document_title: Gel point (petroleum)

question_text: what is the gel point of diesel fuel

question_tokens: what is the gel point of diesel fuel

text: Gel point (petroleum)

text: This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2011) (Learn how and when to remove this template message)

text: Gel point is the temperature at which diesel or biodiesel fuel freezes solid and can no longer flow by gravity or be pumped through fuel lines. This phenomenon happens when a fuel reaches a low enough temperature whereby enough wax crystals have formed to prevent any movement in the oil. For #2 diesel this is usually around 17.5 °F (−8.1 °C).

text: For the fuel to become pumpable again, it needs to be brought above the gel point temperature to the Ungel point, which is typically near its pour point. However, most of the waxes will still remain in solid form and the fuel has to be warmed up further until its Remix temperature in order to completely remelt and redissolve the waxes.

text: Anti-gel additives are therefore commonly added to diesel or biodiesels where cold temperature is expected. They act to reduce the formation of wax crystals in the fuel, thereby lowering the pour point and the gel point of the fuel. Anti-gel additives may not necessarily affect the cloud point.


document_title: Leave No Trace

question_text: when was the term leave no trace created

root

text: Leave No Trace

text: Origins[edit]

text: In the mid 20th-century there was a cultural shift in wilderness ethics from woodcraft where wilderness travelers prided themselves on their ability to rely on the resources of wild lands to a post-WWII ethics of minimal impact on the environment.[2] Leave No Trace began in the 1960s and 1970s.[3] There was a large increase of wilderness visitation following the creation of new recreational equipment such as white gas stoves, synthetic tents, and sleeping pads. This began a commercial interest in outdoor recreation which in turn caused more visitors to national parks.[2] In those decades, the United States Forest Service, the Bureau of Land Management, and the National Park Service started to teach their non-motorized visitors how to have a minimal impact on the land. Wilderness Informational Specialists were trained to educate visitors on minimal impact camping in the different parks. In 1987 the three departments cooperatively developed a pamphlet titled "Leave No Trace Land Ethics".[4]

tag: p

text: Also in the 1970s, groups such as the Sierra Club were advocating minimum impact camping techniques. The Boy Scouts of America (BSA) had been actively advocating training and implementation of Leave No Trace and outdoor ethics principles early in the 1970s at such places as Philmont Scout Ranch in Northern New Mexico. A pilot program in the 1980s between the BSA and the Bureau of Land Management in the High Uintas Wilderness tried to reach a wide audience.

text: The national education program of Leave No Trace was developed in 1990 by the United States Forest Service in conjunction with the National Outdoor Leadership School (NOLS). At the time the USFS also created other programs such as Smokey Bear, Woodsy Owl, and previously in 1985 the Tread Lightly! program which was geared towards motorized recreation. The Bureau of Land Management joined the program in 1993 followed by the National Park Service and U.S. Fish and Wildlife Service in 1994.[4]

text: Principles[edit]

text: Leave No Trace provides a framework for outdoor recreation decision making, which is summarized in the following seven principles. Originally developed for the "backcountry", there are now also seven "frontcountry" principles as well:[5]

text: Backcountry[edit]

text:
Plan ahead and prepare: Poorly prepared people, when presented with unexpected situations, often resort to high-impact solutions that degrade the outdoors or put themselves at risk. Proper planning leads to less impact.
Travel and camp on durable surfaces: Damage to land occurs when surface vegetation or communities of organisms are trampled beyond repair. The resulting barren area leads to unusable trails, campsites, and soil erosion.
Dispose of waste properly: Trash and litter in the backcountry ranks high as a problem in the minds of many backcountry visitors. This will greatly detract from the naturalness of an area and could potentially cause greater environmental damage. If no trash receptacles are available, visitors should carry out all trash from what they have brought in. [6] Furthermore, backcountry campers create waste water from certain activities and fecal waste which requires proper disposal according to Leave No Trace principles. (Urinating in the woods is not a violation of Leave No Trace).
Leave what you find: Leave No Trace directs people to minimize site alterations by avoiding actions such as digging tent trenches, cutting branches from live trees, hammering nails into trees, permanently clearing an area of rocks or twigs, or removing other natural items.
Minimize campfire impacts: Because the naturalness of many areas has been degraded by overuse of fires, Leave No Trace teaches to seek alternatives to fires or use low-impact fires.
Respect wildlife: minimizing impact on wildlife and ecosystems.
Be considerate of other visitors: Following hiking etiquette and maintaining quiet allows visitors to go through the wilderness with minimal impact on other users.

tag: ol

text: Frontcountry[edit]

text:
Know before you go
Stick to trails and camp overnight right
Stash your trash and pick up waste
Leave it as you find it
Be careful with fire
Keep wildlife wild
Share our trails and manage your pet

text: Scientific foundation[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2015) (Learn how and when to remove this template message)

tag: table

text: Two primary scientific disciplines form the foundation of the Leave No Trace program: recreation ecology and human dimensions of natural resources. Recreation ecology research, "a field of study that examines, assesses and monitors visitor impacts, typically to protected natural areas, and their relationships to influential factors" has provided the foundation for Leave No Trace messaging because of its focus on recreational impacts. Recreation ecology has dominated most minimum-impact research, and reviews suggest that there have been over one thousand recreation ecology articles published within recent decades. Examples include both ecological and social impacts of visitors.[7] Yet, the behavior of outdoor enthusiasts is perhaps[citation needed] the largest determinant of impact, and human dimensions research, which focuses on the sociological, psychological, cultural, and economic aspects of recreationists is limited but growing with regard to Leave No Trace-related studies.

text: The majority of human dimensions research related to Leave No Trace has evaluated educational effectiveness through various communication strategies in an effort to increase knowledge and influence behavioral change. For example, studies have evaluated communication strategies to mitigate human and wildlife conflict, reduce litter, minimize removal of natural objects or deter off-trail hiking. Few studies have addressed Leave No Trace specifically, instead focusing on minimum-impact behaviors broadly, and even fewer studies have evaluated the most common user-group, frontcountry visitors. More recently, however, social scientists have explored concepts such as knowledge, attitudes, beliefs, values, and behaviors of outdoor enthusiasts in the context of Leave No Trace practices, and have begun examining the perceptions of frontcountry visitors.

text: Organization[edit]

text:
Leave No Trace Center For Outdoor Ethics

Formation
1994

Type
501(c)(3) Nonprofit

Headquarters
Boulder, CO, USA

Executive Director

Dana Watts

Staff

18

Volunteers

25,000+

Website
http://www.LNT.org

text: Since 1994, a Leave No Trace program has been managed by the Leave No Trace Center for Outdoor Ethics.[8] The Leave No Trace Center for Outdoor Ethics, a 501(c)(3) non-profit organization, is dedicated to the responsible enjoyment and active stewardship of the outdoors worldwide.

text: The Center's mission is to teach people how to enjoy the outdoors responsibly. This mission is accomplished through education, research, volunteerism and partnerships. Leave No Trace tries to build awareness, appreciation and respect for wildlands.

text: The Center has partnerships with the National Park Service, the U.S. Forest Service, the Bureau of Land Management, the U.S. Fish and Wildlife Service,[9] US Army Corps of Engineers, and other partners such as colleges, universities, outfitter/guide services, small businesses, non-profits and youth serving organizations such as the Boy Scouts of America and the American Camp Association.

text: Criticism[edit]

text: This article's Criticism or Controversy section may compromise the article's neutral point of view of the subject. Please integrate the section's contents into the article as a whole, or rewrite the material. (October 2015)

text: Despite the fact that Leave No Trace is a widely accepted conservationist ethic, there has been a good amount of criticism. Environmental historian James Morton Turner argued in 2002 that Leave No Trace focused attention of backpackers "largely on protecting wilderness as a recreational landscape" rather than tackling larger questions, such as "the modern economy, consumerism, and the environment".[10] Turner also argues that this ethic omitted the calculus behind it, and the code itself, in his view, "helped ally the modern backpacker with the wilderness recreation industry" by encouraging backpackers to practice the Leave No Trace ethic while in the wilderness and to keep an eye out for the logo of this ethic in shopping malls.[10]

text: Gregory Simon and Peter Alagona had a different argument, saying in a 2009 article that there should be a move beyond Leave No Trace. They argued that this ethic "disguises much about human relationships with non-human nature" because it makes it seem that parks and wilderness areas are "pristine nature" which in their view, "erases their human histories, and prevents people from understanding how these landscapes have developed over time through complex human–environment interactions".[11] In the place of this ethic, they say that there should be a new environmental ethic "that transforms the critical scholarship of social science into a critical practice of wilderness recreation, addresses the global economic system...and reinvents wilderness recreation as a more collaborative, participatory, productive, democratic, and radical form of political action".[11] In the article they also write about how certain corporations in the outdoor recreation industry and magazines like National Geographic support Leave No Trace (LNT), but that in stores for outdoor recreation products like REI, "the LNT logo becomes both a corporate brand and an official stamp of approval".[11]

text: The authors also argue that because LNT "focuses on the immediate, local impacts of recreational use while ignoring larger issues of change over time and connections through space" it has what they consider "two conceptual flaws": the idea that the current wilderness is in a "natural, pristine condition" and the obscuring of the "spatial connections between what takes place inside parks and wilderness areas and what occurs outside".[11] The authors note that additionally, this ethic is limited in scope, offering "a code of conduct calibrated to the particular, limited, and arbitrary geographic scale of parks and wilderness areas".[11] They articulate their new environmental ethic as expanding LNT, not rejecting it all together, expanding its "spatial scale beyond the boundaries of parks and wilderness areas...broaden[ing] LNT’s ethical purview to include the global economic systems that make contemporary American wilderness recreation possible", redefining recreationists rather than "passive ethical subjects and consumers, to active participants in collaborative programs" and in sum, "a more democratic, more participatory, and more radical vision of outdoor recreation as a form of political action".[11] Near the end of the article, the authors articulate the seven principles of what they call 'Beyond Leave No Trace':[11]

text:
Educate yourself and others about the places you visit
Purchase only the equipment and clothing you need
Take care of the equipment and clothing you have
Make conscientious food, equipment, and clothing consumption choices
Minimize waste production
Reduce energy consumption
Get involved by conserving and restoring the places you visit

text: Three years later, Simon and Alagona responded to critiques of their 2009 article calling for a 'Beyond Leave No Trace' approach. They argued that they were not the first to explore LNT's history, that they "joined a growing chorus of researchers", and importantly that they "remain steadfast in our endorsement of LNT’s value and potential" but that they believe that "this simple ethic is not enough in a world of global capital circulation where the goods we produce and consume in order to enjoy the outdoors can have long-term and far-reaching social and environmental ramifications".[12] While dismissing the concerns of critics, they write that, firstly, Leave No Trace "could not exist in its current form without a plethora of consumer products;" secondly, that "the use of such products does not erase environmental impacts;" and thirdly that LNT "systematically obscures these impacts, displacements, and connections by encouraging the false belief that it is possible to 'leave no trace'".[12]

text: Other critics of Leave No Trace have argued that it is impractical, displaces environmental impacts to other locations, "obscures connections between the uses of outdoor products and their production and disposal impacts" and have questioned how much the ethic affects everyday environmental behavior.[13][14]


document_title: List of solar eclipses visible from the United States

question_text: when was the last time the us saw a total eclipse

text:
June 28, 1908

Annular
June 8, 1918

Total
November 22, 1919

Annular
September 10, 1923

Total

January 24, 1925

Total
June 29, 1927

Total
April 28, 1930

Hybrid
August 31, 1932

Total

April 19, 1939

Annular
April 7, 1940

Annular
February 4, 1943

Total
July 9, 1945

Total

May 9, 1948

Annular

text:
September 1, 1951

Annular
June 30, 1954

Total
October 2, 1959

Total
July 20, 1963

Total

March 7, 1970

Total
July 10, 1972

Total
February 26, 1979

Total
May 30, 1984

Annular

July 22, 1990

Total
July 11, 1991

Total
January 4, 1992

Annular
May 10, 1994

Annular

text:
May 20, 2012[1]

Annular
August 21, 2017[2]

Total
October 14, 2023[3]

Annular
April 8, 2024[4]

Total

March 30, 2033[5]

Total
June 21, 2039[6]

Annular
August 23, 2044[7]

Total
August 12, 2045[8]

Total

February 5, 2046[9]

Annular
June 11, 2048[10]

Annular

text:
[show]

v
t
e

Solar eclipses

Lists of eclipses

By century

Antiquity
20th BC
19th BC
18th BC
17th BC
16th BC
15th BC
14th BC
13th BC
12th BC
11th BC
10th BC
9th BC
8th BC
7th BC
6th BC
5th BC
4th BC
3rd BC
2nd BC
1st BC
1st
2nd
3rd
4th
5th
6th
7th
8th
9th
10th
11th
12th
13th
14th
15th
16th
17th
18th
19th
20th
21st
22nd
23rd
24th
25th
26th
27th
28th
29th
30th

Saros series

110
111
112
113
114
115
116
117
118
119
120
121
122
123
124
125
126
127
128
129
130
131
132
133
134
135
136
137
138
139
140
141
142
143
144
145
146
147
148
149
150
151
152
153
154
155
156
157
158
159
160
161
162

Visibility

Australia
China
Philippines
Russia
Ukraine
United Kingdom
United States

Historical

Mursili's eclipse (1312 BC)
Assyrian eclipse (763 BC)
Eclipse of Thales (585 BC)

Total/hybrid eclipses

→ symbol denotes
next total/hybrid eclipse

1560 Aug 21
1598 Mar 7
1652 Apr 8
1654 Aug 12
1673 Aug 12
1699 Sep 23
1715 May 3
1724 May 22
1766 Feb 9
1778 Jun 24
1780 Oct 27
1806 Jun 16
1816 Nov 19
1824 Jun 26
1842 Jul 8
1851 Jul 28
1853 Nov 30
1857 Mar 25
1858 Sep 7
1860 Jul 18
1865 Apr 25
1867 Aug 29
1868 Aug 18
1869 Aug 7
1870 Dec 22
1871 Dec 12
1874 Apr 16
1875 Apr 6
1878 Jul 29
1882 May 17
1883 May 6
1885 Sep 8
1886 Aug 29
1887 Aug 19
1889 Jan 1
1889 Dec 22
1893 Apr 16
1896 Aug 9
1898 Jan 22
1900 May 28
1901 May 18
1903 Sep 21
1904 Sep 9
1905 Aug 30
1907 Jan 14
1908 Jan 3
1908 Dec 23
1909 Jun 17
1910 May 9
1911 Apr 28
1912 Apr 17
1912 Oct 10
1914 Aug 21
1916 Feb 3
1918 Jun 8
1919 May 29
1921 Oct 1
1922 Sep 21
1923 Sep 10
1925 Jan 24
1926 Jan 14
1927 Jun 29
1928 May 19
1929 May 9
1930 Apr 28
1930 Oct 21
1932 Aug 31
1934 Feb 14
1936 Jun 19
1937 Jun 8
1938 May 29
1939 Oct 12
1940 Oct 1
1941 Sep 21
1943 Feb 4
1944 Jan 25
1944 Jul 20
1945 Jul 9
1947 May 20
1948 Nov 1
1950 Sep 12
1952 Feb 25
1954 Jun 30
1955 Jun 20
1956 Jun 8
1957 Oct 23
1958 Oct 12
1959 Oct 2
1961 Feb 15
1962 Feb 5
1963 Jul 20
1965 May 30
1966 Nov 12
1967 Nov 2
1968 Sep 22
1970 Mar 7
1972 Jul 10
1973 Jun 30
1974 Jun 20
1976 Oct 23
1977 Oct 12
1979 Feb 26
1980 Feb 16
1981 Jul 31
1983 Jun 11
1984 Nov 22
1985 Nov 12
1986 Oct 3
1987 Mar 29
1988 Mar 18
1990 Jul 22
1991 Jul 11
1992 Jun 30
1994 Nov 3
1995 Oct 24
1997 Mar 9
1998 Feb 26
1999 Aug 11
2001 Jun 21
2002 Dec 4
2003 Nov 23
2005 Apr 8
2006 Mar 29
2008 Aug 1
2009 Jul 22
2010 Jul 11
2012 Nov 13
2013 Nov 3
2015 Mar 20
2016 Mar 9
2017 Aug 21
→ 2019 Jul 2
2020 Dec 14
2021 Dec 4
2023 Apr 20
2024 Apr 8
2026 Aug 12
2027 Aug 2
2028 Jul 22
2030 Nov 25
2031 Nov 14
2033 Mar 30
2034 Mar 20
2035 Sep 2
2037 Jul 13
2038 Dec 26
2039 Dec 15
2041 Apr 30
2042 Apr 20
2043 Apr 9
2044 Aug 23
2045 Aug 12
2046 Aug 2
2048 Dec 5
2049 Nov 25
2050 May 20
2052 Mar 30
2053 Sep 12
2055 Jul 24
2057 Jan 5
2057 Dec 26
2059 May 11
2060 Apr 30
2061 Apr 20
2063 Aug 24
2064 Aug 12
2066 Dec 17
2067 Dec 6
2068 May 31
2070 Apr 11
2071 Sep 23
2072 Sep 12
2073 Aug 3
2075 Jan 16
2076 Jan 6
2077 May 22
2078 May 11
2079 May 1
2081 Sep 3
2082 Aug 24
2084 Dec 27
2086 Jun 11
2088 Apr 21
2089 Oct 4
2090 Sep 23
2091 Aug 15
2093 Jan 27
2094 Jan 16
2095 Jun 2
2096 May 22
2097 May 11
2099 Sep 14
2100 Sep 4
2114 Jun 3
2132 Jun 13
2150 Jun 25
2168 Jul 5
2186 Jul 16

Annular eclipses

→ symbol denotes
next annular eclipse

1820 Sep 7
1854 May 26
1879 Jan 22
1889 Jun 28
1901 Nov 11
1903 Mar 29
1904 Mar 17
1905 Mar 6
1907 Jul 10
1908 Jun 28
1911 Oct 22
1914 Feb 25
1915 Feb 14
1915 Aug 10
1916 Jul 30
1917 Dec 14
1918 Dec 3
1919 Nov 22
1921 Apr 8
1922 Mar 28
1923 Mar 17
1925 Jul 20
1926 Jul 9
1927 Jan 3
1929 Nov 1
1932 Mar 7
1933 Feb 24
1933 Aug 21
1934 Aug 10
1935 Dec 25
1936 Dec 13
1937 Dec 2
1939 Apr 19
1940 Apr 7
1941 Mar 27
1943 Aug 1
1945 Jan 14
1947 Nov 12
1948 May 9
1950 Mar 18
1951 Mar 7
1951 Sep 1
1952 Aug 20
1954 Jan 5
1954 Dec 25
1955 Dec 14
1957 Apr 30
1958 Apr 19
1959 Apr 8
1961 Aug 11
1962 Jul 31
1963 Jan 25
1965 Nov 23
1966 May 20
1969 Mar 18
1969 Sep 11
1970 Aug 31
1972 Jan 16
1973 Jan 4
1973 Dec 24
1976 Apr 29
1977 Apr 18
1979 Aug 22
1980 Aug 10
1981 Feb 4
1983 Dec 4
1984 May 30
1987 Sep 23
1988 Sep 11
1990 Jan 26
1991 Jan 15
1992 Jan 4
1994 May 10
1995 Apr 29
1998 Aug 22
1999 Feb 16
2001 Dec 14
2002 Jun 10
2003 May 31
2005 Oct 3
2006 Sep 22
2008 Feb 7
2009 Jan 26
2010 Jan 15
2012 May 20
2013 May 10
2014 Apr 29
2016 Sep 1
2017 Feb 26
→ 2019 Dec 26
2020 Jun 21
2021 Jun 10
2023 Oct 14
2024 Oct 2
2026 Feb 17
2027 Feb 6
2028 Jan 26
2030 Jun 1
2031 May 21
2032 May 9
2034 Sep 12
2035 Mar 9
2038 Jan 5
2038 Jul 2
2039 Jun 21
2041 Oct 25
2042 Oct 14
2043 Oct 3
2044 Feb 28
2045 Feb 16
2046 Feb 5
2048 Jun 11
2049 May 31
2052 Sep 22
2053 Mar 20
2056 Jan 16
2056 Jul 12
2057 Jul 1
2059 Nov 5
2060 Oct 24
2061 Oct 13
2063 Feb 28
2064 Feb 17
2066 Jun 22
2067 Jun 11
2070 Oct 4
2071 Mar 31
2074 Jan 27
2074 Jul 24
2075 Jul 13
2077 Nov 15
2078 Nov 4
2079 Oct 24
2081 Mar 10
2082 Feb 27
2084 Jul 3
2085 Jun 22
2085 Dec 16
2088 Oct 14
2089 Apr 10
2092 Feb 7
2092 Aug 3
2093 Jul 23
2095 Nov 27
2096 Nov 15
2097 Nov 4
2099 Mar 21
2100 Mar 10

Partial eclipses

→ symbol denotes
next partial eclipse

1902 Apr 8
1902 May 7
1902 Oct 31
1906 Feb 23
1906 Jul 21
1906 Aug 20
1909 Dec 12
1910 Nov 2
1913 Apr 6
1913 Aug 31
1913 Sep 30
1916 Dec 24
1917 Jan 23
1917 Jun 19
1917 Jul 19
1920 May 18
1920 Nov 10
1924 Mar 5
1924 Jul 31
1924 Aug 30
1927 Dec 24
1928 Jun 17
1928 Nov 12
1931 Apr 18
1931 Sep 12
1931 Oct 11
1935 Jan 5
1935 Feb 3
1935 Jun 30
1935 Jul 30
1938 Nov 21
1942 Mar 16
1942 Aug 12
1942 Sep 10
1946 Jan 3
1946 May 30
1946 Jun 29
1946 Nov 23
1949 Apr 28
1949 Oct 21
1953 Feb 14
1953 Jul 11
1953 Aug 9
1956 Dec 2
1960 Mar 27
1960 Sep 20
1964 Jan 14
1964 Jun 10
1964 Jul 9
1964 Dec 4
1967 May 9
1968 Mar 28
1971 Feb 25
1971 Jul 22
1971 Aug 20
1974 Dec 13
1975 May 11
1975 Nov 3
1978 Apr 7
1978 Oct 2
1982 Jan 25
1982 Jun 21
1982 Jul 20
1982 Dec 15
1985 May 19
1986 Apr 9
1989 Mar 7
1989 Aug 31
1992 Dec 24
1993 May 21
1993 Nov 13
1996 Apr 17
1996 Oct 12
1997 Sep 2
2000 Feb 5
2000 Jul 1
2000 Jul 31
2000 Dec 25
2004 Apr 19
2004 Oct 14
2007 Mar 19
2011 Jan 4
2011 Jun 1
2011 Jul 1
2011 Nov 25
2014 Oct 23
2015 Sep 13
→ 2018 Feb 15
2018 Jul 13
2018 Aug 11
2019 Jan 6
2022 Apr 30
2022 Oct 25
2025 Mar 29
2025 Sep 21
2029 Jan 14
2029 Jun 12
2029 Jul 11
2032 Nov 3
2033 Sep 23
2036 Feb 27
2036 Jul 23
2036 Aug 21
2037 Jan 16
2040 May 11
2040 Nov 4
2047 Jan 26
2047 Jun 23
2047 Jul 22
2047 Dec 16
2050 Nov 14
2051 Apr 11
2051 Oct 4
2054 Mar 9
2054 Aug 3
2054 Sep 2
2055 Jan 27
2058 May 22
2058 Jun 21
2058 Nov 16
2062 Mar 11
2062 Sep 3
2065 Feb 5
2065 Jul 3
2065 Aug 2
2065 Dec 27
2068 Nov 24
2069 Apr 21
2069 May 20
2069 Oct 15
2072 Mar 19
2073 Feb 7
2076 Jun 1
2076 Jul 1
2076 Nov 26
2083 Feb 16
2083 Jul 15
2083 Aug 13
2084 Jan 7
2086 Dec 6
2087 May 2
2087 Jun 1
2087 Oct 26
2090 Mar 31
2091 Feb 18
2094 Jun 13
2094 Jul 12
2094 Dec 7
2098 Apr 1
2098 Sep 25
2098 Oct 24

Other bodies

Mars
Moon
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Neptune
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Related topics

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document_title: Field hockey pitch

question_text: what is the height of hockey goal post

question_tokens: what is the height of hockey goal post

text: Field hockey pitch

text: Field of play[edit]

text: The hockey pitch is rectangular in shape. The longer perimeter edges are called the side line, the opposing shorter edges are referred toe back line and the portion of this between the goal posts is known as the goal line. The side line must measure 91.40 m (100 yd) and the back line should measure 55.00 m (60 yd). There must be a minimum run-off of 2 m at the sidelines and 3 m at the backlines which may be a different surface for the final metre. All line markings must be white and 75 millimetres wide. In each corner of the pitch, a corner flag of no more than 300 mm square is attached to a post of height 1.20–1.50 m.[1][2]

text: Historically, the pitch dimensions were imperial and were replaced by metric equivalents in 1998. The first recorded rules represented what London clubs were using at the time. Surbiton Hockey Club's minutes from 1876 stated that pitches were to be "100–150 yards (91–137 m) long and 50–80 yards (46–73 m) wide". Rules by the Hockey Association of England in 1886 specified "100 yards long by 55 to 60 yards (50 to 55 m) wide".[3][4] In 1905, the International Rules Board allowed the width of the pitch to be "up to 66 yards (60 m)" but this decision was reversed in 1909.[5] In 1975, the current width of 60 yards was written into the rules.[3][4]

text: On artificial surfaces, the field of play should be coloured green, ultramarine blue or signal blue. It is permitted for the run-off portion of the pitch to be an alternative colour.[6]

text: Goal[edit]

text: Goals consist of two upright posts placed equidistant from the centre of the backline, joined at the top by a horizontal crossbar. The inner edges of the posts must be 3.66 metres (4 yd) apart, and the lower edge of the crossbar must be 2.14 metres (7 ft) above the ground. The goalposts and crossbar must be white and rectangular in shape with width 50 millimetres (2 in) and a depth of 50 to 75 millimetres (2 to 3 in).

text: The goal must be at least 1.20 m deep at ground level and at least 0.90 m deep at crossbar level. The goal area must be delimited at ground level by a goal backboard and two sideboards of height 460 millimetres (18 in). Affixed to these boards, the posts and crossbar is a net to stop the ball.[7]

text: The first hockey goals were "7 feet (2.1 m) tall posts placed 6 yards (5.5 m) apart" but were reduced to 4 yards (3.7 m) apart in the 1886 rules. In 1987, a rule was introduced so that at penalty corners "the first hit at goal should not cross the goal-line higher than 18 inches (460 mm)". This saw the introduction of a sideboard and backboard to the goals which are now mandatory.[3][4]

text: Circle[edit]

text: A goal is scored when the ball passes completely over the goal line but only if the ball was played by an offensive player in the penalty circle. Additionally, the circle marks the area a goalkeeper may play the ball with any part of his body and the area where an infringement by a defender results in a penalty corner. The terminology circle (or D) is widely used although the area is actually formed by a 3.66-metre (4 yd) straight line, parallel to the goal line, connected to two 14.63-metre (16 yd) quadrant arcs.[8][9]

text: The 1876 rules stated that "no goals shall be allowed if the ball be hit from a distance of more than 15 yards (14 m) from the nearest goalpost". A visible "striking circle" with "radius of 15 yards" was codified in 1886.[3][4] The radius of the circle was increased to 16 yards (15 m) in 1951 for men's hockey and 1968 for women's hockey.[5] Any free-hit within 5 m of the circle has slightly different rules from others concerning other players’ distance; a broken circle 5 m from the penalty circle denotes this location.[9]

text: A penalty spot is centrally positioned directly in front of the goal and used for a penalty stroke. The spot is 150 mm in diameter and its centre is 6.475 m from the outside of the goal line.[9] Penalty strokes were introduced in 1963 for deliberately stopping a certain goal;[3] they were originally taken 8 yards (7.3 m) from goal. In 1973, a stroke could also be awarded for a deliberate foul in the circle and the spot was moved to 7 yards (6.4 m) from goal the following year.[5]

text: Other markings[edit]

text: A half-way line, parallel to the back line, divides the pitch in two. The start of each period of play and resumption of play following a goal starts with all players in the half they are defending. The line was also used for the obselete offside rule.[3]

text: Each half of the pitch is then divided again by a line, referred to as the 23 metre line or 25 yard line, positioned 22.90 m[10] from each back line. Historically, this was first used to resume play after the ball passed over the back line and marked by flags at the side of the pitch. In 1949, deliberate defensive offenses in this area resulted in a penalty corner. From 1961, players on the defensive team who were not involved at the penalty corner stood behind this line (this was then moved to the half-way line two years later). The line was also used for the offside rule between 1987 until the rule was abolished in 1996.[3] Nowadays, there are detailed rules regarding fouls and free-hits in the 23 metre region of the pitch.[11] Since 2015, the 23 metre line has also been used for the attacking team to resume play when it has gone over the back line (this replaced long corners).[12]

text: There are additional markings 300 mm long and perpendicular to the back line that denote distances of 10 m and 5 m from each goal post. These are relevant at a penalty corner; the former is the mark from which the attacking team takes the penalty corner and the latter is the closest position which a defender may stand. These marks had been 5 and 10 yards (4.6 and 9.1 m) in earlier versions of the rules.[3] There is a similar mark 5 m from along the side line (from where long corners were formally taken) and a mark 14.6 m along the side line indicating the level of the top of the penalty circle. There are also 150 mm long markings where the goal posts are situated.[13]

text: Artificial playing surface[edit]

text:
"artificial grass permits easier ball control and this in itself helps to reduce the number of infringements of the rules—which means less whistle and fewer stoppages. The game thus becomes easier to follow, as well as being a faster spectacle and much more interesting from a spectator point of view."[14][15]

— World Hockey, 1975

text: Historically, the game was developed on natural grass turf. However, in 1976, the International Hockey Federation (FIH) made artificial pitches mandatory at all major competitions.[16] The 1976 Summer Olympics in Montreal was the first of these; however at this time few players had seen or played on synthetic pitches.[17] Although it is still permissible to play on natural turf all national competitions and international matches must be played on an artificial surface.[18] Elite-level competitions, such as the Olympic Games and World Cup, require a water-based playing surface. However, due to water conservation efforts, this is not seen as a long-term sustainable option and alternative elite surfaces that do not require water are being researched.[19]

text: There are three main types of artificial hockey surface:[2][20][21]

text:
Unfilled or water-based - artificial fibres that are densely packed for stabilisation, requires irrigation or watering to avoid pitch wear
Dressed or sand-dressed - artificial fibres can be less densely packed and sand supports the fibres for part of the pile depth
Filled or sand-filled - artificial fibres can be longer and less densely packed and sand supports the fibres for 100% of the pile depth

tag: ul

text: On water-based pitches, shorter fibres and wetted turf reduce friction and increase the speed at which the game can be played. However, these pitches require watering before, during and after the game and maintenance costs are significant.[22][23] Sand-dressed pitches cost more than sand-filled pitches but are preferable for hockey as there is an absence of sand close to the playing surface.[24] However, a multi-purpose surface suitable for sports including association football and tennis is often required and hockey may not be the predominant sport. There are many different specifications and categorisations for artificial turf including shock absorption, surface rebound, friction, and strength outlined by the International Hockey Federation.[25] Recently, longer-pile third-generation or 3G pitches have become popular, especially for football, but these do not usually meet the FIH's test criteria; they are often too inconsistent and slow.[26]

text: Criticism[edit]

text: The World Hockey magazine reported on the first hockey tournament played on an artificial pitch in 1975—a trial event in Montreal prior to the Olympics—and said the surface had "enormous benefits".[14][15] Steve Ruskin, of Sports Illustrated, said that "A slow, analytical game gave way to one of nonstop, true-hop action."[27] However, it has been stated that the decision to make artificial surfaces mandatory greatly favoured more affluent Western countries who could afford these new pitches.[28] Before the switch to an artificial surface the Indian men's hockey team were dominant, winning seven of the eight Olympic gold medals between 1928 and 1964.[27] In 1996, Indian hockey player Ajit Pal Singh stated that despite its size "[India] can afford only 12 or so AstroTurf fields".[27] Sardara Singh, captain of the Indian men's hockey team, said that "hockey players in India play on astroturf [sic] for the first time at the age of 19 or 20 and find it hard to adapt."[28] However, the Pakistan hockey team have performed well following the change of surface despite the country being worse off economically and having fewer artificial pitches.[15] When describing the change of surface, Ruskin said that "for India it was like starting over, with all nations even in field hockey."[27]


document_title: Dog with a Blog

question_text: who play avery in dog with a blog

question_tokens: who play avery in dog with a blog

text: Dog with a Blog

text: Plot[edit]

text: Set in Pasadena, California, Avery Jennings' mother, Ellen, had just married Tyler and Chloe James' father, Bennett, so now the new family needs to make some adjustments on living together. They face an even bigger adjustment when they discover that their new dog, Stan, can talk. Only Avery, Tyler, and Chloe know this. Unbeknownst to the family, Stan also has a blog where he discusses happenings in the Jennings–James household. The children learn of Stan's talking ability in the first episode and agree to keep it a secret from their parents, fearing if the world finds out that Stan can talk, he will be taken away for experimentation.

text: Characters[edit]

text: Main[edit]

text:
Avery Jennings (G Hannelius) is the highly intelligent, hard-working step-sister of Tyler and Chloe. She hates the fact that Tyler feels everything has to go his way and that good things always seem to happen to him, such as in "Stan of the House" when Tyler books the living room as an excuse to have the school cheerleading squad come over. Avery is very straightforward in following the rules and reluctantly goes along with what Tyler does. She is very smart, an overachiever, and knows what she wants. She wants everything to be handled in an orderly fashion, such as posting sign-up sheets for the living room and bathroom. Avery is socially responsible and despises boys like Tyler, though the two do have brother–sister heart-to-heart discussions showing that, at the end of the day, no matter how much Tyler annoys her, they love each other. She did not always love to take risks, but this changes when she steals a large pig in one episode. Avery is a very good problem solver and is the school president.
Tyler James (Blake Michael) is the popular brother of Chloe and step-brother of Avery. He seems to get by with his good looks, adding to Avery's jealousy, often causing the two to fight. Manipulative and occasionally a little vain, good things always seem to happen to him; he can get any pretty girl to go out with him and is extremely charismatic. Tyler is a math genius, found out later in the first season, and although he is very smart, Tyler is slacking off in school due to laziness, but in "Stan of the House" he learns he needs to act more like a brother toward Avery and will, on some occasions, show his soft, serious, and mature side. Although he can sometimes be shown to be carefree and too laid back, Tyler will rush to a person's side when they need help, showing that he cares about people and is not at all judgmental or a bad person, as seen in "Stan of the House" when he comforts Avery after she breaks down crying over losing Stan. He can also be shown to be a little air-headed, but he has a quick wit and, like Avery, he knows what he wants and he will not stop at anything to get it.
Chloe James (Francesca Capaldi) is the younger sister of Tyler and step-sister of Avery. A running gag in the show is that the family will go somewhere and forget to bring Chloe home, and when they realize their error, they scream her name at the same time. Chloe is known to love candy, though her parents do not allow her to eat too much. She secretly hides sweets around the house in places like pillow cases and TV remote battery compartments. She has a very active imagination, making up new names for various body parts and scares Tyler while he sleeps.
Bennett James (Regan Burns) is Tyler and Chloe's father and Avery's step-father. He is a child psychologist who often acts immature and childish himself and is the author of several books in which he uses his family as examples, only changing the names. He always tries to think of ways to get his children to come together. He is also shown to be quite conceited. Sometimes his wife thinks he got his psychology degree online as his attempts at practicing psychology do not seem to go well. In "Stan of the House", he introduces Stan to the blended family in hopes that the dog will help his children bond.
Ellen Jennings (Beth Littleford) is Avery's mother and Tyler and Chloe's step-mother. She does not like dogs and makes it known that she does not like Stan; however, by the end of Howloween, she and Stan get along. It is later revealed that she dislikes Stan due to an incident with a dog she had adored who suddenly left her. Due to this, she is reluctant to bond with Stan. She loves making jokes, often followed by her catchphrase, "Good one, Ellen!" She has been married to Bennett long enough to absorb some of his habits, including being scatterbrained. This could well account for their constant forgetting about Chloe. In Who's Training Who? Ellen hires a master dog trainer to keep Stan off the couch. Ignoring the trainer by daydreaming, Stan ends up outside until the children convince him that he's one of them, and he gives in and accepts the new dog bed Ellen bought him.

text: Recurring[edit]

text:
Lindsay (Kayla Maisonet) is Avery's best friend. Lindsay's unique quality is that she always wears a hat, even when it's inappropriate. Lindsay often talks fast when she panics, often leading Avery to also talk fast. Except for her lack of intelligence, she has much in common with Avery. They love the same books and movies and often say the same things at the same time involuntarily, and she also dislikes Karl just like Avery. However, Avery dislikes Karl more than she does. In Avery B. Jealous, Wes, Avery's crush, asks Lindsay out on a date. Lindsay promises Avery that she will call off the date, but when they get in a fight, she decides to go out with Wes. Lindsay admits that she has always had a crush on Wes. In Avery-body Dance Now, she and Max confront Wes when he turns Avery down on an invite to the school dance after Karl tells Wes he is going with Avery.
Nikki Ortiz (Denyse Tontz) is Avery's friend and Tyler's current girlfriend. She has a dog named Evita, who Stan despises because she yaps too much. Nikki moved from El Salvador and is sweet and talented. In Wingstan, she is shown to be great at whistling and art. In Avery's First Crush, Nikki accidentally reveals her confusing and mysterious secret: "My brother didn't fall. He was pushed." In Love Ty-Angle, she becomes jealous of Tyler's girlfriend and is confused about it. Nikki asks Tyler to dump Emily for her, but since he can't trust his dream girl, he chooses Emily; however, she learns about Nikki's pursuit of Tyler. This leads to Tyler being broken up with by Emily and, despite never being picked second for anything, Nikki accepts when Tyler chooses her.
Karl Fink (LJ Benet) is Avery's frenemy. He and Avery are the smartest children in school; however, in contrast to Avery, Karl is a shameless jerk. Being very nosy, he often barges into the Jennings–James house without knocking. He also tries to find out Stan's secret in The Bone Identity. He despises Avery because when they were much younger, she stole his graham crackers at a science camp. He often has tea and snacks with Ellen, much to the discomfort of others, though they both claim that it's not weird. He once admits that he likes to send Ellen flowers under the alias of Walter Perkins. Karl has mentioned several times that his father is up on the International Space Station and talks often about his obsessive bodybuilding mother, who he says is the strongest woman in the world, though she has never been seen on the show. In Avery-body Dance Now, he teaches Avery how to dance for the school dance with Wes; however, he tells Wes that he is going to the school dance with Avery. In Karl Finds Out Stan's Secret, it is revealed that Karl has been spying on Stan and the children for a while. Now he knows that Stan can talk, but keeps it a secret.
Max (Danielle Soibelman) is one of Avery and Lindsay's best friends, as shown in the second season. She is shown to be a very negative, but overall nice, person despite sporting dark clothing. She likes to act tough and says she hates everything, but she also dances with Karl at the school dance.
Wes (Peyton Meyer) is Avery's crush in the second season. In Lost in Stanslation, Avery acts as his Spanish tutor; at the end, he asks her if it would be inappropriate to ask her out on a date in Spanish, but since she does not actually know the language, she answers yes in Spanish. He is very upset as he had said he wanted to ask her that even before she was his tutor. In Avery B. Jealous, Wes asks Lindsay out after being rejected by Avery, but in the end he says that he is glad that he isn't going with Lindsay as he wanted to go with Avery all along. In Avery-body Dance Now, he asks Avery to go to the school dance with him; however, when Avery seeks dance lessons from Karl, Wes becomes jealous of Karl, and when Karl tells Wes he is going with Avery, Wes goes by himself. After Lindsay and Max witness Wes' anger at Avery and Avery running out of the dance in tears, they learn of Karl's deception. Wes goes to Avery's house, where he tells her he likes her, and they return to the dance together. In The Green Eyed Monster, Stan accidentally captures a photo of Wes with another girl in the park, and Avery confronts him, which causes a temporary problem between her and Wes as he tells her he can't date a girl who doesn't trust him, but Tyler and Stan get together to convince Wes it wasn't Avery's fault and that she just has strange relatives. In Love, Lose and a Beanbag Toss, Avery notices that Wes is ignoring her; after several confrontations he finally tells her that his family is moving to another city. They both agree on a long distance relationship through the Internet, but soon notice that it is not going to work out well. They then decide to end their relationship and try to move on.
Mason (Griffin Kunitz) is Chloe's current boyfriend. According to Chloe in Stan Gets Schooled, Chloe and Mason started their relationship because Chloe came up to him, said "You're my boyfriend!" and gave him a tongue click. It is shown in Stan Has Puppies that he has twin brother named Jason.
Heather Collins (Brighid Fleming) is Princess' owner and the Jennings–James' next-door neighbor who moved in with her family in Stan Falls in Love. She is shown to be spoiled, ridiculously snobby, and stuck up. She also seems to have a liking to Karl.

text: Production[edit]

text: The series is co-created by Michael B. Kaplan, who previously co-created the Disney XD series I'm in the Band.[1] Stephen Full was previously a cast member of that series, along with Beth Littleford who had a recurring role. G Hannelius and Regan Burns also previously guest starred on I'm in the Band during the show's two-season run. On February 4, 2013, Disney Channel renewed the series for a second season.[2] On February 4, 2014, the series was renewed for a third season by Disney Channel.[3]

text: Spin-off[edit]

text: A spin-off short series called Dogs Rule! Cats... Not So Much debuted on Watch Disney on February 14, 2014. It is a variety show hosted by Stan comparing dogs to cats and showing various dog or cat Internet videos. The spin-off commonly aired on Disney Channel during commercial breaks.

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
22
October 12, 2012 (2012-10-12)
August 25, 2013 (2013-08-25)

2
24
September 20, 2013 (2013-09-20)
September 12, 2014 (2014-09-12)

3
23
September 26, 2014 (2014-09-26)
September 25, 2015 (2015-09-25)

text: Ratings[edit]

text:
Season
Episodes
First aired
Last aired
Avg. viewers
(millions)

Date
Viewers
(millions)
Date
Viewers
(millions)

1
22
October 12, 2012 (2012-10-12)
4.50[4]
August 25, 2013 (2013-08-25)
3.24[5]
3.15

2
23
September 20, 2013 (2013-09-20)
2.99[6]
September 12, 2014 (2014-09-12)
1.70[7]
2.61

3
23
September 26, 2014 (2014-09-26)
2.19[8]
September 25, 2015 (2015-09-25)
2.15[9]
1.84

text: Broadcast[edit]

text: Worldwide the show airs on Disney Channel. The series premiered in the United States on October 12, 2012.[10] and in Canada on November 23, 2012. The show later premiered in the United Kingdom and Ireland on December 21, 2012.[citation needed] In India, the series premiered on December 1, 2013 on Disney Channel India[citation needed] and on October 30, 2017 on Disney International HD.[11] The second season premiered on November 26, 2014.[citation needed] The series premiered in Singapore on March 2, 2013, and in Australia and New Zealand on March 25, 2013.[citation needed] In Thailand the series premiered on February 18, 2017.[12]

text: Reception[edit]

text: Dog with a Blog has received generally mixed reviews from critics. Critic Brian Lowry for Variety gave the show a mixed review, saying that "young kids should enjoy hearing Stan express dog-like thoughts", but concluded that "Dog with a Blog is strictly low-hanging-biscuit fare".[13] Common Sense Media gave the show two stars out of five, calling it a "so-so sitcom" with "lackluster writing and cliche humor" while praising it for having "some heartwarming messages about families".[14]

text: Awards and nominations[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2017) (Learn how and when to remove this template message)

text:
Year
Award
Category
Result

2014
Emmy Awards
Outstanding Children's Program
Nominated

2015
2015 Kids' Choice Awards
Favorite TV Show
Nominated

Emmy Awards
Outstanding Children's Program
Nominated

2016
2016 Kids' Choice Awards
Favorite TV Show
Nominated

Emmy Awards
Outstanding Children's Program
Nominated


document_title: Eddie and the Cruisers

question_text: who did the singing in the movie eddie and the cruisers

text: Eddie and the Cruisers

text: Plot[edit]

text: A television reporter named Maggie Foley (Ellen Barkin) investigates the mysterious disappearance of legendary rock star Eddie Wilson (Michael Paré). Flashbacks dramatize Eddie's life and the rise and fall of his rock and roll band, Eddie and the Cruisers.

text: The band gets its start at a Somers Point, New Jersey club called Tony Mart's. Not adept at writing lyrics, Eddie hires Frank Ridgeway (Tom Berenger) aka "Wordman" to be the band's keyboard player and lyricist, over the protests of band manager Doc Robbins (Joe Pantoliano) and bassist Sal Amato (Matthew Laurance). Rounding out the Cruisers are saxophonist Wendell Newton (Michael "Tunes" Antunes), background singer and Eddie's girlfriend Joann Carlino (Helen Schneider), and drummer Kenny Hopkins (David Wilson).

text: The band's first album, Tender Years, became a major hit, but recording their next album, A Season in Hell, turns out to be a nightmare. Inspired by the bleak, fatalistic poetry of Arthur Rimbaud, Eddie pushes his bandmates beyond their limits, musically and personally. Eddie wants to be great, but bassist Sal replies, "We ain't great. We're just some guys from Jersey." Eddie makes this clear that if the band cannot be great, there is no reason to ever play music again. A Season in Hell is ultimately rejected by Satin Records on the grounds that it is "dark and strange". In the early morning hours, Eddie's car crashes through the railing and over the Stainton Memorial Causeway. Eddie vanishes without a trace, his body never found.

text: Almost 20 years later, Satin re-releases the band's first album, which charts even higher than it did originally. A television documentary is soon in the works, exploring the mystery of the band's second album, which had disappeared from the vaults of Satin Records the day after Eddie's disappearance. All of the original Cruisers are set to participate in it except Eddie and Wendell Newton, who had died of an overdose in August 1963 at age 37. The others are now living ordinary lives: Sal Amato fronts a Cruisers tribute band. Ridgeway is a high school English teacher in Vineland. Doc works as a radio disc jockey in Asbury Park. Joann is a stage choreographer in Wildwood, and Hopkins works in an Atlantic City casino.

text: During the documentary interviews, the band expresses a desire to relive the past, even though many of their memories are humiliating. For example, during a concert at Benton College, where Frank was once a student, Eddie ridicules Frank repeatedly by referring to him as "Toby Tyler". The other Cruisers members share similar stories.

text: Joann is able to complete the one piece of the puzzle that Frank could not: revealing what happened to the band's second album. After storming from the studio, Eddie brought her to the Palace of Depression, a makeshift castle made of garbage and junk that he visited often as a child. She reveals it was in fact she who took the master tapes for the album from Satin Records, hiding them in the Palace of Depression, where she felt they belonged.

text: Frank and Joann go back to the Palace of Depression to retrieve the master tapes. A mystery man driving a blue '57 Chevy Bel Air convertible identical to Eddie's arrives at the house and calls to Joann. But before she can reach the car, Frank unmasks the impostor, revealing him to be Doc, who was after the master tapes all these years. Moved by his story, Frank and Joann give him the master tapes. Doc drives off into the night vowing that the Cruisers will finally conquer the world this time.

text: In a surprise reveal at the ending, a bearded, much older looking Eddie is shown alive, watching the ending credits of Foley's documentary tribute to him and the band roll through the window of an appliance store. He smiles serenely, proud to know that his work is finally being heard, and then disappears into the night.

text: Cast[edit]

text:
Tom Berenger as Frank Ridgeway
Michael Paré as Eddie Wilson
Joe Pantoliano as Doc Robbins
Matthew Laurance as Sal Amato
Helen Schneider as Joann Carlino
David Wilson as Kenny Hopkins
Michael "Tunes" Antunes as Wendell Newton
Ellen Barkin as Maggie Foley
Joanne Collins as Regina Lewis

text: Cast notes[edit]

text: Only two cast members, Michael "Tunes" Antunes, the tenor saxophone player for John Cafferty & The Beaver Brown Band, and backup singer Helen Schneider were professional musicians in the fictional band.

text: Production[edit]

text: Development[edit]

text: Martin Davidson has said that the inspiration for the film came from a desire to "get all my feelings about the music of the last 30 years of rock music into it."[2] He optioned P. F. Kluge's novel with his own money and at great financial risk.[3] He wrote the screenplay with Arlene Davidson and decided to use a Citizen Kane-style story structure. He remembered, "That was in my head: the search."[4]

text: Davidson made a deal with Time-Life, a company that was going into the movie-making business. However, it quickly left the business after making two films that were not financially successful. He was understandably upset and a couple of days later he went out to dinner and met a secretary who had worked on his first film.[3] He told her what had happened to his film, and she gave his script for Eddie and the Cruisers to her business partners. In a relatively short time, a deal was struck with Aurora and Davidson was given a $6 million budget.

text: Shooting[edit]

text: In order to get a credible looking and sounding band for the film, Davidson hired Kenny Vance, one of the original members of Jay and the Americans.[4] He showed Davidson his scrapbook, the places the band performed, the car they drove in, and how they transported their instruments. Vance also told Davidson stories about the band, some of which he incorporated into the script.[4] Tom Berenger has said that he did not try to learn piano for the film but did practice keyboards for hours in his trailer.[5] Matthew Laurance actually learned how to play the bass through rehearsals. Only Michael "Tunes" Antunes, the tenor saxophone player for John Cafferty and the Beaver Brown Band, and Helen Schneider were professional musicians in the cast.[6]

text: Michael Paré was discovered in a New York City restaurant working as a chef. He said of his role in the film that it was "a thrill I've never experienced. It's a really weird high. For a few moments, you feel like a king, a god. It's scary, a dangerous feeling. If you take it too seriously ..."[5]

text: Davidson had the actors who played in Eddie's band rehearse as if they were getting ready for a real concert. Pare remembers, "The first time we played together - as a band - was a college concert. An odd thing happened. At first, the extras simply did what they were told. Then, as the music heated up, so did the audience. They weren't play-acting anymore. The screaming, stomping and applause became spontaneous."[6] Davidson recalls, "One by one, kids began standing up in their seats, screaming and raising their hands in rhythmic applause. A few girls made a dash for the stage, tearing at Michael's shirt. We certainly hadn't told them to do that. But we kept the cameras rolling."[6] Additionally, New Jersey musician Southside Johnny was hired as a technical advisor for the film.[7]

text: Ellen Barkin, who has the small role of the television reporter, Maggie Foley, later said that she "hated" making the film:

text: That was what we liked to call a "pay the rent" job. It wasn't a script I liked, but I remember my agent at the time saying, "Look, you only have to work two weeks, and they're going to pay you a lot of money. We'll just say it was your first movie and they just didn't release it." I think people were all fucked up on drugs. I don't know. I was a little removed, because I wasn't on the movie the whole time, but it seemed like it was just a mess. Like, when I'd go, I'd think--I like to make a movie where I know who the boss is. I like a big boss. I like a real director. And it seemed like it was just, "Who's driving the ship here? What's going on?"[8]

text: According to Davidson, when he completed the film, three different studios wanted to distribute it, and he went with Embassy Pictures because they offered him the most money. However, they had no prior experience in distribution and were unable to properly release it in theaters. Davidson remembered, "And six months later, somebody said, 'Your picture is appearing on HBO this weekend,' and I didn't even know."[9]

text: Soundtrack[edit]

text: Vance asked Davidson to describe his fictitious band and their music. Initially, Davidson said that the Cruisers sounded like Dion and the Belmonts, but when they meet Frank, they have elements of Jim Morrison and The Doors.[4] However, Davidson did not want to lose sight of the fact that the Cruisers were essentially a Jersey bar band, and he thought of Bruce Springsteen and the E Street Band. The filmmaker told Vance to find him someone that could produce music that contained elements of these three bands.[4] Davidson was getting close to rehearsals when Vance called him and said that he had found the band--John Cafferty & The Beaver Brown Band from Providence, Rhode Island.

text: Davidson met the band and realized that they closely resembled the band as described in the script, right down to a Cape Verdean saxophone player, whom he cast in the film.[10] Initially, Cafferty was only hired to write a few songs for the film, but he did such a good job of capturing the feeling of the 1960s and 1980s that Davidson asked him to score the entire film.[6]

text: After successful screenings on HBO in 1984, the album suddenly climbed the charts, going quadruple platinum. The studio re-released the soundtrack in the fall of 1984.[11] Nine months after the film was released in theaters, the main song in the film, "On the Dark Side," was the number one song in the country on Billboard's Mainstream, Rock, and Heatseeker charts;[12] and #7 on the Billboard Hot 100 chart.[13][14] Another single from the film, "Tender Years", peaked at #31 on the Billboard Hot 100.[15]

text: Reaction[edit]

text: Eddie and the Cruisers was originally intended to open during the summer, but a scheduling error resulted in a September release, when its target audience - teenagers - were back in school.[10] The film had its world premiere at Deauville.[16] Embassy Pictures threw a promotional party for the film at a West Hollywood dance club in September, 1983 where Cafferty and his band played.[2]

text: The film was a box office flop, receiving many negative to mixed reviews from critics(see below). The film was released in theaters on September 23, 1983 and grossed $1.4 million on its opening weekend. It would go on to make a paltry $4.7 million in North America.[17] The film was pulled from theaters after three weeks and all of the promotional ads pulled after one week.[10]

text: In the fall of 1984, the single "On the Dark Side" from the soundtrack album suddenly climbed the charts, as the film was rediscovered on cable television and home video, prompting the studio to briefly re-release the album.

text: Critical reception[edit]

text: Eddie and the Cruisers was not well received by critics. Roger Ebert gave the film two out of four stars and wrote, "the ending is so frustrating, so dumb, so unsatisfactory, that it gives a bad reputation to the whole movie."[18]

text: In her review for The New York Times, Janet Maslin wrote, "Some of the details ring uncannily true, like the slick oldies nightclub act that one of the Cruisers is still doing nearly 20 years after Eddie's supposed death. Other aspects of the film are inexplicably wrong. Eddie's music sounds good, but it also sounds a lot like Bruce Springsteen's, and it would not have been the rage in 1963." However, she did praise Paré's performance: "Mr. Paré makes a fine debut; he captures the manner of a hot-blooded young rocker with great conviction, and his lip-synching is almost perfect."[19]

text: Gary Arnold, in the Washington Post, wrote, "At any rate, it seemed to me that what Eddie and the Cruisers aspired to do was certainly worth doing. The problem is that it finally lacks the storytelling resources to tell enough of an intriguing story about a musical mystery man."[20]

text: Re-release[edit]

text: In 1984, Eddie and the Cruisers was discovered by additional audiences during its first pay cable run on HBO.[12] Embassy Pictures re-released the film for one week based on successful summer cable screenings and a popular radio single, but it once again failed to perform at the box office.[21] Looking back, Davidson said, "that picture should have been a theatrical success. There was an audience for it. People still watch it and still tell me about it."[12]

text: Davidson was offered the job of directing a sequel to the film, but he was not keen on the idea and wanted no participation.[12] The eventual project, which, unlike the first, had had no source novel from Kluge as its basis, was released as Eddie and the Cruisers II: Eddie Lives! in 1989.


document_title: MASH (film)

question_text: who played trapper john in the movie mash

text: MASH (film)

text: Plot[edit]

text: In 1951, the 4077th Mobile Army Surgical Hospital in South Korea is assigned two new surgeons, "Hawkeye" Pierce and "Duke" Forrest, who arrive in a stolen Jeep. They are insubordinate, womanizing, mischievous rule-breakers, but they soon prove to be excellent combat surgeons. Other characters already stationed at the camp include bumbling commanding officer Henry Blake, his hyper-competent chief clerk Radar O'Reilly, dentist Walter "Painless Pole" Waldowski, the incompetent and pompous surgeon Frank Burns, and the contemplative Chaplain Father Mulcahy.

text: The main characters in the camp divide into two factions. Irritated by Burns' religious fervor, Hawkeye and Duke get Blake to move him to another tent so newly arrived chest surgeon Trapper John McIntyre can move in. The three doctors (the "Swampmen," after the nickname for their tent) have little respect for military protocol, having been drafted into the Army, and are prone to pranks, womanizing, and heavy drinking. Burns is a straitlaced military officer who wants everything done efficiently and by the book, as is Margaret Houlihan, who has been assigned to the 4077th as head nurse. The two bond over their respect for regulations and start a secret romance. With help from Radar, the Swampmen sneak a microphone into a tent where the couple are making love and broadcast their affair over the camp's PA system, embarrassing them badly. The next morning, Hawkeye goads Burns into assaulting him, resulting in Burns' removal from the camp for psychiatric evaluation. Later, the Swampmen humiliate Houlihan again by pulling up the walls of the shower tent while she is inside, exposing her naked body for all to see.

text: Painless, described variously as "the best-equipped dentist in the Army" and "the dental Don Juan of Detroit," becomes depressed over an incident of impotence and announces his intention to commit suicide. The Swampmen agree to help him carry out the deed, staging a feast reminiscent of the Last Supper, arranging for Father Mulcahy to give Painless the last rites, and providing him with a "black capsule" to speed him on his way. Hawkeye persuades the gorgeous Lieutenant "Dish" Schneider, who is being transferred back to the United States for discharge, to spend the night with Painless to cure his temporary impotence. The next morning, Painless is his usual cheerful self, and a smiling Dish leaves camp in a helicopter to start her journey home.

text: Trapper and Hawkeye are sent to Japan on temporary duty to operate on a Congressman's son. When they later perform an unauthorized operation on a local infant, they face disciplinary action from the hospital commander for misusing Army resources. Using staged photographs of him in bed with a prostitute, they blackmail him into keeping his mouth shut.

text: Following their return to camp, Blake and General Hammond organize a game of football between the 4077th and the 325th Evac Hospital and wager several thousand dollars on its outcome. At Hawkeye's suggestion, Blake applies to have a specific neurosurgeon–Dr. Oliver Harmon Jones, a former professional football player for the San Francisco 49ers–transferred to the 4077th as a ringer. Blake bets half his money up front, keeping Jones out of the first half of the game. The 325th scores repeatedly and easily, even after the 4077th drugs one of their star players to incapacitate him, and Hammond confidently offers high odds against which Blake bets the rest of his money. Jones enters the second half, which quickly devolves into a free-for-all, and the 4077th gets the 325th's ringer thrown out of the game and wins with one last trick play.

text: Not long after the football game, Hawkeye and Duke get their discharge orders and begin their journey home–taking the same stolen Jeep in which they arrived.

text: Cast[edit]

text:
Donald Sutherland as Capt. Benjamin Franklin "Hawkeye" Pierce, Jr.
Elliott Gould as Capt. John Francis Xavier "Trapper John" McIntyre
Tom Skerritt as Capt. Augustus Bedford "Duke" Forrest
Sally Kellerman as Major Margaret "Hot Lips" Houlihan
Robert Duvall as Major Frank Burns
Roger Bowen as Lt. Col. Henry Braymore Blake
René Auberjonois as Father Francis John Patrick "Dago Red" Mulcahy
David Arkin as SSgt. Wade Douglas Vollmer
Jo Ann Pflug as Lt. Maria "Dish" Schneider
John Schuck as Capt. Walter Kosciuszko "The Painless Pole" Waldowski, DDS
Carl Gottlieb as Capt. John "Ugly John" Black
Danny Goldman as Capt. Dennis Murrhardt
Corey Fischer as Capt. Patrick "Band-Aid" Bandini
Indus Arthur as Lt. Leslie
Dawne Damon as Lt. Wilma "Scorch" Storch
Tamara Horrocks as Capt. Bridget "Knocko" McCarthy
Gary Burghoff as Cpl. "Radar" O'Reilly
Ken Prymus as Pfc. Seidman
Fred Williamson as Capt. Oliver Harmon "Spearchucker" Jones
Michael Murphy as Capt. Ezekiel Bradbury "Me Lay" Marston V
Timothy Brown as Cpl. Judson
Bud Cort as Pvt. Warren Boone
G. Wood as Brig. Gen. Charlie Hammond
Kim Atwood as Ho-Jon
Dale Ishimoto as Korean doctor
Bobby Troup as Sgt. Gorman
Marvin Miller as PA announcer
Sylvester Stallone as Soldier (uncredited)

text: Production[edit]

text: Development[edit]

text: The screenplay, by Ring Lardner, Jr., is different from the original novel. In the DVD audio commentary, Altman describes the novel as "pretty terrible" and somewhat "racist" (the only major black character has the nickname "Spearchucker"). He claims that the screenplay was used only as a springboard. While some improvisation occurs in the film and Altman changed the order of major sequences, most sequences are in the novel. The main deletion is a subplot of Ho-Jon's return to the 4077th as a casualty (when Radar steals blood from Henry, it is for Ho-Jon's operation under Trapper and Hawkeye's scalpels; when the surgeons are playing poker after the football game, they are resolutely ignoring Ho-Jon's corpse being driven away).[citation needed] The main deviation from the script is the trimming of much of the dialogue. According to Altman, Lardner was very upset with the liberties taken with his script, although Lardner denied this in his autobiography.

text: The filming process was difficult because of tensions between the director and his cast. During principal photography, Sutherland and Gould allegedly spent a third of their time trying to get Altman fired,[5] although this has been disputed.[6] Altman, relatively new to the filmmaking establishment at that time, lacked the credentials to justify his unorthodox filmmaking process and had a history of turning down work rather than creating a poor-quality product.[7] Altman: "I had practice working for people who don't care about quality, and I learned how to sneak it in."[8] Altman later commented that if he had known about Gould and Sutherland's protests, he would have resigned.[9] Gould later sent a letter of apology, and Altman used him in some of his later works, but he never worked with Sutherland again.

text: Only a few loudspeaker announcements were used in the original cut. When Altman realized he needed more structure to his largely episodic film, editor Danford Greene suggested using more loudspeaker announcements to frame different episodes of the story. Greene took a second-unit crew and filmed additional shots of the speakers. On the same night these scenes were shot, American astronauts landed on the moon.[10]

text: During production, a caption that mentions the Korean setting was added to the beginning of the film,[11] at the request of 20th Century Fox studios.[12] The Korean War is explicitly referenced in announcements on the camp public address system[13] and during a radio announcement that plays while Hawkeye and Trapper are putting in Col. Merrill's office which also cites the film as taking place in 1951.[citation needed]

text: In his director's commentary on the DVD release, Altman says that M*A*S*H was the first major studio film to use the word "fuck" in its dialogue.[14] The word is spoken during the football game near the end of the film by "the Painless Pole" when he says to an opposing football player, "All right, Bud, your fucking head is coming right off!" The actor, John Schuck, said in an interview that Andy Sidaris, who was handling the football sequences, encouraged Shuck to "say something that’ll annoy him." Shuck did so, and that particular statement made it into the film without a second thought.[15] However, Altman is mistaken. The first audible use of the word "fuck" as part of the dialogue in a movie occurred in the film Ulysses in 1967.[16]

text: First telecast[edit]

text: M*A*S*H had its television premiere as a CBS Friday Night Movie on September 13, 1974, at 9:00 (EDT), three days after the debut of the third season of the M*A*S*H TV series; it was repeated on CBS March 5, 1976.

text: Music[edit]

text: Johnny Mandel composed incidental music used throughout the film. Also heard on the soundtrack are Japanese vocal renditions of such songs as "Tokyo Shoe Shine Boy", "My Blue Heaven", "Happy Days Are Here Again", "Chattanooga Choo Choo", and "Hi-Lili, Hi-Lo"; impromptu performances of "Onward, Christian Soldiers", "When the Lights Go On Again", and "Hail to the Chief" by cast members; and the instrumental "Washington Post March" during the climactic football game. Columbia Records issued a soundtrack album for the film in 1970.

text: M*A*S*H features the song "Suicide Is Painless", with music by Mandel and lyrics by Mike Altman, the director's then 14-year-old son. The version heard under the opening credits was sung by uncredited session vocalists John Bahler, Tom Bahler, Ron Hicklin, and Ian Freebairn-Smith (on the single release, the song is attributed to "The Mash"); the song is reprised later in the film by Pvt. Seidman (played by Ken Prymus) in the scene in which the Painless Pole attempts to commit suicide. Altman has noted in interviews that his son made quite a bit more money off publishing royalties for the song than the $70,000 or so he was paid to direct the film.

text: Reception[edit]

text: It was the sixth most popular film at the French box office in 1970.[17]

text: Critical response[edit]

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

text: M*A*S*H received mostly positive reviews from critics. The film currently holds an 87% approval rating on Rotten Tomatoes, based on 45 reviews, with an average rating of 8.4/10. The website's consensus states, "Bold, timely, subversive, and above all, funny, M*A*S*H remains a high point in Robert Altman's distinguished filmography."[18] The film also holds a score of 79 out of 100 on Metacritic, based on 7 critics, indicating "generally favorable reviews."[19]

text: Accolades[edit]

text: M*A*S*H won the Palme d'Or at the 1970 Cannes Film Festival.[20] It was nominated for five Academy Awards, including Best Picture (lost to Patton), Best Director (lost to Patton), Best Supporting Actress for Sally Kellerman (lost to Helen Hayes for Airport), and Best Film Editing (lost to Patton), and won an Oscar for its screenplay. The film also won the Golden Globe Award for Best Motion Picture (Musical or Comedy) in 1971. It was the 38th film to be released to the home video market when 20th Century Fox licensed 50 motion pictures from their library to Magnetic Video. In 1996, M*A*S*H was deemed "culturally significant" by the Library of Congress and was selected for preservation in the United States National Film Registry. The film is number 17 on Bravo's "100 Funniest Movies" and number 54 on "AFI" list of the top 100 American movies of all time.

text: The film is recognized by American Film Institute in these lists:

text:
1998: AFI's 100 Years...100 Movies – #56[21]
2000: AFI's 100 Years...100 Laughs – #7[22]
2004: AFI's 100 Years...100 Songs:

"Suicide Is Painless" – #66[23]

2007: AFI's 100 Years...100 Movies (10th Anniversary Edition) – #54[24]

text: Home media[edit]

text: The film was re-released in North America in 1973, and earned an estimated $3.5 million in rentals. To attract audiences to the M*A*S*H television series, which was struggling with audiences at the time, the film was re-released at 112 minutes and received a PG rating. Several scenes were edited, including segments of graphic operations, the word "fuck" in the football game, and the scene where the curtain in the shower is pulled up on Hot Lips. "Suicide is Painless", the film's main theme song was replaced with music by Ahmad Jamal, according to film critic and historian Leonard Maltin in his movie and video guide. In the 1990s, Fox Video released a VHS version of M*A*S*H under their "Selections" banner which ran 116 minutes and rated PG. However, this is not the alternate PG version which was released in 1973. It has the same run time as the theatrical release; none of the aforementioned scenes or theme music was removed. The actual 1973 PG-edited version has never been released on video in the United States.[25]


document_title: List of polygons

question_text: what do you call a 9 sided polygon

question_tokens: what do you call a 9 sided polygon

text: List of polygons

text: Greek numbers[edit]

text: Polygons are primarily named by prefixes from Greek numbers.

text:
English-Greek numbers[1][2]

English cardinal number
English ordinal number
Greek cardinal number
Greek ordinal number

one
first
heis (fem. mia, neut. hen)
protos

two
second
duo
deuteros

three
third
treis
tritos

four
fourth
tettares
tetartos

five
fifth
pente
pemptos

six
sixth
hex
hektos

seven
seventh
hepta
hebdomos

eight
eighth
okto
ogdoös

nine
ninth
ennea
enatos

ten
tenth
deka
dekatos

eleven
eleventh
hendeka
hendekatos

twelve
twelfth
dodeka
dodekatos

thirteen
thirteenth
triskaideka
dekatotritos

fourteen
fourteenth
tettareskaideka
dekatotetartos

fifteen
fifteenth
pentekaideka
dekatopemptos

sixteen
sixteenth
hekkaideka
dekatohektos

seventeen
seventeenth
heptakaideka
dekatohebdomos

eighteen
eighteenth
oktokaideka
dekatoögdoös

nineteen
nineteenth
enneakaideka
dekatoënatos

twenty
twentieth
eikosi
eikostos

twenty-one
twenty-first
heiskaieikosi
eikostoprotos

twenty-two
twenty-second
duokaieikosi
eikostodeuteros

twenty-three
twenty-third
triskaieikosi
eikostotritos

twenty-four
twenty-fourth
tetterakaieikosi
eikostotetartos

twenty-five
twenty-fifth
pentekaieikosi
eikostopemptos

twenty-six
twenty-sixth
hekkaieikosi
eikostohektos

twenty-seven
twenty-seventh
heptakaieikosi
eikostohebdomos

twenty-eight
twenty-eighth
oktokaieikosi
eikostoögdoös

twenty-nine
twenty-ninth
enneakaieikosi
eikostoënatos

thirty
thirtieth
triakonta
triakostos

thirty-one
thirty-first
heiskaitriakonta
triakostoprotos

forty
fortieth
tessarakonta
tessarakostos

fifty
fiftieth
pentekonta
pentekostos

sixty
sixtieth
hexekonta
hexekostos

seventy
seventieth
hebdomekonta
hebdomekostos

eighty
eightieth
ogdoëkonta
ogdoëkostos

ninety
ninetieth
enenekonta
enenekostos

hundred
hundredth
hekaton
hekatostos

hundred and ten
hundred and tenth
dekakaihekaton
hekatostodekatos

hundred and twenty
hundred and twentieth
ikosikaihekaton
hekatostoikostos

two hundred
two hundredth
diakosioi
diakosiostos

three hundred
three hundredth
triakosioi
triakosiostos

four hundred
four hundredth
tetrakosioi
tetrakosiostos

five hundred
five hundredth
pentakosioi
pentakosiostos

six hundred
six hundredth
hexakosioi
hexakosiostos

seven hundred
seven hundredth
heptakosioi
heptakosiostos

eight hundred
eight hundredth
oktakosioi
oktakosiostos

nine hundred
nine hundredth
enneakosioi
enneakosiostos

thousand
thousandth
chilioi
chiliostos

two thousand
two thousandth
dischilioi
dischiliostos

three thousand
three thousandth
trischilioi
trischiliostos

four thousand
four thousandth
tetrakischilioi
tetrakischiliostos

five thousand
five thousandth
pentakischilioi
pentakischiliostos

six thousand
six thousandth
hexakischilioi
hexakischiliostos

seven thousand
seven thousandth
heptakischilioi
heptakischiliostos

eight thousand
eight thousandth
oktakischilioi
oktakischiliostos

nine thousand
nine thousandth
enneakischilioi
enneakischiliostos

ten thousand
ten thousandth
myrioi
myriastos

twenty thousand
twenty thousandth
dismyrioi
dismyriastos

thirty thousand
thirty thousandth
trismyrioi
trismyriastos

forty thousand
forty thousandth
tetrakismyrioi
tetrakismyriastos

fifty thousand
fifty thousandth
pentakismyrioi
pentakismyriastos

sixty thousand
sixty thousandth
hexakismyrioi
hexakismyriastos

seventy thousand
seventy thousandth
heptakismyrioi
heptakismyriastos

eighty thousand
eighty thousandth
oktakismyrioi
oktakismyriastos

ninety thousand
ninety thousandth
enneakismyrioi
enneakismyriastos

hundred thousand
hundred thousandth
dekakismyrioi
dekakismyriastos

two hundred thousand
two hundred thousandth
ikosakismyrioi
ikosakismyriastos

three hundred thousand
three hundred thousandth
triakontakismyrioi
triakontakismyriastos

million
millionth
hekatontakismyrioi
hekatontakismyriastos

two million
two millionth
diakosakismyrioi
diakosakismyriastos

three million
three millionth
triakosakismyrioi
triakosakismyriastos

ten million
ten millionth
chiliakismyrioi
chiliakismyriastos

hundred million
hundred millionth
myriakismyrioi
myriakismyriastos

text: Systematic polygon names[edit]

text: To construct the name of a polygon with more than 20 and fewer than 100 edges, combine the prefixes as follows. The "kai" connector is not included by some authors.

text:
Tens
and
Ones
final suffix

-kai-
1
-hena-
-gon

20
icosi- (icosa- when alone)
2
-di-

30
triaconta-
3
-tri-

40
tetraconta-
4
-tetra-

50
pentaconta-
5
-penta-

60
hexaconta-
6
-hexa-

70
heptaconta-
7
-hepta-

80
octaconta-
8
-octa-

90
enneaconta-
9
-ennea-

text: Extending the system up to 999 is expressed with these prefixes.[3]

text:
Polygon names

Ones
Tens
Twenties
Thirties+
Hundreds

10
deca-
20
icosa-
30
triaconta-
100
hecta-

1
hena-
11
hendeca-
21
icosi-hena-
31
triaconta-hena-
200
dihecta-

2
di-
12
dodeca-
22
icosi-di-
32
triaconta-di-
300
trihecta-

3
tri-
13
triskaideca-
23
icosi-tri-
33
triaconta-tri-
400
tetrahecta-

4
tetra-
14
tetrakaideca-
24
icosi-tetra-
40
tetraconta-
500
pentahecta-

5
penta-
15
pentakaideca-
25
icosi-penta-
50
pentaconta-
600
hexahecta-

6
hexa-
16
hexakaideca-
26
icosi-hexa-
60
hexaconta-
700
heptahecta-

7
hepta-
17
heptakaideca-
27
icosi-hepta-
70
heptaconta-
800
octahecta-

8
octa-
18
octakaideca-
28
icosi-octa-
80
octaconta-
900
enneahecta-

9
ennea-
19
enneakaideca-
29
icosi-ennea-
90
enneaconta-

text: List of n-gons by Greek numerical prefixes[edit]

text:
List of n-gon names [4]

Sides
Names

1
monogon
henagon

2
digon

3
trigon
triangle

4
tetragon
quadrilateral

5
pentagon

6
hexagon

7
heptagon
septagon

8
octagon

9
enneagon
nonagon

10
decagon

11
hendecagon
undecagon

12
dodecagon

13
trisdecagon
tridecagon

14
tetradecagon

15
pentadecagon
pentedecagon

16
hexadecagon
hexdecagon

17
heptadecagon

18
octadecagon

19
enneadecagon

20
icosagon

21
icosikaihenagon
icosihenagon
icosaisagon

22
icosikaidigon
icosidigon
icosadigon

23
icosikaitrigon
icositrigon
icosatrigon

24
icosikaitetragon
icositetragon
icosatetragon

25
icosikaipentagon
icosipentagon
icosapentagon

26
icosikaihexagon
icosihexagon
icosahexagon

27
icosikaiheptagon
icosiheptagon
icosaheptagon

28
icosikaioctagon
icosioctagon
icosaoctagon

29
icosikaienneagon
icosienneagon
icosaenneagon

30
triacontagon

31
triacontakaihenagon
triacontahenagon
tricontahenagon
tricontaisagon

32
triacontakaidigon
triacontadigon
tricontadigon

33
triacontakaitrigon
triacontatrigon
tricontatrigon

34
triacontakaitetragon
triacontatetragon
tricontatetragon

35
triacontakaipentagon
triacontapentagon
tricontapentagon

36
triacontakaihexagon
triacontahexagon
tricontahexagon

37
triacontakaiheptagon
triacontaheptagon
tricontaheptagon

38
triacontakaioctagon
triacontaoctagon
tricontaoctagon

39
triacontakaienneagon
triacontaenneagon
tricontaenneagon

40
tetracontagon

tessaracontagon

41
tetracontakaihenagon
tetracontahenagon

42
tetracontakaidigon
tetracontadigon

43
tetracontakaitrigon
tetracontatrigon

44
tetracontakaitetragon
tetracontatetragon

45
tetracontakaipentagon
tetracontapentagon

46
tetracontakaihexagon
tetracontahexagon

47
tetracontakaiheptagon
tetracontaheptagon

48
tetracontakaioctagon
tetracontaoctagon

49
tetracontakaienneagon
tetracontaenneagon

50
pentacontagon

pentecontagon

51
pentacontakaihenagon
pentacontahenagon
pentecontahenagon

52
pentacontakaidigon
pentacontadigon
pentecontadigon

53
pentacontakaitrigon
pentacontatrigon
pentecontatrigon

54
pentacontakaitetragon
pentacontatetragon
pentecontatetragon

55
pentacontakaipentagon
pentacontapentagon
pentecontapentagon

56
pentacontakaihexagon
pentacontahexagon
pentecontahexagon

57
pentacontakaiheptagon
pentacontaheptagon
pentecontaheptagon

58
pentacontakaioctagon
pentacontaoctagon
pentecontaoctagon

59
pentacontakaienneagon
pentacontaenneagon
pentecontaenneagon

60
hexacontagon

hexecontagon

61
hexacontakaihenagon
hexacontahenagon
hexecontahenagon

62
hexacontakaidigon
hexacontadigon
hexecontadigon

63
hexacontakaitrigon
hexacontatrigon
hexecontatrigon

64
hexacontakaitetragon
hexacontatetragon
hexecontatetragon

65
hexacontakaipentagon
hexacontapentagon
hexecontapentagon

66
hexacontakaihexagon
hexacontahexagon
hexecontahexagon

67
hexacontakaiheptagon
hexacontaheptagon
hexecontaheptagon

68
hexacontakaioctagon
hexacontaoctagon
hexecontaoctagon

69
hexacontakaienneagon
hexacontaenneagon
hexecontaenneagon

70
heptacontagon

hebdomecontagon

71
heptacontakaihenagon
heptacontahenagon
hebdomecontahenagon

72
heptacontakaidigon
heptacontadigon
hebdomecontadigon

73
heptacontakaitrigon
heptacontatrigon
hebdomecontatrigon

74
heptacontakaitetragon
heptacontatetragon
hebdomecontatetragon

75
heptacontakaipentagon
heptacontapentagon
hebdomecontapentagon

76
heptacontakaihexagon
heptacontahexagon
hebdomecontahexagon

77
heptacontakaiheptagon
heptacontaheptagon
hebdomecontaheptagon

78
heptacontakaioctagon
heptacontaoctagon
hebdomecontaoctagon

79
heptacontakaienneagon
heptacontaenneagon
hebdomecontaenneagon

80
octacontagon

ogdoecontagon

81
octacontakaihenagon
octacontahenagon
ogdoecontahenagon

82
octacontakaidigon
octacontadigon
ogdoecontadigon

83
octacontakaitrigon
octacontatrigon
ogdoecontatrigon

84
octacontakaitetragon
octacontatetragon
ogdoecontatetragon

85
octacontakaipentagon
octacontapentagon
ogdoecontapentagon

86
octacontakaihexagon
octacontahexagon
ogdoecontahexagon

87
octacontakaiheptagon
octacontaheptagon
ogdoecontaheptagon

88
octacontakaioctagon
octacontaoctagon
ogdoecontaoctagon

89
octacontakaienneagon
octacontaenneagon
ogdoecontaenneagon

90
enneacontagon

enenecontagon

91
enneacontakaihenagon
enneacontahenagon
enenecontahenagon

92
enneacontakaidigon
enneacontadigon
enenecontadigon

93
enneacontakaitrigon
enneacontatrigon
enenecontatrigon

94
enneacontakaitetragon
enneacontatetragon
enenecontatetragon

95
enneacontakaipentagon
enneacontapentagon
enenecontapentagon

96
enneacontakaihexagon
enneacontahexagon
enenecontahexagon

97
enneacontakaiheptagon
enneacontaheptagon
enenecontaheptagon

98
enneacontakaioctagon
enneacontaoctagon
enenecontaoctagon

99
enneacontakaienneagon
enneacontaenneagon
enenecontaenneagon

100
hectogon
hecatontagon
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document_title: Do the Right Thing

question_text: where does do the right thing take place

text: Do the Right Thing

text: Plot[edit]

text: Mookie (Spike Lee) is a 25-year-old delivery man living in Bedford-Stuyvesant, Brooklyn with his sister, Jade (Joie Lee). He and his girlfriend, Tina (Rosie Perez), have a son. He works at the local pizzeria, but lacks ambition. Sal (Danny Aiello), the pizzeria's Italian-American owner, has been in the neighborhood for 25 years. His older son Pino (John Turturro) intensely dislikes blacks, and does not get along with Mookie. Because of this, Pino is at odds with both his father, who is likewise bigoted but refuses to leave the increasingly African-American neighborhood, and his younger brother Vito (Richard Edson), who is friendly with Mookie.

text: The neighborhood is full of distinct personalities, including Da Mayor (Ossie Davis), a friendly local drunk; Mother Sister (Ruby Dee), who watches the neighborhood from her brownstone; Radio Raheem (Bill Nunn), who blasts Public Enemy on his boombox wherever he goes; and Smiley (Roger Guenveur Smith), a mentally disabled man, who meanders around the neighborhood trying to sell hand-colored pictures of Malcolm X and Martin Luther King, Jr.

text: While at Sal's, Mookie's trouble-making b-boyish friend, Buggin' Out (Giancarlo Esposito), questions Sal about his "Wall of Fame", a wall decorated with photos of famous Italian-Americans. Buggin' Out demands that Sal put up pictures of black celebrities since Sal's pizzeria is in a black neighborhood. Sal replies that it is his business, and that he can have whomever he wants on "The Wall of Fame". Buggin' Out attempts to start a protest over the Wall of Fame. Only Radio Raheem and Smiley support him.

text: During the day, the heat and tensions begin to rise. The local teenagers open a fire hydrant and douse the street, before police officers intervene. Mookie and Pino begin arguing over race, which leads to a series of scenes in which the characters spew racial insults into the camera. Pino and Sal talk about the neighborhood, with Pino expressing his hatred, and Sal insisting that he is not leaving. Sal almost fires Mookie, but Jade intervenes, before Mookie confronts her for being too close to Sal.

text: That night, Buggin' Out, Radio Raheem, and Smiley march into Sal's and demand that Sal change the Wall of Fame. Raheem's boombox is blaring and Sal demands that they turn the radio off, but they refuse. Buggin' Out calls Sal and sons guineas while saying that they're closing down the pizzeria for good until they change the Wall of Fame. Sal, in a fit of frustration, tells him he will "tear his nigger ass", then destroys the boombox with a baseball bat. Raheem attacks Sal, leading to a huge violent fight that spills out into the street, attracting a crowd. While Radio Raheem is choking Sal, the police arrive. They break up the fight and apprehend Radio Raheem and Buggin' Out. Despite the pleas of his fellow officers and the onlookers, one officer refuses to release his chokehold on Raheem, killing him. Realizing that Raheem has been killed in front of onlookers, the officers place his body in the back of a squad car, and drive off, leaving Sal, Pino, and Vito unprotected.

text: The onlookers, enraged about Radio Raheem's death, blame Sal and his sons. Mookie grabs a trash can and throws it through the window of Sal's pizzeria, sparking the crowd to rush into the restaurant and destroy it, with Smiley finally setting it on fire. Da Mayor pulls Sal, Pino, and Vito out of the mob's way. Firemen and riot patrols arrive to put out the fire and disperse the crowd. After police issue a warning, the firefighters turn their hoses on the rioters, leading to more fighting and arrests. Mookie and Jade sit on the curb, watching in disbelief. Smiley wanders back into the smoldering building and hangs one of his pictures on what is left of Sal's Wall of Fame.

text: The next day, after having an argument with Tina, Mookie returns to Sal, who feels that Mookie betrayed him. Mookie demands his weekly pay, leading to an argument. They cautiously reconcile, and Sal finally pays him. Mister Señor Love Daddy (Samuel L. Jackson), a local DJ, dedicates a song to Raheem.

text: The film ends with two quotations expressing different views about violence, one from Martin Luther King and one from Malcolm X, before fading to a photograph of them shaking hands. Prior to the credits, Lee dedicates the film to the families of six victims of police brutality: Eleanor Bumpurs, Michael Griffith, Arthur Miller, Jr., Edmund Perry, Yvonne Smallwood, and Michael Stewart.

text: Cast[edit]

text:
Spike Lee as Mookie
Danny Aiello as Sal
Ossie Davis as Da Mayor
Ruby Dee as Mother Sister
Giancarlo Esposito as Buggin' Out
Bill Nunn as Radio Raheem
John Turturro as Pino
Richard Edson as Vito
Roger Guenveur Smith as Smiley
Rosie Perez as Tina
Joie Lee as Jade
Steve White as Ahmad
Martin Lawrence as Cee
Leonard L. Thomas as Punchy
Christa Rivers as Ella
Robin Harris as Sweet Dick Willie
Paul Benjamin as ML
Frankie Faison as Coconut Sid
Samuel L. Jackson as Mister Señor Love Daddy (credited as Sam Jackson)
Steve Park as Sonny
Rick Aiello as Officer Gary Long
Miguel Sandoval as Officer Mark Ponte
Luis Antonio Ramos as Stevie
John Savage as Clifton
Frank Vincent as Charlie
Richard Parnell Habersham as Eddie
Ginny Yang as Kim
Nicholas Turturro (extra) (uncredited)

text: Production[edit]

text: Spike Lee wrote the screenplay in two weeks.[9] The original script of Do the Right Thing ends with a stronger reconciliation between Mookie and Sal. Sal's comments to Mookie mirror Da Mayor's earlier comments in the film and hint at some common ground and perhaps Sal's understanding of why Mookie was motivated to destroy his restaurant. It is unclear why Lee changed the ending.[10]

text: The film was shot entirely on Stuyvesant Avenue between Quincy Street and Lexington Avenue in the Bedford-Stuyvesant neighborhood of Brooklyn. The street's color scheme was heavily altered by the production designer, who used a great deal of red and orange paint in order to help convey the sense of a heatwave.

text: Spike Lee campaigned for Robert De Niro as Sal the pizzeria owner, but De Niro had to decline due to prior commitments. The character of Smiley was not in the original script; he was created by Roger Guenveur Smith, who was pestering Spike Lee for a role in the film.[11] Four of the cast members were stand-up comedians: Martin Lawrence, Steve Park, Steve White, and Robin Harris.

text: Controversies[edit]

text: The film was released to protests from many reviewers, and it was openly stated in several newspapers that the film could incite black audiences to riot.[12] Lee criticized white reviewers for implying that black audiences were incapable of restraining themselves while watching a fictional motion picture.[13] In a 2014 interview Lee stated "That still bugs the shit out of me," calling the remarks "outrageous, egregious and, I think, racist," and further elaborating, "I don't remember people saying people were going to come out of theatres killing people after they watched Arnold Schwarzenegger films." [14]

text: One of many questions at the end of the film is whether Mookie "does the right thing" when he throws the garbage can through the window, thus inciting the riot that destroys Sal's pizzeria. Critics have seen Mookie's action both as an action that saves Sal's life, by redirecting the crowd's anger away from Sal to his property, and as an "irresponsible encouragement to enact violence".[15] The question is directly raised by the contradictory quotations that end the film, one advocating nonviolence, the other advocating violent self-defense in response to oppression.[15]

text: Spike Lee has remarked that he has only ever been asked by white viewers whether Mookie did the right thing; black viewers do not ask the question.[16] Lee believes the key point is that Mookie was angry at the death of Radio Raheem, and that viewers who question the riot's justification are implicitly failing to see the difference between property and the life of a black man.[13]

text: In June 2006, Entertainment Weekly magazine placed Do the Right Thing at No. 22 on its list of The 25 Most Controversial Movies Ever.[17]

text: Critical reception[edit]

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

text: Do the Right Thing was met with acclaim from critics. On Rotten Tomatoes, the film has a rating of 93%, based on 68 reviews, with an average rating of 8.9/10. The site's critical consensus reads, "Smart, vibrant and urgent without being didactic, Do the Right Thing is one of Spike Lee's most fully realized efforts – and one of the most important films of the 1980s."[18] On Metacritic, the film has a score of 91 out of 100, based on 15 critics, indicating "universal acclaim", and placing it as the 68th highest film of all-time on the site.[19]

text: Both Gene Siskel and Roger Ebert ranked the film as the best of 1989 and later ranked it as one of the top 10 films of the decade (#6 for Siskel and #4 for Ebert).[20] Ebert later added the film to his list of The Great Movies.[21] According to online film resource They Shoot Pictures, Don't They?, Do the Right Thing is the most acclaimed film of 1989.[22]

text: Awards and nominations[edit]

text:
List of awards and nominations

Award
Date of ceremony
Category
Recipients and nominees
Result

Academy Awards
March 28, 1990
Best Supporting Actor
Danny Aiello
Nominated

Best Original Screenplay
Spike Lee

Belgian Syndicate of Cinema Critics
1990
Grand Prix

Boston Society of Film Critics
1990
Best Supporting Actor
Danny Aiello
Won

Cannes Film Festival[23]
May 23, 1989
Palme d'Or
Spike Lee
Nominated

Chicago Film Critics Association
1990
Best Picture

Won

Best Director
Spike Lee

Best Supporting Actor
Danny Aiello

Golden Globe Awards
January 20, 1990
Best Motion Picture – Drama

Nominated

Best Supporting Actor – Motion Picture
Danny Aiello

Best Director – Motion Picture
Spike Lee

Best Screenplay – Motion Picture

Los Angeles Film Critics Association
December 16, 1989
Best Film

Won

Best Supporting Actor
Danny Aiello

Best Director
Spike Lee

Best Screenplay
2nd place

Best Music
Bill Lee
Won

MTV Movie Awards
June 6, 2006
Silver Bucket of Excellence

NAACP Image Awards
December 11, 1989
Outstanding Actress in a Motion Picture
Ruby Dee

Outstanding Supporting Actor in a Motion Picture
Ossie Davis

National Society of Film Critics Awards
January 8, 1990
Best Director
Spike Lee
3rd place

New York Film Critics Circle
January 14, 1990
Best Film

5th place

Best Screenplay
Spike Lee
4th place

Best Cinematography
Ernest Dickerson
Won

The 20/20 Awards
2010
Best Picture

Nominated

Best Director
Spike Lee
Won

Best Supporting Actor
Danny Aiello
Nominated

John Turturro

Best Original Screenplay
Spike Lee

Best Film Editing
Barry Alexander Brown
Won

Best Original Song
"Fight the Power"
Music and Lyrics by Chuck D, Hank Shocklee, Eric Sadler, and Keith Shocklee

text: American Film Institute lists

text:
AFI's 100 Years...100 Songs:

"Fight the Power" – No. 40

AFI's 100 Years...100 Movies (10th Anniversary Edition) – No. 96

text: Soundtrack[edit]

text: The film's score (composed and partially performed by jazz musician Bill Lee, father of Spike Lee) and soundtrack were both released in July 1989 on Columbia Records and Motown Records, respectively. The soundtrack was successful, reaching the number eleven spot on the Top R&B/Hip-Hop Albums chart, and peaking at sixty-eight on the Billboard 200.[24] On the Hot R&B/Hip-Hop Singles & Tracks chart, the Perri track "Feel So Good" reached the fifty-first spot, while Public Enemy's "Fight the Power" reached number twenty, and Guy's "My Fantasy" went all the way to the top spot. "My Fantasy" also reached number six on the Hot Dance Music/Maxi-Singles Sales chart, and sixty-two on Billboard's Hot 100. "Fight the Power" also charted high on the Hot Dance Music chart, peaking at number three, and topped the Hot Rap Singles chart.[25][26]

text: Score[edit]

text:
Do the Right Thing: Original Motion Picture Score

Film score by Bill Lee

Released
1989

Recorded
December 12, 1988 – December 16, 1988

Genre
Film score

Length
35:36

Label
Columbia

Producer
Spike Lee (exec.)

text:
No.
Title
Length

1.
"Mookie Goes Home"
1:21

2.
"We Love Roll Call Y-All"
1:40

3.
"Father to Son"
4:24

4.
"Da Mayor Drinks His Beer"
1:03

5.
"Delivery for Love Daddy"
1:08

6.
"Riot"
1:08

7.
"Magic, Eddie, Prince Ain't Niggers"
1:58

8.
"Mookie [Septet]"
6:45

9.
"How Long?"
3:43

10.
"Mookie [Orchestra]"
6:32

11.
"Da Mayor Loves Mother Sister"
1:23

12.
"Da Mayor Buys Roses"
1:14

13.
"Tawana"
1:31

14.
"Malcolm and Martin"
1:46

15.
"Wake Up Finale"
7:26

text: Soundtrack[edit]

text:
Do the Right Thing: Original Motion Picture Soundtrack

Soundtrack album by Various artists

Released
1989

Genre
Soundtrack

Length
53:14

Label
Motown Records

Producer
Gregory "Sugar Bear" Elliott (exec.), Ted Hopkins (exec.), Mark Kibble (exec.), Spike Lee (exec.), Johnny Mercer (exec.)

Singles from Do the Right Thing: Original Motion Picture Soundtrack

"Fight the Power"
Released: June 1989

text:
No.
Title
Music
Producer(s)
Length

1.
"Fight the Power"
Public Enemy
Hank Shocklee, Carl Ryder, Eric Sadler
5:23

2.
"My Fantasy"
Teddy Riley, Guy
Teddy Riley, Gene Griffin
4:57

3.
"Party Hearty"
E.U.
Kent Wood, JuJu House
4:43

4.
"Can't Stand It"
Steel Pulse
David R. Hinds, Sidney Mills
5:06

5.
"Why Don't We Try?"
Keith John
Vince Morris Raymond jones larry decarmine
3:35

6.
"Feel So Good"
Perri
Paul Laurence, Jones
5:39

7.
"Don't Shoot Me"
Take 6
Mervyn E. Warren
4:08

8.
"Hard to Say"
Lori Perry, Gerald Alston
Laurence
3:21

9.
"Prove to Me"
Perri
Jones, Sami McKinney
5:24

10.
"Never Explain Love"
Al Jarreau
Jones
5:58

11.
"Tu y Yo/We Love [Jingle]"
Rubén Blades
Blades
5:12