document_title: Cue (theatrical)

question_text: who calls the cues for a show over the headset

text: Cue (theatrical)

text: Types[edit]

text: Cues are generally given by the stage manager as a verbal signal over the headset system or backstage intercom, by a signal with a 'cue light' or by a show control system. There are 3 types of cues given. Warning, Standby, and Go.

text:
Warning: Given about a minute prior to the cue and gives time for crew members to get ready and make sure everything is set (this is especially important with cues for set or rail changes).
Standby: Given a few seconds before the cue and tells the crew members everything should be set and they should be standing by to go.
Go: Given at the moment the cue should be executed. This sets the crew members in action.

text: Calling and execution[edit]

text: There are several common methods for the stage manager to call warning, standby and go and each stage manager has their own method. The important thing is that they can be heard and understood. Here is an example of a way a stage manager might call for Light Cue #24

text:
"Warning LX 24"
"Standby LX 24"
"LX 24 GO"

text: The words 'warning' and 'standby' both come before the department and cue number, but the word 'go' comes after. This is because as soon as the word 'go' is heard the crew will execute the cue. It is important that no crew member use the word 'go' in any way while speaking into the intercom system, including casual use of the word 'go' by the stage manager. When discussing cues, many stage managers and crew members will substitute the phrase "the G word" or "G-O"for the word 'go'.

text: If there are multiple cues right in a row, rather than calling warnings, standbys and go's, a stage manager might say: "Warning Lights 26 through 30, Standby Lights 26 through 30, Lights 26 Go, Lights 27 Go, Lights 28 Go, Lights 29 Go, Lights 30 Go."

text: The technician(s) or sound and board ops who are to take the cue are expected to respond so that the stage manager knows they have heard and understood them. A typical response could be, "Standing by", "Thank you, Sound", "Standby Rail," or simply "Lights."

text: Many types of cues are not apparent to the stage manager, or are subtle. In this case the technician who executed the cue usually responds with a taken note; e.g. "Rail cue 11 taken."

text: The stage manager may ask for the operator to say when the cue is completed. For this, it will be said:

text:
SM: Standby Pyro 2, with a complete.
Pyro: Standing by.
SM: Pyro 2, GO.
[pyro happens]
Pyro: Completed.

text: Sometime either the warning or the standby is omitted. This is common if, for example a number of cues are close to each other and don't require preparation. Sometimes, in amateur or British theaters, a single warning or standby cue is consistently given about 30 seconds before the 'Go.'

text: Order[edit]

text: Cues have established numbers, generally starting from 1 and progressing in integers. If an extra cue is added after the initial list is set, it may be divided by a decimal or a letter. for example, a sequence may go 37, 37.3, 37.7 or 51A, 51B, 51C. It is rare for two decimal digits to be used (like 12.45, 12.46,) particularly as some lighting boards only allow one decimal digit. Show control systems, however, allow and frequently use multiple decimal places as well as digits especially since MIDI Show Control allows an almost unlimited number. An example is 12.46.128.39.

text: In some systems, lighting, sound, and rail, etc. cues each have their own sequence. In this case, a stage manager would call, for example, Lights 1, Sound 1, Lights 2, Rail 1, Lights 3, etc. In other systems, the cues are arranged together, so that what the stage manager calls is sequential. In this system they might call Lights 1, Sound 2, Lights 3. It is acceptable in this system for there to be gaps in one discipline's cue stack. In this system, it is sometimes also acceptable for a single cue to control two or more separate actions. For example, a stage manager may call "Lights and sound 45" if the two are supposed to go simultaneously. Many show control systems are also easily capable of this sort of simultaneous cueing ability.

text: Followspot cues[edit]

text: Often followspot operators do not take their cues from stage managers. This is generally because the timing of actors' entrances and exits and other movements may vary from night to night, and because calling every followspot cue could become too complicated and interfere with the calling and execution of other cues. However, if there is a problem with the actor appearing on stage, the stage manager will notify the followspots of this over headset. More commonly, a stage manager may only call very specific followspot cues, like a blackout—frequently on a blackout cue there is a light cue, a sound cue, a followspot cue and sometimes even a set cue, so it is very important that everything happens all at the same time. Aside from this, followspot operators take their own cues and follow their own cue sheet, or take direction from the lighting board operator on a communications subsystem dedicated to lighting cues.

text: (If a stage manager were to call every cue for a follow spot operator, it might sound something like this: "Spot 1, pick up <actor name>, spot 2 iris down, spot 1 switch to color frame #4, spot 3 douse out, spot 4 pick up <actor name>, spot 2 switch to color frame #2.")

text: Cue lights[edit]

text: Cue lights are sometimes used for backstage cues when a headset for communications is impractical, such as when an actor needs to make an entrance, or if there is a cue needed on stage when the crew needs to be silent. The cue light is a system of one or more light bulbs, controlled by the stage manager using a switch the same way that (s)he would call audio cues over the headset. The cue lights usually use traffic light colors: a solid red light indicates a 'warning' cue; an optional yellow light or a flashing red light indicates "standby"; a green light signals "go." No light at all can represent that no cue is pending. Depending upon the protocol used, a solid red light may indicate that the standby has been acknowledged, or that no cue is pending. An alternate scheme with only one lamp uses "on" as a standby cue and "off" as the cue. Some cue light systems allow the actors or crew to acknowledge back to the Cue Light Operator that the cue has been received.

text: Many sound operators prefer cue lights to headsets so that they can hear the house sound accurately. Alternately, they will use a headset with a call light, rather than continually wearing it.

text: Cue sheet[edit]

text: A cue sheet is a form usually generated by the deputy stage manager or design department head that indicates information about the cue including execution, timing, sequence, intensity (for lights), and volume (for sound). The board operators, running and deck crews may have copies of the cue sheet with just the information dealing with their department. The stage manager keeps a master list of all the cues in the show and keeps track of them in the prompt book.


question_text: who said we have a failure to communicate

root

text:
"What we've got here is failure to communicate"

The Captain (Strother Martin) delivers the quote.

Character
The Captain
Luke

Actor
Strother Martin
Paul Newman

First used in
Cool Hand Luke

Voted No. 11 in AFI's 100 Movie Quotes poll

tag: table

text: The phrase "What we've got here is failure to communicate"[1] is a quotation from the 1967 film Cool Hand Luke, spoken in the movie first by Strother Martin (as the Captain, a prison warden) and later, abridged, by Paul Newman (as Luke, a stubborn prisoner).

tag: p

text: The context of the first delivery of the line is:

text: The Captain's line is often misquoted as "What we have here is a failure to communicate".[2]

text: Towards the end of the movie, Luke takes a final stab at freedom – stealing a dump truck and taking flight. After his dramatic escape from the Florida chain gang prison, Luke abandons the truck and enters a church, only to be surrounded by police moments later. Feeling that his life is no longer worth living, he walks to a window facing the police and mocks the Captain by repeating the first part of his speech ("What we got here is a failure to communicate.").[2] He is immediately shot in the neck by Boss Godfrey.

text: The phrase ranks at number 11 on the American Film Institute list, AFI's 100 Years... 100 Movie Quotes.[1]

text: In popular culture[edit]

text:
When Strother Martin hosted Saturday Night Live on April 19, 1980 (his last television appearance before his death that August) Martin, in one of the skits, played the strict owner of a French language camp for children, parodying his Cool Hand Luke role, Cool Hand Luke. He paraphrased his line from the movie as, "What we have here is failure to communicate BI-LINGUALLY!"
Guns N' Roses included the quotation, sampled from Martin's speech in the film, in the opening of their song "Civil War" (1990), and later remixed it in "Madagascar" (2008).[3][4][5]
The quote has been used in many movies, TV shows and other media due to its lasting popularity.

tag: ul


document_title: Mitochondrial intermembrane space

question_text: what is produced in the intermembrane space of mitochondria

text: Mitochondrial intermembrane space

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2017) (Learn how and when to remove this template message)

text: The intermembrane space of a Mitochondrion refers to the compartment formed between the inner and outer mitochondrial membranes.[1]

text: The intermembrane space is chemically similar to cytosol, but includes a large amount of small proteins as well. As electrons move down the proteins in the electron transport chain, the electrons lose energy to bring H+ ions from the mitochondrial matrix into the intermembrane space. As a concentration gradient of hydrogen ions forms, a protein called ATP synthase harnesses the potential energy of these ions and starts chemiosmosis, where the H+ ions reenter the matrix via this enzyme bound to the cristae (folds of the inner membrane). ADP and a phosphate group are combined to form ATP.


document_title: Macy Alexander

question_text: who is thorn on bold and the beautiful

question_tokens: who is thorn on bold and the beautiful

text: Macy Alexander

text: Relationship with Thorne Forrester[edit]

text: Macy first met Thorne Forrester (then played by Clayton Norcross) in a bar as she was walking out while he bumped into her. The second time they met was on the Queen Mary, where the Spectras and the Forresters were having a fashion showdown (and the role of Thorne Forrester had been recently taken over by Jeff Trachta). Her mother Sally (Darlene Conley) had been trying to arrange for Macy to end up with Ridge (Ronn Moss), but it was Ridge's brother Thorne who walked into the room and caught Macy coming out of the shower. It was a while before they ran into each other again at the Bikini Bar, each nursing their own broken heart—Thorne for his soon-to-be-ex-wife Caroline (Joanna Johnson), and Macy for Mick Savage, a photographer who had run out on her. They spent the night together at Big Bear, but neither intended for it to be more until they cohosted a benefit together and discovered they both loved singing. After dating for some time, Thorne proposed to Macy, but there was one problem - Macy had never told Thorne that she was Sally Spectra's daughter because the Forresters would never have accepted the truth. Macy accepted Thorne's proposal, but while telling her mother, Sally revealed that Eye on Fashion had a picture of Clarke (Daniel McVicar) and Sally's wedding, which included Macy. When Thorne, who had found out from his family, confronted her, she admitted who she was and returned the ring. Macy was heartbroken to have lost Thorne, but within a few weeks, Thorne's first wife Caroline died and Thorne, with Sally's help, came back to Macy begging for another shot.

text: Marriage to Thorne[edit]

text: Their wedding plans didn't go as smoothly as they wanted. While Macy's family supported them, only Thorne's sister Felicia (then played by Colleen Dion-Scotti) was willing to be part of their wedding. Macy and Thorne decided to have a church ceremony, and they were pleasantly surprised when Thorne's entire family showed up. Unfortunately, the Forresters could not truly accept Macy as Thorne's wife, and Macy and Thorne were constantly arguing over what her mother was up to, and the two separated. After waiting in vain for Thorne to come to her (he was waiting for the same thing), Macy got involved with tennis pro Jake Maclaine (Todd McKee), who had recently broken up with Felicia. Thorne finally came to her and asked her to come back, but by then it had been too long, and Macy opted to stay with Jake. It wasn't long before she regretted her decision and went home to Thorne, who welcomed her back with open arms. Their happiness didn't last long, because they couldn't stop the fighting and Thorne soon fell for Karen (also played by Joanna Johnson), the long-lost twin of his first love, Caroline.

text: Jake, Thorne and Grant[edit]

text: During her relationship with Jake, Macy was accused of stealing the BeLieF formula from Forrester. Jake eventually confessed to the crime, spurring him and his sister into leaving town. Macy and Thorne again reunited, only this time Anthony Armando (Michael Sabatino) came between them ... that, and Macy's alcoholism. When model Ivana (Monika Schnarre) was found dead, Thorne was accused of the crime, but it turned out it was Anthony. When Macy and Thorne began singing together again, they once again renewed their relationship. Although they hit a bump in the road with Macy's throat cancer, it wasn't long before the two married yet again. When Thorne got himself involved with Claudia Cortéz (Lilly Melgar), a Forrester employee who was in the country illegally, it was the last straw, and Macy and Thorne's already tenuous relationship broke. Macy threw herself into trying to get over Thorne, and while she was trying to do that, she was making friends with Grant Chambers (Charles Grant), a new designer at Spectra. Almost before they knew it, she and Grant were in love, and planning a wedding.

text: Grant's death and return to Thorne[edit]

text: For the first time in her life, there was no stress in Macy's relationship. Without needing to worry that the Forresters would disapprove of her or that Thorne (now played by Winsor Harmon) would disapprove of her mother, Macy and Grant could simply enjoy their time together. The two were blissfully in love, and planning a family and a future. When Macy was having trouble getting pregnant, they decided to go to the doctor for tests, and while there, Macy and Grant were treated to a shock—Grant had cancer, and he didn't have long to live. Macy was devastated to learn that she had found the love of her life but would soon lose him. Macy stayed by his side for the remaining time he had left, but when Grant died, she turned back to the bottle. Thorne (who had given up on his quest for Ridge's wife Taylor) was there to help pull her out, and the two were soon back together, planning a wedding and a future. Unfortunately, Thorne's former sister-in-law Brooke had set her sights on Thorne, and Brooke worked behind the scenes until she came between Thorne and Macy, and the two broke up. Macy thought it was over until she got a call from Thorne, and assuming he and Brooke were finished, Macy married Thorne in Amsterdam.

text: Macy's father[edit]

text: Around this same time, Macy's long-lost father showed up back in the picture, bringing with him his own teenage daughter Kimberly (Ashley Lyn Cafagna). Macy soon grew very close to both her father and her half-sister. Romantically, it wasn't long before Macy realized that Thorne had married her on the rebound and had no intention of stopping his relationship with Brooke Logan (Katherine Kelly Lang). She began to drink more heavily, which was not helped by Brooke flaunting her relationship with Thorne. Macy finally went up to Big Bear to say goodbye to Thorne and was ready to sign the divorce papers when Brooke arrived demanding that Macy let Thorne go so she could have him. Furious, Macy took off in the car, with Brooke tagging along so she could force her to sign the papers. After a horrible car accident, Macy was presumed dead, devastating her mother, half-sister and half-brother.

text: Return to Thorne again[edit]

text: Much to everyone's surprise, it turned out that Macy was alive and well. Her father Adam (Michael Swan) had rescued her from the car moments before it blew up, and took her to Italy with him, where she was living under the name Lena, and in love with Lorenzo Barelli (Luigi Amodeo). She was noticed by Thorne when she was singing in a small Italian café, and when her mother Sally had a heart attack, she returned to Los Angeles with Lorenzo, who soon became her husband. Thorne wasted no time in telling her that since she never signed the divorce papers they were still legally married, and after Macy realized she could never love Lorenzo the way she loved Thorne, Lorenzo left town and Macy and Thorne reunited. Unfortunately, at a time when he thought they were broken up, Thorne had indulged in a one-night stand with Macy's best friend Darla (Schae Harrison). Around the same time Macy was having an emergency hysterectomy, Darla was discovering she was pregnant with Thorne's child. Although the plan was initially for Macy and Thorne to adopt the child (without Macy knowing Thorne was the father), once the truth came out Macy could no longer be part of Thorne's life and asked him for an annulment.

text: Macy and Deacon[edit]

text: This time Macy found comfort in Deacon Sharpe (Sean Kanan), a new friend and recovering alcoholic. What started as friendship soon turned more romantic, especially once Macy began helping Deacon pursue custody of his son "little Eric" (Connor Carmody) and his daughter Hope (Rachel and Amanda Pace). In part, Macy helped Deacon because by him winning, Brooke Logan would suffer, and Macy had never forgiven Brooke for manipulating her way into her and Thorne's marriage then tossing Thorne aside because he wasn't Ridge. Deacon and Macy married and began raising Eric (whom Deacon had won custody of) together, and things were finally back on track. When Oscar Marone (Brian Gaskill) opened a new nightclub in town, Macy agreed to perform on opening night, but enemies from Oscar's past tampered with the chandelier that night, which fell, severely injuring Macy. Although Macy hung on in the hospital in a coma for a few days, she never woke up, and her mother had to make the choice of whether or not to take her off life support; Sally's actual choice has never been revealed, but Macy is generally assumed to be dead, due to the funeral. When Thorne and Darla's daughter was born a few weeks later, she was named Alexandria in honor of Macy.

text:
[show]

v
t
e

The Bold and the Beautiful

Current characters

Maya Avant
Nicole Avant
Sheila Carter
Zende Dominguez
Pamela Douglas
Eric Forrester
Ivy Forrester
Rick Forrester
Ridge Forrester
R.J. Forrester
Steffy Forrester
Thomas Forrester
Quinn Fuller
Brooke Logan
Hope Logan
Katie Logan
Coco Spectra
Sally Spectra
Shirley Spectra
Bill Spencer
Caroline Spencer
Liam Spencer
Wyatt Spencer

Recurring characters

Alison Montgomery
Justin Barber
Bradley Baker
Julius Avant
Vivienne Avant
Saul Feinberg
Antonio Dominguez
Thorne Forrester
Felicia Forrester
Kristen Forrester
Bridget Forrester
C.J. Garrison
Deacon Sharpe
Taylor Hayes
Donna Logan
Sasha Thompson
Carter Walton
James Warwick
Charlie Webber
John Forrester
Jarrett Maxwell
Mateo
Darlita

Notable previous
characters

Ashley Abbott
Adam Alexander
Macy Alexander
Morgan DeWitt
Deveney Dixon
Dante Damiano
Kimberly Fairchild
Lauren Fenmore
Aly Forrester
Caroline Spencer
Darla Einstein
Margo Lynley
Dayzee Leigh
Marcus Forrester
Maggie Forrester
Jessica Forrester
Phoebe Forrester
Stephanie Forrester
Clarke Garrison
Agnes Jones
Whipple Jones
Oliver Jones
Owen Knight
Beth Logan
Stephen Logan
Storm Logan
Erica Lovejoy
Jake Maclaine
Mark Maclaine
Massimo Marone
Jackie Marone
Nick Marone
Oscar Marone
Amber Moore
Sally Spectra
Bill Spencer
Karen Spencer
Danielle Spencer

Production crew

Executive Producer

Bradley Bell

Head Writers

Bradley Bell
Michael Minnis

Creators

William J. Bell and Lee Phillip Bell

Related articles

Cast members
Crew
Characters
Forrester Creations
Jackie M Designs
Spencer family
Forrester family
Logan family
Marone family
The Young and the Restless

text:
[show]

v
t
e

The Spectra family in The Bold and the Beautiful

Main characters

Sally Spectra
Macy Alexander Sharpe
C.J. Garrison
Darla Forrester
Alexandria Forrester
Sally Spectra
Coco Spectra
Shirley Spectra

Spouses:

Adam Alexander
Clarke Garrison
Thorne Forrester
Grant Chambers
Lorenzo Barelli
Deacon Sharpe
Becky Moore

text:
[show]

v
t
e

The Forrester family in The Bold and the Beautiful

Angela Forrester
Kristen Dominguez
Ridge Forrester
Thorne Forrester
Felicia Forrester
Eric Forrester
Rick Forrester
Bridget Forrester
Thomas Forrester
Phoebe Forrester
Steffy Forrester
Jessica Forrester
R.J. Forrester
Alexandria Forrester
Zende Forrester Dominguez
Dino Damiano
Ivy Forrester
John Forrester

Spouses
Stephanie Forrester
Brooke Logan
Sheila Carter
Donna Logan
Caroline Spencer Forrester
Maggie Forrester
Taylor Hayes
Macy Alexander Sharpe
Darla Einstein
Clarke Garrison
Antonio Dominguez
Amber Moore
Deacon Sharpe
Dominick Marone
Gabriela Moreno
Liam Spencer
Caroline Spencer
Maya Avant
Nicole Avant

text: The Bold and the Beautiful charactersFictional characters introduced in 1989

text: Articles to be expanded from February 2012All articles to be expandedArticles lacking sources from February 2012All articles lacking sourcesArticles with a promotional tone from June 2015All articles with a promotional toneArticles to be merged from June 2016All articles to be mergedArticles with multiple maintenance issues


document_title: Cubic centimetre

question_text: why is a cubic cm a derived unit

question_tokens: why is a cubic cm a derived unit

text: Cubic centimetre

text: A cubic centimetre (or cubic centimeter in US English) (SI unit symbol: cm3; non-SI abbreviations: cc and ccm) is a commonly used unit of volume that extends the derived SI-unit cubic metre, and corresponds to the volume of a cube that measures 1 cm × 1 cm × 1 cm. One cubic centimetre corresponds to a volume of 1/1,000,000 of a cubic metre, or 1/1,000 of a litre, or one millilitre; thus, 1 cm3 ≡ 1 ml. The mass of one cubic centimetre of water at 3.98 °C (the temperature at which it attains its maximum density) is closely equal to one gram. SI supports only the use of symbols and deprecates the use of any abbreviations for units.[1] Hence cm3 is preferred to cc or ccm.

text: Many scientific disciplines have replaced cubic centimeter measurements with milliliters, but the medical and automotive fields in the United States still use the term cubic centimetre. Much of the automotive industry outside the U.S. has switched to litres. The United Kingdom uses millilitres in preference to cubic centimetres in the medical field, but not the automotive. Most other English-speaking countries follow the UK example.[citation needed]

text: There is currently a movement within the medical field to discontinue the use of cc in prescriptions and on medical documents, as it can be misread as "00". This could cause a hundredfold overdose of medication, which could be dangerous or even lethal. In the United States, such confusion accounts for 12.6% of all errors associated with medical abbreviations.[2]

text: In automobile engines, "cc" refers to the total volume of its engine displacement in cubic centimetres. The displacement can be calculated using the formula

text: where d is engine displacement, b is the bore of the cylinders, s is length of the stroke and n is the number of cylinders.

text: Conversions

text:
1 millilitre = 1 cm3
1 litre = 1000 cm3
1 cubic inch = 16.387 cm3.