn returns to Lima with a new boyfriend, Biff, for the special 100th episode. Puck is jealous of their relationship, because he still loves her. Quinn is lying to him because she does not want him to know about her past yet. Puck convinces her to tell Biff the truth, which she does. Biff reacts wrongly and insults her, which causes a fight between Puck and Biff. They later break-up. Puck and Quinn talk about Finn and their relationship, and she realizes that she still loves him. They later start a relationship again, which is later confirmed in the next episode.

text: Season 6[edit]

text: Quinn along with the New Directions alumni return in the episode "Homecoming" to help Rachel and Kurt rebuild the New Directions. Quinn, Santana, and Brittany attempt to recruit new members by performing in Cheerios Alumni outfits, but only recruit twins Mason and Madison when former Glee new member, Kitty, who was the only member not to be transferred as Sue saw her as a star player, announced she wouldn't return because of the way Artie treated her and everyone else when he left. Puck is still her boyfriend. She appears in "Jagged Little Tapestry" along with Tina to help Becky convince her new boyfriend that she is in every club of the school. Quinn, Tina, Sue, and Coach Roz get a huge surprise when they find out that Becky's boyfriend, Darrell, does not have Down syndrome like Becky does. They all get a big lesson when they confront him and realize that a person with Down syndrome should be treated like everyone else. Despite being Santana and Brittany's best friend, she is notably absent during their wedding in "A Wedding". She is mentioned several times during the Pilot's parallel episode "2009", as Finn's cheerleader girlfriend. She is later seen during Don't Stop Believin' watching the performance with Sue and Santana. She returns in the last minutes of the series finale "Dreams Come True" performing backing vocals for I Lived with the rest of the Glee Cast for the re-dedication of the Auditorium.

text: Development[edit]

text: Casting and creation[edit]

text: Quinn is portrayed by actress Dianna Agron. In casting Glee, series creator Ryan Murphy sought out actors who could identify with the rush of starring in theatrical roles. Instead of using traditional network casting calls, he spent three months on Broadway looking for unknown actors.[35] Agron was the last primary actor to be cast, having won the role only days before the pilot began filming.[36] Agron auditioned for Glee coming from a background in dancing and acting. She has been taking dance classes since the age of three, appeared in many music theatre productions and has appeared in television roles for Skidmarks, CSI: NY, and Heroes.[37] Agron said in a 2009 interview pertaining to her casting session: "I nearly bailed on my audition for the show. I was so nervous". With her wholesome good looks, Agron certainly looked the part, but the producers wondered if she appeared too innocent. Agron said in an interview: "They told me to come back with straight hair and to dress sexier. Later that week, I started work."[38] Agron auditioned with Frank Sinatra's "Fly Me to the Moon".[36] The Glee producers said "we really lucked out in finding Agron to play Quinn".[36]

text: In December 2010, Ryan Murphy announced that the cast of Glee would be replaced at the end of the third season to coincide with their graduation.[39] Murphy said: "Every year we're going to populate a new group. There's nothing more depressing than a high schooler with a bald spot." He also revealed that some of the original cast will leave as early as 2012: "I think you have to be true to the fact that here is a group of people who come and go in these teachers' lives."[39] Although four graduating seniors were confirmed in January 2012 as returning in the fourth season—Rachel, Finn, Kurt and Santana—there had been no announcement regarding Quinn or any other seniors as of the end of February 2012.[40] As of May 2012, Murphy stated that all graduating seniors will come back for season 4 but, not all will be doing "all 22 episodes".

text: Characterization[edit]

text: Quinn is described by Agron as Rachel Berry's (Lea Michele) enemy, and "terrible, the meanest girl".[2] Agron said that her favorite part of Quinn is that "she's smart. But she's also human, and through her tough exterior, she's often a little girl lost."[41] Interviewmagazine.com's Lauren Waterman has described her as being "lovable, but occasionally a manipulative deposed queen bee."[38] Agron commented: "Yes, there is a stereotype with these characters and it wouldn't be fair if [those stereotypes] didn't exist a little bit. But [co-creator] Ryan Murphy has a way of taking everything and turning it upside down. That's the great thing about this show and these characters: nobody is one note, which is amazing."[42] Quinn was originally conceived as the antagonistic queen bee head cheerleader, a departure from Agron's actual high school experience. Agron said in an interview with HitFix: "I definitely wasn't cool in high school. I really wasn't. I did belong to many of the clubs and was in leadership on yearbook and did the musical theater route, so I had friends in all areas, but I certainly did not know what to wear, did not know how to do my hair, all those things."[43] She added: "I think that it shows that regardless of who you are and what group you belong to, that there are so many emotions behind each person in high school. Sometimes with teens, writers or directors, anybody, short-changes them and makes them be simple, simple individuals, you're either the jock or the popular kid or the nerd. They don't show those shades. Everybody has those shades to them. This show, it really expands upon vulnerability and excitement and anger all the experiences that you probably actually go through in high school."[43]

text: Quinn's role as head cheerleader is central to understanding her character. Agron said that she had never had any prior cheer experience before the Pilot. "If I had been [a cheerleader], I would've ended up on crutches," she told Emmy magazine.[41] In an interview with HitFix she said, "I have new respect for the craft, because I slightly hurt myself during the pilot, coming down from one of the stunts. It's better now. I didn't tear something in my knee, but I strained it. Knees are very sensitive, I've learned. It's crazy, because I've been dancing since I was three on my toes and all these things. And you should never say this, but I've never injured myself ever. I'd seen gnarly injuries with dance and all these things. You shouldn't say that, though, because every day is an opportunity to fall, hurt yourself, so that was my experience."[43]

text: Reception[edit]

text: Critical response[edit]

text: Quinn has received positive reviews from critics. The role saw Agron nominated for the Teen Choice Award for "Female Breakout Star" in 2009.[44] She and the other cast members were awarded the Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Comedy Series in 2010, and nominated in the same category the following year.[45][46]

text: The character's accidental pregnancy storyline received mixed reviews from critics. Tim Stack for Entertainment Weekly deemed it "a good dramatic twist", but hoped that it would not be a long-lasting storyline.[47] Reviews of her storyline became increasingly negative,[48] though Agron was praised for her dramatic acting during the confrontation scene with Quinn's parents in "Ballad".[49] Gerrick D. Kennedy, writing for the Los Angeles Times, was critical of the ongoing pregnancy plot in the episode "Hairography", and noted that he cringed whenever Quinn appeared on screen.[50] Conversely, Bobby Hankinson of the Houston Chronicle enjoyed Quinn in the episode, and wrote: "I love that she can keep her Mean Girls edge while being heartbreakingly sad or as joyful as she was singing "Papa Don't Preach".[51] Reviewing the episode "Journey to Regionals", Entertainment Weekly's Darren Franich called Quinn's birthing scenes—interspersed with Vocal Adrenaline performing Queen's "Bohemian Rhapsody"—both "brilliant" and "terrible". He wrote, "If nothing else, it was definitely the most visually arresting way to represent the birthing process I've ever seen outside of The Miracle of Life. But I kind of liked it. Somewhere, Freddie Mercury is nodding proudly, and saying, 'World, I forgive you for We Will Rock You.'"[52]

text: Brett Berk, writing for Vanity Fair, was positive about the scripting of the Quinn character in the second season premiere, now that the pregnancy storyline was over, and was happy to see the return of "evil Quinn".[53] Joel Kelly of TV Squad criticized the decision to pair Quinn with Finn again in the Valentine's Day oriented episode. He saw it as a regression of the characters, and commented: "Yes, it feels like Glee Classic, because the series started with the two of them together. But both of them have changed—Quinn more so than Finn—and having them dating again seems like they're going back to the days when Quinn was the icy lead Cheerio and Finn was the nice but dumb star quarterback."[54]

text: Quinn's season three reinvention attracted mixed reviews. Lesley Goldberg of The Hollywood Reporter listed her change as a highlight of the episode, and hoped to see more of her new attitude.[55] The Atlantic's Kevin Fallon called it "the most interesting thing Quinn has done since giving birth to a baby to the soundtrack of 'Bohemian Rhapsody'",[56] but VanDerWerff suggested the development hinged on the fact the producers no longer knew how to utilize Agron.[57]

text: She was ranked No. 13 in AfterEllen.com's Top 50 Favorite Female TV Characters.[58]

text: Musical performances[edit]

text: Several songs performed by Agron as Quinn have been released as singles, available for digital download, also featured on the show's soundtrack albums.[59][60] Agron made her musical debut at the end of the episode "Showmance" where she performed Dionne Warwick's "I Say a Little Prayer".[59] Quinn's next solo was in the episode "Throwdown", where she performed The Supremes' "You Keep Me Hangin' On".[59] The song was released on Glee: The Music, Volume 1. Flandez deemed the cover of "Keep Holding On", the ensemble performance on the episode, an "emotionally satisfying showstopper", however was critical of Quinn's cover of "You Keep Me Hangin' On", which he called "thin and jarring".[61] Aly Semigran of MTV observed that Quinn spontaneously bursting into song brought Glee "dangerously close to High School Musical territory".[62] Agron later performed a solo in the episode "Hairography" singing Madonna's "Papa Don't Preach" after her father learns she is pregnant. This performance by Agron was released as a single.[59] She performed a rendition of James Brown's "It's a Man's Man's Man's World" in the episode "Funk".[60] CNN's Lisa Respers France was "slightly disturbed" by Quinn's "weird" performance of "It's a Man's Man's Man's World" using pregnant teenagers as backing dancers.[63]

text: In season two, Quinn performs "Lucky" with Sam Evans in the episode "Duets", which was named by some critics as "the most impressive number of the evening"; others called it "absolutely fantastic" with particular praise for Agron, who was said to be often overlooked. "Lucky" debuted at number twenty-seven on the Billboard Hot 100;[64] it was at number seventeen on the Billboard Canadian Hot 100.[65] Quinn's duet performance with Rachel Berry (Lea Michele) of the mash-up "I Feel Pretty / Unpretty" was the highest charted single featured in the episode "Born This Way", debuting at number twenty-two on the Billboard Hot 100.[64] It also peaked at number thirteen on the Digital 100 charts and sold 112,000 digital downloads in the United States in its first week of release.[66][67] It was the highest charting Glee single on the Billboard charts since "Loser Like Me", which debuted at number six on the Billboard Hot 100 and sold over 210,000 downloads in its first week.[68]

text: In season three, Quinn sings her first solo number since the first season, "Never Can Say Goodbye" by The Jackson 5, which received mostly positive reviews. Jen Chaney of The Washington Post gave the song a "B−", and said it "worked much better than every track that preceded it" because it adapted the song to the show "instead of trying to out-Jackson Jackson".[69] Entertainment Weekly's Joseph Brannigan Lynch called it "a nice summation of her character's journey, but not vocally impressive enough to justify listening to outside of the episode" and gave it a "B".[70] Crystal Bell of HuffPost TV described it as a "blah performance", but Kate Stanhope of TV Guide said it was "sweet and reflective".[71][72] Erica Futterman of Rolling Stone wrote that it was "a tune well-suited for Quinn's sultry voice and the flipped meaning she gives the lyrics", and TVLine's Michael Slezak had a similar take: he gave it an "A" and called it a "remarkably lovely fit" for her voice.[73][74]


document_title: Senate of Kenya

question_text: who elects the speaker of the senate in kenya

root

text: Senate of Kenya

text: First Senate, 1963–1966[edit]

text: Kenya's 1963 Constitution established a Senate that consisted of 41 senators elected for six years, with one-third of the members retiring every two years. Timothy Chokwe served as the first speaker of the Senate.[5] The Senate was abolished in 1966, when its membership was combined with that of the House of Representatives to form a unicameral legislature, the National Assembly.

tag: p

text: Modern Senate, 2013–present[edit]

text: The 2013 Kenya Senate elections took place on 4 March 2013.[6] Under the new constitution, which was passed during the 2010 referendum, the 2013 general election was the first to include the election of Senators representing the 47 newly created counties. They were also the first general elections run by the Independent Electoral and Boundaries Commission (IEBC). According to their share of elected seats, the political parties nominated an additional 16 women. Additional nominations were made for two members representing the youth and two members representing persons with disabilities.The Speaker, who is an ex officio member, was elected by the Senators sworn in on the first sitting of the Senate.

text: Powers[edit]

text:
Empowered to represent the interests of the counties and their governments
Participates in law-making by considering, debating and approving bills concerning counties
Determines allocation of national revenue among counties.
Has powers of impeachment over President, Deputy President, County Governor, and Deputy Governors

tag: ul

text: Members of the Senate Between 2013 and 2017[edit]

text: The Senate consists of 47 members directly elected by their counties, 16 women nominated by the political parties according to their relative strength in the Senate elections, two members to represent the youth, and two members to represent persons with disabilities.

text: Elected Senators[edit]

text:
County No
County Name
Name
Party
Coalition

1
Mombasa
Hassan Omar
WDM-K
CORD

2
Kwale
Boy Juma Boy
ODM
CORD

3
Kilifi
Stewart Madzayo
ODM
CORD

4
Tana-River
juma wario
FPK
CORD

5
Lamu
Abu Chiaba
TNA
Jubilee

6
Taita-Taveta
Dan Mwazo
ODM
CORD

7
Garissa
Yusuf Haji
TNA
Jubilee

8
Wajir
Abdirahman Ali
ODM
CORD

9
Mandera
Billow Kerow
URP
Jubilee

10
Marsabit
Godana Hargura
ODM
CORD

11
Isiolo
Mohammed Kuti
URP
Jubilee

12
Meru
Kiraitu Murungi
APK
Jubilee

13
Tharaka Nithi
Kithure Kindiki
TNA
Jubilee

14
Embu
Lenny Kivuti
APK
Jubilee

15
Kitui
David Musila
WDM-K
CORD

16
Machakos
Johnstone Muthama
WDM-K
CORD

17
Makueni
Mutula Kilonzo, Jr.
WDM-K
CORD

18
Nyandarua
Muriuki Karue
TNA
Jubilee

19
Nyeri
Mutahi Kagwe
NARC
Jubilee

20
Kirinyaga
Daniel Karaba
TNA
Jubilee

21
Murang'a
Kembi Gitura
TNA
Jubilee

22
Kiambu
Paul Kimani
TNA
Jubilee

23
Turkana
John Munyes
FORD-KENYA
CORD

24
West-Pokot
Samuel Poghisio
KANU
Jublee

25
Samburu
Sammy Leshore
URP
Jubilee

26
Trans-Nzoia
Henry Ndiema
FORD-KENYA
CORD

27
Uasin-Gishu
Isaac Melly
URP
Jubilee

28
Elgeyo-Marakwet
Kipchumba Murkomen
URP
Jubilee

29
Nandi
Stephen Sang
URP
Jubilee

30
Baringo
Gideon Moi
KANU
Amani

31
Laikipia
Geoffrey Gitahi Kariuki
TNA
Jubilee

32
Nakuru
Susan Kihika
TNA
Jubilee

33
Narok
Stephen Kanyinge ole Ntutu
URP
Jubilee

34
Kajiado
Peter Mositet
TNA
Jubilee

35
Kericho
Charles Keter
URP
Jubilee

36
Bomet
Wilson Lessan
URP
Jubilee

37
Kakamega
Bonny Khalwale
UDF
Amani

38
Vihiga
George Khaniri
UDF
Amani

39
Bungoma
Moses Wetangula
FORD-KENYA
CORD

40
Busia
Amos Wako
ODM
CORD

41
Siaya
James Orengo
ODM
CORD

42
Kisumu
Peter Anyang' Nyong'o
ODM
CORD

43
Homa Bay
Moses Kajwang
ODM
CORD

44
Migori
Wilfred Machage
ODM
CORD

45
Kisii
Chris Obure
ODM
CORD

46
Nyamira
Kennedy Mong'are Okong'o
FORD-KENYA
CORD

47
Nairobi
Gideon Mbuvi
TNA
Jubilee

tag: table

text: Women members nominated to Senate[edit]

text:
#
Name
Party

1
Beatrice Elachi
APK

2
Catherine Mukite Nobwola
FORD-KENYA

3
Janet Ongera
ODM

4
Elizabeth Ongoro Masha
ODM

5
Halima Abdille Mohamud
ODM

6
Agnes Nzani (Dr.)
ODM

7
Beth Wambui Mugo
TNA

8
Emma Mbura Gertrude
TNA

9
Naisula Lesuuda
TNA

10
Joy Adhiambo Gwendo
TNA

11
Martha Wangari
UDF

12
Mshenga Mvita Kisasa
URP

13
Chelule Liza
URP

14
Dullo Fatuma Adam
URP

15
Judith Achieng Sijeny
WDM-K

16
Zipporah Jepchirchir Kittony
KANU

text: Members nominated to Senate to represent youth[edit]

text:
#
Name
Party

1
Kanainza Nyongesa Daisy
ODM

2
Hosea Onchwangi
TNA

text: Members nominated to Senate to represent the disabled[edit]

text:
#
Name
Party

1
Ben Njoroge
TNA

2
Godliver Nanjira Omondi
ODM

text: Summary by coalition and party Between 2013 and 2017[edit]

text: These summaries are based on post-election coalitions as reported by the press.

text:
Coalition
Party
Elected
Senators
Nominated
Senators
Total

Jubilee
TNA
11
6
17

URP
9
3
12

NARC
1
–
1

Total
21
9
30

Amani
Jubilee-affiliated

KANU
2
1
3

UDF
2
1
3

Total
4
2
6

Jubilee-affiliated
APK
2
1
3

Total
2
1
3

CORD
ODM
10
6
16

FORD-KENYA
4
1
5

WDM-K
4
1
5

FPK
1
–
1

Total
19
8
27

Vacant
1
0
1

Total
47
20
67

text: Committees[edit]

text:
Senate Rules and Business Committee

Chair: Ekwee Ethuro

Senate Committee on Education, Information and Technology

Chair: Mutahi Kagwe (NARC)
Vice Chair: Mohamud Halima Abdille (ODM)

Senate Committee on Energy, Roads and Transportation

Chair: Gideon Moi (KANU)
Vice Chair: Mwakulegwa Danson Mwazo (ODM)

Senate Committee on Finance, Commerce and Economic Affairs

Chair: Billow Kerrow (URP)
Vice Chair: Peter Mositet (TNA)

Senate Committee on Health, Labour and Social Welfare

Chair: Mohammed Kuti (URP)
Vice Chair: Kittony Zipporah (KANU)

Senate Committee on Legal Affairs and Human Rights

Chair: Amos Wako (ODM)
Vice Chair: Sang Stephen (URP)

Senate Committee on National Security and Foreign Relations

Chair: Yusuf Haji (TNA)
Vice Chair: Dullo Fatuma (URP)

Senate Committee on Agriculture, Land and Natural Resources

Chair: Kivuti Lenny (APK)
Vice Chair: George Khaniri (UDF)

Senate Delegated Legislation Committee

Chair: Kisasa Mshenga Mvita (URP)
Vice Chair: Sijeny Judith Achieng (WDM-K)

Senate Implementation Committee

Chair: James Orengo (ODM)
Vice Chair: Kanainza Nyongesa Daisy (ODM)

Senate Devolved Government Committee

Chair: Murkomen Kipchumba (URP)
Vice Chair: Wangari Martha (UDF)


document_title: Bullitt

question_text: what was the car in the movie bullitt

question_tokens: what was the car in the movie bullitt

text: Bullitt

text: Plot[edit]

text: Ambitious San Francisco politician Walter Chalmers is about to present a surprise star witness in a Senate subcommittee hearing on organized crime. Johnny Ross, a defector from the Organization in Chicago, is to be put under local police department protective custody over the weekend until his Monday morning appearance.

text: Seeking to associate himself and his grandstanding mob-busting effort with a high-visibility SFPD detective, Chalmers requests Lieutenant Frank Bullitt be put in charge. Bullitt and his team, Delgetti and Stanton, put Ross under around-the-clock protection in a cheap hotel selected by Chalmers. Stanton is on solo duty when the desk clerk unexpectedly calls at 1:00 a.m., Saturday morning to announce that Chalmers wants to come up. While Stanton checks by phone with Bullitt, Ross unchains the hotel room door. A pair of hitmen burst in and shoot Stanton and Ross, seriously wounding both.

text: At the hospital, Chalmers holds Bullitt responsible. Later, Bullitt thwarts a second assassination attempt on Ross before it can materialize, but Ross soon dies of his original injuries. Helped by a sympathetic Dr. Willard, who had been snubbed by Chalmers, Bullitt delays news of the death by spiriting the body out of the hospital by private ambulance service, registering it as a John Doe at the city morgue.

text: Bullitt finds the cab driver who drove Ross to the hotel, and recreates Ross' movements upon arriving in town, learning that he made a long distance call from a phone booth. Bullitt's confidential informant, Eddy, reveals that Ross was caught stealing $2 million ($14.1 million today) from the Chicago Mob and fled to San Francisco after escaping an attempted hit in Chicago. Meanwhile, Chalmers serves Bullitt's captain with a writ of habeas corpus to force Bullitt to produce Ross.

text: While driving in San Francisco, Bullitt spots the mob hitmen tailing him in a 1968 Dodge Charger R/T. He flips the chase, turning the hunters into the hunted. They attempt to flee, and a high-speed chase ensues through the hilly streets of Russian Hill and out onto the highway, ending when Bullitt's 1968 Ford Mustang GT forces the Charger off the road and into a gas station, where it explodes in a fireball.

text: Bullitt and Delgetti face their superiors Sunday morning. They reveal that Ross is dead and that their only lead are phone records showing that Ross's call was to a Dorothy Simmons in a hotel in nearby San Mateo. The detectives are given until Monday to deliver results. With his car out of commission, Bullitt gets a ride from his girlfriend Cathy in her Porsche 356. The detectives find Dorothy Simmons strangled to death. Cathy sees police rushing in and follows, fearing for Bullitt. Horrified by the crime scene, she later confronts him about his violent world, wondering whether she really knows him and where the life he leads will take them.

text: Back in San Francisco, Bullitt and Delgetti search Simmons's luggage, discovering brand new sets of clothing, empty ticket and passport folders, a travel brochure for Rome, and thousands of dollars in travelers' checks made out to an Albert and Dorothy Renick. Bullitt requests passport information for the Renicks and a fingerprint check for the dead Ross.

text: Chalmers again confronts Bullitt, demanding a signed admission that Ross died while in his custody. Bullitt refuses. A facsimile of Albert Renick's passport application arrives, showing the man they believed to be Ross was actually Renick, a used car salesman from Chicago with no criminal record bearing a startling resemblance to Ross. Bullitt points out that Chalmers was duped by the real Ross, who used Chalmers to fake his own death by setting up Renick to die in his place, then murdered the wife to complete the cover-up.

text: Delgetti discovers reservations for the Renicks on an evening flight to Rome. He and Bullitt head to San Francisco International Airport to look for Ross, traveling as Renick. They stake out the Rome flight gate, only to find that Ross has switched to a slightly earlier flight to London that is already taxiing toward takeoff. Chalmers shows up to lay claim to his witness, even though he is now wanted for murder, and is again rebuffed by Bullitt.

text: Bullitt has the plane stopped, but Ross escapes. A foot chase across the busy runways ends in a tense pursuit inside the crowded passenger terminal. When Ross bolts and shoots a security guard, Bullitt shoots and kills Ross. The empty-handed Chalmers skulks away, and is driven off in his 1968 Lincoln limousine bearing a "Support Your Local Police" bumper sticker.

text: Early the next morning, Bullitt drives home. As he approaches his apartment he spots Cathy's car. He looks in and sees her sleeping in his bedroom, but he does not wake her. He takes off his gun and balances it on a banister. As he begins to wash up at the bathroom sink, he looks up into his own reflection and contemplates himself for a long moment.

text: Cast[edit]

text:
Steve McQueen as Lt. Frank Bullitt
Robert Vaughn as Walter Chalmers
Jacqueline Bisset as Cathy
Don Gordon as Delgetti
Robert Duvall as Weissberg
Simon Oakland as Captain Sam Bennett
Norman Fell as Captain Baker
Georg Stanford Brown as Dr. Willard
Justin Tarr as Eddy
Carl Reindel as Carl Stanton
Felice Orlandi as Albert "Johnny Ross" Renick
Vic Tayback as Pete Ross (credited as Victor Tayback)
John Aprea as Killer
Robert Lipton as 1st Aide (to Chalmers)
Ed Peck as Westcott (reporter at hospital)
Pat Renella as Johnny Ross
Paul Genge as Mike (hitman, Dodge Charger)
Al Checco as Desk Clerk
Bill Hickman as Phil (driver/hitman, Dodge Charger)

text: Production[edit]

text: Bullitt was co-produced by McQueen's Solar Productions and Warner Bros.-Seven Arts, the film pitched to Jack L. Warner as "doing authority differently."[14]

text: Development[edit]

text: Bullitt was director Yates' first American film. He was hired after McQueen saw his 1967 UK feature, Robbery, with its extended car chase.[15] Joe Levine, whose Embassy Pictures had distributed Robbery, didn't much like it, but Alan Trustman, who saw the picture the very week he was writing the Bullitt chase, insisted that McQueen, Relyea and D'Antoni (none of whom had ever heard of Yates) see Robbery and consider Yates as director for Bullitt.[citation needed]

text: Casting[edit]

text: McQueen based the character of Frank Bullitt on San Francisco Inspector Dave Toschi, with whom he worked prior to filming.[16][17] McQueen even copied Toschi's unique "fast draw" shoulder holster. Toschi later became famous, along with Inspector Bill Armstrong, as the lead San Francisco investigators of the Zodiac Killer murders that began shortly after the release of Bullitt. Toschi is played by Mark Ruffalo in the film Zodiac, in which Paul Avery (Robert Downey, Jr.) mentions that "McQueen got the idea for the holster from Toschi".[17][18]

text: Realism[edit]

text: Bullitt is notable for its extensive use of actual locations rather than studio sets, and its attention to procedural detail, from police evidence processing to emergency room procedures. Director Yates' use of the new lightweight Arriflex cameras allowed for greater flexibility in location shooting.[19]

text: Car chase[edit]

text: At the time of the film's release, the car chase scene generated prodigious excitement.[9] Leonard Maltin has called it a "now-classic car chase, one of the screen's all-time best."[10] Emanuel Levy wrote in 2003 that, "Bullitt contains one of the most exciting car chases in film history, a sequence that revolutionized Hollywood's standards."[11] In his obituary for Peter Yates, Bruce Weber wrote, "Mr. Yates’ reputation probably rests most securely on Bullitt (1968), his first American film – and indeed, on one particular scene, an extended car chase that instantly became a classic."[12] The editing of this scene likely won editor Frank P. Keller the Academy Award for Best Editing.[20]

text: Filming[edit]

text: The chase scene starts at 1h:05m into the film. The total time of the scene is 10 minutes and 53 seconds, beginning in the Fisherman's Wharf area of San Francisco, at Columbus and Chestnut (although Bullitt first notices the hitmen following his car while driving west on Army, now Cesar Chavez, just after passing under Highway 101), followed by Midtown shooting on Hyde and Laguna Streets, with shots of Coit Tower and locations around and on Filbert and University Streets. The scene ends outside the city at the Guadalupe Canyon Parkway in Brisbane.[21] The route is geographically impossible to take place in real time.[22]

text: Two 1968 390 V8 Ford Mustang GT Fastbacks (325 hp) with four-speed manual transmissions were used for the chase scene, both lent by the Ford Motor Company to Warner Bros. as part of a promotional agreement. The Mustangs' engines, brakes and suspensions were heavily modified for the chase by veteran car racer Max Balchowsky. Ford also originally lent two Galaxie sedans for the chase scenes, but the producers found the cars too heavy for the jumps over the hills of San Francisco. They were replaced with two 1968 375 hp 440 Magnum V8-powered Dodge Chargers. The engines in both Chargers were left largely unmodified, but the suspensions were mildly upgraded to cope with the demands of the stunt work.[citation needed]

text: The director called for maximum speeds of about 75–80 miles per hour (121–129 km/h), but the cars (including the chase cars filming) at times reached speeds of over 110 miles per hour (180 km/h). Driver's point-of-view shots were used to give the audience a participant's feel of the chase. Filming took three weeks, resulting in nine minutes and 42 seconds of pursuit. Multiple takes were spliced into a single end product resulting in discontinuity: heavy damage on the passenger side of Bullitt's car can be seen much earlier than the incident producing it, and the Charger appears to lose five wheel covers, with different ones missing in different shots. Shooting from multiple angles simultaneously and creating a montage from the footage to give the illusion of different streets also resulted in the speeding cars passing the same vehicles at several different times, including, widely noted, a green Volkswagen Beetle.[23] At one point the Charger crashes into the camera in one scene and the damaged front fender is noticeable in later scenes. Local authorities did not allow the car chase to be filmed on the Golden Gate Bridge, but did permit it in Midtown locations including Bernal Heights and the Mission District, and on the outskirts of neighboring Brisbane.[24]

text: McQueen, an accomplished driver, drove in the close-up scenes, while stunt coordinator Carey Loftin, stuntman and motorcycle racer Bud Ekins, and McQueen's usual stunt driver, Loren Janes, drove for the high-speed part of the chase and performed other dangerous stunts.[25] Ekins, who doubled for McQueen in The Great Escape sequence where McQueen's character jumps over a barbed wire fence on a motorcycle, lays one down in front of a skidding truck during the Bullitt chase. The Mustang’s interior rear view mirror goes up and down depending on who is driving: when the mirror is up, McQueen is visible behind the wheel, when it is down, a stunt man is driving.

text: The black Dodge Charger was driven by veteran stunt driver Bill Hickman, who played one of the hitmen and helped with the chase scene choreography. The other hitman was played by Paul Genge, who played a character who had ridden a Dodge off the road to his death in an episode of Perry Mason ("The Case of the Sausalito Sunrise") two years earlier. In a magazine article many years later, one of the drivers involved in the chase sequence remarked that the Charger – with a larger engine (big-block 440 cu. in. versus the 390 cu. in.) and greater horsepower (375 versus 325) – were so much faster than the Mustang that the drivers had to keep backing off the accelerator to prevent the Charger pulling away from the Mustang.[24]

text: Editing[edit]

text: The editing of the car chase by Frank P. Keller likely won Keller the editing Oscar for 1968,[20] and has been included in lists of the "Best Editing Sequences of All-Time".[26] Paul Monaco has written, "The most compelling street footage of 1968, however, appeared in an entirely contrived sequence, with nary a hint of documentary feel about it – the car chase through the streets of San Francisco in Bullitt, created from footage shot over nearly five weeks. Billy Fraker, the cinematographer for the film, attributed the success of the chase sequence primarily to the work of the editor, Frank P. Keller. At the time, Keller was credited with cutting the piece in such a superb manner that he made the city of San Francisco a "character" in the film."[27] The editing of the scene was not without difficulties; Ralph Rosenblum wrote in 1979 that "those who care about such things may know that during the filming of the climactic chase scene in Bullitt, an out-of-control car filled with dummies tripped a wire which prematurely sent a costly set up in flames, and that editor Frank Keller salvaged the near-catastrophe with a clever and unusual juxtaposition of images that made the explosion appear to go off on time."[28] This chase scene has also been cited by critics as groundbreaking in its realism and originality.[29] In the release print and the print shown for many years, a scene in which the Charger actually hits the camera causing a red flare on screen, which many feel added to the realism, was edited out on DVD prints to the disappointment of many fans.[citation needed]

text: Music[edit]

text: The original score was composed by Lalo Schifrin. The tracks on the soundtrack album are alternative versions of those heard in the film, re-recorded by Schifrin with leading jazz musicians, including Bud Shank (flute), Ray Brown (bass), Howard Roberts (guitar) and Larry Bunker (drums).[30]

text: In 2000, the original arrangements as heard in the movie were recreated by Schifrin in a recording session with the WDR Big Band in Cologne, Germany, and released on the Aleph label.[31] This release also includes re-recordings of the 1968 soundtrack album arrangements for some tracks.

text: In 2009, the never-before-released original recording of the score heard in the movie, recorded by Schifrin on the Warner Bros. scoring stage with engineer Dan Wallin, was made available by Film Score Monthly. Some score passages and cues are virtually identical to the official soundtrack album, while many softer, moodier cues from the film were not chosen or had been rewritten for the soundtrack release. Also included are additional cues that didn't make it into the film. In addition, the two-CD set features the official soundtrack album, newly mixed from the 1" master tape.[30]

text: In the restaurant scene with McQueen and Bissett, the live band playing in the background is Meridian West, a jazz quartet that McQueen had seen performing at famous Sausalito restaurant, The Trident.[32]

text: Release[edit]

text: Bullitt garnered both critical acclaim and box office success.

text: Box office performance[edit]

text: Produced on a $5.5 million budget, the film grossed over $42.3 million in the US,[1] making it the 5th highest-grossing film of 1968.

text: Critical reception[edit]

text: Bullitt was well received by critics and is considered by some to be one of the best films of 1968.[33][34][35] At the time, Renata Adler made the film a New York Times Critics' Pick, calling it a "terrific movie, just right for Steve McQueen –-fast, well acted, written the way people talk." According to Adler, "the ending should satisfy fans from Dragnet to Camus."[36]

text: In 2004, the New York Times placed the film on its list of The Best 1,000 Movies Ever Made.[29] In 2011, Time magazine listed it among "The 15 Greatest Movie Car Chases of All Time," describing it as "the one, the first, the granddaddy, the chase on the top of almost every list," and saying "Bullitt‘s car chase is a reminder that every great such scene is a triumph of editing as much as it is stunt work. Naturally, it won that year's Academy Award for Best Editing".[37] Among 21st-century critics, it holds a 97% "Fresh" rating on Rotten Tomatoes, representing positive reviews from 33 of 34 critics, in a mix of reviews dated from when the film was released to the 2000s, its consensus reading: "Steve McQueen is cool as ice in this thrilling police procedural that also happens to contain the arguably greatest car chase ever."[38]

text: Awards and honors[edit]

text: The film was nominated for and won several critical awards.[39] Frank P. Keller won the 1969 Academy Award for Best Film Editing, and it was also nominated for Best Sound.[40] Five nominations at the BAFTA Film Awards for 1969 included Best Director for Peter Yates, Best Supporting Actor for Robert Vaughn, Best Cinematography for William A. Fraker, Best Film Editing for Frank P. Keller, and Best Sound Track. Robert Fish, Harry Kleiner, and Alan Trustman won the 1969 Edgar Award for Best Motion Picture.[41] Keller won the American Cinema Editors Eddie Award for Best Edited Feature Film. The film also received the National Society of Film Critics Award for Best Cinematography (William A. Fraker) and the Golden Reel Award for Best Sound Editing – Feature Film. It was successful at the 1970 Laurel Awards, winning Golden Laurel awards for Best Action Drama, Best Action Performance (Steve McQueen) and Best Female New Face (Jacqueline Bisset). In 2000, the Society of Camera Operators awarded Bullitt its "Historical Shot" award to David M. Walsh.

text: Legacy[edit]

text: The famous car chase was later spoofed in the Clint Eastwood film, The Dead Pool, in the Futurama episode, "Bendin' in the Wind," and in the Archer season six episode, "The Kanes." Bullitt producer Philip D'Antoni went on to film two more car chases, for The French Connection and The Seven-Ups, both set and shot in New York City.

text: The Ford Mustang name has been closely associated with the film. In 2001, the Ford Motor Company released the Bullitt edition Ford Mustang GT.[42] Another version of the Ford Mustang Bullitt, which is closer to resembling the original film Mustang, was released in 2008, to commemorate the 40th anniversary of the film.[43][44] A third version is planned for 2019.[45] In 2009, Bud Brutsman of Overhaulin' built an authentic-looking replica of the Bullitt Mustang, fully loaded with modern components, for the five-episode 2009 TV series, Celebrity Rides: Hollywood's Speeding Bullitt, hosted by Chad McQueen, son of Steve McQueen.[46][47]

text: Steve McQueen's likeness as Frank Bullitt was used in two Ford commercials. The first was for the Europe-only 1997 Ford Puma, which featured a special effects montage of McQueen (who died in 1980) driving a new Puma around San Francisco before parking it in a studio apartment garage beside the film Mustang and the motorcycle from The Great Escape.[48] In a 2004 commercial for the 2005 Mustang, special effects are again used to create the illusion of McQueen driving the new Mustang, after a man receives a Field of Dreams-style epiphany and constructs a racetrack in the middle of a cornfield.[49]

text: The Mustang is featured in the 2003 video game, Ford Racing 2, in a Drafting challenge, on a course named Port Side. It appears in the Movie Stars category, along with other famous cars like the Ford Torino from Starsky & Hutch and the Ford Mustang Mach 1 from Diamonds Are Forever.[50][51] In the 2011 video game, Driver: San Francisco, the "Bite the Bullet" mission is based on the famous chase scene, with licensed versions of the Mustang and Charger from the film.[52]

text: In the opening scene of 2 Fast 2 Furious the main protagonist, Brian O'Conner (Paul Walker), is called "Bullitt" by his friends Suki (Devon Aoki) and Tej (Ludacris).

text: During the only season of the 2012 TV series Alcatraz, Det. Rebecca Madsen (Sarah Jones) drives a green 1968 390 V8 Ford Mustang fastback like Bullitt's. In the series finale, she finds herself in a 2013 Ford Mustang GT, the modern equivalent of the 1968 fastback, giving chase to a black LX Dodge Charger driven by series antagonist Thomas "Tommy" Madsen (David Hoflin). The sequence pays homage to Bullitt's car chase, including Madsen buckling the seatbelt in his Charger before starting, and two passes by a green Volkswagen Beetle.

text: The Blue Bloods TV series 2015 episode "The Bullitt Mustang" centers around the reported theft of one of the Mustangs used in the film, valued at a half million dollars, a case which detectives Danny Reagan and Maria Baez pick up.

text: Several items of clothing worn by McQueen's Bullitt received a boost in popularity thanks to the film: desert boots, a trench coat, a blue turtleneck sweater and, most famously, a brown tweed jacket with elbow patches.[53]

text: The last remaining Charger and one of the two Mustangs were scrapped after filming because of damage and liability concerns, while the other was sold to an employee of Warner Bros.[54] The car changed hands several times, with McQueen at one point making an unsuccessful attempt to buy it in late 1977.[55] The car is currently owned by Sean Kiernan in Tennessee whose father bought the car for $6,000 in 1974 after referring to a listing in Road & Track.[45] The stunt Mustang used for filming was found in 2016 at a junkyard in Mexico. The car was verified by an automobile authentication expert who conclusively determined from the vehicle's VIN and other identifying information.[56]


document_title: A Sound of Thunder

question_text: when does a sound of thunder take place

question_tokens: when does a sound of thunder take place

text: A Sound of Thunder

text: Plot summary[edit]

text: In the year 2055, time travel has become a practical reality, and the company Time Safari Inc. offers wealthy adventurers the chance to travel back in time to hunt extinct species such as dinosaurs. A hunter named Eckels pays $10,000 to join a hunting party that will travel back 66 million years to the Late Cretaceous period, on a guided safari to kill a Tyrannosaurus rex. As the party waits to depart, they discuss the recent presidential elections in which an apparently fascist candidate, Deutscher, has been defeated by the more moderate Keith, to the relief of many concerned. When the party arrives in the past, Travis (the hunting guide) and Lesperance (Travis's assistant) warn Eckels and the two other hunters, Billings and Kramer, about the necessity of minimizing the events they change before they go back, since tiny alterations to the distant past could snowball into catastrophic changes in history. Travis explains that the hunters are obliged to stay on a levitating path to avoid disrupting the environment, that any deviation will be punished with hefty fines, and that prior to the hunt, Time Safari scouts had been sent back to select and tag their prey, which would have died within minutes anyway, and whose death has been calculated to have minimal effect on the future.

text: Although Eckels is initially excited about the hunt, when the monstrous Tyrannosaurus approaches, he loses his nerve. Travis tells him he cannot leave, but Eckels panics, steps off the path and stumbles into the forest. Eckels hears shots, and on his return, he sees that the two guides have killed the dinosaur, and shortly afterward the falling tree that would have killed the T. rex has landed on top of it. Realizing that Eckels has fallen off the path, Travis threatens to leave him in the past unless he removes the bullets from the dinosaur's body, as they cannot be left behind. Eckels obeys, but Travis remains furious, threatening on the return trip to shoot him.

text: Upon returning to 2055, Eckels notices subtle changes – English words are now spelled and spoken strangely, people behave differently, and Eckels discovers that Deutscher has won the election instead of Keith. Looking at the mud on his boots, Eckels finds a crushed butterfly, whose death has apparently set in motion a series of subtle changes that have affected the nature of the alternative present to which the safari has returned. He frantically pleads with Travis to take him back into the past to undo the damage, but Travis had previously explained that the time machine cannot return to any point in time that it has already visited (so as to prevent any paradoxes). Travis raises his gun, and there is "a sound of thunder".

text: Adaptations[edit]

text: The story was aired on The Ray Bradbury Theater on October 8, 1989.[2]

text: A film adaptation starring Ben Kingsley, Edward Burns and Catherine McCormack was released in 2005.[3] Roger Ebert stated that while he "cannot endorse it, [he] can appreciate it" as a film that is bad because it "want[s] so much to be terrific that [it] explode[s] under the strain."[3]

text: A Game Boy Advance video game based on the film was also released. It was finished in time for the film's planned 2003 release, delayed along with it and ultimately released in February 2005.[4] Planned console ports were cancelled.

text: The story was parodied in the Time and Punishment section of The Simpsons episode "Treehouse of Horror V".[5]

text: Influence[edit]

text: "A Sound of Thunder" is often miscredited as the origin of the term "butterfly effect", a concept of chaos theory in which the flapping of a butterfly's wings in one part of the world could create a hurricane on the opposite side of the globe. The term was actually introduced by meteorologist Edward Norton Lorenz in the 1960s. However, Bradbury's concept of how the death of a butterfly in the past could have drastic changes in the future is a representation of the butterfly effect, and used as an example of how to consider chaos theory and the physics of time travel.[6]


document_title: The Fresh Prince of Bel-Air

question_text: who was the fresh prince of bel-air based on

text: The Fresh Prince of Bel-Air

text: Development[edit]

text: In December 1989, NBC approached Will Smith, a popular rapper during the late 1980s.[3] The pilot episode began taping on May 1, 1990.[4] Season 1 first aired in September 1990, and ended in May 1991. The series finale was taped on Thursday, March 21, 1996.[5][6]

text: The theme song "Yo Home to Bel Air" was written and performed by Smith under his stage name, The Fresh Prince. The music was composed by Quincy Jones, who is credited with Smith at the end of each episode. The music often used to bridge scenes together during the show is based on a similar chord structure.

text: Plot[edit]

text: The theme song and opening sequence set the premise of the show. Will Smith is a street-smart teenager, West Philadelphia "born and raised". While playing street basketball, Will misses a shot and the ball hits a group of people, causing a confrontation that frightens his mother, who sends him to live with his aunt and uncle in the opulent neighborhood of Bel Air, Los Angeles.

text: Will's working-class background ends up clashing in various humorous ways with the upper-class world of the Banks family – Will's uncle Phil and aunt Vivian and their children, Will's cousins: Hilary, Carlton, and Ashley.

text: The premise is loosely based on the real-life story of the show's producer Benny Medina.[7]

text: Cast and characters[edit]

text: Main[edit]

text:
Actor/actress

Character

Seasons

1

2

3

4

5

6

Will Smith

Will Smith

Main

James Avery

Philip Banks

Main

Janet Hubert-Whitten

Vivian Banks

Main

Daphne Maxwell Reid

Main

Alfonso Ribeiro

Carlton Banks

Main

Karyn Parsons

Hilary Banks

Main

Tatyana M. Ali

Ashley Banks

Main

Joseph Marcell

Geoffrey Butler

Main

Ross Bagley

Nicholas "Nicky" Banks

Main

text: Recurring[edit]

text:
Actor/actress

Character

Seasons

1

2

3

4

5

6

DJ Jazzy Jeff

Jazz

Recurring

Vernee Watson-Johnson

Viola "Vy" Smith

Recurring

Michael Weiner

Kellogg Lieberbaum

Recurring

Lisa Fuller

Toni

Recurring

Jenifer Lewis

Helen Smith

Recurring

Charlayne Woodard

Janice Smith

Recurring

Perry Moore

Tyriq "Ty" Johnson

Recurring

Brian Stokes Mitchell

Trevor Collins-Newsworthy

Recurring

Tyra Banks

Jacqueline "Jackie" Ames

Recurring

Nia Long

Beullah "Lisa" Wilkes

Recurring

text: Episodes[edit]

text: Crossovers and other appearances[edit]

text: During the fall 1991–1992 season, NBC gained two hit television shows to anchor their Monday night lineup (Blossom aired immediately after The Fresh Prince of Bel-Air). To gain popularity between the two shows, Will Smith appeared in the Blossom episode "I'm with the Band" as himself under his rap stage name, The Fresh Prince. That same season, Karyn Parsons appeared in the Blossom episode "Wake Up Little Suzy" as Hilary Banks. Parsons also appeared in the Patti LaBelle sitcom Out All Night as Hilary.

text: In the House and Fresh Prince were both executive-produced by Winifred Hervey, David Salzman and Quincy Jones. During the second season's first episode, Alfonso Ribeiro and Tatyana Ali appeared as their Fresh Prince characters (Carlton and Ashley Banks) in the crossover episode "Dog Catchers". Later that season, James Avery (Phillip Banks) appeared as a mediator in the episode "Love on a One-Way Street".

text: In the Season 4 episode "My Pest Friend's Wedding", James Avery and Daphne Maxwell Reid (Vivian Banks) guest starred as Dr. Maxwell Stanton's parents (Stanton was played by Ribeiro). Both Avery and Reid portrayed the parents of Ribeiro's Fresh Prince character. Joseph Marcell, who played the wisecracking Geoffrey Butler on Fresh Prince, appeared as an officiating minister in the same episode.

text: Syndication[edit]

text: The series was produced by NBC Productions in association with the Stuffed Dog Company and Quincy Jones Entertainment (later Quincy Jones-David Salzman Entertainment in 1993). After the show was released to syndication in 1994, the series was distributed by Warner Bros. Television, which continues to distribute the show worldwide (although NBCUniversal does own the series' copyright). WGN America was the first cable channel to acquire the series in 1997 and TBS acquired the series a year later, in 1998; both channels carried the series until the fall of 2003, though TBS reacquired the series in 2007.

text: The theme song was shown in the original TBS run, but after TBS re-acquired Fresh Prince in 2007, the opening credits were truncated and the theme song was removed and replaced with the instrumental version used as the show's closing theme. These versions also re-added portions of scenes cut from the original syndicated prints for some episodes, particularly those from Seasons 3 to 6. TBS continued to air the series up until September 2014, when Viacom Media Networks reaquired the rights to the series. Reruns also aired on WPIX-TV back to back weeknights at 6 pm and6:30 pm EST from 1994 until 2000, on weekdays 5 pm from 2000 to 2005, and sometimes on weekends, until 2007. The series was still rerunning on The WB's affiliation WPIX-TV until 2006. The series aired on Nick at Nite, from 2006 to 2009 and moved to Disney XD.

text: In July 2009, Disney XD acquired the rights to the series, though it was quickly moved from prime time to late night, and only episodes from Seasons 1 to 3 are aired, mainly because those episodes are more appropriate for young viewers as they do not contain as many mature themes, sexual content and strong language as later episodes. In August 2010, Disney XD stopped airing the show. ABC Family (now called Freeform) acquired the series in September 2008, though airing all 148 episodes; originally airing exclusively on Saturday nights, the series was added to ABC Family's weekday line up in late 2009. On September 29, 2014, Disney/ABC's rights to the show expired. Viacom Media Networks got the series back.

text: In October 2014, Viacom Media Networks also gave the series to BET, and it would also air on Centric. It was previously aired on MTV's retro block. The series is also re-aired on VH1. On November 2, 2015, the series started airing on the Family Channel in Canada. On January 1, 2017, the series was added to Netflix in the United Kingdom and Ireland. In 2014, Fresh Prince of Bel-Air started airing again in Nickelodeon's block night channel, Nick at Nite.

text: In 2017, the series began from the beginning on the 5* channel in the UK. MeTV will start airing the show in September 2018.[9]

text: Home media[edit]

text: Warner Home Video has released the complete series, seasons 1 to 6, on DVD in Region 1.[10] Seasons 1 to 4 have been released in Regions 2 and 4. Seasons 5 to 6 have been released in Region 2 in Germany, and in the complete series boxset in the United Kingdom.

text:
DVD name
Ep #
Release dates

Region 1
Region 2
Region 4

The Complete First Season

25

February 8, 2005[11]

February 21, 2005[12]

April 13, 2005[13]

The Complete Second Season

24

October 11, 2005[14]

November 21, 2005[15]

March 1, 2006[16]

The Complete Third Season

24

February 14, 2006[17]

June 26, 2006[18]

August 9, 2006[19]

The Complete Fourth Season

26

August 8, 2006[20]

January 22, 2007[21]

December 6, 2006[22]

The Complete Fifth Season

25

May 11, 2010[23]

June 18, 2010

2018

The Complete Sixth & Final Season

24

April 19, 2011

May 6, 2011

2018

The Complete Series

148

April 12, 2011

text: Awards and nominations[edit]

text:
Awards

Outcome

Recipient(s)

Year

ASCAP Film and Television Music Awards:

Top TV Series

Won

Quincy JonesWill SmithDJ Jazzy Jeff

1994

Emmy Awards:

Outstanding Individual Achievement in Lighting Direction for a Comedy Series

Nominated

Art Busch

1996

Golden Globe Awards:

Best Performance by an Actor in a TV-Series – Comedy/Musical

Nominated

Will Smith

1994

Best Performance by an Actor in a TV-Series – Comedy/Musical

Nominated[24]

Will Smith

1993

Image Award:

Outstanding Comedy Series

Nominated

1997

Outstanding Supporting Actor in a Comedy Series

Won

Alfonso Ribeiro

1996

Outstanding Lead Actor in a Comedy Series

Nominated

Will Smith

1997

Outstanding Youth Actor/Actress

Won

Tatyana M. Ali

1997

Outstanding Supporting Actress in a Comedy Series

Nominated

Janet Hubert-Whitten

1991

Outstanding Supporting Actress in a Comedy Series

Nominated

Nia Long

1996

Outstanding Supporting Actress in a Comedy Series

Nominated

Daphne Maxwell Reid

1996

Kids' Choice Awards:

Favorite Television Actor

Nominated

Will Smith

1996

Favorite Television Show

Nominated

1996

Favorite TV Actress

Won

Tatyana M. Ali

1996

NCLR Bravo Awards:

Outstanding Television Series Actor in a Crossover Role

Nominated

Alfonso Ribeiro

1996

TP de Oro:

Best Foreign Series (Mejor Serie Extranjera)

Nominated

1996

Best Foreign Series (Mejor Serie Extranjera)

Won

1994

Teen Choice Awards:

Choice TV Show: Throwback

Nominated

2017

Choice TV Show: Throwback

Pending

2018

TV Land Awards:

Best Broadcast Butler

Nominated

Joseph Marcell

2004

Favorite "Fish Out of Water"

Nominated

Will Smith

2004

Young Artist Awards:

Best Performance by an Actor Under Ten – Television

Won

Ross Bagley

1996

Best Performance by an Actor Under Ten in a TV Series

Won

Ross Bagley

1995

Best Youth Comedienne

Nominated

Tatyana M. Ali

1994

Best Young Actor Guest Starring in a Television Series

Nominated

Larenz Tate

1993

Best Young Actor Guest Starring or Recurring Role in a TV Series

Nominated

Tevin Campbell

1992

Best New Family Television Comedy Series

Won

1991

YoungStar Award:

Best Performance by a Young Actress in a Comedy TV Series

Won

Tatyana M. Ali

1997

text: Possible reboot[edit]

text: On August 13, 2015, it was reported that a reboot of the show was in development by Overbrook Entertainment, with Will Smith serving as a producer.[25][26] In August 2016, during a promotional interview with the E! television network, for his then upcoming film Suicide Squad, Smith denied that a reboot was in development, saying that it would happen "...pretty close to when Hell freezes over."[27]

text: Notes[edit]

text:
Jump up ^ Tied with Empty Nest

Jump up ^ Tied with Hangin' with Mr. Cooper and The Jackie Thomas Show

Jump up ^ Tied with Dave's World

tag: ol


document_title: Jude the Apostle

question_text: who's the patron saint of lost causes

question_tokens: who 's the patron saint of lost causes

text: Jude the Apostle

text: Identity[edit]

text: New Testament[edit]

text: Jude is clearly distinguished from Judas Iscariot, another apostle and later the betrayer of Jesus. Both Jude and Judas are translations of the name Ὶούδας in the Greek original New Testament, which in turn is a Greek variant of Judah (Y'hudah), a name which was common among Jews at the time. In most Bibles in languages other than English and French, Jude and Judas are referred to by the same name.

text: Aside from Judas Iscariot, the New Testament mentions Jude or Judas six times, in four different contexts:

text:
"Jude of James", one of the twelve apostles (Luke 6:16 and Acts 1:13);
"Judas, (not Judas Iscariot)", apparently an apostle (John 14:22);
the brother of Jesus (Matthew 13:55, Mark 6:3);
the writer of the Epistle of Jude, who identifies himself as "the brother of James" (Jude 1:1).

text: The first two are almost always thought to be the same person,[8] although theologian Raymond Brown saw the identification as uncertain.[9]

text: The latter two are also usually thought to be the same person, though this too is not certain; see Epistle of Jude.

text: Catholic tradition generally holds this to be the same person; while Protestants generally believe 1 and 2, and 3 and 4 were two different people.

text: Brother of James, or Son of James?[edit]

text: He is designated as "Jude of James" in Luke 6:16 and Acts 1:13. Interpreters differ on whether this means "Jude, brother of James" or "Jude, son of James".

text: The traditional interpretation is that he is "Jude, brother of James", and the same person as the writer of the Epistle of Jude, who identifies himself as "Jude, a servant of Jesus Christ and a brother of James" (Jude 1:1).

text: Most Protestants, and most modern translations (including the New International Version, Revised Standard Version and New Revised Standard Version), identify him as "Jude the son of James", and not the same person as the author of the Epistle of Jude. Protestant scholar Darrell L. Bock writes that it must mean "son" not "brother", because when "brother" is intended, the Greek word for "brother" (adelphos) is present.[10] Bock also says that means he was not the brother of Jesus.

text: Brother of Jesus?[edit]

text: Opinion is divided on whether Jude the apostle was also Jude, brother of Jesus, the traditional author of the Epistle of Jude.[11] Generally, Catholics believe the two Judes are the same person,[12] while Protestants generally do not.

text: According to the surviving fragments of the work Exposition of the Sayings of the Lord of the Apostolic Father Papias of Hierapolis, who lived c. 70–163 AD, Mary the wife of Cleophas or Alphaeus would be the mother of Judas the brother of Jesus that Papias identifies with Thaddeus:

text: Mary the wife of Cleophas or Alphaeus, who was the mother of James the bishop and apostle, and of Simon and Thaddeus, and of one Joseph...(Fragment X)[13]

text: Possible identity with Thaddeus[edit]

text: In the apostolic lists at Matthew 10:3 and Mark 3:18, Jude is omitted, but there is a Thaddeus (or in some manuscripts of Matthew 10:3, "Lebbaeus who was surnamed Thaddaeus", and so in the King James Version) listed in his place. This has led many Christians since early times to harmonize the lists by positing a "Jude Thaddeus", known by either name. This is made plausible by the fact that "Thaddeus" seems to be a nickname (see Thaddeus) and that many New Testament figures have multiple names (such as Simon Peter and Joseph Barnabas).

text: A further complication is the fact that the name "Judas" was tarnished by Judas Iscariot. It has been argued that for this reason it is unsurprising that Mark and Matthew refer to him by an alternate name.[14]

text: Some Biblical scholars reject this theory, however, holding that Jude and Thaddeus did not represent the same person.[15] Scholars have proposed alternative theories to explain the discrepancy: an unrecorded replacement of one for the other during the ministry of Jesus because of apostasy or death;[16] the possibility that "twelve" was a symbolic number and an estimation;[17] or simply that the names were not recorded perfectly by the early church.[18]

text: Thaddeus, one of the twelve apostles, is often indistinguishable from Thaddeus of Edessa, one of the Seventy Disciples.[19][20]

text: In some Latin manuscripts of Matthew 10:3, Thaddeus is called Judas the Zealot.

text: Tradition and legend[edit]

text: Tradition holds that Saint Jude preached the Gospel in Judea, Samaria, Idumaea, Syria, Mesopotamia and Libya.[21] He is also said to have visited Beirut and Edessa, though the emissary of the latter mission is also identified as Thaddeus of Edessa, Addai,[22] one of the Seventy.[23] The 14th-century writer Nicephorus Callistus makes Jude the bridegroom at the wedding at Cana. The legend reports that St. Jude was born into a Jewish family in Paneas, a town in Galilee later rebuilt during the Roman period and renamed Caesarea Philippi.[24][note 1]

text: In all probability he spoke both Greek and Aramaic, like almost all of his contemporaries in that area, and was a farmer by trade. According to the legend, St. Jude was a son of Clopas and his mother Mary, a cousin of the Virgin Mary.[26] Tradition has it that Jude's father, Clopas, was martyred because of his forthright and outspoken devotion to the risen Christ.

text: Although Saint Gregory the Illuminator is credited as the "Apostle to the Armenians", when he baptized King Tiridates III of Armenia in 301, converting the Armenians, the Apostles Jude and Bartholomew are traditionally believed to have been the first to bring Christianity to Armenia, and are therefore venerated as the patron saints of the Armenian Apostolic Church. Linked to this tradition is the Saint Thaddeus Monastery (now in northern Iran) and Saint Bartholomew Monastery (now in southeastern Turkey) which were both constructed in what was then Armenia.

text: Tradition holds that Jude the Apostle was vegetarian.[27]

text: Death and remains[edit]

text: According to tradition, Saint Jude suffered martyrdom about 65 AD in Beirut, in the Roman province of Syria, together with the apostle Simon the Zealot, with whom he is usually connected. The axe that he is often shown holding in pictures symbolizes the way in which he was killed.[28] Their acts and martyrdom were recorded in an Acts of Simon and Jude that was among the collection of passions and legends traditionally associated with the legendary Abdias, bishop of Babylon, and said to have been translated into Latin by his disciple Tropaeus Africanus, according to the Golden Legend account of the saints.[29]

text: Sometime after his death, Saint Jude's body was brought from Beirut to Rome and placed in a crypt in St. Peter's Basilica which was visited by many devotees. Now his bones are in the left transept of St. Peter's Basilica under the main altar of St. Joseph in one tomb with the remains of the apostle Simon the Zealot. According to another popular tradition, the remains of St. Jude were preserved in an Armenian monastery on an island in the northern part of Issyk-Kul Lake in Kyrgyzstan at least until the mid-15th century. Later legends either deny that the remains are preserved there or claim that they were moved to a yet more desolate stronghold in the Pamir Mountains.

text: Iconography[edit]

text: Jude is traditionally depicted carrying the image of Jesus in his hand or close to his chest, betokening the legend of the Image of Edessa, recorded in apocryphal correspondence between Jesus and Abgar which is reproduced in Eusebius' History Ecclesiastica, I, xiii. Eusebius relates that King Abgar of Edessa (now Şanlıurfa in southeast Turkey) sent a letter to Jesus seeking a cure for an illness afflicting him. With the letter he sent his envoy Hannan, the keeper of the archives, offering his own home city to Jesus as a safe dwelling place. The envoy painted a likeness of Jesus with choice paints (or alternatively, impressed with Abgar's faith, Jesus pressed his face into a cloth and gave it to Hannan) to take to Abgar with his answer. Upon seeing Jesus' image, the king placed it with great honor in one of his palatial houses. After Christ's execution, Jude Thomas the Apostle sent Addai, one of the 70 or 72 in Luke 10:1–12 to King Abgar[30] and the king was cured. Astonished, he converted to Christianity, along with many of the people under his rule. Additionally, St. Jude is often depicted with a flame above his head, representing his presence at Pentecost, when he was said to have received the Holy Spirit with the other apostles.

text: Veneration[edit]

text: According to tradition, after his martyrdom, pilgrims came to his grave to pray and many of them experienced the powerful intercessions of St. Jude. Thus the title, 'The Saint for the Hopeless and the Despaired'. St. Bridget of Sweden and St. Bernard had visions from God asking each to accept St. Jude as 'The Patron Saint of the Impossible'.[28][31][32]

text: His feast day is October 28 (Roman Catholic Church, the Anglican Communion and Lutheran Church) and June 19 (Eastern Orthodox Church).

text: The Order of Preachers (known better as the Dominicans) began working in present-day Armenia soon after their founding in 1216. At that time, there was already a substantial devotion to Saint Jude by both Catholic and Orthodox Christians in the area. This lasted until persecution drove Christians from the area in the 18th century. Devotion to Saint Jude began again in earnest in the 19th century, starting in Italy and Spain, spreading to South America, and finally to the United States (starting in the area around Chicago) owing to the influence of the Claretians and the Dominicans in the 1920s.

text: Patronage[edit]

text: Among some Roman Catholics, Saint Jude is venerated as the "patron saint of lost causes". This practice stems from the belief that few Christians invoked him for misplaced fear of praying to Christ's betrayer, Judas Iscariot, because of their similar names. The ignored Jude thus supposedly became quite eager to assist anyone who sought his help, to the point of interceding in the most dire of circumstances. The Church also wanted to encourage veneration of this "forgotten" apostle, and maintained that Saint Jude would intercede in any lost cause to prove his sanctity and zeal for Christ.[citation needed]

text: Saint Jude is the patron saint of the Chicago Police Department and of Clube de Regatas do Flamengo (a soccer team in Rio de Janeiro, Brazil). His other patronages include desperate situations and hospitals. One of his namesakes is St. Jude Children's Research Hospital in Memphis, Tennessee, which has helped many children with terminal illnesses and their families since its founding in 1962.[33]

text: Shrines and churches[edit]

text: Many countries venerate the Apostle Jude and have constructed either shrines or churches dedicated to his memory. Such sites include those in Australia, Brazil, Sri Lanka, Cuba, India, Iran, the Philippines, the United Kingdom, the United States and Lebanon. The National Shrine of St. Jude in Chicago, Illinois was founded in 1929 by the Claretian Missionaries. The Nationwide Center of St. Jude Devotions [34] in Baltimore was founded in 1917 by the Pallottines. The National Shrine of Saint Jude Thaddeus in the Philippines was erected by the Archdiocese of Manila in 1954 as Espíritu Santo Chinese Parish. The Shrine holds the saint's novena liturgy every Thursday, and is now under the Society of the Divine Word that also runs the attached Saint Jude Catholic School. The National Shrine of Saint Jude at Faversham in England was founded in 1955.[35]


document_title: Four occupations

question_text: where does the emperor rank in ancient china's social hierarchy

question_tokens: where does the emperor rank in ancient china 's social hierarchy

text: Four occupations

text: History[edit]

text: From existing literary evidence, commoner rankings in China were employed for the first time during the Warring States period (403–221 BC).[3] Despite this, Eastern-Han (AD 25–220) historian Ban Gu (AD 32–92) asserted in his Book of Han that the four occupations for commoners had existed in the Western Zhou (c. 1050 – 771 BC) era, which he considered a golden age.[3] However, it is now known that the classification of four occupations as Ban Gu understood it did not exist until the 2nd century BC.[3] Ban explained the social hierarchy of each group in descending order:

text: Scholars, farmers, artisans, and merchants; each of the four peoples had their respective profession. Those who studied in order to occupy positions of rank were called the shi (scholars). Those who cultivated the soil and propagated grains were called nong (farmers). Those who manifested skill (qiao) and made utensils were called gong (artisans). Those who transported valuable articles and sold commodities were called shang (merchants).[4]

text: Anthony J. Barbieri-Low, Professor of Early Chinese History at the University of California, Santa Barbara, writes that the classification of "four occupations" can be viewed as a mere rhetorical device that had no effect on government policy.[3] However, he notes that although no statute in the Qin or Han law codes specifically mentions the four occupations, some laws did treat these broadly classified social groups as separate units with different levels of legal privilege.[3]

text: The shi (士)[edit]

text: During the ancient Shang and Zhou dynasties, the shi were regarded as a knightly social order of low-level aristocratic lineage compared to dukes and marquises.[5] This social class was distinguished by their right to ride in chariots and command battles from mobile chariots, while they also served civil functions.[5] They were also known by the weaponry they used, the double-edged sword, or jian. The type of clothing worn by the shi class also distinguished them from others; the shi wore long flowing silken robes, while all other men wore trousers.[6]

text: As chariot warfare became eclipsed by mounted cavalry and infantry units with effective crossbowmen in the Warring States period (403–221 BC), the participation of the shi in battle dwindled as rulers sought men with actual military training, not just aristocratic background.[7] This was also a period where philosophical schools flourished in China, while intellectual pursuits became highly valued amongst statesmen.[8] Thus, the shi eventually became renowned not for their warrior's skills, but for their scholarship, abilities in administration, and sound ethics and morality supported by competing philosophical schools.[9]

text: Under Duke Xiao of Qin and the chief minister and reformer Shang Yang (d. 338 BC), the ancient State of Qin was transformed by a new meritocratic yet harsh philosophy of Legalism. This philosophy stressed stern punishments for those who disobeyed the publicly known laws while rewarding those who labored for the state and strove diligently to obey the laws. It was a means to diminish the power of the nobility, and was another force behind the transformation of the shi class from warrior-aristocrats into merit-driven officials. The Qin dynasty (221–206 BC) unified China under the Legalist system, but became infamous for its oppressive measures, and so collapsed into a state of civil war.

text: The victor of this war was Liu Bang, who initiated four centuries of unification of China proper under the Han dynasty (202 BC–AD 220). One of his later successors was Emperor Wu (r. 141–87 BC), who not only cemented the ideology of Confucius into mainstream Chinese thought, governance, and social order, but also installed a system of recommendation and nomination in government service known as xiaolian. After the Han period, this system was replaced by the nine-rank system, a similar means of recruiting officials through recommendation. Both systems favored the wealthy, those of noble background, and the well-connected. It was not until the Sui dynasty (581–618) that a new beginning of change in the shi class would present itself by means of the civil service examination system.

text: The civil service recruitment system during the subsequent Tang dynasty (618–907) followed the Sui model of partial recruitment of those who passed standard exams and earned an official degree. Yet recruitment by recommendations to office was still prominent in both dynasties. It was not until the Song dynasty (960–1279) that the recruitment of those who passed the exams and earned degrees was given greater emphasis and significantly expanded.[10] The shi class also became less aristocratic and more bureaucratic due to the highly competitive nature of the exams during the Song period.[11]

text: From the 11th to 13th centuries, the number of exam candidates participating in taking the exams increased dramatically from merely 30,000 to 400,000 by the dynasty's end.[12] Widespread printing through woodblock and movable type enhanced the spread of knowledge amongst the literate in society, enabling more people to become candidates and competitors vying for a prestigious degree.[11][13] With a dramatically expanding population matching a growing amount of gentry, scholar-officials needed the gentry to perform local services such as funding public works, prefectural and county schools, or aiding in tax collection.[14][15][16]

text: Outside China[edit]

text: In Korea, the noble yangban class prevented the lower classes from taking the advanced gwageo exams so they could dominate the bureaucracy. Below the yangban were the chungin, a class of privileged commoners who were petty bureaucrats, scribes, and specialists. The chungin were actually the least populous class, even smaller than the yangban.

text: A similar situation occurred in the Ryūkyū Kingdom with the hereditary yukatchu but yukatchu status can be bought from the government as the kingdom's finances were frequently deficient.[17] Due to the growth of this class and the lack of government positions open for them, Sai On allowed yukatchu to become merchants and artisans while keeping their high status.[18]

text: In Japan, this role was taken by the hereditary samurai class. Originally a martial class, the samurai became civil administrators to their daimyōs during the Tokugawa shogunate. No exams were needed as the positions were inherited. They constituted about 5% of the population and were allowed to have a proper surname. (see Edo society).

text: The nong (农/農)[edit]

text: Since Neolithic times in China, agriculture was a key element to the rise of China's civilization and every other civilization. The food that farmers produced sustained the whole of society, while the land tax exacted on farmers' lots and landholders' property produced much of the state revenue for China's pre-modern ruling dynasties. Therefore, the farmer was a valuable member of society, and even though he was not considered one with the shi class, the families of the shi were still landholders that often produced crops and foodstuffs.[19]

text: Soldiers were not highly respected members of society.[20] Soldiers traditionally came from farming families, while some were simply debtors who fled their land (whether owned or rented) to escape lawsuits by creditors or imprisonment for failing to pay taxes.[21] Soldiers along China's frontiers were also encouraged by the state to settle down on their own farm lots in order for the food supply of the military to become self-sufficient. Farmers were also encouraged to join peasant militias to act as supporting units to the official standing army.

text: By the Ming dynasty (1368–1644), the socioeconomic class of farmers grew more and more indistinct from another social class in the four occupations: the artisan. Artisans began working on farms in peak periods and farmers often traveled into the city to find work during times of dearth.[22] The distinction between what was town and country was blurred in Ming China, since suburban areas with farms were located just outside and in some cases within the walls of a city.[22]

text: The gong (工)[edit]

text: Artisans and craftsmen — their class identified with the Chinese character meaning labor — were much like farmers in the respect that they produced essential goods needed by themselves and the rest of society. Although they could not provide the state with much of its revenues since they often had no land of their own to be taxed, artisans and craftsmen were still given a higher place than merchants. Since ancient times, the skilled work of artisans and craftsmen was handed down orally from father to son, although the work of architects and structural builders were sometimes codified, illustrated, and categorized in Chinese written works.[23]

text: One example of this would be the Yingzao Fashi printed in 1103, an architectural building manual written by an official put in charge of government agencies for construction. Artisans and craftsmen were either government-employed or worked privately. A successful and highly skilled artisan could often gain enough capital in order to hire others as apprentices or additional laborers that could be overseen by the chief artisan as a manager. Hence, artisans could create their own small enterprises in selling their work and that of others, and like the merchants, they formed their own guilds.[24]

text: The shang (商)[edit]

text: The merchants, traders, and peddlers of goods were viewed by the scholarly elite as essential members of society, yet were placed on the lowest of the four grades in the official Chinese social hierarchy, due to the view that they do not produce anything, only profit from others' creations. This was in spite of the fact that throughout Chinese history, the merchant class were often wealthy and held considerable influence above and beyond their supposed social standing.[25]

text: The scholars' attitudes towards commerce and business was almost universally apparent in their writings which denounced the merchant class as greedy and lacking moral character.[citation needed] It was also unacceptable for scholar-officials to engage in personal profiteering outside their official salary, even though by the Song period they were using intermediary agents to handle their anonymous business affairs for them.[26]

text: Merchants were seen as somewhat parasitic to the needs of all other groups in society, since it was acknowledged that they used the goods that others produced and made their own profits from them. In essence, they were seen as business savvy, but not morally cultivated[citation needed] enough to be leading members of society or highly venerated representatives of Chinese culture.

text: Despite this disdain for the merchants, by the mid Ming dynasty (1368–1644), many families who produced scholar-officials had members who were merchants or had a merchant as a descendant of some kind. Even more significant was the fact that scholar-officials who had familial ties with merchants from the past or in the present became unabashed about these ties and made it publicly known in the writing of their official family histories.[27] During the beginning of the Ming Dynasty, scholar-officials could derive enough of their own revenues to fund vital public works.[28]

text: By the late Ming Dynasty, they often needed to solicit funds from powerful merchants to build new roads, schools, bridges, pagodas, or engage in essential industries, such as book-making, which aided the gentry class in education for the imperial examinations.[29] Merchants began to imitate the highly cultivated nature and manners of scholar-officials in order to appear more cultured and gain higher prestige and acceptance by the scholarly elite.[30] They even purchased printed books that served as guides to proper conduct and behavior and which promoted merchant morality and business ethics.[31]

text: Analysis[edit]

text: There were many social groups that were excluded from the four broad categories in the social hierarchy. These included soldiers and guards, religious clergy and diviners, eunuchs and concubines, entertainers and courtiers, domestic servants and slaves, prostitutes, and low class laborers other than farmers and artisans. The emperor—embodying a heavenly mandate to judicial and executive authority—was on a social and legal tier above the gentry and the exam-drafted scholar-officials. Although his royal family and noble extended family were also highly respected, they did not command the same level of authority.

text: There were motives behind the aristocratic officials and later scholar-officials' classifying of certain groups in the hierarchy and leaving others out. The scholar-officials placed farmers as the second most prestigious group because the aristocratic officials and scholar-officials were landholders themselves, much like farmers (the ones who weren't tenant farmers or serfs). Both farmers and artisans were placed on a higher tier than merchants because the two former groups produced crops and manufactured goods, essential things needed by the whole of society. The merchants were seen as merely talented at business and trading, and were often seen as greedy and even parasitic to the needs of all other groups.

text: The social category of the soldier was left out of the social hierarchy due to the gentry scholars' embracing of intellectual cultivation (wen) and detest for violence (wu).[32] The scholars did not want to legitimize those whose professions centered chiefly around violence, so to leave them out of the social hierarchy altogether was a means to keep them in an unrecognized and undistinguished social tier.[32]

text: Entertainers and courtiers were often dependents upon the wealthy or were associated with the often-perceived immoral[citation needed] pleasure grounds of urban entertainment districts. To give them official recognition would have given them more prestige. Although shamans and diviners in Bronze Age China had some authority as religious leaders in society, the scholars did not want religious leaders amassing too much power and influence like military strongmen (one example of this would be Zhang Jiao, who led a Taoist sect into open rebellion against the Han government's authority). There were also multiple persecutions of Buddhism in China, a lot of the contention being over Buddhist monasteries' exemption from government taxation, but also because later Neo-Confucian scholars saw Buddhism as an alien ideology and threat to the moral order of society.[33]

text: The court eunuchs were also viewed with some suspicion by the scholar-officials, since there were several instances in Chinese history where influential eunuchs came to dominate the emperor, his imperial court, and the whole of the central government. In an extreme example, the eunuch Wei Zhongxian (1568–1627) had his critics from the orthodox Confucian 'Donglin Society' tortured and killed while dominating the court of the Tianqi Emperor—Wei was dismissed by the next ruler and committed suicide.[34]


document_title: Nevada Smith

question_text: where was the movie nevada smith filmed at

text: Nevada Smith

text: Plot[edit]

text: In the West of the 1890s, a trio of outlaws, Bill Bowdre (Arthur Kennedy), Jesse Coe (Martin Landau) and Tom Fitch (Karl Malden), robs, tortures and brutally kills the white father and Indian mother of young Max Sand (Steve McQueen). The outlaws have stolen the father's grey horse with a double SS brand. Max sets out to avenge their deaths and uses this clue to trail the men.

text: During his travels in the desert, Max uncovers an old and rusty gun. When he comes upon Jonas Cord, Sr. (Brian Keith), a traveling gunsmith, he tries to rob him. Cord, recognizing that Max's revolver is not loaded and is useless, convinces Max that his plan has failed. Max tells Cord of his vengeful journey. Cord takes pity on him, takes him in, feeds him and teaches him how to shoot. Max hunts the killers, who have separated. He tracks down Jesse Coe to Abilene, Texas. With the help of dancehall girl Neesa (Janet Margolin), a woman from the same tribe as his mother, he confronts him in a salon. Coe escapes and a knife fight ensues in a nearby corral. Coe is killed but Max is severely wounded. Neesa takes him to her tribe's camp, where she nurses him back to health. They become lovers.

text: Once he recovers, Max leaves Neesa to continue his pursuit. He reads that Bowdre is in a prison camp in Louisiana for a failed bank robbery. He commits a bank robbery, deliberately gets caught, and is sent to the same prison where Bowdre is serving time. Bowdre does not recognize Max whose plan is to convince Bowdre to join him in an escape attempt and kill him in the swamp. Pilar (Suzanne Pleshette), a local Cajun girl working in the rice fields near the convicts’ camp, gives Max comfort. She knows nothing about Max's plan to kill Bowdre but knows her way around the swamp. She finds a boat and joins the escape. The boat capsizes early on and Pilar is bitten by a snake. Max kills Bowdre and Pilar dies of the snakebite.

text: Fitch, the last of the murderers, keeps a tobacco pouch with beaded deerskin made from the Indian dress of Max's mother. Still blinded by revenge, Max pursues Fitch and manages to infiltrate Fitch's gang, calling himself "Nevada Smith". Fitch is aware that Max Sand has killed Coe and Bowdre and is out there somewhere, waiting to ambush him. Though he accepts "Nevada" into the gang, Fitch is wary of him. When the gang sets out to commit a robbery, Max is spotted by Cord, who calls him by name. Max ignores him and the gang rides on. Fitch suspects that one of his men is Max. He vows to kill any man who makes a mistake. As the rest of the gang greedily scoops up the money from the robbery, Max observes them from a hill. Fitch realizes that "Smith" is Sand, grabs his share of the loot and flees. Max pursues him and corners Fitch at a creek. The men exchange fire and Fitch surrenders but Max continues to fire non-fatal shots into Fitch. The outlaw begs to be finished off, but Max decides that Fitch is not worth killing and rides away.

text: Cast[edit]

text:
Steve McQueen as Max Sand (a.k.a. Nevada Smith)
Karl Malden as Tom Fitch
Brian Keith as Jonas Cord
Martin Landau as Jesse Coe
Arthur Kennedy as Bill Bowdre
Suzanne Pleshette as Pilar
Raf Vallone as Father Zaccardi
Janet Margolin as Neesa
Pat Hingle as Big Foot (work camp trustee)
Howard Da Silva as Warden of work camp
Paul Fix as Sheriff Bonnell
Iron Eyes Cody as Taka-Ta (uncredited)
Joanna Moore as Angie Coe (uncredited)
Josephine Hutchinson as Mrs. Elvira McCanles
Loni Anderson as Brunette Saloon Girl (uncredited)

text: Production[edit]

text: The movie was produced and directed by Henry Hathaway with Joseph E. Levine as executive producer, from a story and screenplay by John Michael Hayes, based on a character from Harold Robbins' 1961 novel The Carpetbaggers who was portrayed in a film version of the novel by Alan Ladd. The music score was by Alfred Newman and the cinematography, shot in Eastmancolor and Panavision by Lucien Ballard.

text: Nevada Smith was shot by Lucien Ballard on approximately 46 different locations in the Inyo National Forest (in parts of southern California and south-western Nevada) and the Owens Valley (of southern California) in the Eastern Sierra mountains.

text: Remake[edit]

text: Jamie Linden is writing a remake.[2]