document_title: National Football League Christmas games

question_text: when's the last time the philadelphia eagles played on christmas day

question_tokens: when 's the last time the philadelphia eagles played on christmas day

text: History[edit]

text: Early years[edit]

text: In the earliest days of professional football, the season typically ended near the end of November (marquee games were often played on Thanksgiving) or in the first week of December, depending on the team; exhibition games would then be held in the winter. Once league schedules were standardized in the 1930s, the NFL Championship Game was typically held in mid-December. The 1943 NFL Championship Game, played on December 26 of that year because of scheduling complications brought on by World War II, was the first regulation NFL game to be played on or after December 25.

text: From 1943 until the 1970 AFL-NFL Merger, the NFL regular season usually ended in mid-December, with the NFL Championship Game being held on the Sunday two weeks later. If that Sunday fell on Christmas Day December 25, the league preferred to move it to the following day, Monday, December 26; this rescheduling occurred for both the 1955 and the 1960 championship games.

text: The American Football League compensated differently: the 1960 championship game was moved back by a full week, being played on New Year's Day 1961, with Christmas Sunday being an off-week. (The NFL's 1966 championship game was also held on Sunday, January 1, 1967, two weeks after the end of the regular season.) New Year's Day was an available day since the college bowl games were pushed forward to Monday, January 2 in those seasons. The AFL had scheduled the 1966 championship game for Monday afternoon December 26, but when the two leagues agreed to merge in 1970 and play a "World Championship game" starting with the 1966 season, the AFL game was moved back to Sunday, January 1.

text: 1971 Divisional Playoffs[edit]

text: The first NFL games actually played on December 25 came after the merger, during the 1971–72 NFL playoffs. The first two games of the Divisional Playoff Round were held on Christmas Day; the first of these was between the Dallas Cowboys and the Minnesota Vikings, while the second of the two contests played that afternoon, the Miami Dolphins versus the Kansas City Chiefs, wound up being the longest game in NFL history.[1] Because of the length of the latter game, the NFL received numerous complaints, reportedly due to the fact that it caused havoc with Christmas dinners around the nation. The league also came under fire from some quarters for intruding on a traditional religious and family holiday, and a Kansas state legislator proposed a bill to ban the scheduling of future games on December 25.[2][3] As a result, the NFL decided to not schedule any Christmas Day games for the next 17 seasons.

text: Avoiding Christmas[edit]

text: This required considerable effort during those years in which Christmas fell on a Saturday or a Sunday, given that ordinarily those days would be days in which NFL playoff games were to be held.

text: In 1976, the NFL opened its regular season a week earlier than would have ordinarily been the case (September 12, the second Sunday of the month, rather than the customary third Sunday) so that the Divisional Playoffs could be held on December 18 and December 19 instead of December 25 and December 26, and thus no games would be needed on Saturday, December 25.

text: In 1977, with Christmas falling on a Sunday, the Divisional Playoff Games were held around the holiday, with an AFC doubleheader on Saturday, December 24, and an NFC doubleheader on Monday, December 26. This was done so that one team did not have a two-day rest advantage over the other for the Conference Championship games (the NFL only allowed one-day rest advantages). This scheduling resulted in most of the country missing the majority of the 1st quarter of the Pittsburgh-at-Denver game telecast (beginning at 4:00 PM EST), since the early AFC game that Saturday (Oakland-at-Baltimore, beginning at 12:30 PM EST) went into double overtime; with an ordinary schedule of one game from each conference, viewers would have had the option of switching channels (or using a VCR) but in this case NBC simply stayed with Raiders-Colts (except in the Pittsburgh and Denver markets) and had to overlap its telecasts.

text: The NFL continued to avoid Christmas even after it started to extend the length of the regular season and the playoffs. The league expanded to a 16-game regular season and a 10-team playoff tournament in 1978, but it was not until 1982 that the regular season ended after Christmas. It was originally scheduled to end on Sunday, December 26 of that year, but the regular season was extended to Sunday, January 2, 1983 after the 57-day NFL players' strike reduced the season from 16 games to 9; the NFL compensated by extending the regular season one week and eliminating the off week between the conference championships and the Super Bowl.

text: In 1983 and again in 1988, the NFL split the first round Wild Card Playoffs between Saturday, December 24 and Monday, December 26 to avoid a Christmas game.

text: Had the United States Football League survived to play its autumn 1986 season, it would have featured the first major professional football games to be played in the regular season on Christmas; the USFL planned a complete set of four games for Christmas Day.[4] The USFL suspended operations prior to the 1986 season and the games were never played.

text: Regular season contests arrive on Christmas[edit]

text: Finally, in 1989, the NFL tried another Christmas Day game, the Cincinnati Bengals at the Minnesota Vikings, but it was a 9 p.m. ET ABC Monday Night Football contest, thereby avoiding interfering with family dinners. The NFL pushed the regular season back one week in 1989 as a one-off experiment, meaning Christmas would fall during the last week of the regular season instead of the first round of the playoffs. Starting with the following season, the league added a bye week, making Christmas permanently fall during the regular season. In the years since, the NFL has played an occasional late-afternoon or night game on the holiday, but there has not been a Christmas Day game starting earlier than 4:30 p.m. ET since 1971.

text: In 1993, NBC aired a Christmas game for the first time since 1971, when the Houston Oilers visited the San Francisco 49ers, with a kickoff time of 5 PM Eastern/2 PM Pacific.

text: ESPN aired a Christmas game for the first time ever on December 25, 1994, when the Detroit Lions visited the Dolphins.

text: CBS got its first Christmas game since 1971 in 1999, when the Denver Broncos visited the Lions.

text: Fox aired a Christmas game for the first and (to date) only time in 2005, when the Chicago Bears visited their archrivals the Green Bay Packers.

text: The NFL Network aired its first Christmas game in 2009, when the San Diego Chargers visited the Titans.

text: 2011 and beyond[edit]

text: The first Christmas game under the current television contracts was held on Sunday, December 25, 2011. According to league policy, most of the weekend's games were moved to Christmas Eve while one game was set aside for NBC Sunday Night Football. That game was played between the Bears and Packers at Lambeau Field – the second time that these two teams played at that venue on Christmas. Unlike 2005, there was not a second Christmas Day game, due to changes in the NFL's television contracts since the last time Christmas landed on a Sunday during that year. Christmas again fell on a Sunday in 2016. As in previous years, the majority of games were moved to Christmas Eve and Sunday Night Football got one game, along with a special Sunday afternoon edition of Thursday Night Football exclusive to NFL Network.[5]

text: Under current TV contracts, the only other time two games would be played on Christmas would be when it falls on a Monday (NBC's game is moved from Sunday during that weekend which is not included in flexible scheduling, while ESPN would air its regular Monday night game as well), as it did in 2006 and 2017. Christmas next arrives on a Monday in 2023; the TV rights will be determined in the next contract.[6]

text: In the event that Christmas falls on a Thursday, as it did in 2014 (it will not do so again until 2025), no Thursday Night Football will be played that week to avoid giving a team a potential three-day rest advantage going into the first round of the playoffs (if Christmas lands on a Thursday, it ends up in Week 17, the last week of the regular season, instead of the usual week 16). As is the standard for week 17, all 32 teams will play their final regular season game on Sunday, December 28.

text: Only one other team has hosted the same team twice on Christmas over the years – the Arizona Cardinals hosted the Dallas Cowboys on ABC's Monday Night Football in 1995, and on the NFL Network in 2010. However, in this case, each game was played at a different venue – the 1995 game at Sun Devil Stadium (where the Cowboys won Super Bowl XXX a month later), and the 2010 game at University of Phoenix Stadium.

text: All-time results[edit]

text: 1971 playoff games[edit]

text:
Season
Visiting Team
Score
Home Team
TV

1971
Dallas Cowboys
20–12
Minnesota Vikings
CBS

Miami Dolphins
27–24 (2OT)
Kansas City Chiefs
NBC

text: Regular season[edit]

text:
Season
Visiting Team
Score
Home Team
TV

1989
Cincinnati Bengals
21–29
Minnesota Vikings
ABC

1993
Houston Oilers
10–7
San Francisco 49ers
NBC

1994
Detroit Lions
20–27
Miami Dolphins
ESPN

1995
Dallas Cowboys
37–13
Arizona Cardinals
ABC

1999
Denver Broncos
17–7
Detroit Lions
CBS

2000
Dallas Cowboys
0–31
Tennessee Titans
ABC

2004
Oakland Raiders
30–31
Kansas City Chiefs
CBS

Denver Broncos
37–16
Tennessee Titans
ESPN

2005
Chicago Bears
24–17
Green Bay Packers
Fox

Minnesota Vikings
23–30
Baltimore Ravens
ESPN

2006
Philadelphia Eagles
23–7
Dallas Cowboys
NBC

New York Jets
13–10
Miami Dolphins
ESPN

2009
San Diego Chargers
42–17
Tennessee Titans
NFL Network

2010
Dallas Cowboys
26–27
Arizona Cardinals
NFL Network

2011
Chicago Bears
21–35
Green Bay Packers
NBC

2016
Baltimore Ravens
27–31
Pittsburgh Steelers
NFL Network

Denver Broncos
10–33
Kansas City Chiefs
NBC

2017
Pittsburgh Steelers
34–6
Houston Texans
NBC/NFL Network

Oakland Raiders
10–19
Philadelphia Eagles
ESPN

text: Christmas Day standings[edit]

text: By Franchise (as of 2017 NFL Season)

text:
Team
W
L
T
PCT.
PF
PA

Philadelphia
2
0
0
1.000
42
17

Pittsburgh
2
0
0
1.000
65
33

L.A. Chargers
1
0
0
1.000
42
17

N.Y. Jets
1
0
0
1.000
13
10

Denver
2
1
0
.667
54
23

Kansas City
2
1
0
.667
55
57

Miami
2
1
0
.667
64
57

Tennessee
2
2
0
.500
74
86

Arizona
1
1
0
.500
40
63

Baltimore
1
1
0
.500
57
54

Chicago
1
1
0
.500
45
52

Green Bay
1
1
0
.500
52
45

Dallas
2
3
0
.400
90
106

Minnesota
1
2
0
.333
64
71

Cincinnati
0
1
0
.000
21
29

Houston
0
1
0
.000
6
34

San Francisco
0
1
0
.000
7
10

Detroit
0
2
0
.000
27
44

Oakland
0
2
0
.000
40
50

text: Christmas Eve[edit]

text: There have also been several games played on Christmas Eve over the years, the most famous of these being an Oakland Raiders-Baltimore Colts playoff contest in 1977 which culminated in a play immortalized as "Ghost to the Post". These games have typically been played early in the afternoon out of deference to the holiday. If Christmas Day falls on a Sunday (most recently in 2016), then most of the weekend's NFL games will be on the afternoon of Christmas Eve, except for a few games played on Thursday, Sunday, or Monday night in the league's regular prime-time TV packages.

text: The 2004 season featured a Christmas Eve matchup on Friday afternoon, one of the rare instances when the league has played on Friday. The game (Green Bay Packers at Minnesota Vikings for the NFC North title) aired on Fox; Green Bay defeated Minnesota by a score of 34–31. Prior to that, the last Christmas Eve Friday game was played in 1999 when the New Orleans Saints defeated the Dallas Cowboys.

text: 2006 saw Christmas Eve land on a Sunday. While the regular slate of afternoon games was played, no Sunday night game was scheduled. Instead, two games were played on Monday, Christmas Day. NBC, which was under contract to air the Sunday night game, aired the first Christmas Day game pitting the Philadelphia Eagles against the Dallas Cowboys at Texas Stadium, with a 5:00 pm Eastern kickoff (it is the only Monday game called by longtime Monday Night Football announcer Al Michaels since the move of MNF to ESPN and his move to NBC). ESPN followed at 8:30 pm with the New York Jets and Miami Dolphins on Monday Night Football.

text: In 2007, Christmas Eve landed on a Monday. This proved especially problematic; the league's television contract with ESPN requires the league to provide 17 Monday Night Football games over the course of the first 16 weeks of the season (the league no longer schedules a Monday night game for the final weekend of the season, for multiple reasons). In seasons past, the league compensated for an instance like this by giving ESPN or ABC an extra Saturday or Thursday night game later in the season, but this was no longer possible because the new television contract gave the rights to those games to NFL Network. Thus, with the league already stretching its limits by placing a Monday night doubleheader on opening weekend, this meant that every available Monday night would have to air at least one game, even if it were Christmas Eve. To ease the issue, the game was scheduled between two Western teams, the Denver Broncos at the San Diego Chargers, so that the game could start at 5:00 PM local time. The same scenario was set to occur in 2012, but the NFL's newly renegotiated television rights returned the rights to occasional Saturday night games to ESPN, which allowed them to move the scheduled "Monday night" game for that week to the Saturday before (the Saturday night game in 2012 would feature the Atlanta Falcons and Detroit Lions – it was during this game that Detroit's Calvin Johnson surpassed Jerry Rice's 1,848 yard single season receiving record from 1995).

text: When Christmas Eve falls on a Thursday, as it did in 2009, the Thursday Night Football game can be moved to Friday on Christmas. The 2009 game was between the Chargers and the Tennessee Titans in Nashville, with a special start time of 7:30 PM Eastern/6:30 PM Central. The league chose not to exercise this option in 2015, when it scheduled a Thursday night Christmas Eve game between the Chargers and the Oakland Raiders.

text: For 2016, Christmas Eve fell on a Saturday. A reduced slate of 11 afternoon games were scheduled on Christmas Eve, as well as a primetime game (being broadcast as a special edition of Thursday Night Football) between the Houston Texans and Cincinnati Bengals.[7][5]


document_title: Fiddler on the Roof (film)

question_text: who played golda in fiddler on the roof

question_tokens: who played golda in fiddler on the roof

root

text: Fiddler on the Roof (film)

text: Plot[edit]

text: The film's plot largely follows that of the musical from which it is adapted.

tag: p

text: Act 1[edit]

text: In 1905, Tevye, a poor Jewish milkman living in the Ukrainian village of Anatevka, a typical shtetl in the Pale of Settlement of Imperial Russia, compares the lives of the Jews of Anatevka to a fiddler on the roof (who appears throughout the film in this metaphorical role), using tradition to "scratch out a pleasant, simple tune" without breaking their necks. In town, Tevye meets Perchik, a radical Marxist from Kiev. Tevye invites Perchik to stay with his family, and offers him food in exchange for Perchik tutoring his daughters.

text: Tevye arranges for his oldest daughter, Tzeitel, to marry Lazar Wolf, a wealthy butcher. Tzeitel is in love with her childhood sweetheart, Motel Kamzoil, and begs her father not to make her marry Lazar Wolf. Although he is initially angry, Tevye realizes that Tzeitel loves Motel and yields to his daughter's demands. In order to convince his wife Golde that Tzeitel should not be married to Lazar Wolf, Tevye claims to have had a nightmare. He says that Golde's deceased grandmother told him Tzeitel is supposed to marry Motel, and that Lazar Wolf's late wife, Fruma-Sarah, threatened to kill Tzeitel if the two are married. Golde concludes that the dream was a message from their ancestors, and Tzeitel and Motel arrange to be married.

text: Meanwhile, Tevye's second daughter, Hodel, and Perchik begin to fall in love. They argue over the story of Leah and the place of old religious traditions in a changing world. The two dance together, which is considered forbidden by Orthodox Jewish tradition. Perchik tells Hodel that they just changed an old tradition.

text: At Tzeitel and Motel's wedding, an argument breaks out after Lazar Wolf presents the newlyweds with gifts. When Tevye tries to speak to Lazar about the Torah, Lazar refuses to listen, arguing that the wedding should have been his all along. Minutes later, another argument breaks out over whether a girl should be able to choose her own husband. Perchik addresses the crowd and says that, since they love each other, it should be left for the couple to decide. He creates further controversy by asking Hodel to dance with him. The crowd gradually warms to the idea and Tevye and Golde, then Motel and Tzeitel, join in dancing. The wedding proceeds with great joy. Suddenly, the military presence in the town and the constable arrive and begin a pogrom. The constable stops the attack on the wedding celebration after Perchik is wounded in the scuffle with the Tsar's men; however, he allows the men to continue destroying property in the village. Tevye and the immediate family stand still, until Tevye angrily orders them to clean up instead of standing around. Tevye silently asks why God allowed this to happen to them.

text: Intermission[edit]

text: In its original theatrical release, the film was shown with an intermission and entr'acte music. [4]

text: Act 2[edit]

text: Months later, Perchik prepares to leave Anatevka for the revolution. He proposes to Hodel, and she accepts. When they tell Tevye, he is furious that they have decided to marry without his permission, but he again relents because they love each other. Tevye tells Golde his reasons for consenting to their daughter's marriage, which leads them to re-evaluate their own arranged marriage. Tevye and Golde ultimately realize that, despite having been paired by a matchmaker, they do love each other.

text: Weeks later, Perchik is arrested in Kiev and is exiled to Siberia. Hodel decides to join him there. She promises Tevye that she and Perchik will be married under a canopy. Meanwhile, Tzeitel and Motel become parents, and Motel finally buys the sewing machine for which he has long scrimped and saved.

text: Tevye's third daughter Chava falls in love with a Russian Orthodox Christian named Fyedka. Tevye tells Chava to be distant friends with Fyedka, because of the difference in their religions. When Chava eventually works up the courage to ask Tevye's permission to marry Fyedka, Tevye tells her that marrying outside the family's faith is against tradition. He forbids her from having any contact with Fyedka or from even mentioning his name. The next morning, Fyedka and Chava elope and are married in a Russian Orthodox church. Golde learns of the marriage when she meets up with the priest. When a grief-stricken Golde tells Tevye about the marriage, he tells her that Chava is dead to the family and that they shall forget her altogether. Chava asks Tevye to accept her marriage. In a soliloquy, Tevye concludes that he cannot accept Chava marrying a non-Jew. He accuses her of abandoning the Jewish faith and disowns her.

text: One winter day, the Jews of Anatevka are notified that they have three days to leave the village or be forced out by the government. Tevye, his family and friends begin packing up to leave, heading for various parts of Europe, Palestine, and the United States. Lazar Wolf plans to emigrate to Chicago, to live with his former brother in law, whom he detests, but has no other living options. Lazar and Tevye share one last embrace before departing. Yente, the Matchmaker, plans to emigrate to Jerusalem, Palestine, and says goodbye to Golde with an embrace before departing. Tevye receives letters from Hodel mentioning that she is working hard while Perchik stays in the Siberian prison. It is hoped that when Perchik is released, they will join the others in the United States. Chava and her husband Fyedka come to Tevye's house and tell the family that they are leaving, being unable to stay in a place that would force innocent people out. They head to Kraków, Poland. Tevye shows signs of forgiving Chava by murmuring under his breath "And God be with you," silently urging Tzeitel to repeat his words to Chava. Golde calls out to Chava and Fyedka, telling them where they will be living in New York.

text: The Constable silently watches as the mass evacuation of Anatevka takes place. The community forms their circle at a crossroad one last time before scattering in different directions. Tevye spots the fiddler and motions to him to come along, symbolizing that even though he must leave his town, his traditions will always be with him.

text: Cast[edit]

text:
Chaim Topol as Tevye
Norma Crane as Golde, his wife
Rosalind Harris as Tzeitel, the oldest daughter
Michele Marsh as Hodel, the second daughter
Neva Small as Chava, the third daughter
Molly Picon as Yente, the matchmaker
Paul Mann as Lazar Wolf, the butcher, Tzeitel's older suitor
Leonard Frey as Motel Kamzoil, the tailor, Tzeitel's eventual husband
Michael Glaser as Perchik, the revolutionary, Hodel's eventual husband
Raymond Lovelock as Fyedka, a Christian, Chava's eventual husband
Elaine Edwards as Shprintze, the fourth daughter
Candy Bonstein as Bielke, the fifth daughter
Shimen Rushkin as Mordcha
Zvee Scooler as Rabbi
Louis Zorich as Constable
Alfie Scopp as Avram
Howard Goorney as Nachum
Barry Dennen as Mendel
Ruth Madoc as Fruma-Sarah, the butcher's late wife
Patience Collier as Grandmother Tzeitel
Tutte Lemkow as Fiddler
Marika Rivera as Rifka
Aharon Ipale as Sheftel
Roger Lloyd Pack as Sexton
Vernon Dobtcheff as Russian official
Kenneth Waller (uncredited)[5]

tag: ul

text: Norman Jewison: (uncredited) as the Rabbi in the "Tevye's Dream" sequence (singing "Mazel Tov")

text: Musical numbers[edit]

text:
"Prologue / Tradition" – Tevye and Company
"Matchmaker, Matchmaker" – Tzeitel, Hodel, Chava, Shprintze, and Bielke
"If I Were a Rich Man" – Tevye
"Sabbath Prayer" – Tevye, Golde, and Chorus
"To Life" – Tevye, Lazar Wolf, and Male Company
"Tevye's Monologue (Tzeitel and Motel)" – Tevye
"Miracle of Miracles" – Motel
"Tevye's Dream" – Tevye, Golde, Grandmother Tzeitel, Rabbi, Fruma-Sarah, and Chorus
"Sunrise, Sunset" – Tevye, Golde, Perchik, Hodel, and Chorus
"Wedding Celebration / The Bottle Dance"
"Entr'acte" – Orchestra
"Tevye's Monologue (Hodel and Perchik)" – Tevye
"Do You Love Me?" – Tevye and Golde
"Far from the Home I Love" – Hodel
"Chava Ballet Sequence (Little Bird, Little Chavaleh)" – Tevye
"Tevye's Monologue (Chava and Fyedka)" – Tevye
"Anatevka" – Tevye, Golde, Lazar Wolf, Yente, Mendel, Mordcha, and Company

tag: ol

text: Production[edit]

text: The decision to cast Topol, instead of Zero Mostel, as Tevye was a somewhat controversial one, as the role had originated with Mostel and he had made it famous. Years later, Jewison said he felt Mostel's larger-than-life personality, while fine on stage, would cause film audiences to see him as Mostel, rather than the character of Tevye.[6]

text: Principal photography was done at Pinewood Studios in Buckinghamshire, England. Most of the exterior shots were done in SFR Yugoslavia—specifically in Mala Gorica, Lekenik, and Zagreb within the Yugoslav constituent republic of Croatia. Though the area was under heavy snow during location scouting in 1969, during the filming the producers had to ship in marble dust to stand in for snow.[7] Three hundred extras conversant in various foreign languages were used, as were flocks of geese and pigs and their handlers.[8] Isaac Stern performed the violin solos.[7]

text: Director Jewison has a cameo as a rabbi during Tevye's dream sequence.[citation needed]

text: Differences from the Broadway musical[edit]

text: The film follows the plot of the stage play very closely, retaining nearly all of the play's dialogue, although it omits the songs "Now I Have Everything" and "The Rumor (I Just Heard)".[9][10] Lyrical portions of "Tevye's Dream (Tailor Motel Kemzoil)", were omitted to avoid repetition. Changes were also made in the song "Tradition," with the film omitting the dialogue between Reb Nachum the beggar (who, in the film, cannot speak) and Lazar Wolf as well as dialogue spoken by Yente and Avram. In addition, in the film, two men argue about whether a horse claimed to be six years old was actually twelve, rather than whether the horse was actually a mule.

text: Seven additional scenes were added to the film:

text:
The Constable gets orders from his superior for a "demonstration" against the Jews (referred to by the superior as "Christ-killers") in Anatevka.
Perchik is arrested at a workers' rally in Kiev.
Golde goes to the priest to look for Chava (described by her in the stage production).
Motel gets dressed for his upcoming wedding to Tzeitel.
The Rabbi and his students inside the synagogue receive news of the arrival of Motel's new sewing machine.
The Rabbi takes the Torah out of the ark inside the synagogue for the last time. He weeps and chants quietly about having to abandon the synagogue.
Tevye feeds his animals in the barn for the final time. He tells his lame horse to take care of his leg and to treat his new owner and master well.

text: The scene with Hodel and Perchik, where he plans to leave to start a revolution, was extended in the film. A new song sung by Perchik was recorded ("Any Day Now"), but was omitted from the final print; however, it was included in the 2004 reissue of the soundtrack. When the film was re-released to theaters in 1979, 32 minutes were cut, including the songs "Far from the Home I Love" and "Anatevka".

text: In the film, Tevye and Lazar Wolf discuss Wolf's proposed marriage to Tzeitel in Wolf's home, while in the stage version, the two meet in a tavern. The film shows Wolf's home as filled with golden artifacts. Prior to Lazar Wolf entering the scene, Tevye speaks to a female servant, who tells him not to touch anything.

text: Although a faithful adaptation of the original stage version, Fiddler scholar Jan Lisa Huttner has noted several differences between stage and screen.[9][11] She argues that changes in American culture and politics and developments in Israel led the filmmakers to portray certain characters differently and to offer a different version of Anatevka.[9] For example, the Broadway production cast Bea Arthur as a tall, booming Yente, while the film portrays Yente as tiny and timid. Huttner also notes that the "Chagall color palette" of the original Broadway production was exchanged for a grittier, more realistic depiction of the village of Anatevka.[9]

text: Release[edit]

text: Roadshow presentation[edit]

text: Because the film follows the stage musical so closely, and the musical did not have an overture, the filmmakers chose to eliminate the customary film overture played before the beginning of most motion pictures shown in a roadshow-style presentation. However, there is a solo by the Fiddler played over the opening credits (after the conclusion of "Tradition"), there is an intermission featuring entr'acte music, and exit music is played at the end after the closing credits.

text: Reception[edit]

text: The film was a success, earning United Artists profits of $6.1 million, plus distribution profits of $8 million.[12]

text: On review aggregator website Rotten Tomatoes, the film holds an 81% rating based on 37 reviews, with an average of 7.7/10.[13]

text: Awards and honors[edit]

text:
Year
Award
Category
Recipient(s) and nominee(s)
Result

1972
Academy Awards
Best Picture
Norman Jewison
Nominated

Best Actor
Chaim Topol
Nominated

Best Supporting Actor
Leonard Frey
Nominated

Best Director
Norman Jewison
Nominated

Best Art Direction
Art Direction: Robert F. Boyle and Michael Stringer; Set Decoration: Peter Lamont
Nominated

Best Music, Scoring Adaptation and Original Song Score
John Williams
Won

Best Cinematography
Oswald Morris
Won

Best Sound
Gordon K. McCallum and David Hildyard
Won

Golden Globe Awards
Best Motion Picture - Musical or Comedy
Won

Best Actor in a Motion Picture - Musical or Comedy
Topol
Won

Best Supporting Actor in a Motion Picture
Paul Mann
Nominated

Best Director
Norman Jewison
Nominated

BAFTA Awards
Best Cinematography
Oswald Morris
Nominated

Best Editing
Antony Gibbs, Robert Lawrence
Nominated

Best Sound Track
Les Wiggins, David Hildyard, Gordon K. McCallum
Nominated

American Cinema Editors
Best Edited Feature Film
Antony Gibbs, Robert Lawrence
Nominated

British Society of Cinematographers
Oswald Morris
Won

David di Donatello
Best Foreign Actor
Topol
Won

Motion Picture Sound Editors
Best Sound Editor - Dialogue
Won

Sant Jordi Awards
Best Performance in a Foreign Film
Topol
Won

Writers Guild of America Award
Best Comedy Adapted from Another Medium
Joseph Stein
Nominated

2007
Satellite Awards
Best DVD Extras (for the collector's edition)
Nominated

tag: table

text: American Film Institute recognition

text:
AFI's 100 Years...100 Movies - Nominated[14]
AFI's 100 Years...100 Songs:

Sunrise, Sunset - Nominated
If I Were a Rich Man - Nominated

AFI's 100 Years...100 Cheers - #82
AFI's Greatest Movie Musicals - Nominated[15]


document_title: Despicable Me 3

question_text: who voiced the villain in despicable me 3

text: Despicable Me 3

text: Plot[edit]

text: Former villain Gru is now an agent for the Anti-Villain League (AVL). He and his partner/wife Lucy are sent to foil the plans of Balthazar Bratt, a 1980s child star turned evil. Gru manages to stop Bratt from stealing the world's largest diamond, but is unable to capture him. As a result of failing to capture Bratt, Gru and Lucy are fired from the AVL by its unreasonable new director Valerie Da Vinci, following the retirement of Silas Ramsbottom.

text: Gru and Lucy reluctantly tell their children, Margo, Edith, and Agnes, of their termination, but assure them they will find new jobs. Most of Gru's Minions leave Gru when he refuses to return to villainy despite losing his job. Meanwhile, Lucy struggles to adapt to her new role as the children's new mom. The next morning, the family is approached by Fritz, the butler of Gru's cheerful twin brother Dru, who lives in a distant country named Freedonia and longs to meet him. Shocked to learn he has a twin, Gru confronts his mother, who reveals that when she and her husband divorced, they agreed to keep one child each. The family decides to travel to meet Dru, and they are surprised at his immense wealth, which Fritz attributes to their pig farm business. Meanwhile, the Minions are arrested for trespassing at a talent show set. Bratt manages to steal the diamond again, intending to use it to power a giant robot and destroy Hollywood as revenge for the cancellation of his show.

text: Dru reveals to Gru that their recently deceased father was a legendary supervillain, whose villainous activities are the real source of the family's wealth. As Dru was dismissed by their father as a disgrace, he asks his brother to teach him how to be a villain. When Gru refuses to revert to his old ways, Dru takes him on a joyride around Freedonia in their father's technologically advanced car and the siblings bond. Meanwhile, Lucy tries to balance her tasks as a mom, which she exhibits after turning away a young boy named Niko who had fallen for Margo in the midst of a traditional cheese festival, while Edith and Agnes stumble into a local tavern and learn from the bartender about a mythical unicorn which lurks in a nearby forest. Gru tries to convince Agnes that unicorns are imaginary, but decides against it to avoid hurting her feelings. The next day, Agnes and Edith set out into the woods to track the mythical unicorn, only to find a one-horned goat whom Agnes adopts and dubs "Lucky". Meanwhile, the Minions' longing for Gru motivates them to escape from prison and return to their former master.

text: Dru convinces Gru to steal the diamond, with Gru secretly intending to bring it to the AVL, which he hopes will convince Da Vinci to rehire him and Lucy. Despite several setbacks, they manage to retrieve the diamond and are rescued by Lucy after narrowly escaping. After finding out Gru's true motives, Dru confronts his brother about his lie. In return, Gru insults him and decides to leave Freedonia, ending their relationship. Bratt, disguised as Lucy, kidnaps the children, and once again acquires the diamond. Gru and Dru resolve their differences and pursue him after finding the real Lucy.

text: With his robot powered by the diamond, Bratt terrorizes Hollywood, intending to send it into space with the use of superpowered gum. Lucy saves the children while Gru and Dru weaken Bratt's robot with the weapons of their father's car. Gru is knocked unconscious when the car is destroyed, and Dru manages to destroy the robot's core from the inside when Bratt threatens to kill Gru. When Gru recovers, he battles Bratt in a dance fight, using it as a distraction to grab his weaponized keytar, and defeats him. Having rendezvoused with Gru, the Minions manage to destroy the gum already covering the city, and Gru and Dru reunite.

text: Soon afterward, Gru and Lucy are reinstated in the AVL and the newly united family celebrate in Gru's home. Lucy is acknowledged by the children as their mother. Lured back to villainy, Dru and most of the minions steals Gru's ship, with Gru's emblem replaced with a "D" graffiti. Gru and Lucy decide to give them a five-minute head-start before engaging pursuit.

text: Cast[edit]

text:
Steve Carell as Felonious Gru, the former villain turned Anti-Villain League agent, Margo, Edith, and Agnes' adoptive father, and Lucy's husband.[8]

Carell also voices Dru, Gru's long-lost twin brother and the girls' adoptive uncle.[8][9]

Kristen Wiig as Lucy Wilde, an Anti-Villain League agent, Gru's wife and the girls' adoptive mother.[10]
Trey Parker as Balthazar Bratt, a supervillain and former child star who grows up to become obsessed with the character he played in the '80s and is bent on world domination.[8]
Miranda Cosgrove as Margo, Gru and Lucy's oldest adoptive daughter.[10]
Dana Gaier as Edith, Gru and Lucy's middle adoptive daughter.[11]
Nev Scharrel as Agnes, Gru and Lucy's youngest adoptive daughter.[12] She was previously voiced by Elsie Fisher in the first two films.
Pierre Coffin as The Minions[13]

Coffin also voices a Museum Director

Steve Coogan as Silas Ramsbottom, the director of the Anti-Villain League, who retires at the start of the film.[14][15]

Coogan also voices Fritz, the butler of Dru.

Julie Andrews as Marlena Gru, Gru and Dru's mother.[14][16]
Jenny Slate as Valerie Da Vinci, a member of the Anti-Villain League who becomes the brand new AVL director.[14][17]
Andy Nyman as Clive, a robot who is Bratt's sidekick.
Adrian Ciscato as Niko, a boy from Freedonia who falls in love with Margo.

text: Production[edit]

text: Steve Burke, the NBCUniversal CEO, confirmed in September 2013 that a third film in the Despicable Me series was in development.[18] Cinco Paul and Ken Daurio, the writers of the first two films, announced that they would return to write the screenplay for the film.[19] On April 13, 2016, Trey Parker, co-creator of South Park, was cast as the main antagonist for the film, Balthazar Bratt.[8]

text: Soundtrack[edit]

text:
Despicable Me 3: Original Motion Picture Soundtrack

Soundtrack album by Various Artists

Released
June 23, 2017 (2017-06-23)

Genre
Pop
R&B

Length
51:14

Label

I Am Other
Columbia

Producer

Alan Tarney
Andrew Coleman
Hart Gunther
Heitor Pereira
Madonna
Manne Praeker
Marvin dM. Nitazal
Michael Jackson
Mike Larson
Pharrell Williams
Quincy Jones
Reinhold Heil
Rick Bryant
Stephen Bray
Toto Gamyar

text: The soundtrack for Despicable Me 3 was released on June 23, 2017. Pharrell Williams released the new song "Yellow Light" for the soundtrack, which was made available through digital download and streaming.[20] Some songs are unavailable on iTunes and Google Play.

text: Track listing[edit]

text:
No.
Title
Writer(s)
Producer(s)
Length

1.
"Yellow Light" (performed by Pharrell Williams)
Pharrell Williams

Pharrell Williams
Mike Larson[b]

3:37

2.
"Hug Me" (performed by Pharrell Williams and Trey Parker)

Pharrell Williams
Trey Parker

Pharrell Williams
Hart Gunther
Rick Bryant
Mike Larson[b]

2:20

3.
"Bad" (performed by Michael Jackson)
Michael Jackson

Quincy Jones
Michael Jackson[a]

4:07

4.
"Take on Me" (performed by A-ha)

Pål Waaktaar
Morten Harket
Magne Furuholmen

Marvin dM. Nitazal
Alan Tarney
Toto Gamyar

3:46

5.
"Papa Mama Loca Pipa" (performed by The Minions)

W. S. Gilbert
Arthur Sullivan

Pierre Coffin
1:29

6.
"There's Something Special" (performed by Pharrell Williams)
Pharrell Williams

Pharrell Williams
Mike Larson[b]

3:44

7.
"Tiki Tiki Babeloo" (performed by The Minions)

Pierre Coffin
1:13

8.
"Freedom" (performed by Pharrell Williams)
Pharrell Williams
Pharrell Williams
2:43

9.
"Doowit" (performed by Pharrell Williams)
Pharrell Williams

Pharrell Williams
Mike Larson[b]

4:02

10.
"99 Luftballons" (performed by Nena)

Carlo Karges
Jörn-Uwe Fahrenkrog-Petersen

Reinhold Heil
Manne Praeker

3:52

11.
"Into the Groove" (performed by Madonna)

Madonna Ciccone
Stephen Bray

Madonna
Bray

4:44

12.
"Chuck Berry" (performed by Pharrell Williams)
Pharrell Williams

Pharrell Williams
Andrew Coleman[b]
Mike Larson[b]

3:15

13.
"Fun, Fun, Fun" (performed by Pharrell Williams)
Pharrell Williams
Pharrell Williams
3:25

14.
"Despicable Me" (performed by Pharrell Williams)
Pharrell Williams
Pharrell Williams
4:15

15.
"Despicable Me 3 Score Suite" (performed by Heitor Pereira)
Heitor Pereira
Heitor Pereira
4:05

16.
"Malatikalano Polatina" (performed by The Minions)

Pierre Coffin
0:37

Total length:
51:14

text: Notes

text:
^[a] signifies a co-producer
^[b] signifies an additional producer

text: Charts[edit]

text:
Chart (2017)
Peak
position

Australian Albums (ARIA)[21]
76

US Soundtrack Albums (Billboard)[22]
17

text: Release[edit]

text: The film premiered on June 14, 2017, at the Annecy International Animated Film Festival.[3] It was released in the United States on June 30, 2017.[23] This is the first Illumination movie to be released in Dolby Vision and to be in the 2:35.1 anamorphic widescreen format.

text: The first official trailer for the film was released on December 14, 2016;[11] with the second released on March 14, 2017.[24] A secondary trailer, designed for TV usage was released on April 21, 2017.[25] A third trailer was released on May 24, 2017.[26]

text: Home media[edit]

text: Despicable Me 3 was released on DVD, Blu-ray, Blu-ray 3D and Ultra HD Blu-ray in the United Kingdom on November 6, 2017.[27] In the US, Despicable Me 3 was released on digital download on November 21, 2017, and was released on DVD, Blu-ray, Blu-ray 3D and Ultra HD Blu-ray on December 5, 2017.[28] The releases also include a short film, titled The Secret Life of Kyle.[27]

text: Reception[edit]

text: Critical response[edit]

text: On review aggregator Rotten Tomatoes, the film has an approval rating of 60% based on 172 reviews, and an average rating of 5.7/10. The site's critical consensus reads, "Despicable Me 3 should keep fans of the franchise consistently entertained with another round of colorful animation and zany—albeit somewhat scattershot—humor."[29] On Metacritic, which assigns a normalized rating, the film has a score of 49 out of 100 based on 37 critics, indicating "mixed or average reviews".[30] Audiences polled by CinemaScore gave the film an average grade of "A−" on an A+ to F scale.[31]

text: IGN gave the film a score of 6/10, saying, "It’s not much, but Despicable Me 3 is at least enough for the younger fans of the franchise."[32] Peter Debruge of Variety wrote, "Despicable Me 3 is unwieldy, but it mostly works, as co-directors Pierre Coffin (who also voices the Minions) and Kyle Balda never lose sight of the film's emotional center, packing the rest with as much humor as they can manage. The jokes come so fast and furious, the movie can hardly find room for Heitor Pereira's funky score, and though Pharrell Williams has contributed five new songs to sell soundtracks (including the sweet There's Something Special), the movie hardly needs them."[33] Alonso Duralde of TheWrap gave the film a mixed review, saying: "Ultimately, none of these flaws will matter to the throngs of little kids who have made the previous Despicable Me movies (and the superior Minions spin-off) into giant global hits."[34]

text: Sandy Schaefer for Screen Rant gives the film a 3 out of 5 stars saying "Despicable Me 3 offers enough in the way of zany, irreverent entertainment (with a dose of heart) to please steadfast fans of the franchise."[35] Jordan Mintzer for The Hollywood Reporter gave the film a positive review saying "This rather clever, breakneck-paced cartoon gives fans exactly what they want: Like the new nemesis voiced by Trey Parker, it shoots multiple machine-gun bursts of bubblegum at the audience, asking them to chew and enjoy"[36] Peter Travers of Rolling Stone gave the film three out of four stars, saying "Pierre Coffin (who voices the Minions) and co-director Kyle Balda keep the plot spinning merrily. Pharrell Williams contributes five new songs to the mix, including the hummable "There's Something Special." It's no mystery why Illumination's franchise is still something special after three go-rounds – the box-office gross is a whopping $1.5 billion and counting."[37]

text: Leah Greenblatt of Entertainment Weekly gave the film a 'B' grade, saying "What shines through is the visual wit and innate sweetness of the storytelling, and Carell’s cackling, cueball-skulled misanthrope — a (mostly) reformed scoundrel who can still have his cake, and arsenic too."[38] Stephen Whitty of the New York Daily News gave the film 3.5 out of 5 stars, saying "The film has to rush at the end, to wrap up all these different stories, and it still leaves one of them open-ended."[39]

text: Box office[edit]

text: Despicable Me 3 grossed $264.6 million in the United States and Canada and $770.2 million in other territories for a worldwide total of $1.035 billion, against a production budget of $80 million.[5] On September 8, it passed the $1 billion threshold, becoming the second Despicable Me film (after Minions), second non-Disney-animated film (after Minions), third film of 2017 (after Beauty and the Beast and The Fate of the Furious), and the sixth animated film (after Toy Story 3, Frozen, Minions, Zootopia, and Finding Dory) to pass the mark. It became the first film since The Fate of the Furious (also a Universal property) in April 2017 to make over a billion dollars.[40]

text: In North America, the film opened alongside The House and Baby Driver, as well as the wide expansion of The Beguiled, and was projected to gross $85–95 million in its opening weekend. It played in 4,529 theaters, setting the record for widest release of all time, beating the amount set by The Twilight Saga: Eclipse in 2010.[41] It made $4.1 million from Thursday night previews, down slightly from the $4.7 million of the second film and $6.2 million made by Minions, and $29.2 million on its first day. It went on to debut to $72.4 million, slightly below expectations and the lowest of the series since the first film, but still topped the box office and was the 4th-best opening for Illumination.[31] It also opened to more than the next five films did combined (Baby Driver's $20.6 million, Transformers: The Last Knight's $16.9 million, Wonder Woman's $15.7 million, Cars 3's $9.7 million and The House's $8.7 million).[7] In its second weekend the film grossed $33.6 million (a drop of 53.6%, more than the previous Despicable Me films but similar to Minions), finishing second at the box office (with a fresh record of 4,536 theaters showing the movie) behind newcomer Spider-Man: Homecoming ($117 million).[42]

text: Internationally the film was released in five markets on June 16, 2017, and grossed $9.9 million in its opening weekend.[43] In its third week of release the film opened in 46 more markets, grossing $95.6 million.[7] The film's largest markets were China ($158.2 million), Japan ($66.2 million), the UK ($62.7 million), Germany ($43.8 million) and France ($41.4 million).[44]

text: Accolades[edit]

text:
Award
Category
Recipient(s)
Result

45th Annie Awards[45]
Best Animated Feature
Chris Meledandri and Janet Healy
Nominated

Animated Effects in an Animated Production
Bruno Chauffard, Frank Baradat, Nicolas Brack and Milo Riccarand

Character Design in an Animated Feature Production
Eric Guillon

ACE Eddie Awards[46]
Best Edited Animated Feature Film
Claire Dodgson

Art Directors Guild[47]
Production Design in an Animated Feature
Olivier Adam

Cinema Audio Society Awards[48]
Outstanding Achievement in Sound Mixing for a Motion Picture – Animated
Carlos Sotolongo, Randy Thom, Tim Nielson, Brandon Proctor, Greg Hayes and Scott Curtis
Pending

Central Ohio Film Critics Association[49]
Best Animated Film
Despicable Me 3
Nominated

23rd Critics' Choice Awards[50]
Best Animated Film
Pierre Coffin and Kyle Balda

Denver Film Critics Society Awards[51]
Best Animated Film
Despicable Me 3

Golden Trailer Awards 2017[52]
Best Animation/Family

Best Animation/Family Poster

Golden Reel Awards[53]
Outstanding Achievement in Sound Editing – Feature Animation
Dennis Leonard, Tim Nielsen, Matthew Hartman, Mac Smith, Andre J.H. Zweers, Christopher Flick, Richard Gould, John Roesch, Shelley Roden and Slamm Andrews
Pending

Hollywood Music in Media Awards 2017[54]
Best Original Song - Animated Film
"There's Something Special" for Pharrell Williams
Nominated

Houston Film Critics Society Awards 2017[55]
Best Animated Film
Despicable Me 3

Producers Guild of America Award[56]
Outstanding Producer of Animated Theatrical Motion Picture
Chris Meledandri and Janet Healy

Nickelodeon Brazil Kids' Choice Awards[57]
Favorite Animated Film
Despicable Me 3
Won

Nickelodeon Mexico Kids' Choice Awards 2017[58]
Favorite Movie

Nickelodeon Argentina Kids' Choice Awards 2017[59]
Favorite Movie
Nominated

Nickelodeon Colombia Kids' Choice Awards 2017[60]
Favorite Movie

North Texas Film Critics Association[61]
Best Animated Film
Pierre Coffin, Kyle Balda and Eric Guillion

Phoenix Film Critics Society Awards[62]
Best Animated Film
Despicable Me 3

St. Louis Film Critics Association[63]
Best Animated Feature
Pierre Coffin and Kyle Balda

16th Visual Effects Society Awards[64]
Outstanding Visual Effects in an Animated Feature
Pierre Coffin, Chris Meledandri, Kyle Balda and Eric Guillon

Outstanding Animated Character in an Animated Feature
Eric Guillon, Bruno Dequier, Julien Soret, Benjamin Fournet for "Bratt"

Outstanding Created Environment in an Animated Feature
Axelle De Cooman, Pierre Lopes, Milo Riccarand, Nicolas Brack for "Hollywood Destruction"

Outstanding Model in a Photoreal or Animated Project
Eric Guillon, Francois-Xavier Lepeintre, Guillaume Boudeville, Pierre Lopes for "Dru's Car"

Outstanding Effects Simulations in an Animated Feature
Bruno Chauffard, Frank Baradat, Milo Riccarand, Nicolas Brack

Washington, D.C. Area Film Critics Association Awards[65]
Best Animated Feature
Pierre Coffin and Kyle Balda

text: Sequel[edit]

text: Illumination's CEO Chris Meledandri has said in September 2017 that a fourth Despicable Me film is in development.[66]


document_title: Zippo

question_text: what type of fluid is in a zippo

question_tokens: what type of fluid is in a zippo

text: Zippo

text: Company history[edit]

text: American George G. Blaisdell founded Zippo Manufacturing Company in 1932, and produced the first Zippo lighter in early 1933, being inspired by an Austrian cigarette lighter of similar design made by IMCO.[9] It got its name because Blaisdell liked the sound of the word "zipper" and "zippo" sounded more modern.[10] On March 3, 1936, a patent was granted for the Zippo lighter.[11]

text: Zippo lighters became popular in the United States military, especially during World War II—when, as the company's web site says, Zippo "ceased production of lighters for consumer markets and dedicated all manufacturing to the US military".[12] Period Zippos were made of brass, but Zippo used a black crackle finished steel during the war years because of metal shortages. While the Zippo Manufacturing Company never had an official contract with the military, soldiers and armed forces personnel insisted that base exchange (BX) and post exchange (PX) stores carry this sought-after lighter.[13][14] While it had previously been common to have Zippos with authorized badges, unit crests, and division insignias, it became popular among the American soldiers of the Vietnam War to get their Zippos engraved with personal mottos. These lighters are now sought after collector's items and popular souvenirs for visitors to Vietnam.[15]

text: After World War II, the Zippo lighter became increasingly used in advertising by companies large and small through the 1960s.[16] Much of the early Zippo lighter advertising are works of art painted by hand, and as technology has evolved, so has the design and finish of the Zippo lighter. The basic mechanism of the Zippo lighter has remained unchanged.

text: In 2002, Zippo expanded its product line to include a variety of utility-style multi-purpose lighters, known as Zippo MPLs. This was followed in 2005 with the Outdoor Utility Lighter, known as the OUL. These lighters are fueled with butane. In August 2007, Zippo released a new butane lighter called the Zippo BLU.[17]

text: A museum called "Zippo/Case visitors center" is located in Bradford, Pennsylvania, at 1932 Zippo Drive. This 15,000-square-foot (1,400 m2) building contains rare and custom made Zippo lighters, and also sells the entire Zippo line. The museum was featured on the NPR program Weekend Edition on Sunday, January 25, 2009. The museum also contains an enormous collection of Case knives. Since the Zippo company's 60th anniversary in 1992, annual editions have been produced for Zippo collectors.

text: From 1949 to 2002, Zippos were also produced in Niagara Falls, Ontario, Canada.[18] Since 1933, over 500,000,000 Zippo lighters have been produced.

text: In 2009, Zippo announced plans to purchase Ronson Consumer Products Corporation, a long-time competitor in the lighter market.[19] On February 3, 2010, the deal was finalized.[20]

text: In March 2011, due to significant decrease of sales from 18 million lighters a year in the mid-1990s to about 12 million lighters a year recently, combined with increasing pressure on people not to smoke, Zippo Manufacturing Co. tried offering a wider variety of products using the Zippo name, such as watches, leisure clothing and eau de cologne. This strategy is similar to the success Victorinox Swiss Army Brands Inc. has had selling watches, luggage, clothing, and fragrance.[21]

text: On June 5, 2012, the company manufactured its 500,000,000th lighter and celebrated its 80th anniversary.

text:
Zippo's flint-wheel Ignition

A lit 1968 slim model Zippo

An open full-size Navy Zippo

Brass-based case design with matched insert coloring

Zippo point of sale display

text: Usage[edit]

text: Zippo lighters, which have gained popularity as “windproof” lighters, are able to stay lit in harsh weather, due to the design of the windscreen and adequate rate of fuel delivery.

text: A consequence of the windproofing is that it is hard to extinguish a Zippo by blowing out the flame. However, if the flame is blown from the top down, it will be easily extinguished. The proper way to extinguish the lighter is to close the top half, which starves the flame of oxygen, but unlike other lighters, this does not cut the fuel. One of the recognizable features of Zippo is the fact that it burns with a wick. Opening the top lid produces an easily recognizable "clink" sound for which Zippo lighters are known, and a different but similarly recognizable "clunk" when the lighter is closed. This noise is produced by the spring-loaded toggling cam, a little lever that keeps the lid closed or opened securely.

text: Unlike disposable lighters, Zippo lighters purchased new do not contain fuel. Instructions for safely fueling the Zippo are included in its packaging. Zippo also offers for sale a name brand lighter fluid.

text: Vietnam War[edit]

text: Morley Safer, in his August 5, 1965 CBS News report of the Cam Ne affair[22] and Private First Class Reginald "Malik" Edwards, the rifleman 9th Regiment, US Marine Corps Danang (June 1965 – March 1966) whose profile comprises chapter one of Wallace Terry's book, Bloods: An Oral History of the Vietnam War by Black Veterans (1984), describe the use of Zippo lighters in search and destroy missions during the Vietnam War. Edwards stated: "when you say level a village, you don't use torches. It's not like in the 1800s. You used a Zippo. Now you would use a Bic. That's just the way we did it. You went in there with your Zippos. Everybody. That's why people bought Zippos. Everybody had a Zippo. It was for burnin' shit down."[23][24]

text: "Zippo squad" became a phrase of American military jargon for being assigned to burn a village.[25] The M132 Armored Flamethrower was referred to as a "Zippo".[26]

text: Price[edit]

text: Current Zippos carry a suggested retail price between US$14.95 and US$11,893.95 (for the 18k solid gold model).[27] In 2001, according to the fall 2003 issue of IUP Magazine, a 1933 model was purchased for $18,000 at a swap meet in Tokyo, and in 2002 the company bought one valued at $12,000 for its own collection.[28] During the 2007 75th anniversary celebrations, Zippo sold a near mint 1933 model for $37,000.[29]

text: All Zippo windproof lighters carry an unlimited lifetime guarantee, promoted using the trademarked phrase "It works or we fix it for free." The corporate web site boasts: "in almost 75 years, no one has ever spent a cent on the mechanical repair of a Zippo lighter regardless of the lighter’s age or condition."[30]

text: Date codes[edit]

text: In mid-1955, Zippo started year coding their lighters by the use of dots. From 1966 until 1973 the year code was denoted by combinations of vertical lines. From 1974 until 1981 the coding comprised combinations of forward slashes. In 1979 an error was inadvertently introduced into fabrication, with some lighters reading / on the left and // on the right instead of // on the left and / on the right, but was fixed within the year. From 1982 until June 1986 the coding was by backslash.

text: After July 1986, Zippo began including a date code on all lighters showing the month and year of production. On the left of the underside was stamped a letter A–L, denoting the month (A = January, B = February, C = March, etc.). On the right was a Roman numeral which denoted the year, beginning with II in 1986.[31] However, in 2001, Zippo altered this system, changing the Roman numerals to more conventional Arabic numerals. Thus a Zippo made in August 2004 was stamped H 04.

text: Construction[edit]

text: The cases of Zippo lighters are typically made of brass and are rectangular with a hinged top. On most models, the top of the case is slightly curved.

text: Inside the case are the works of the lighter. The insert contains the spring-toggle lever that keeps the top closed, the wick, windscreen chimney, flintwheel, and flint, all of which are mounted on an open-bottom metal box that is slightly smaller than the bottom of the outer case, and into which it slips snugly.

text: The hollow part of the interior box encloses five rayon balls (similar to cotton balls) which are in contact with the wick. The bottom of this is covered by a piece of felt approximately 1/4 of an inch thick. Printed on the bottom of the felt (in modern Zippos, not on older models[year needed]) are the words, "LIFT TO FILL," to indicate one must lift the felt away from the "cotton" in order to refuel it. The fuel, light petroleum distillate or synthetic isoparaffinic hydrocarbon (commonly referred to as lighter fluid or naphtha), is poured into the rayon balls (sometimes called the "cotton," or the "batting"), which absorbs it. It also contains a tube that holds a short, cylindrical flint. The tube has an interior spring and exterior cap-screw that keeps the flint in constant contact with the exterior flint-wheel. Spinning this rough-surfaced wheel against flint results in a spark that ignites the fluid in the wick.

text: All parts of the lighter are replaceable. The Zippo lighter requires 108 manufacturing operations.

text: Zippo BLU & Zippo BLU 2[edit]

text: Zippo released the Zippo BLU in 2007 (although there are many 2005 pre-release models). These are butane torch lighters, which Zippo has gone to great lengths to make sure are still "identifiable as a Zippo". Specifically, the lid and cam were "tuned" so that the lighter still makes the distinctive "Zippo click", and also it is one of the only butane torch lighters that uses a flint and striker wheel.[citation needed] There is also the BLU2, which features a more square frame and eliminates the fuel gauge on the side of the original Zippo BLU.[citation needed]

text: As of January 1, 2016, the BLU line of lighters are discontinued. Zippo has stated that they will continue to service all previously sold BLU lighters.[32] [33]

text: Zippo subsidiaries[edit]

text: In addition to its 2010 purchase of the Ronson brand in the US and Canada, Zippo also owns W. R. Case & Sons Cutlery Co. of Bradford, Pennsylvania, Zippo UK, Ltd. of London, England, and Zippo Fashion Italia of Vicenza, Italy.


document_title: Vincenzo Peruggia

question_text: where was the mona lisa found after it was stolen

text: Vincenzo Peruggia

text: Theft[edit]

text: In 1911, Peruggia perpetrated what has been described as the greatest art theft of the 20th century. It was a police theory that the former Louvre worker hid inside the museum on Sunday, August 20, knowing the museum would be closed the following day. But, according to Peruggia's interrogation in Florence after his arrest,[2] he entered the museum on Monday, August 21 around 7 am, through the door where the other Louvre workers were entering. He said he wore one of the white smocks that museum employees customarily wore and was indistinguishable from the other workers. When the Salon Carré, where the Mona Lisa hung, was empty, he lifted the painting off the four iron pegs that secured it to the wall and took it to a nearby service staircase. There, he removed the protective case and frame. Some people report that he concealed the painting (which Leonardo painted on wood) under his smock. But Peruggia was only 5'3",[3] and the Mona Lisa measures approx. 21" x 30", so it would not fit under a smock worn by someone his size. Instead, he said he took off his smock and wrapped it around the painting, tucked it under his arm, and left the Louvre through the same door he had entered.[4]

text: Peruggia hid the painting in his apartment in Paris.[5] Supposedly, when police arrived to search his apartment and question him, they accepted his alibi that he had been working at a different location on the day of the theft.

text: After keeping the painting hidden in a trunk in his apartment for two years, Peruggia returned to Italy with it. He kept it in his apartment in Florence, Italy but grew impatient, and was finally caught when he contacted Alfredo Geri, the owner of an art gallery in Florence. Geri's story conflicts with Peruggia's, but it was clear that Peruggia expected a reward for returning the painting to what he regarded as its "homeland". Geri called in Giovanni Poggi, director of the Uffizi Gallery, who authenticated the painting. Poggi and Geri, after taking the painting for "safekeeping", informed the police, who arrested Peruggia at his hotel.[5] After its recovery, the painting was exhibited all over Italy with banner headlines rejoicing its return and then returned to the Louvre in 1913.

text: Later life and personal life[edit]

text: Peruggia was released from jail after a short time and served in the Italian army during World War I. He later married, had one daughter, Celestina, returned to France, and continued to work as a painter decorator using his birth name Pietro Peruggia.[1]

text: Death[edit]

text: He died on October 8, 1925 (his 44th birthday) in the town of Saint-Maur-des-Fossés, France. His death was not widely reported on by the media; obituaries appeared mistakenly only when another Vincenzo Peruggia died in Haute-Savoie in 1947.[6]

text: Motivations[edit]

text: There are currently two predominant theories regarding the theft of the Mona Lisa.

text: Peruggia said he did it for a patriotic reason: he wanted to bring the painting back for display in Italy[5] "after it was stolen by Napoleon". Although perhaps sincere in his motive, Vincenzo may not have known that Leonardo da Vinci took this painting as a gift for Francis I when he moved to France to become a painter in his court during the 16th century, 250 years before Napoleon's birth.

text: Experts have questioned the "patriotism" motive on the grounds that—were patriotism the true motive—Peruggia would have donated the painting to an Italian museum, rather than attempted to profit from its sale. The question of money is also confirmed by letters that Peruggia sent to his father after the theft. On December 22, 1911, four months after the theft, he wrote that Paris was where "I will make my fortune and that his (fortune) will arrive in one shot." [7] The following year (1912), he wrote: "I am making a vow for you to live long and enjoy the prize that your son is about to realize for you and for all our family."

text: Put on trial, the court agreed to some extent that Peruggia committed his crime for patriotic reasons and gave him a lenient sentence. He was sent to jail for one year and 15 days, but was hailed as a great patriot in Italy and served only seven months in jail.[5]

text: Another theory emerged later. The theft may have been encouraged or masterminded by Eduardo de Valfierno, a con-man who had commissioned the French art forger Yves Chaudron to make copies of the painting so he could sell them as the missing original. The copies would have gone up in value if the original were stolen. This theory is based entirely on a 1932 article by former Hearst journalist Karl Decker in The Saturday Evening Post. Decker claimed to have known "Valfierno" and heard the story from him in 1913, promising not to print it until he learned of Valfierno's death. There is no external confirmation for this tale.[8]

text: In art, entertainment, and media[edit]

text:
In Der Raub der Mona Lisa (1931), an early German soundfilm, he was portrayed by Willi Forst
In The Man Who Stole La Gioconda (2006), a television-miniseries he was portrayed by Alessandro Preziosi
In an April 1956 episode of the TV-show You Are There, called "The Recovery of the Mona Lisa (December 10, 1913)", Peruggia is played by Vito Scotti, who reprised the role in yet another TV-reconstruction of the famous theft, this time for the TV-show G.E. True. The episode was called "The Tenth Mona Lisa" and aired in March 1963.[9]
In Season 2, Episode 7 of the American produced television series Leverage, the theft of the Mona Lisa was quoted, and the duplicates of the painting that were created are referenced as a storytelling device
A similar con using duplicates painted by Leonardo himself is portrayed in the Doctor Who story "City of Death" (1979)
On 6 April 2010, the downloadable content pack "Kasumi's Stolen Memories" for the video game Mass Effect 2, had his name mentioned as the password to a villainous art thief's vault with a subsequent statement to the significance of the name.[10]
In the DLC "The Lair of the Shadow Broker", it is revealed that a squad member from the game, Kasumi Goto, is the current owner of the painting in the Mass Effect universe.
The story of Peruggia is recounted at the beginning of Chapter 12 in Daniel Silva's The Rembrandt Affair (Gabriel Allon), which was originally published in July 2010.
Art Historian Noah Charney's monograph, "The Theft of the Mona Lisa: On Stealing the Worlds Most Famous Painting" (2011, ARCA Publications), is an account of the theft and its ramifications.
In 2012, the full-length documentary Mona Lisa Is Missing (formerly The Missing Piece) was released. Directed by filmmaker Joe Medeiros, it tells the complete story of Vincenzo Peruggia's theft of the Mona Lisa, using original source documents from the French and Italian archives as well as interviews with Celestina Peruggia, the daughter of the thief [11]
In April 2013, Larry A. Thompson Entertainment optioned "Missing Mona Lisa," a screenplay by Mark Hudelson based on the Mona Lisa's theft.[12]
In the film The Art of the Steal (2013),[13] Guy de Cornet (played by Chris Diamantopoulos) narrates the story of Vincenzo Peruggia's stealing the painting


document_title: Madagascar (2005 film)

question_text: who does the voice of alex in madagascar

text: Madagascar (2005 film)

text: Plot

text: At the Central Park Zoo, Marty the zebra is celebrating his tenth birthday, but has grown bored with his daily routine and longs to experience the wild. Marty's best friend is Alex the lion, who enjoys showing off for the public and his celebrity status as "the king of New York". Alex attempts to cheer Marty up, but Marty, still unsatisfied, gets some tips from the zoo's penguins—Skipper, Kowalski, Rico, and Private—who are trying to escape the zoo, and follows them out. Alex, Melman the giraffe, and Gloria the hippopotamus pursue Marty in an attempt to convince him to return. The four, along with the penguins and two chimpanzees named Mason and Phil, find themselves at Grand Central Station, where they are quickly sedated via tranquillizer gun when Alex's attempt to communicate with humans is mistaken for aggression. The zoo, under pressure from anti-captivity activists, is forced to ship the escaped animals by sea to a Kenyan wildlife preserve. During their travels, the penguins escape from their enclosure and take over the ship, intent on taking it to Antarctica. Their antics on the bridge cause the crates containing Alex, Marty, Melman, and Gloria to fall overboard and wash ashore on Madagascar.

text: The animals are soon able to regroup, initially believing themselves to be at the San Diego Zoo. Upon exploring, however, they come across a pack of lemurs, led by King Julien XIII, and learn their true location. Alex blames Marty for their predicament and attempts to signal for help to get back to civilization. Marty, on the other hand, finds the wild to be exactly what he was looking for, with Gloria and Melman soon joining him in enjoying the island. Alex eventually comes around, but, deprived from the raw steaks he was provided with at the zoo, his prey drive begins to show as hunger kicks in. The group is accepted by the lemurs, though King Julien's adviser, Maurice, cautions them about Alex's predatory nature. King Julien ignores Maurice's concerns and persuades the group to help the lemurs fend off the fossa, who hunt the lemurs as prey. While Alex initially scares the fossa away and is worshiped by the lemurs, later, compelled by hunger, he attacks Marty. Realizing that Alex is now a threat, King Julien banishes him to the far side of the island where the fossa live. Seeing what has happened to Alex, and how difficult it is to survive with so many predators around the island, Marty begins to regret his decision to leave the zoo.

text: The penguins, having been to Antarctica and found that it "sucks", land the ship at Madagascar. Seeing this as a chance to return Alex to New York, Marty rushes after his friend against the wishes of the others. Marty attempts to convince the now grizzled, starving Alex to return, but Alex refuses out of fear of attacking Marty again. The penguins, Gloria, and Melman go to find Marty, but are trapped by the fossa. At the last minute, Alex overcomes his predatory instincts and scares the fossa away from the lemur territory forever. The lemurs regain their respect for Alex, and the penguins help him satisfy his hunger through sushi. As the lemurs throw a farewell celebration for the foursome, the penguins decide not to break the news that the ship has run out of fuel.

text: Cast

text:
Ben Stiller as Alex, a lion. Tom McGrath explained that "Ben Stiller was the first actor we asked to perform, and we knew we wanted his character, Alex, to be a big performing lion with a vulnerable side."[2]
Chris Rock as Marty, a zebra. McGrath explained the character: "Marty is a guy who thinks there might be more to life than what's in the zoo. We wanted his character to be energetic, so we listened to Chris Rock."[2]
David Schwimmer as Melman, a hypochondriac giraffe who is afraid of germs.[2] When they were looking for a voice actor for Melman, they listened to Schwimmer's voice on Friends and, according to McGrath, thought that it "sounded really neat."[2]
Jada Pinkett Smith as Gloria, a strong, confident, but sweet hippopotamus.[2] McGrath said that they found all these traits in Pinkett Smith's voice, when they listened to her.[2]
Sacha Baron Cohen as King Julien, a ring-tailed lemur and the king of the lemurs. King Julien was initially only meant to be a "two-line" character until auditioning Baron Cohen improvised eight minutes of dialogue in an Indian accent.[3]
Cedric the Entertainer as Maurice, an aye-aye and King Julien's royal advisor.
Andy Richter as Mort, a Goodman's mouse lemur.
Tom McGrath as Skipper, the leader of penguins. McGrath, who was also the film's co-director and co-writer, initially only lent his voice to the temporary tracks.[4][5] Growing up with films starring tough actors like John Wayne, Charlton Heston, and Robert Stack, McGrath wanted Stack for the voice of Skipper.[6] Stack was approached about voicing the character, but died two weeks before production on the animation began.[6][7][8] After that, DreamWorks Animation CEO Jeffrey Katzenberg decided to keep the temporary voice, with McGrath explaining: "People were used to me doing that voice. We knew it worked when we screened it."[6] Many character's traits were based off Stack's work.[8] McGrath especially emphasized The Untouchables, a 1959 television crime drama series starring Stack.[8]
Chris Miller as Kowalski, a penguin and Skipper's right hand.[4]
Jeffrey Katzenberg as Rico, a smart and silent penguin who is only expressed through grunts and squeals.[4] Mireille Soria, the film's producer, commented on Katzenberg's uncredited role: "The irony for us is that he's the one who doesn't talk. There's something very Dadaistic about that, isn't there?"[4]
Christopher Knights as Private, an eager, lowly penguin.[4] Knights was also an assistant editor on the film.[4]
Conrad Vernon as Mason, a chimpanzee (Phil, the other chimpanzee, is unvoiced)
Eric Darnell and Tom McGrath as the fossa
Eric Darnell and David P. Smith as lemurs
Elisa Gabrielli as Nana, an elderly New Yorker
Bob Saget as an unspecified off-screen zoo animal
David Cowgill as a police horse
Stephen Apostolina as a police officer

text: Release

text: Madagascar was released on DVD and VHS on November 15, 2005.[9] The DVD included a short animated film The Madagascar Penguins in a Christmas Caper, and a music video "I Like to Move It," featuring characters from the film dancing to the song.[10][11]

text: Reception

text: Critical reception

text: On Rotten Tomatoes, the film received a 55% approval rating based on 178 reviews. The consensus reads: "Though its story is problematic in spots and its humor is hit-or-miss for the adult crowd, Madagascar boasts impressive visuals and enough spunky charm to keep children entertained."[12] On Metacritic, the film has 57% approval rating based on 36 reviews falling under the "Mixed or Average" category.[13]

text: Box office

text: Despite the mixed response from critics, the film was a commercial success. On its opening weekend, the film grossed $47,224,594 with a $11,431 average from 4,131 theaters making it the number 3 movie of that weekend behind Star Wars: Episode III – Revenge of the Sith and The Longest Yard.[14] However, the film managed to claim the top position in the U.S. box office the following week with a gross of $28,110,235.[15] In the United States, the film eventually grossed $193,595,521, and in foreign areas grossed $339,085,150 with a summative worldwide gross of $532,680,671.[16] As of December 2013, the film is the ninth highest-grossing DreamWorks animated feature in the U.S. behind Shrek 2, Shrek the Third, Shrek, Shrek Forever After, How to Train Your Dragon, Madagascar 3: Europe's Most Wanted, Kung Fu Panda, and Monsters vs. Aliens.[17]

text: Awards

text: The film has won three awards and several nominations.[18]

text:
Award
Category
Recipient
Result

AFI's 10 Top 10
Animated

Nominated

Annie Award[18]
Best Animation

Nominated

Animated Effects
Matt Baer
Nominated

Animated Effects
Rick Glumac
Nominated

Animated Effects
Martin Usiak
Nominated

Character Design in an Animated Feature Production
Craig Kellman
Nominated

Music in an Animated Feature Production
Hans Zimmer
Nominated

Production Design in an Animated Feature Production
Yoriko Ito
Nominated

Storyboarding in an Animated Feature Production
Tom McGrath
Nominated

Storyboarding in an Animated Feature Production
Catherine Yuh Rader
Nominated

Kids' Choice Awards
Favorite Animated Movie

Won

text: In 2008, the American Film Institute nominated this film for its Top 10 Animation Films list.[19]

text: Soundtrack

text:
Madagascar

Soundtrack album by various artists

Released
May 26, 2005

Genre
Soundtrack, disco, new-age

Length
31:27

Label
Geffen

text:
No.
Title
Writer(s)
Performer(s)
Length

1.
"Best Friends"
Hans Zimmer, Heitor Pereira, Ryeland Allison & James S. Levine

2:24

2.
"I Like to Move It"
Erick Morillo & Mark H. Quashie
Erick Morillo (Instrumental)
Sacha Baron Cohen (Vocals)
3:51

3.
"Hawaii Five-O"
Morton Stevens
The Ventures
1:49

4.
"Boogie Wonderland"
Allee Willis & Jonathan G. Lind
Earth, Wind & Fire
4:49

5.
"Whacked Out Conspiracy"
James Dooley

2:16

6.
"Chariots of Fire"
Evangelos Papathanassiou
Vangelis
3:29

7.
"Stayin' Alive"
Barry Gibb, Maurice Gibb & Robin Gibb
the Bee Gees
4:44

8.
"Zoosters Breakout"
Hans Zimmer

1:39

9.
"Born Free"
John Barry

1:24

10.
"The Fossa Attack"
Heitor Pereira

0:37

11.
"Beacon of Liberty"
Hans Zimmer & James S. Levine

2:09

12.
"What a Wonderful World"
Bob Thiele & George David Weiss
Louis Armstrong
2:16

Total length:
31:27

text: Sequels and spin-offs

text: A sequel titled Madagascar: Escape 2 Africa was released on November 7, 2008, and picked up right where the first one left off, with the same voice cast. A second sequel, Madagascar 3: Europe's Most Wanted, was released on June 8, 2012. A short film called The Madagascar Penguins in a Christmas Caper was released with the Madagascar DVD, and was theatrically released with Wallace & Gromit: The Curse of the Were-Rabbit in the United States. A 2009 spinoff series, The Penguins of Madagascar, premiered in March 2009 on Nickelodeon. It is the first Nicktoon to be produced by both Nickelodeon and DreamWorks. Merry Madagascar, a holiday special featuring characters from the film series, premiered on November 17, 2009 on NBC. Madly Madagascar, a Valentine's Day special featuring characters from the film series, was released on DVD on January 29, 2013. A spin-off film starring the Penguins was released on November 26, 2014 and a third sequel, Madagascar 4, was set for release on May 18, 2018, but it was removed from its schedule due to the studio's restructuring.[20]

text: Notes

text: ^ In July 2014, the film's distribution rights were purchased by DreamWorks Animation.[21]


document_title: Keeping up with the Joneses

question_text: where did the phrase keeping up with the joneses come from

text: Keeping up with the Joneses

text: Origins[edit]

text: The phrase originates with the comic strip Keeping Up with the Joneses, created by Arthur R. "Pop" Momand in 1913. The strip ran until 1940 in The New York World and various other newspapers. The strip depicts the social climbing McGinis family, who struggle to "keep up" with their neighbors, the Joneses of the title. The Joneses were unseen characters throughout the strip's run, often spoken of but never shown. The idiom keeping up with the Joneses has remained popular long after the strip's end.[1][2][3][4][5]

text: Use of the name Jones for neighbors involved in social comparison predates Momand's comic strip. In 1879, English writer E. J. Simmons wrote in Memoirs of a Station Master of the railroad station as a place for social exchange: "The Joneses, who don't associate with the Robinsons, meet there."[1] American humorist Mark Twain made an allusion to Smith and Jones families with regard to social custom in the essay "Corn Pone Opinions," written in 1901 but first published in 1923. "The outside influences are always pouring in upon us, and we are always obeying their orders and accepting their verdicts. The Smiths like the new play; the Joneses go to see it, and they copy the Smith verdict."[6] Starting in 1908, D.W. Griffith directed a series of comedy shorts starring The Biograph Girl, Florence Lawrence, featuring the people next door, The Joneses.

text: An alternative explanation is that the Joneses of the saying refer to the wealthy family of Edith Wharton's father, the Joneses.[7] The Joneses were a prominent New York family with substantial interests in Chemical Bank as a result of marrying the daughters of the bank's founder, John Mason.[8] The Joneses and other rich New Yorkers began to build country villas in the Hudson Valley around Rhinecliff and Rhinebeck, which had belonged to the Livingstons, another prominent New York family to whom the Joneses were related. The houses became grander and grander. In 1853, Elizabeth Schermerhorn Jones built a 24-room gothic villa called Wyndcliffe described by Henry Winthrop Sargent in 1859 as being very fine in the style of a Scottish castle, but by Edith Wharton, Elizabeth's niece, as a gloomy monstrosity.[9] The villa reportedly spurred more building, including a house by William B. Astor (married to a Jones cousin), a phenomenon described as "keeping up with the Joneses". The phrase is also associated with another of Edith Wharton's aunts, Mary Mason Jones, who built a large mansion at Fifth Avenue and 57th Street, then undeveloped. Wharton portrays her affectionately in The Age of Innocence as Mrs. Manson Mingott, "calmly waiting for fashion to flow north".

text: A slightly different version is that the phrase refers to the grand lifestyle of the Joneses who by the mid-century were numerous and wealthy, thanks to the Chemical Bank and Mason connection. It was their relation Mrs William Backhouse Astor, Jr who began the "patriarchs balls", the origin of "The Four Hundred", the list of the society elite who were invited. By then the Joneses were being eclipsed by the massive wealth of the Astors, Vanderbilts and others but the four hundred list published in 1892 contained many of the Joneses and their relations—old money still mattered.

text: Social effects[edit]

text: The philosophy of "keeping up with the Joneses" has widespread effects on some societies. According to this philosophy, conspicuous consumption occurs when people care about their standard of living in relation to their peers.[10] The term was re-introduced in 1976 when an article about parenting included it[citation needed] and has remained a commercial and cultural watchword ever since.

text: According to Roger Mason, "the demand for status goods, fueled by conspicuous consumption, has diverted many resources away from investment in the manufacture of more material goods and services in order to satisfy consumer preoccupations with their relative social standing and prestige".[11]

text: Social status once depended on one's family name; however, the rise of consumerism in the United States gave rise to social mobility. With the increasing availability of goods, people became more inclined to define themselves by what they possessed and the subtle quest for higher status accelerated. Conspicuous consumption and materialism have been an insatiable juggernaut ever since.[12] The desire to increase one's position in the social hierarchy is responsible for much of the social mobility in America. The upward mobility over the past few decades in America is due in part to the large number of women joining the labor force. U.S. women have slowly and steadily increased their participation in the labor force from 46% of all women (age 16+) in 1974 to almost 60% in 2004.[13]

text: Even in countries where the desire for upward social mobility via consumerism and conspicuous consumption is strong, the poor may not be able to better themselves. Doug Henwood observed that "both the US and British poor were more likely to stay poor for a long period of time: almost half of all people who were poor for one year stayed poor for five or more years, compared with 30% in Canada and 36% in Germany. And, despite claims of great upward mobility in the United States, 45% of the poor rose out of poverty in a given year, compared with 45% in the UK, 53% in Germany, and 56% in Canada. And of those who did exit poverty, 15% of Americans were likely to make a round trip back under the poverty line, compared with 16% in Germany, 10% in the UK, and 7% in Canada".[14] The level of income inequality in a country has an inverse relationship with social mobility according to the authors of The Spirit Level.[15]

text: Inability to "keep up with the Joneses" might result in dissatisfaction, even for people whose status is high.[16]

text: One area in which "living above one's means" has caused negative social effects is that of credit card use. In the first quarter of 2002, total credit debt was $660 billion. By 2005, the total credit card debt had increased to $735 billion.[17] America's average credit card debt in 2007 was $8,400 per household. By the end of 2007, consumer debt in America had risen to $2.5 trillion.[18]

text: In popular culture[edit]

text: In the 1936 book The Next 100 Years, Clifford C. Furnas writes that the phenomenon of "'Keeping up with the Joneses' ... is descended from the spreading of the peacock's tail."[19]

text: The phrase is also referenced in the song "Luckenbach, Texas (Back to the Basics of Love)" by Waylon Jennings.

text: In the UK, when Princess Margaret married the fashionable photographer Anthony Armstrong-Jones in 1960, the media would sometimes mention 'keeping up with the Armstrong-Joneses'.

text: Ahmad Lewis has a song off his hit record called "The Joneses."

text: The phase appears in the song "I Wanna Go Back" by Christian singer David Dunn on his 2017 album "Yellow Balloons."

text: Dominic West makes reference to the phrase “Keeping up with the Joneses” in the 2003 film Mona Lisa Smile.


document_title: Time in the United Kingdom

question_text: what is the name of the time zone for london

text: Time in the United Kingdom

text: History[edit]

text: Until the advent of the railways, the United Kingdom used Local Mean Time. Greenwich Mean Time was adopted first by the Great Western Railway in 1840 and a few others followed suit in the following years. In 1847 it was adopted by the Railway Clearing House, and by almost all railway companies by the following year. It was from this initiative that the term "railway time" was derived.

text: It was gradually adopted for other purposes, but a legal case in 1858 held "local mean time" to be the official time.[1] On 14 May 1880, a letter signed by 'Clerk to Justices' appeared in 'The Times', stating that 'Greenwich time is now kept almost throughout England, but it appears that Greenwich time is not legal time.[2][3] This was changed later in 1880, when Greenwich Mean Time was legally adopted throughout the island of Great Britain under the Statutes (Definition of Time) Act 1880 (43 & 44 Vict.). GMT was adopted on the Isle of Man in 1883, Jersey in 1898 and Guernsey in 1913. Ireland adopted GMT in 1916, supplanting Dublin Mean Time.[4]

text: Daylight saving time was introduced by the Summer Time Act 1916 (6 & 7 Geo. V), which was implemented in 1916 as GMT plus one hour and Dublin Mean Time plus one hour. The length of DST could be extended by Order in Council, and was extended for the duration of World War I. For 1916, DST extended from 21 May to 1 October, with transitions at 02:00 standard time. On 1 October 1916, Greenwich Mean Time was introduced to Ireland.[4]

text: At the beginning of the 20th century, Sandringham Time (UTC+00:30) was used by the royal household. This practice was halted by King Edward VIII, in an effort to reduce confusions over time.

text: The dates of British Summer Time are the subject of the Summer Time Act 1972. From 1972 to 1980, the day following the 3rd Saturday in March was the start of British Summer Time (unless that day was Easter Sunday, in which case BST began a week earlier), with the day following the 4th Sunday in October being the end of British Summer Time. From 1981 to 2001, the dates were set in line with various European Directives. Since 2002 the Act has specified the last Sunday in March as the start of British Summer Time with the last Sunday in October being end of British Summer Time.[5]

text: Experimentations with Central European Time[edit]

text: The United Kingdom experimentally adopted Central European Time by maintaining Summer Time throughout the year from 1968 to 1971.[6] In a House of Lords debate, Richard Butler, 17th Viscount Mountgarret said that the change was welcomed at the time, but the experiment was eventually halted after a debate in 1971, in which the outcome might have been influenced by a major accident on the morning of the debate.[7]

text: Proposals to adopt CET have been raised by various politicians over the years,[6][8] including a proposal in 2011 to conduct an analysis of the costs and benefits.[9]

text: Devolution[edit]

text: Authority over the time zone in Northern Ireland is devolved to the Northern Ireland Assembly[10] but the power has never been used. In Scotland and Wales, time zone is a reserved matter, meaning that only the Parliament of the United Kingdom has power to legislate.

text: IANA time zone database[edit]

text: The IANA time zone database contains one zone for the United Kingdom in the file zone.tab, named Europe/London. This refers to the area having the ISO 3166-1 alpha-2 country code "GB". The zone names Europe/Guernsey, Europe/Isle_of_Man and Europe/Jersey exist because they have their own ISO 3166-1 alpha-2 but the zone.tab entries are links to Europe/London. There are several entries for UK possessions around the world.

text: Data directly from zone.tab of the IANA time zone database. Columns marked with * are the columns from zone.tab itself.

text:
c.c.*
Coordinates*
TZ*
Comments*
UTC offset
UTC DST offset

GB
+513030-0000731
Europe/London

+00:00
+01:00

GI
+3608-00521
Europe/Gibraltar

+01:00
+02:00

GG
+4927-00232
Europe/Guernsey

+00:00
+01:00

IM
+5409-00428
Europe/Isle_of_Man

+00:00
+01:00

JE
+4912-00207
Europe/Jersey

+00:00
+01:00

AI
+1812-06304
America/Anguilla

−04:00
−04:00

MS
+1643-06213
America/Montserrat

−04:00
−04:00

TC
+2128-07108
America/Grand_Turk

−05:00
−04:00

AQ
-6734-06808
Antarctica/Rothera
Rothera Station, Adelaide Island
−03:00
−03:00

BM
+3217-06446
Atlantic/Bermuda

−04:00
−03:00

GS
-5416-03632
Atlantic/South_Georgia

−02:00
−02:00

SH
-1555-00542
Atlantic/St_Helena

+00:00
+00:00

FK
-5142-05751
Atlantic/Stanley

−03:00
−03:00

IO
-0720+07225
Indian/Chagos

+06:00
+06:00

PN
-2504-13005
Pacific/Pitcairn

−08:00
−08:00

text: British territories[edit]

text:
UTC−08:00 — Pitcairn Islands
UTC−05:00 — Cayman Islands
UTC−04:00 (AST when DST is not in effect) — Bermuda
UTC−04:00 (AST, DST never observed) — Anguilla, British Virgin Islands, Montserrat, Turks and Caicos Islands
UTC−03:00 (AST when DST is in effect) — Bermuda, (FKST) — Falkland Islands
UTC−02:00 — South Georgia and the South Sandwich Islands
UTC (GMT when DST not in effect) — The United Kingdom (England and Wales, Scotland, Northern Ireland), Guernsey, Isle of Man, Jersey
UTC (GMT, DST never observed) — Saint Helena, Ascension and Tristan da Cunha
UTC+01:00 (British Summer time when DST is in effect) — The United Kingdom (England and Wales, Scotland, Northern Ireland), Guernsey, Isle of Man, Jersey, (CET when DST not in effect) — Gibraltar
UTC+02:00 (when DST not in effect) Gibraltar, (EET when DST is not in effect) — Akrotiri and Dhekelia
UTC+03:00 (EET when DST is in effect) — Akrotiri and Dhekelia
UTC+06:00 — British Indian Ocean Territory