document_title: The Hateful Eight

question_text: who poisoned the coffee in the hateful eight

text: The Hateful Eight

text: Plot[edit]

text: Years after the Civil War, bounty hunter Major Marquis Warren is transporting three dead bounties to the town of Red Rock, Wyoming. He hitches a ride on a stagecoach driven by O.B. Jackson. Aboard is John Ruth, a bounty hunter known for bringing in outlaws alive to see them hang; handcuffed to him is fugitive Daisy Domergue, whom Ruth is escorting to Red Rock. Ruth is suspicious of anyone who might steal his claim to the bounty. Ruth and Warren bond over Warren's personal letter from Abraham Lincoln.

text: Former Lost-Causer militiaman Chris Mannix, who claims he is traveling to Red Rock as the town's new sheriff, persuades Ruth and Warren to let him on the stagecoach. Warren and Ruth form an alliance to protect each other's bounties. Mannix and Warren almost come to blows over their controversial war records.

text: The group seeks refuge from a blizzard at Minnie's Haberdashery, a stagecoach lodge. They are greeted by Bob, a Mexican, who says the owner, Minnie, is visiting her mother. The other lodgers are Oswaldo Mobray, a hangman; Joe Gage, a quiet cowboy traveling to visit his mother; and Sanford Smithers, a former Confederate general traveling to put his missing son to rest. Suspicious, Ruth disarms all but Warren. As the group eats, Mannix surmises that Warren's Lincoln letter is a forgery. Warren admits this, saying the letter buys him leeway with whites, outraging Ruth. Warren leaves a gun next to Smithers and provokes him into reaching for it by telling Smithers he tortured, raped, and killed Smithers' son. When Smithers pulls a gun, Warren shoots him as revenge for Smithers' execution of black soldiers at the Battle of Baton Rouge.

text: While everyone is distracted by the confrontation, someone seen only by Daisy poisons the brewing coffee. Ruth and O.B. drink it, causing them to vomit blood, killing O.B. The dying Ruth attacks Daisy, but she kills him with his own gun. Warren disarms Daisy, holds the men at gunpoint and leaves her cuffed to Ruth's corpse. Warren is joined by Mannix, whom Warren trusts because he nearly drank the poisoned coffee. Warren executes Bob, deducing that he is an impostor who killed the lodge owners, as Minnie hates Mexicans and would never leave one to care for the lodge. When Warren threatens to execute Daisy, Gage admits that he poisoned the coffee. A man hiding in the cellar shoots Warren in the genitals. Mobray draws a concealed gun and shoots Mannix, who returns fire, wounding Mobray and forcing Gage against the wall.

text: Hours earlier, Bob, Mobray, Gage, and a fourth man, Jody, arrive at Minnie's Haberdashery. They murder Minnie and five other bystanders, leaving only Smithers. Jody, Daisy's brother, tells Smithers they plan to ambush Ruth to rescue Daisy; his gang will spare Smithers if he keeps quiet, as they deduce that an extra lodger makes the setup more believable. The bandits dispose of the bodies, hide the evidence, and conceal guns around the lodge. As Ruth's stagecoach arrives, Jody hides in the cellar.

text: In the present, Mannix and Warren, both seriously wounded, hold Daisy, Gage, and the dying Mobray at gunpoint. They force Jody out of the cellar by threatening to kill Daisy. Jody surrenders and Warren executes him. Daisy claims fifteen of her brother's men are waiting in Red Rock to kill Mannix and ransack the town; if Mannix kills Warren and allows her to escape, the gang will spare him and let him claim the bounties of the deceased except her brother.

text: As Daisy and Mobray taunt Warren, Warren shoots Daisy in the foot and Mobray in the leg; Mobray soon dies from his wounds. Gage draws a hidden revolver but is shot dead by Mannix and Warren. Warren tries to shoot Daisy but is out of bullets. Mannix calls Daisy's bluff and rejects her offer, but faints from blood loss. Daisy hacks off Ruth's handcuffed arm and frees herself. As she reaches for a gun, Mannix regains consciousness, shoots, and wounds her. Warren persuades Mannix to hang her from the rafters in honor of Ruth. Afterward, as the two men lie dying, Mannix reads aloud Warren's forged Lincoln letter.

text: Cast[edit]

text:
Samuel L. Jackson as Major Marquis Warren
Kurt Russell as John Ruth
Jennifer Jason Leigh as Daisy Domergue
Walton Goggins as Sheriff Chris Mannix
Demián Bichir as Bob
Tim Roth as Oswaldo Mobray
Michael Madsen as Joe Gage
Bruce Dern as General Sandy Smithers
James Parks as O.B.
Dana Gourrier as Minnie Mink
Zoë Bell as Six-Horse Judy
Lee Horsley as Ed
Channing Tatum as Jody

text: Production[edit]

text: In November 2013, writer-director Quentin Tarantino said he was working on a new film, another Western. He stated that it would not be a sequel to Django Unchained,[6] though he later admitted that his first attempt at the story was as a sequel in novel form titled Django in White Hell, but he quickly realized that Django's character did not fit the story.[7] On January 12, 2014, the film's title was announced as The Hateful Eight.[8] The film was inspired by the 1960s Western TV series Bonanza, The Virginian and The High Chaparral. Tarantino said:

text: Twice per season, those shows would have an episode where a bunch of outlaws would take the lead characters hostage. They would come to the Ponderosa and hold everybody hostage, or go to Judge Garth's place—Lee J. Cobb played him—in The Virginian and take hostages. There would be a guest star like David Carradine, Darren McGavin, Claude Akins, Robert Culp, Charles Bronson, or James Coburn. I don't like that storyline in a modern context, but I love it in a Western, where you would pass halfway through the show to find out if they were good or bad guys, and they all had a past that was revealed. I thought, 'What if I did a movie starring nothing but those characters? No heroes, no Michael Landons. Just a bunch of nefarious guys in a room, all telling backstories that may or may not be true. Trap those guys together in a room with a blizzard outside, give them guns, and see what happens.[9]

text: Production would most likely have begun in mid 2014, but after the script leaked online in January 2014, Tarantino considered publishing it as a novel instead.[10] He said he had given the script to a few trusted colleagues, including Bruce Dern, Tim Roth, and Michael Madsen.[11][12] This version of the script featured a different ending in which Warren and Mannix attempt to kill Gage in revenge by forcing him to drink the poisoned coffee, sparking a firefight in which every character is killed.[13] Tarantino described his vision for the character of Daisy Domergue as a "Susan Atkins of the Wild West".[14]

text: On April 19, 2014, Tarantino directed a live reading of the leaked script at the United Artists Theater in the Ace Hotel Los Angeles. The event was organized by the Film Independent at Los Angeles County Museum of Art (LACMA) as part of the Live Read series and introduced by Elvis Mitchell.[15] Tarantino explained that they would read the first draft of the script, and he added that he was writing two new drafts with a different ending. The actors who joined Tarantino included Samuel L. Jackson, Kurt Russell, Amber Tamblyn, James Parks, Walton Goggins, Zoë Bell, James Remar, Dana Gourrier, Dern, Roth and Madsen.[16]

text: Casting[edit]

text: On September 23, 2014, it was revealed that Viggo Mortensen was in discussion with Tarantino for a role in the film.[17] On October 9, 2014, Jennifer Jason Leigh was added to the cast to play Daisy Domergue.[18] On November 5, 2014, it was announced that Channing Tatum was eyeing a major role in the film.[19] Later the same day, The Weinstein Company confirmed the cast in a press release, which would include Samuel L. Jackson, Jennifer Jason Leigh, Kurt Russell, Tim Roth, Demián Bichir, Walton Goggins, Michael Madsen, and Bruce Dern. Tatum's casting was also confirmed.[20]

text: Later on January 23, 2015, TWC announced an ensemble cast of supporting members, including James Parks, Dana Gourrier, Zoë Bell, Gene Jones, Keith Jefferson, Lee Horsley, Craig Stark, and Belinda Owino.[21]

text: In the earlier public reading of the first script, the role of Daisy Domergue had been read by Amber Tamblyn, and the role of Bob, a Frenchman rather than a Mexican, was read by Denis Ménochet;[16] at the reading, the role of Jody was read by James Remar. Regarding the cast, Tarantino has said, "This is a movie where [bigger movie stars] wouldn't work. It needs to be an ensemble where nobody is more important than anybody else."[22]

text: Filming[edit]

text: On September 26, 2014, the state of Colorado had signed to fund the film's production with $5 million, and the complete film would be shot in Southwest Colorado.[23] A 900-acre ranch was issued to the production for the filming. There was a meeting on October 16, and the county's planning commission issued a permit for the construction of a temporary set.[23] Principal photography began on December 8, 2014, in Colorado on the Schmid Ranch near Telluride.[24][25][26][27] The film's special make-up effects were created by Greg Nicotero, known for his work on the AMC series The Walking Dead.[28]

text: Guitar incident[edit]

text: The guitar destroyed by Russell's character was not a prop but an antique 1870s Martin guitar lent by the Martin Guitar Museum. According to sound producer Mark Ulano, the guitar was supposed to have been switched with a copy to be destroyed, but this was not communicated to Russell; everyone on the set was "pretty freaked out" at the guitar's destruction, and Leigh's reaction was genuine, though "Tarantino was in a corner of the room with a funny curl on his lips, because he got something out of it with the performance."[29] Museum director Dick Boak said that the museum was not told that the script included a scene that called for a guitar being smashed, and determined that it was irreparable. The insurance remunerated the purchase value of the guitar. As a result of the incident, the museum no longer lends guitars to film productions.[30]

text: Cinematography[edit]

text: Cinematographer Robert Richardson, who also worked with Tarantino on Kill Bill, Inglourious Basterds, and Django Unchained, filmed The Hateful Eight on 70 mm film, using Ultra Panavision 70 and Kodak Vision 3 film stocks: 5219, 5207, 5213 and 5203. It is the widest release in 70 mm film since Ron Howard's Far and Away in 1992.[31] The film uses Panavision anamorphic lenses with an aspect ratio of 2.76:1, a very widescreen image that was used on some films in the 1950s and 1960s.[32] The filmmakers also avoided any use of a digital intermediate in the 70mm roadshow release, which was color-timed photochemically by FotoKem, and the dailies were screened in 70mm.[33] The wide digital release and a handful of 35mm prints were struck from a digital intermediate, done by Yvan Lucas at Shed/Santa Monica.

text: Post-production[edit]

text: Tarantino edited two versions of the film, one for the roadshow version and the other for general release. The roadshow version runs for three hours and two minutes, including six minutes of extra footage plus an overture and intermission, and has alternate takes of some scenes. Tarantino created two versions as he felt some of the footage he shot for 70mm would not play well on smaller screens.[34] Classifications from the British Board of Film Classification confirm that the time difference between the Roadshow (187 minutes) and the DCP (167 minutes) releases is 20 minutes.[2][3]

text: Music[edit]

text: Tarantino announced at the 2015 Comic-Con that Ennio Morricone would compose the score for The Hateful Eight; it is the first Western scored by Morricone in 34 years, since Buddy Goes West, and Tarantino's first film to use an original score.[35][36] Tarantino had previously used Morricone's music in Kill Bill, Death Proof, Inglourious Basterds, and Django Unchained, and Morricone also wrote an original song, "Ancora Qui", for the latter.[37] Morricone had previously made statements that he would "never work" with Tarantino after Django Unchained, but ultimately changed his mind and agreed to score The Hateful Eight.[38] According to Variety, Morricone composed the score without even seeing the film.[39]

text: The soundtrack was announced on November 19, 2015, for a December 18 release from Decca Records. Ennio Morricone composed 50 minutes of original music for The Hateful Eight. In addition to Morricone's original score, the soundtrack includes dialogue excerpts from the film, "Apple Blossom" by The White Stripes from their De Stijl album, "Now You're All Alone" by David Hess from The Last House on the Left and "There Won't Be Many Coming Home" by Roy Orbison from The Fastest Guitar Alive.[40]

text: Tarantino confirmed that the film would use three unused tracks from Morricone's original soundtrack for the 1982 John Carpenter film The Thing—"Eternity", "Bestiality" and "Despair"—as Morricone was pressed for time while creating the score.[41] The final film also uses Morricone's "Regan's Theme" from the 1977 John Boorman film Exorcist II: The Heretic.

text: Morricone's score won several awards including a special award from New York Film Critics Circle. The score won a Golden Globe for Best Original Score.[42] It also took the 2015 Academy Award for Best Motion Picture Score, Morricone's first after several career nominations.

text: The acoustic song played by Leigh's character Domergue on a Martin guitar is the traditional Australian folk ballad "Jim Jones at Botany Bay", which dates from the early 19th-century and was first published by Charles McAlister in 1907.[43] The rendition in the film includes lines which were not in MacAlister's version.[44] The film's trailer used Welshly Arms' cover of "Hold On, I'm Coming", although this is not used in the film itself.[45]

text: The soundtrack was released under the Third Man Records label, which is operated by musician Jack White.

text: Release[edit]

text: On September 3, 2014, The Weinstein Company (TWC) acquired the worldwide distribution rights to the film for a fall 2015 release.[46] TWC would sell the film worldwide, but Tarantino asked to personally approve the global distributors for the film.[47] In preparation for its release, Tarantino arranged for approximately 100[48] theaters worldwide to be retrofitted with anamorphic equipped 70 mm film projectors, in order to display the film as he intended.[32][49] The film was released on December 25, 2015, as a roadshow presentation in 70 mm film format theaters.[50] The film was initially scheduled to be released in digital theaters on January 8, 2016.

text: On December 14, The Hollywood Reporter announced that the film would see wide release on December 31, 2015, while still screening the 70 mm version.[51] The release date was moved to December 30, 2015, to meet demand.[52] On July 11, 2015, Tarantino and the cast of the film appeared at Comic-Con to promote the film.[35] In the UK, where the film was distributed by Entertainment Film Distributors, the sole 70mm print in the country opened at the Odeon Leicester Square on January 8 in a roadshow presentation, with the digital general release version opening the same day at other cinemas, except Cineworld, who refused to book the film after failing to reach an agreement to show the 70mm print.[53]

text: On March 15, 2016, The Hateful Eight was released in the United States on Digital HD, and on Blu-ray and DVD on March 29, 2016.[citation needed]

text: Piracy[edit]

text: On December 20, 2015, screener copies of The Hateful Eight and numerous other Oscar contenders, including Carol, The Revenant, Brooklyn, Creed, and Straight Outta Compton, were uploaded to many websites. The FBI linked the case to co-CEO Andrew Kosove of Alcon Entertainment. Kosove responded that he had "never seen this DVD", and that "it never touched his hands."[54]

text: Reception[edit]

text: Box office[edit]

text: The Hateful Eight grossed $54.1 million in the U.S. and Canada, and $101.6 million in other countries, for worldwide gross of $155.7 million against a budget of around $44 million.[4]

text: The film opened in the US with a limited release on December 25, 2015, and over the weekend grossed $4.9 million from 100 theaters ($46,107 per screen), finishing 10th at the box office.[55] It had its wide release on December 30, grossing $3.5 million on its first day.[56] The film went on to gross $15.7 million in its opening weekend, finishing third at the box office behind Star Wars: The Force Awakens ($90.2 million) and Daddy's Home ($29.2 million).[57]

text: Critical response[edit]

text: The film critics aggregator Rotten Tomatoes gave the film an approval rating of 75% based on 296 reviews and an average rating of 7.3/10. The site's critical consensus reads, "The Hateful Eight offers another well-aimed round from Quentin Tarantino's signature blend of action, humor, and over-the-top violence—all while demonstrating an even stronger grip on his filmmaking craft."[58] On Metacritic, the film holds a weighted average score of 68 out of 100, based on 51 critics, indicating "generally favorable reviews".[59] Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.[56]

text: James Berardinelli wrote that The Hateful Eight "is a high-wire thriller, full of masterfully executed twists, captivating dialogue, and a wildly entertaining narrative that gallops along at a pace to make three hours evaporate in an instant. Best film of the year? Yes."[60] Telegraph critic Robbie Collin wrote: "The Hateful Eight is a parlour-room epic, an entire nation in a single room, a film steeped in its own filminess but at the same time vital, riveting and real. Only Tarantino can do this, and he’s done it again."[61] Guardian critic Peter Bradshaw gave the film five out of five, and wrote that it was "intimate yet somehow weirdly colossal, once again releasing [Tarantino's] own kind of unwholesome crazy-funny-violent nitrous oxide into the cinema auditorium for us all to inhale ... "Thriller" is a generic label which has lost its force. But The Hateful Eight thrills."[62] A.V. Club critic Ignatiy Vishnevetsky gave the film a grade of A- and wrote that "with a script that could easily be a stage play, The Hateful Eight is about as close as this pastiche artist is likely to get to the classical tradition."[63]

text: In contrast, Owen Gleiberman of the BBC said, "I'm not alone in thinking that it's Tarantino's worst film – a sluggish, unimaginative dud, brimming with venom but not much cleverness."[64] Donald Clarke, writing in The Irish Times, wrote, "What a shame the piece is so lacking in character and narrative coherence. What a shame so much of it is so gosh-darn boring."[65] A. O. Scott in The New York Times said, "Some of the film's ugliness...seems dumb and ill-considered, as if Mr. Tarantino's intellectual ambition and his storytelling discipline had failed him at the same time."[66] Todd McCarthy of The Hollywood Reporter praised the film's production design, idiosyncratic dialogue, and "lip-smackingly delicious" performances, but felt the film was overlong and that Morricone's score was put to too limited use.[67]

text: Police boycott[edit]

text: In October 2015, Tarantino attended a Black Lives Matter rally and publicly commented on police brutality in the United States, saying, "When I see murders, I do not stand by... I have to call a murder a murder, and I have to call the murderers the murderers." Tarantino's comments received national media attention and several police groups in the United States pledged to boycott The Hateful Eight and his other films. New York City Police Benevolent Association president Patrick J. Lynch said: "With nearly one million law enforcement officers in this country who have families and friends who support them, the impact that police have economically on a product or project is immense. The law enforcement boycott of cop-hater Quentin Tarantino's movie is one demonstration of that economic power."[68] Tarantino responded that he was not a "cop hater" and would not be intimidated by the calls for a boycott.[69][70]

text: Richard Johnson of the New York Post called The Hateful Eight a "box-office disaster, and the police officers who boycotted the movie are taking credit".[68] However, Forbes rebutted this claim in an article titled "No, Police Boycotts Against Quentin Tarantino didn't cause Hateful Eight to Flop", writing that the film, while not as commercially successful as some of Tarantino's other films, was not a "box-office disaster" and cast doubt on claims that a boycott had a strong effect on sales.[71]

text: Race issues[edit]

text: Tarantino told GQ that race issues were part of his creative process and were inescapable, saying: "I wasn’t trying to bend over backwards in any way, shape, or form to make it socially relevant. But once I finished the script, that’s when all the social relevancy started."[72] He told the Telegraph he wrote The Hateful Eight to reflect America's fraught racial history, with the splitting of the cabin into northern and southern sides and a speech about the perils of "frontier justice".[73] A. O. Scott of The New York Times observed that the film rejects the Western genre's tradition of ignoring America's racial history, but felt its handling of race issues was "dumb and ill-considered", and wrote: "Tarantino doesn’t make films that are 'about race' so much as he tries to burrow into the bowels of American racism with his camera and his pen. There is no way to do that and stay clean."[66]

text: Gender issues[edit]

text: Some critics expressed unease at the treatment of the Daisy Domergue character, who is the subject of repeated physical and verbal abuse and finally lynched in a sequence which, according to Matt Zoller Seitz of RogerEbert.com, "lingers on Daisy's death with near-pornographic fascination".[74][75][76] A.O. Scott felt the film "mutates from an exploration of racial animus into an orgy of elaborately justified misogyny".[66] Laura Bogart regarded the treatment of Daisy as a "betrayal" of the positive female characters in previous Tarantino films such as Kill Bill.[77] Juliette Peers wrote that "compared to the stunning twists and inversions of norms that Tarantino's other works offer when presenting female characters, The Hateful Eight's sexual politics seem bleakly conservative. Daisy is feisty and highly intelligent, yet the plotline is arbitrarily stacked against her."[76]

text: Conversely, Courtney Bissonette of Bust praised Tarantino's history of female characters and wrote of Daisy's treatment: "This is equality, man, and it’s more feminist to think that a criminal is getting treated the same despite her gender. They don't treat her like a fairy princess because she is a woman, they treat her like a killer because she is a killer."[78] Sophie Besl of Bitch Flicks argued that Daisy received no special treatment as a woman, is never sexually objectified, and has agency over her own actions (including killing her captor). She defended the hanging scene as in the filmic tradition of villains "getting what's coming to [them]", and that equivalent scenes with male villains in previous Tarantino films raised no objections.[79] However, Matthew Stogdon felt that as Daisy's crimes are not explained, her status as a criminal deserving execution is not established, breaking the narrative rule of "show, don't tell".[80]

text: Walton Goggins described the lynching as symbolic of a positive step to erase racism: "I see it as very uplifting, as very hopeful, and as a big step in the right direction, as a celebration, as a changing of one heart and one mind."[81] However, Sasha Stone, writing for Awards Daily, felt it was implausible for Daisy to "represent, somehow, all of the evil of the South, all of the racism, all of the injustice. She's a tiny thing. There is no point in the film, or maybe one just barely, when Daisy inflicts any violence upon anyone – and by then it could be argued that she is only desperately trying to defend herself. She is handcuffed to Kurt Russell, needing his permission to speak and eat, and then punched brutally in the face whenever she says anything."[82]

text: Tarantino intended the violence against Daisy to be shocking and wanted the audience's allegiances to shift during the story. He said: "Violence is hanging over every one of those characters like a cloak of night. So I'm not going to go, 'OK, that's the case for seven of the characters, but because one is a woman, I have to treat her differently.' I'm not going to do that."[83] Producer Harvey Weinstein felt the allegations of sexism were "fishing for stupidity".[83]

text: Accolades[edit]


question_text: who won 8 gold medals in winter olympics

root

text: List of multiple Winter Olympic medalists[edit]

text: This list shows only the athletes who have won at least eight medals at the Winter Olympics.

tag: p

text:
Rank
Athlete
Nation
Sport
Sex

1
Marit Bjørgen
 Norway
Cross-country
F
8
4
3
15

2
Ole Einar Bjørndalen
 Norway
Biathlon
M
8
4
1
13

3
Bjørn Dæhlie
 Norway
Cross-country
M
8
4
0
12

4
Ireen Wüst
 Netherlands
Speed skating
F
5
5
1
11

5
Raisa Smetanina
 Soviet Union
 Unified Team
Cross-country
F
4
5
1
10

6
Stefania Belmondo
 Italy
Cross-country
F
2
3
5
10

7
Lyubov Yegorova
 Unified Team
 Russia
Cross-country
F
6
3
0
9

8
Claudia Pechstein
 Germany
Speed skating
F
5
2
2
9

9
Sixten Jernberg
 Sweden
Cross-country
M
4
3
2
9

10
Sven Kramer
 Netherlands
Speed skating
M
4
2
3
9

11
Charlotte Kalla
 Sweden
Cross-country
F
3
6
0
9

12
Uschi Disl
 Germany
Biathlon
F
2
4
3
9

13
Viktor Ahn
 South Korea
 Russia
Short track
M
6
0
2
8

14
Ricco Groß
 Germany
Biathlon
M
4
3
1
8

Emil Hegle Svendsen
 Norway
Biathlon
M
4
3
1
8

16
Galina Kulakova
 Soviet Union
Cross-country
F
4
2
2
8

Kjetil André Aamodt
 Norway
Alpine skiing
M
4
2
2
8

Sven Fischer
 Germany
Biathlon
M
4
2
2
8

19
Karin Enke
 East Germany
Speed skating
F
3
4
1
8

Gunda Niemann-Stirnemann
 Germany
Speed skating
F
3
4
1
8

21
Apolo Anton Ohno
 United States
Short track
M
2
2
4
8

22
Arianna Fontana
 Italy
Short track
F
1
2
5
8

tag: table

text: Most medals in one individual event[edit]

text: This list shows only the athletes who have won at least four medals in the same individual event at the Winter Olympics.

text:
Rank
Athlete
Nation
Sport
Event
Editions

1
Armin Zöggeler
 Italy
Luge
Singles
1994–2014
2
1
3
6

2
Georg Hackl
 West Germany
 Germany
Luge
Singles
1988–2002
3
2
0
5

3
Claudia Pechstein
 Germany
Speed skating
5000 m
1992–2006
3
1
1
5

4
Gillis Grafström[a]
 Sweden
Figure skating
Individual
1920–1932
3
1
0
4

5
Sven Kramer
 Netherlands
Speed skating
5000 m
2006–2018
3
1
0
4

6
Kjetil André Aamodt
 Norway
Alpine skiing
Super G
1992–2006
3
0
1
4

7
Ireen Wüst
 Netherlands
Speed skating
1500 m
2006–2018
2
1
1
4

8
Bob de Jong
 Netherlands
Speed skating
10,000 m
1998–2014
1
1
2
4


document_title: 1950s in music

question_text: who is considered to be the most significant r&b performer during the 1950s

text: 1950s in music

text: The U.S.[edit]

text: Rock and roll[edit]

text: Rock and roll dominated popular music in the mid 1950s and late 1950s, and quickly spread to much of the rest of the world. Its immediate origins lay in a mixing together of various black musical genres of the time, including rhythm and blues and gospel music; with country and western and Pop.[1] In 1951, Cleveland, Ohio disc jockey Alan Freed began playing rhythm and blues music for a multi-racial audience, and is credited with first using the phrase "rock and roll" to describe the music.[2]

text: The 1950s saw the growth in popularity of the electric guitar (developed and popularized by Les Paul). Paul's hit records like "How High the Moon", and "The World Is Waiting for the Sunrise", helped lead to the development of a specifically rock and roll style of playing of such exponents as Chuck Berry, Link Wray, and Scotty Moore.[3] Chuck Berry, who is considered to be one of the pioneers of Rock and roll music, refined and developed the major elements that made rock and roll distinctive, focusing on teen life and introducing guitar solos and showmanship that would be a major influence on subsequent rock music.[4]

text: Artists such as Chuck Berry, Bo Diddley, Fats Domino, Little Richard, Jerry Lee Lewis, Big Joe Turner, and Gene Vincent released the initial rhythm and blues-influenced early rock and roll hits. Rock and roll forerunners in the popular music field included Johnnie Ray, The Crew-Cuts, The Fontane Sisters, and Les Paul and Mary Ford. The Rock and Roll Era is generally dated from 25 March 1955 premiere of the motion picture, "The Blackboard Jungle". This film’s use of Bill Haley and His Comets' "(We’re Gonna) Rock Around the Clock" over its opening credits, caused a national sensation when teenagers started dancing in the aisles.

text: Pat Boone became one of the most successful artists of the 50s with his heavily Pop-influenced "covers" of R&B hits like "Two Hearts, Two Kisses (Make One Love)", "Ain't That a Shame", and "At My Front Door (Crazy Little Mama)". Boone's traditional pop approach to rock and roll, coupled with his All-American, clean-cut image helped bring the new sound to a much wider audience.

text: Elvis Presley, who began his career in the mid-1950s, was the most successful artist of the popular sound of rock and roll with a series of network television appearances, motion pictures, and chart-topping records. Elvis also brought rock and roll widely into the mainstream of popular culture. Elvis popularized the four-man group and also brought the guitar to become the lead instrument in rock music. Elvis became the biggest pop craze since Glenn Miller and Frank Sinatra. His energized interpretations of songs, many from African American sources, and his uninhibited performance style made him enormously popular—and controversial during that period. Boone and Presley's styles/images represented opposite ends of the burgeoning musical form, Boone was known as being safe while Presley was known as being dangerous, which competed with one another throughout the remainder of the decade.

text: In 1957, a popular television show featuring rock and roll performers, American Bandstand, went national. Hosted by Dick Clark, the program helped to popularize the more clean-cut, All-American brand of rock and roll. By the end of the decade, teen idols like Bobby Darin, Ricky Nelson, Frankie Avalon, Paul Anka, Neil Sedaka, Bobby Rydell, Connie Francis, and Fabian Forte were topping the charts. Some commentators have perceived this as the decline of rock and roll; citing the deaths of Buddy Holly, The Big Bopper and Richie Valens in a tragic plane crash in 1959 and the departure of Elvis for the army as causes.

text: On the other side of the spectrum, R&B-influenced acts like The Crows, The Penguins, The El Dorados and The Turbans all scored major hits, and groups like The Platters, with songs including "The Great Pretender" (1955), and The Coasters with humorous songs like "Yakety Yak" (1958), ranked among the most successful rock and roll acts of the period.[5]

text: Rock and roll has also been seen as leading to a number of distinct subgenres, including rockabilly (see below) in the 1950s, combining rock and roll with "hillbilly" country music, which was usually played and recorded in the mid-1950s by white singers such as Carl Perkins, Jerry Lee Lewis, Buddy Holly and with the greatest commercial success, Elvis Presley.[6] Another subgenre, Doo Wop, entered the pop charts in the 1950s . Its popularity soon spawns the parody "Who Put the Bomp".

text: Novelty songs, long a music industry staple, continued their popularity in the Rock and Roll medium with hits such as "Beep Beep".

text: Classic pop[edit]

text: Popular music dominated the charts for the first half of the decade. Vocal-driven classic pop replaced big band/swing at the end of World War II, although it often used orchestras to back the vocalists. 1940s style Crooners vied with a new generation of big voiced singers, many drawing on Italian Canto Bella traditions. Mitch Miller, A&R man at the era's most successful label, Columbia Records, set the tone for the development of popular music well into the middle of the decade.[7] Miller integrated country, Western, rhythm & blues, and folk music into the musical mainstream, by having many of his label's biggest artists record them in a style that corresponded to Pop traditions. Miller often employed novel and ear-catching arrangements featuring classical instruments (whooping french horns, harpsichord), or sound effects (whip cracks). He approached each record as a miniature story, often "casting" the vocalist according to type.

text: (Mitch) Miller and the producers who followed his model were creating a new sort of pop record. Instead of capturing the sound of live groups, they were making three-minute musicals, matching singers to songs in the same way that movie producers matched stars to film roles. As Miller told "Time" magazine in 1951, "Every singer has certain sounds he makes better than others. Frankie Laine is sweat and hard words—he's a guy beating the pillow, a purveyor of basic emotions. Guy Mitchell is better with happy-go-lucky songs; he's a virile young singer, gives people a vicarious lift. Rosemary Clooney is a barrelhouse dame, a hillbilly at heart." It was a way of thinking perfectly suited to the new market in which vocalists were creating unique identities and hit songs were performed as television skits.[8]

text: Whereas big band/swing music placed the primary emphasis on the orchestration, post-war/early 1950s era Pop focused on the song’s story and/or the emotion being expressed. By the early 1950s, emotional delivery had reached its apex in the miniature psycho-drama songs of writer-singer Johnnie Ray. Known as "The Cry Guy" and "The Prince of Wails", Ray's on-stage emotion wrought "breakdowns" provided a release for the pent-up angst of his predominantly teenage fans.[9] As Ray described it, "I make them feel, I exhaust them, I destroy them."[10] It was during this period that the fan hysteria, which began with Frank Sinatra during the Second World War, really began to take hold.

text: Although often ignored by musical historians, Pop music played a significant role in the development of rock 'n' roll as well:

text: [Mitch] Miller also conceived of the idea of the pop record "sound" per se: not so much an arrangement or a tune, but an aural texture (usually replete with extramusical gimmicks) that could be created in the studio and then replicated in live performance, instead of the other way around. Miller was hardly a rock 'n' roller, yet without these ideas there could never have been rock 'n' roll. "Mule Train", Miller's first major hit (for Frankie Laine) and the foundation of his career, set the pattern for virtually the entire first decade of rock. The similarities between it and, say, "Leader of the Pack," need hardly be outlined here.[11]

text: Patti Page kicked things off with what would become the decade's biggest hit, "Tennessee Waltz". Her other hits from this period included: "Mister and Mississippi", "Mockin' Bird Hill", "Detour", "(How Much Is That) Doggie in the Window", and "Old Cape Cod". Frankie Laine's 1949 hits, "That Lucky Old Sun (Just Rolls Around Heaven All Day)" and "Mule Train", were still riding high on the charts when the decade began. He continued to score with such hits as: "Georgia on My Mind", "Cry of the Wild Goose", "Jezebel", "Rose, Rose, I Love You", "Jealousy (Jalousie)", "High Noon (Do Not Forsake Me)", "I Believe", "Granada", "Moonlight Gambler", and "Rawhide". Johnnie Ray had a long run of hits in the early half of the decade, often backed by The Four Lads, including: "Cry", "The Little White Cloud That Cried", "Walking My Baby Back Home", "Please, Mr. Sun", and "Just Walkin' in the Rain". The Four Lads racked up some hits on their own with "Who Needs You", "No, Not Much", "Standin' on the Corner", and "Moments to Remember". Nat "King" Cole dominated the charts throughout the decade with such timeless classics as "Unforgettable", "Mona Lisa", "Too Young", "Darling, Je Vous Aime Beaucoup", "Pretend", "Smile", and "A Blossom Fell". Perry Como was another frequent visitor to the charts with hits like: "If", "Round and Round", "Don't Let the Stars Get in Your Eyes", "Tina Marie", "Papa Loves Mambo", and "Catch a Falling Star".

text: Other major stars in the early 1950s included Frank Sinatra ("Young at Heart", "Three Coins in the Fountain", "Witchcraft"), Tony Bennett ("Cold, Cold Heart", "Because of You", "Rags to Riches"), Kay Starr ("Bonaparte's Retreat", "Wheel of Fortune", "Rock and Roll Waltz"),[9] Rosemary Clooney ("Come On-a My House", "Mambo Italiano", "Half as Much", "This Ole House"), Dean Martin ("That's Amore", "Return to Me", "Sway"), Georgia Gibbs ("Kiss of Fire", "Dance With Me, Henry", "Tweedle Dee"), Eddie Fisher ("Anytime", "Wish You Were Here", "Thinking of You", "I'm Walking Behind You", "Oh! My Pa-Pa", "Fanny"), Teresa Brewer ("Music! Music! Music!", "Till I Waltz Again With You", "Ricochet(Rick-O-Shay)"), Doris Day ("Secret Love", "Whatever Will Be Will Be (Que Sera Sera)", "Teacher's Pet"), Guy Mitchell ("My Heart Cries for You", "The Roving Kind", "Pittsburgh, Pennsylvania", "Singing the Blues"), Bing Crosby ("Play a Simple Melody with son Gary Crosby, "True Love with Grace Kelly), Dinah Shore ("Lavender Blue"), Kitty Kallen ("Little Things Mean a Lot"), Joni James ("Have You Heard", "Wishing Ring", "Your Cheatin' Heart"), Peggy Lee ("Lover", "Fever"), Julie London ("Cry Me a River"), Toni Arden ("Padre"), June Valli ("Why Don't You Believe Me"), Arthur Godfrey ("Slowpoke"), Tennessee Ernie Ford ("Sixteen Tons"), Les Paul and Mary Ford ("Vaya Con Dios", "Tiger Rag"), and vocal groups like The Mills Brothers ("Glow Worm"), The Weavers "(Goodnight Irene"),[7] The Four Aces ("Love Is a Many-Splendored Thing", "(It's No) Sin"), The Chordettes ("Mister Sandman"), Fontane Sisters ("Hearts of Stone"), The Hilltoppers ("Trying", "P.S. I Love You"), The McGuire Sisters ("Sincerely", "Goodnite, Sweetheart, Goodnite", "Sugartime") and The Ames Brothers ("Ragmop" "The Naughty Lady of Shady Lane").

text: Classic pop declined in popularity as Rock and roll entered the mainstream and became a major force in American record sales. Crooners such as Eddie Fisher, Perry Como, and Patti Page, who had dominated the first half of the decade, found their access to the pop charts significantly curtailed by the decade's end.[12] However, new Pop vocalists continued to rise to prominence throughout the decade, many of whom started out singing Rock ‘n’ Roll. These include: Pat Boone ("Don’t Forbid Me", "April Love", "Love Letters in the Sand"), Anita Bryant ("Till There Was You", "Paper Roses"), Connie Francis ("Who’s Sorry Now", "Among My Souvenirs", "My Happiness"), Gogi Grant ("Suddenly There’s a Valley", "The Wayward Wind"), Bobby Darin ("Dream Lover", "Beyond the Sea", "Mack the Knife"),[13] and Andy Williams ("Canadian Sunset", "Butterfly", "Hawaiian Wedding Song"). Even Rock ‘n’ Roll icon Elvis Presley spent the rest of his career alternating between Pop and Rock ("Love Me Tender", "Loving You", "I Love You Because"). Pop would resurface on the charts in the mid-1960s as "Adult Contemporary".

text: R&B[edit]

text: In 1951, Little Richard Penniman began recording for RCA Records in the late-1940s jump blues style of Joe Brown and Billy Wright. However, it wasn't until he prepared a demo in 1954, that caught the attention of Specialty Records, that the world would start to hear his new, uptempo, funky rhythm and blues that would catapult him to fame in 1955 and help define the sound of rock and roll. A rapid succession of rhythm-and-blues hits followed, beginning with "Tutti Frutti" and "Long Tall Sally",[14] which would influence performers such as James Brown,[15] Elvis Presley,[16] and Otis Redding.[17]

text: At the urging of Leonard Chess at Chess Records, Chuck Berry had reworked a country fiddle tune with a long history, entitled "Ida Red". The resulting "Maybellene" was not only a #3 hit on the R&B charts in 1955, but also reached into the top 30 on the pop charts.[18]

text: Stax Records was founded in 1957 as Satellite Records. The label was a major factor in the creation of the Southern soul and Memphis soul styles.

text: In 1959, two black-owned record labels, one of which would become hugely successful, made their debut: Sam Cooke's Sar, and Berry Gordy's Motown Records.[19][20]

text: Blues[edit]

text: Blues had a huge influence on mainstream American popular music in the 1950s with the enthusiastic playing styles of popular musicians like Bo Diddley[21] and Chuck Berry,[22] departed from the melancholy aspects of blues and influenced Rock and roll music.

text: Ray Charles and Fats Domino help bring blues into the popular music scene. Domino provides a boogie-woogie style that heavily influences rock 'n' roll.

text: Big Mama Thornton records the original versions of "Hound Dog" and "Ball and Chain".[23]

text: Country music[edit]

text: Country music stars in the early 1950s included Hank Williams, Patsy Cline, Bill Monroe, Eddy Arnold, Gene Autry, Tex Ritter, Jim Reeves, Tennessee Ernie Ford, Chet Atkins and Kitty Wells.

text: Wells' 1952 hit "It Wasn't God Who Made Honky Tonk Angels" became the first single by a solo female artist to top the U.S. country charts. "It Wasn't God ... " was a landmark single in several ways; it began a trend of "answer" songs, or songs written and recorded in response to (or to counterpoint) a previously popular song – in this case, "The Wild Side of Life" by Hank Thompson – and for Wells, began a trend of female singers who defied the typical stereotype of being submissive to men and putting up with their oft-infidel ways, both in their personal lives and in their songs.

text: Early in the decade, the honky-tonk style dominated country music, with songs of heartbreak, loneliness, alcoholism and despair the overriding themes. Long regarded the master of these themes was Hank Williams, whose critically acclaimed songwriting resulted in a string of legendary hits and songs, such as "Cold, Cold Heart", "Your Cheating Heart", "Why Don't You Love Me" and many more titles. Williams also lived hard, and on January 1, 1953, died. His legacy, however, would live on in country music for decades to come, and be vastly influential to new stars including a young Saratoga, Texas native named George Jones.

text: Jones, just 23 when he had his first national hit -- "Why Baby Why" -- would go on to become one of country music's most iconic figures for the next 55-plus years. Although some of his early songs included rockabilly (usually recorded under the pseudonym Thumper Jones), he stayed true to the honky-tonk style for most of his career. In addition to "Why Baby Why," his biggest 1950s hits included "What Am I Worth", "Treasure of Love", "Just One More" and his first No. 1 hit, "White Lightning", and by the end of the 1990s, that number would increase to more than 100 hit songs.

text: Besides Williams and Jones, the most popular honky tonk-styled singers included Lefty Frizzell, Carl Smith and Webb Pierce.

text: In 1955, Ozark Jubilee nearly began a nearly six-year run on ABC-TV, the first national TV show to feature country's biggest stars.

text: By the late 1950s, the Nashville sound became country music's response to continued encroachment of genre by rock artists. This new style emphasized string sections, background vocals and crooning lead vocals in the vein of mainstream popular music, but utilizing production styles and themes seen in country music. Artists like Eddy Arnold and Jim Reeves, both whom had been well established earlier in the decade, were early pioneers in this style, which went on to see its greatest success in the 1960s. One of the first major Nashville Sound hits was "Oh, Lonesome Me" by Don Gibson. Also popular was the "saga song", often a song with a historical background or having themes of violence, adultery and so forth. Songs by artists such as Johnny Horton ("The Battle of New Orleans" and "When It's Springtime in Alaska"), Stonewall Jackson ("Waterloo"), Marty Robbins ("El Paso") and Lefty Frizzell ("Long Black Veil") dominated the charts starting in 1959 and continuing into the early 1960s.

text: The late 1950s saw the emergence of the Lubbock sound, but by the end of the decade, backlash as well as traditional country music artists such as Ray Price, Marty Robbins, and Johnny Horton began to shift the industry away from the rock n' roll influences of the mid-1950s.

text: Rockabilly emerged in the early 1950s as a fusion of rock and roll and country music. Rockabilly was most popular with country fans in the 1950s. The music was propelled by catchy beats, an electric guitar and an acoustic bass which was played using the slap-back technique. Rockabilly is generally considered to have begun in the early 1950s, when musicians like Bill Haley began mixing jump blues and electric country. In 1954, however, Elvis Presley truly began the popularization of the genre with a series of recordings for Sun Records. "Rock Around the Clock" (1955, Bill Haley) was the breakthrough success for the style, and it launched the careers of several rockabilly entertainers.

text: During this period Elvis Presley converted over to country music. He played a huge role in the music industry during this time. The number two, three and four songs on Billboard's charts for that year were Elvis Presley, "Heartbreak Hotel;" Johnny Cash, "I Walk the Line;" and Carl Perkins, "Blue Suede Shoes".[24] Cash and Presley placed songs in the top 5 in 1958 with No. 3 "Guess Things Happen That Way/Come In, Stranger" by Cash, and No. 5 by Presley "Don't/I Beg Of You".[25] Presley acknowledged the influence of rhythm and blues artists and his style, saying "The coloured folk been singin' and playin' it just the way I'm doin' it now, man for more years than I know."[26] By 1958, many rockabilly musicians returned to a more mainstream style or had defined their own unique style and rockabilly had largely disappeared from popular music, although its influences would remain into the future.

text: Jazz[edit]

text: Bebop, Hard bop, Cool jazz and the Blues gained popularity during the 1950s while prominent Jazz musicians who came into prominence in these genres included Lester Young, Ben Webster, Charlie Parker, Dizzy Gillespie, Miles Davis, John Coltrane, Thelonious Monk, Charles Mingus, Art Tatum, Bill Evans, Ahmad Jamal, Oscar Peterson, Gil Evans, Gerry Mulligan, Cannonball Adderley, Stan Getz, Chet Baker, Dave Brubeck, Art Blakey, Max Roach, the Miles Davis Quintet, the Modern Jazz Quartet, Ella Fitzgerald, Ray Charles, Sarah Vaughan, Dinah Washington, Nina Simone, and Billie Holiday.

text: Other trends[edit]

text: In 1956 the American musician of Jamaican descent Harry Belafonte popularized the Calypso music Caribbean musical style which became a worldwide craze with the release of his rendition traditional Jamaican folk song "Banana Boat Song" from his 1956 album Calypso.[27] The album later became the first full-length record to sell more than a million copies, and Belafonte was dubbed the "King of Calypso".

text: Folk music[edit]

text: The Weavers, Pete Seeger,[7] Woody Guthrie, The Kingston Trio,[27] Odetta,[28] and several other performers were instrumental in launching the folk music revival of the 1950s and 1960s.

text: Europe[edit]

text: This section needs expansion. You can help by adding to it. (January 2010)

text: During the 1950s European popular music give way to the influence of American forms of music including jazz, swing and traditional pop, mediated through film and records. The significant change of the mid-1950s was the impact of American rock and roll, which provided a new model for performance and recording, based on a youth market. Initially this was dominated by American acts, or re-creations of American forms of music, but soon distinctly European Bands and individual artists began in early attempts to produce local Rock and roll music.

text: Latin America[edit]

text: This section needs expansion. You can help by adding to it. (April 2010)

text:
In 1958 the American musician Ritchie Valens's "La Bamba" popularized Spanish language rock music throughout Latin America.
In 1958 Daniel Flores, who some call the "godfather of Latin Rock", performed his hit song "Tequila".
Argentinian band Los Cinco Latinos released their first album Maravilloso Maravilloso, which was met with success in Latin America and the United States.[29]

tag: ul

text: Hispanics, young and old, could find comfort in the popular rhythmic sounds of Latin music that reminded them of home; mambo, cha-cha, merengue and salsa. Tito Puente, an American born Boricua (Puerto Rican), revolutionized the Latin music of the time. He incorporated many new percussion and woodwind instruments into the popular Latin sound. The Hispanics in the U.S. certainly were able to conform with the popular vibes.

text: Australia and New Zealand[edit]

text: By the end of the decade, as the Rock and roll style had spread throughout the world, it soon caught on with Australian teens. Johnny O'Keefe became perhaps the first modern rock star of the country, and began the field of Australian rock.

text: New Zealand was introduced to Rock and roll by Johnny Cooper's cover of "Rock Around the Clock".

text: After Rock and roll had been introduced, the most famous of New Zealand's cover artists were: Johnny Devlin, Max Merit and the Meteors, Ray Columbus and the Invaders and Dinah Lee.[30]


document_title: Tide clock

question_text: how long does it take for the tide to come in

text: Tide clock

text: A tide clock is a specially designed clock that keeps track of the Moon's apparent motion around the Earth. Along many coastlines, the Moon contributes the major part (67%) of the combined lunar and solar tides. The exact interval between tides is influenced by the position of the Moon and Sun relative to the Earth, as well as the specific location on Earth where the tide is being measured. Due to the Moon's orbital prograde motion, it takes a particular point on the Earth (on average) 24 hours and 50.5 minutes to rotate under the Moon, so the time between high lunar tides fluctuates between 12 and 13 hours. A tide clock is divided into two roughly 6-hour tidal periods that shows the average length of time between high and low tides in a semi-diurnal tide region, such as most areas of the Atlantic Ocean.

text: Traditional Mechanical Tide Clocks:

text: The bottom of the tide clock dial (6 o-clock position) is marked "low tide" and the top of the tide clock dial (12 o’clock position) is marked "high tide." The left side of the dial is marked "hours until high tide" and has a count-down of hours from 5 to 1. There is one hand on the clock face, and along the left side it points to the number of hours "until" the (lunar) high tide. The right hand side of the clock is marked "hours until low tide" and has a count-down of hours from 5 to 1. The number pointed to by the hand gives the time "until" the (lunar) low tide. Some tide clocks incorporate time (using standard quartz movement) and even humidity and temperature in the same instrument.

text: Some tide clocks count down the number of hours from high or low tide, as in "one hour past high or low tide". When the clock reaches the half way point ("half-tide"), it then counts the hours up to high tide or low tide, as in "one hour until high or low tide". Generally, there is an adjustment knob on the back on the instrument which may be used to set the tide using official tide tables for a specific location at either high or low tide.

text: Tides have an inherent lead or lag, known as the lunitidal interval, that is different at every location, so tidal clocks are set for the time when the local lunar high tide occurs. This is often complicated because the lead or lag varies during the course of the lunar month, as the lunar and solar tides fall into and out of synchronization. The lunar tide and solar tide are synchronized (ebb and flow at the same time) near the full moon and the new moon. The two tides are unsynchronized near the first and last quarter moon (or "half moon"). Also, in addition to the relative position of the moon and the elliptical pattern of the sun, the tide can be affected to some degree by wind and atmospheric pressure. All of these variables have less impact on the tide at the time of the full moon, so this is usually the best time to set a tide clock. If the tide clock is mounted on a moving boat, it will need to be reset more frequently. The best time to set the clock is at the new moon or the full moon, which is also when the clock can most reliably indicate the actual combined tide. A simple tide clock will always be least reliable near the quarter moon.

text: Tide range is the vertical distance between the highest high tide and lowest low tide. The size of the lunar tide compared to the solar tide (which comes once every 12 hours) is generally about 2 to 1, but the actual proportion along any particular shore depends on the location, orientation, and shape of the local bay or estuary. Along some shorelines, the solar tide is the only important tide, and ordinary 12-hour clocks suffice since the high and low tides come at nearly the same time every day. Because ordinary tidal clocks only track a part of the tidal effect, and because the relative size of the combined effects is different in different places, they are in general only partially accurate for tracking the tides. Consequently, all navigators use tide tables either in a booklet, computer or digital tide clock.

text: Analog tide clocks are most accurate for use on the Atlantic coasts of America and Europe. This is because along the Atlantic coastline the moon controls the tides predictably, ebbing and flowing on a regular (12- to 13-hour) schedule. However, in other parts of the world such as along the Pacific Coast, tides can be irregular.[1] The Pacific Ocean is so vast that the moon cannot control the entire ocean at once. The result is that parts of the Pacific Coast can have 3 high tides a day. Similarly, there are areas in the world like the Gulf of Mexico or the South China Sea that have only one high tide a day. Mechanical tide clocks used on the Pacific Coast must be adjusted frequently, often as much as weekly, and are not useful in diurnal areas (those with one tide per day).[2]

text: Digital Tide Clocks:

text: Digital tide clocks are not married to the 24 hour 50.5 minute tide cycle and thus track tides beyond the Atlantic coast. Smart digital tide clocks can work across all locations in North America without any adjustments. This is achieved by storing all the variations of tides at numerous locations. Given a particular location and date/time, a digital tide clock can display the previous tide, next tide and current absolute tide height. Thus, they are able to track semi-diurnal, diurnal and mixed diurnal tides.[3]

text: Notes[edit]

text:
Jump up ^ http://oceanservice.noaa.gov/education/kits/tides/media/supp_tide07b.html
Jump up ^ Why are Time and Tide Clocks Best Used on the Atlantic Coast?, Weems & Plath
Jump up ^ How does a digital tide clock differ from a traditional mechanical tide clock?, WeND

tag: ol


document_title: 7th Heaven (season 10)

question_text: what episode of 7th heaven does kevin get shot

text: 7th Heaven (season 10)

text: Cast and characters[edit]

text: Main[edit]

text:
Stephen Collins as Eric Camden
Catherine Hicks as Annie Camden
David Gallagher as Simon Camden
Beverley Mitchell as Lucy Camden-Kinkirk
Mackenzie Rosman as Ruthie Camden
Nikolas and Lorenzo Brino as Sam and David Camden
George Stults as Kevin Kinkirk
Tyler Hoechlin as Martin Brewer
Sarah Thompson as Rose
Happy as Happy the Dog

text: Recurring[edit]

text:
Carlos Ponce as Carlos Rivera (3 episodes)
Haylie Duff as Sandy Jameson (14 episodes)
Megan Henning as Meredith Davies (9 episodes)
Barry Watson as Matt Camden (2 episodes)
Jessica Biel as Mary Camden-Rivera (1 episode)

text: Episodes[edit]

text:
No. in
series
No. in
season
Title
Director
Writer(s)
Original air date
Production
code

200
1
"It's Late"
Harry Harris
Brenda Hampton
September 19, 2005 (2005-09-19)
3.97

Martin receives a visit from Sandy, a college student he has spent time with over the summer, and she has some unfortunate news for him. Lucy speaks about parenthood in her first sermon at the church and most of the congregation is angry about the message she sends across. Also, Ruthie sets out to gain the attention of a boy who is already dating one of her friends, and Eric and Annie have to deal with telling Eric's parents about what happened to Mary and Carlos.

201
2
"Home Run"
Harry Harris
Brenda Hampton & Chris Olsen
September 26, 2005 (2005-09-26)
3.89

Kevin gets shot at by a young boy. The Colonel and Ruth are in Glen Oak for a visit. Rose wants them to know that she and Simon are engaged. Everyone else, including Simon, thinks that this is not a good idea. Sandy is feeling betrayed when Martin will not even call her back. In fact, Martin is asking out someone else completely.

202
3
"Mama's Gonna Buy You a Diamond Ring"
Joel J. Feigenbaum
Brenda Hampton & Chris Olsen
October 3, 2005 (2005-10-03)
3.88

Eric gets the cold shoulder from Ruthie after she loses the chance to date an older boy and Lucy doesn't like the repercussions of Kevin's new role in their daughter's life. Elsewhere, Eric misinterprets a phone call from Simon.

203
4
"Ring Around the Rosie"
Joel J. Feigenbaum
Elaine Arata & Brenda Hampton
October 10, 2005 (2005-10-10)
3.90

Simon finds a way to slow down his relationship with Rose, but her stubbornness derails his plan and Ruthie tries to ditch a boy who wants to go out with her. Elsewhere, one of the girls in Lucy's support group tells Lucy, that she is pregnant.

204
5
"The Rat's Out of the Bag"
Barry Watson
Brenda Hampton & Jeffrey Rodgers
October 17, 2005 (2005-10-17)
3.46

Matt makes a surprise visit to Glen Oak and accompanies Kevin to a children's party where he dresses up into a well known children's play character. Elsewhere, Lucy goes to see Sandy on a private pregnancy matter that involves Martin, but lies to Kevin that she is going to visit Simon. Matt and Kevin decide it's best to follow her. Meanwhile, Eric has some suspicions of his own regarding Lucy's visit to Simon, and after spying on her, Eric and Matt also inadvertently find out about Sandy's pregnancy. Meredith is suspicious of Martin, as she wonders why he doesn't keep his cell phone anymore—which is his way of avoiding Sandy and the pregnancy situation.
Special guest star: Barry Watson

205
6
"Helpful"
Harry Harris
Brenda Hampton, Courtney Turk & Kelley Turk
October 31, 2005 (2005-10-31)
2.58

Kevin asks Lucy to let him help her with a problem that she is handling regarding Martin and Sandy and Ruthie introduces Eric to a boy she wants to date. Elsewhere, Eric meets with Meredith's adoptive father, who has questions about Martin.

206
7
"Soup's On"
Joel J. Feigenbaum
Brenda Hampton & Victoria Huff
November 7, 2005 (2005-11-07)
3.53

Eric meets Sandy's father, who gives him an envelope of money intended for Sandy; and Ruthie collects soup-can labels to help her school's newspaper. Elsewhere, Simon has money troubles and his phone service gets shut off; and Martin has a heart-to-heart talk with Meredith about their future. (Sandy: Haylie Duff. Meredith: Megan Henning. Edward: Michael McDonald. Beau: Costas Mandylor.)

207
8
"Chicken Noodle Heads"
Keith Truesdell
Brenda Hampton & Chris Olsen
November 14, 2005 (2005-11-14)
4.98

Eric gets a new perspective on Sandy's pregnancy when he learns his mom was pregnant with him before marrying his dad. Elsewhere, Sandy's parents want nothing to do with her or the baby.

208
9
"Turkey"
Michael Preece
Brenda Hampton & Jeff Olsen
November 21, 2005 (2005-11-21)
3.99

Ruthie's heart soars with hope when Martin and Meredith break up. As she fantasizes about becoming his new girlfriend, she is completely unaware that everyone at school believes that she is carrying Martin's child. Meanwhile, the family is concerned that Ruthie is setting herself up for some serious heartache. The Camdens are all spending the holiday at the church to help with a free dinner for the homeless, and with Rose and Sandy planning to attend, Eric and Annie make a conscious effort to be nicer to their future daughter-in-law.

209
10
"Apple Pie"
Lindsley Parsons III
Brenda Hampton & Jeffrey Rodgers
November 28, 2005 (2005-11-28)
2.66

Simon suspects Rose is keeping secrets, and the two resolve an issue of trust; Kevin's beef with Martin's attitude about being a father comes to a head; and Eric and Annie finally let Ruthie date Jack.

210
11
"X-Mas"
Harry Harris
Brenda Hampton & Jeffrey Rodgers
December 12, 2005 (2005-12-12)
2.20

Christmas has arrived, and all the Camdens are getting into the spirit. Eric spends time volunteering at a retirement home, while Ruthie lends a hand at the hospital and reunites with an old friend. Lucy is back to working with Habitat for Humanity, and Annie takes the twins over to a local Catholic church to talk with some Sudanese students. With his baby daughter at his side, Kevin dresses up as Santa and hands out presents at the pool hall, then faces a dilemma when he must decide whether to return a lost dog to the kennel.

211
12
"Got MLK?"
Joel J. Feigenbaum
Orlando Bishop, Kevin Brownridge & Damani Mangum
January 23, 2006 (2006-01-23)
2.15

Racism comes to light at the high school when Alex, a new African-American student, wants to give a report on Dr. Martin Luther King, but his teacher argues that they have already covered that topic in class. When Martin inadvertently supports Alex's case, he falls victim to a hate crime. His car is defaced with racial slurs, and he refuses to wash it off until the culprit is caught. Meanwhile, for her own report, Ruthie attempts to recycle an essay that she wrote three years ago.

212
13
"And Baby Makes Three"
Michael Preece
Lawrence H. Levy
January 30, 2006 (2006-01-30)
1.96

As Sandy prepares to give birth, almost everyone rallies around her at the hospital. Everybody hopes that Martin--who has an important baseball tryout with a talent scout—will take what might be his very last chance to accept responsibility for his actions. Meanwhile, Kevin and Lucy are at odds over the idea of having more children, while Simon and Rose's relationship appears to be on its last straw—much to the Camden family's delight.

213
14
"The Magic of Gershwin"
Harry Harris
Paul Perlove
February 6, 2006 (2006-02-06)
2.86

Ruthie meets a troubled girl in detention, where a music teacher is assigned to watch the students. The girls bond over the lessons about Gershwin, as Ruthie tries to nurse her broken heart. She offers to help her new friend, who refuses any charity, but the Camdens become involved and refuse to take no for an answer.

214
15
"Love and Obsession"
Ron High
Lawrence H. Levy
February 13, 2006 (2006-02-13)
2.98

As Valentine's Day approaches, Kevin plans a special dinner, while Ruthie has a difficult time letting go of her feelings for Martin. Elsewhere, Annie has trouble accepting Rose—and the twins' request for a store-bought birthday cake instead of one made by her.

215
16
"Moving Ahead"
Joel J. Feigenbaum
Paul Perlove
February 27, 2006 (2006-02-27)
2.44

Annie and Ruthie spend the day together to unwind, while Lucy's world becomes complicated by both professional and personal news, and Eric unintentionally shakes up things between Rose and Simon.

216
17
"Highway to Cell"
Michael Preece
Chad Byrnes
April 3, 2006 (2006-04-03)
2.93

Ruthie is upset that she hasn't gotten any calls on her new cell phone, so Eric gives out her number. Meanwhile, Simon and Rose have dinner with her former fiancé, and the man is nothing like what Simon expected.

217
18
"Invitation to Disaster"
Keith Truesdell
Justin Trofholz
April 10, 2006 (2006-04-10)
3.06

The Camdens receive official invitations to Simon and Rose's wedding, and to their dismay, they learn that the date conflicts with Matt and Sarah's graduation from medical school. As this news creates a tailspin with the family, Rose stubbornly refuses to change the wedding date. Eric and Kevin think they have a solution to the problem, but when Annie disapproves of their methods, she looks for help from an entirely different source. Meanwhile, Ruthie wants to enroll in a summer program that takes place in Scotland.

218
19
"Secrets"
Harry Harris
Brenda Hampton & Jeffrey Rodgers
April 17, 2006 (2006-04-17)
3.22

The twins use an interesting weapon to coax the entire family into sharing their personal secrets. As everyone figures out what's going on, there are hurt feelings and confusion as they try to guess what is being hidden from them, and it turns out that Ruthie might have the biggest surprise of all. Meanwhile, the family doesn't quite understand Annie's new-found fondness for Rose, and it is especially irritating for Lucy and Ruthie.

219
20
"And More Secrets"
Joel J. Feigenbaum
Brenda Hampton, Chris Olsen & Jeff Olsen
April 24, 2006 (2006-04-24)
3.02

The men have secrets they're trying to hide from the women in their lives: Kevin and Eric keep their wedding-ring troubles to themselves, and Simon leaves Rose in the dark about his schoolwork problem but all three guys come to realize the gals are not as clueless as they'd hoped.

220
21
"Goodbye…" (Part 1)
Michael Preece
Brenda Hampton
May 1, 2006 (2006-05-01)
1.43

As Rose gets ready to make a huge announcement, Simon breaks down as he realizes that he may have trapped himself in a marriage that he does not want. Meanwhile, Eric and Annie reminisce about their children and their younger days as they prepare for the rehearsal dinner and meet Rose's unconventional parents. To be continued...

221
22
"…And Thank You" (Part 2)
Michael Preece
Brenda Hampton
May 8, 2006 (2006-05-08)
1.23

Simon and Rose prepare for their wedding day, despite speculation that it is not the right decision. Annie and Eric go through countless scenarios in their minds as they reflect on how the wedding will actually turn out. Meanwhile, Rose's former boyfriend shows up unexpectedly. Ruthie considers studying in Scotland over the summer. Kevin, Lucy, Matt, and Sarah all have life-changing news, if only they can find the perfect time to share it with the family.
Note: This is the final episode for: Barry Watson, Jessica Biel and David Gallagher

text:
[hide]

v
t
e

7th Heaven

Episodes

Season 1
Season 2
Season 3
Season 4
Season 5
Season 6
Season 7
Season 8
Season 9
Season 10
Season 11

Related

Characters

text: 2005 American television seasons2006 American television seasons


document_title: The Talented Mr. Ripley (film)

question_text: who played mr ripley in the film the talented mr ripley

text: The Talented Mr. Ripley (film)

text: Plot[edit]

text: Tom Ripley is a young man struggling to make a living in 1950s New York City with his "talents": telling lies, forging signatures and impersonating people. While working at a party, he is approached by the wealthy shipbuilder Herbert Greenleaf, who mistakenly believes that Ripley attended Princeton with his son, Dickie. Greenleaf recruits Ripley, for $1,000, to travel to Italy to persuade Dickie to return home. During the trip to Italy, Ripley strikes up a friendship with an American socialite, Meredith Logue, while pretending to be Dickie.

text: In the Italian seaside town of Mongibello, Ripley charms himself into the lives of Dickie and his fiancée, Marge, partly through pretending to be a fellow jazz lover. Ripley becomes infatuated with Dickie's life; he also becomes obsessed with Dickie himself. Eventually, however, Dickie tires of him and starts spending more time with his Princeton friend Freddie Miles, a womanizer who treats Ripley with contempt.

text: When Dickie impregnates a local woman, he rejects her and she drowns herself. Only Ripley knows what happened, and promises to keep it a secret. Meanwhile, Dickie catches Ripley dressed in Dickie's clothes and pretending to be him in front of a mirror, which further alienates him from Ripley.

text: When Dickie's father cuts off Ripley's travel funds, Dickie cancels a planned trip to Venice and tells Ripley they should part ways, but offers to take him on a short, final trip to San Remo. They take a boat out, but when Ripley suggests they move in together, Dickie becomes angry, accusing Ripley of mooching. The two fight, and Ripley beats Dickie to death with an oar. Ripley scuttles the boat in a nearby cove.

text: Realizing that people easily mistake him for Dickie, Ripley decides to impersonate him. He forges a letter to Marge, convincing her that Dickie has left her to live in Rome. He creates the illusion that Dickie is still alive by checking into one Roman hotel as Dickie and another as himself, creating an exchange of communications between the two. Through forgery, he is able to draw on Dickie's allowance, which allows him to live lavishly. He runs into Meredith, and pretends to romance her to gain access to her wealthy circle of friends. His ruse is threatened when Marge arrives in Rome, so he breaks it off with Meredith to prevent being discovered.

text: Freddie shows up at Ripley's apartment looking for Dickie, and is immediately suspicious. When the landlady addresses Tom with "Ciao Dickie", Freddie realizes the fraud, but Ripley beats him to death with a stone bust. After disposing of the body, Ripley is forced into a cat-and-mouse existence between the Italian police and Marge. Realizing that the police suspect Dickie of murdering Freddie, Ripley forges a suicide note to dispose of the Dickie persona once and for all. He then travels to Venice, where he meets Marge's friend, Peter Smith-Kingsley, and they develop feelings for each other.

text: Herbert Greenleaf travels to Italy to meet with the police, bringing along a private detective, Alvin MacCarron. Ripley prepares to kill Marge when she discovers Dickie's rings in Ripley's possession, but Peter interrupts them. Mr. Greenleaf dismisses Marge's suspicions, and MacCarron reveals to Ripley that the police are convinced that Dickie, who had a history of violence, murdered Freddie before killing himself. MacCarron further indicates that out of appreciation for Ripley's loyalty to Dickie, Mr. Greenleaf intends to bequeath Dickie's trust fund to him.

text: Free and clear of his crimes, Ripley boards a ship to Greece with Peter; it is implied that they are now lovers. He is surprised to encounter Meredith, who knows him as Dickie. He realizes he must kill Peter to prevent being exposed as an impostor; killing Meredith would attract too much attention because she is traveling with members of her family. Sobbing, he strangles Peter, and returns to his cabin.

text: Cast[edit]

text:
Matt Damon as Tom Ripley
Gwyneth Paltrow as Marge Sherwood
Jude Law as Dickie Greenleaf
Cate Blanchett as Meredith Logue
Philip Seymour Hoffman as Freddie Miles
Jack Davenport as Peter Smith-Kingsley
James Rebhorn as Herbert Greenleaf
Sergio Rubini as Inspector Roverini
Philip Baker Hall as Alvin MacCarron
Celia Weston as Aunt Joan
Ivano Marescotti as Col. Verrechia of the carabinieri

text: Production[edit]

text: The Guardian reported in 2000 that Leonardo DiCaprio declined the offer to play Ripley before Damon was cast in the role.[2] Apart from the beginning scenes filmed in New York City, the movie was shot entirely on location in Italy. The cliffside resort town of Positano and various villages on the islands of Ischia and Procida, near Naples, were used to represent the fictional town of "Mongibello".[3] The scenes taking place in San Remo were actually filmed in Anzio, a resort-town near Rome. Famous locations included the Piazza Navona, the Spanish Steps and Piazza di Spagna in Rome, and the Caffè Florian in the Piazza San Marco, Venice.[3]

text: To prepare for the role of Ripley, Damon lost 30 pounds and learned to play the piano.[4] Jude Law gained weight and learned to play the saxophone for his character; he also broke a rib when he fell backward while filming the murder scene in the boat.[5]

text: Reception[edit]

text: Critical reception[edit]

text: Roger Ebert gave the film four-out-of-four stars, calling it "an intelligent thriller" that is "insidious in the way it leads us to identify with Tom Ripley ... He's a monster, but we want him to get away with it".[6] In her review for The New York Times, Janet Maslin praised Law's performance: "This is a star-making role for the preternaturally talented English actor Jude Law. Beyond being devastatingly good-looking, Mr. Law gives Dickie the manic, teasing powers of manipulation that make him ardently courted by every man or woman he knows".[7] Entertainment Weekly gave the film an "A-" rating, and Lisa Schwarzbaum wrote: "Damon is at once an obvious choice for the part and a hard sell to audiences soothed by his amiable boyishness ... the facade works surprisingly well when Damon holds that gleaming smile just a few seconds too long, his Eagle Scout eyes fixed just a blink more than the calm gaze of any non-murdering young man. And in that opacity we see horror".[8]

text: Charlotte O'Sullivan of Sight and Sound wrote, "A tense, troubling thriller, marred only by problems of pacing (the middle section drags) and some implausible characterisation (Meredith's obsession with Ripley never convinces), it's full of vivid, miserable life".[9] Time named it one of the ten best films of the year and called it a "devious twist on the Patricia Highsmith crime novel".[10] James Berardinelli gave the film two and a half stars out of four, calling it "a solid adaptation" that "will hold a viewer's attention", but criticized "Damon's weak performance" and "a running time that's about 15 minutes too long."[11] Berardinelli compared the film unfavorably with the previous adaptation, Purple Noon, which he gave four stars.[12] He wrote, "The remake went back to the source material, Patricia Highsmith's The Talented Mr. Ripley. The result, while arguably truer to the events of Highsmith's book, is vastly inferior. To say it suffers by comparison to Purple Noon is an understatement. Almost every aspect of René Clément's 1960 motion picture is superior to that of Minghella's 1999 version, from the cinematography to the acting to the screenplay. Matt Damon might make a credible Tom Ripley, but only for those who never experienced Alain Delon's portrayal."[13]

text: In his review for The New York Observer, Andrew Sarris wrote, "On balance, The Talented Mr. Ripley is worth seeing more for its undeniably delightful journey than its final destination. Perhaps wall-to-wall amorality and triumphant evil leave too sour an aftertaste even for the most sophisticated anti-Hollywood palate".[14] In his review for The Guardian, Peter Bradshaw wrote, "The Talented Mr. Ripley begins as an ingenious exposition of the great truth about charming people having something to hide: namely, their utter reliance on others. It ends up as a dismayingly unthrilling thriller and bafflingly unconvincing character study".[15] In her review for the Village Voice, Amy Taubin criticized Minghella as a "would-be art film director who never takes his eye off the box office, doesn't allow himself to become embroiled in such complexity. He turns The Talented Mr. Ripley into a splashy tourist trap of a movie. The effect is rather like reading The National Enquirer in a café overlooking the Adriatic".[16]

text: Currently, the film has a rating of 83% on Rotten Tomatoes, based on 128 reviews with an average rating of 7.8/10.[17]

text: Awards[edit]

text: This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (January 2018) (Learn how and when to remove this template message)

text:
Year
Award
Category
Recipient(s)
Result
Ref.

1999
Academy Awards
Best Actor in a Supporting Role
Jude Law
Nominated
[18]

Best Adapted Screenplay
Anthony Minghella
Nominated

Best Art Direction
Roy Walker (art director)
Bruno Cesari (set decorator)
Nominated

Best Costume Design
Ann Roth
Gary Jones
Nominated

Best Original Score
Gabriel Yared
Nominated

2000
BAFTA Awards
Best Film
William Horberg
Tom Sternberg
Nominated

Best Actor in a Supporting Role
Jude Law
Won

Best Actress in a Supporting Role
Cate Blanchett
Nominated

Best Direction
Anthony Minghella
Nominated

Best Adapted Screenplay
Nominated

Best Cinematography
John Seale
Nominated

Best Film Music
Gabriel Yared
Nominated

2000
Berlin International Film Festival
Golden Bear
Anthony Minghella
Nominated

2000
Broadcast Film Critics Association Awards
Best Film

Nominated

Best Composer
Gabriel Yared
Won

2000
Chicago Film Critics Association Awards
Best Cinematography
John Seale
Nominated

2001
Empire Awards
Best British Actor
Jude Law
Nominated

2000
Golden Globe Awards
Best Motion Picture – Drama

Nominated

Best Actor – Motion Picture Drama
Matt Damon
Nominated

Best Supporting Actor – Motion Picture
Jude Law
Nominated

Best Director
Anthony Minghella
Nominated

Best Original Score
Gabriel Yared
Nominated

2000
Las Vegas Film Critics Society Awards
Best Film

Nominated

Best Actor
Matt Damon
Nominated

Best Director
Anthony Minghella
Nominated

Best Screenplay
Nominated

Best Cinematography
John Seale
Nominated

Best Score
Gabriel Yared
Nominated

2000
London Film Critics Circle Awards
British Screenwriter of the Year
Anthony Minghella
Nominated

British Supporting Actor of the Year
Jude Law
Nominated

2000
MTV Movie Awards
Best Musical Sequence
Matt Damon
Rosario Fiorello
Jude Law
Nominated

Best Villain
Matt Damon
Nominated

2000
National Board of Review Awards[19]
Top Ten Films

Nominated

Best Supporting Actor
Philip Seymour Hoffman
Won

Best Director
Anthony Minghella
Won

2000
Online Film Critics Society Awards
Best Adapted Screenplay
Anthony Minghella
Nominated

1999
Satellite Awards
Best Film

Nominated

Best Supporting Actor – Motion Picture Drama
Jude Law
Nominated

Best Director
Anthony Minghella
Nominated

Best Adapted Screenplay
Nominated

Best Cinematography
John Seale
Nominated

Best Editing
Walter Murch
Nominated

2000
Teen Choice Awards
Choice Movie: Drama

Nominated

Choice Movie Actor
Matt Damon
Nominated

Choice Movie: Breakout Star
Jude Law
Nominated

Choice Movie: Liar
Matt Damon
Nominated

2000
Writers Guild of America Awards
Best Adapted Screenplay
Anthony Minghella
Nominated


document_title: Lymph node

question_text: a cancer that is concentrated in the lymph nodes is

text: Lymph node

text: Structure[edit]

text: Lymph nodes are kidney or oval shaped and range in size from a few millimeters to about 1–2 cm long.[5] Each lymph node is surrounded by a fibrous capsule, which extends inside the lymph node to form trabeculae. The substance of the lymph node is divided into the outer cortex and the inner medulla. The cortex is continuous around the medulla except where the medulla comes into direct contact with the hilum.[5]

text: Thin reticular fibers of reticular connective tissue, and elastin form a supporting meshwork called a reticulin inside the node. B cells are mainly found in the outer (superficial) cortex where they are clustered  together as follicular B cells in lymphoid follicles and the T cells are mainly in the paracortex.[6] The lymph node is divided into compartments called lymph nodules (or lobules) each consisting of a cortical region of combined follicle B cells, a paracortical region of T cells, and a basal part of the nodule in the medulla.[7]

text: The number and composition of follicles can change especially when challenged by an antigen, when they develop a germinal center.[5] Elsewhere in the node, there are only occasional leukocytes. As part of the reticular network there are follicular dendritic cells in the B cell follicle and fibroblastic reticular cells in the T cell cortex. The reticular network not only provides the structural support, but also the surface for adhesion of the dendritic cells, macrophages and lymphocytes. It allows exchange of material with blood through the high endothelial venules and provides the growth and regulatory factors necessary for activation and maturation of immune cells.[8]

text: Lymph enters the convex side of the lymph node through multiple afferent lymphatic vessels, and flows through spaces called sinuses. A lymph sinus which includes the subcapsular sinus, is a channel within the node, lined by endothelial cells along with fibroblastic reticular cells and this allows for the smooth flow of lymph through them.The endothelium of the subcapsular sinus is continuous with that of the afferent lymph vessel and is also with that of the similar sinuses flanking the trabeculae and within the cortex. All of these sinuses drain the filtered lymphatic fluid into the medullary sinuses, from where the lymph flows into the efferent lymph vessels to exit the node at the hilum on the concave side.[5] These vessels are smaller and don't allow the passage of the macrophages so that they remain contained to function within the lymph node. In the course of the lymph, lymphocytes may be activated as part of the adaptive immune response.

text: Capsule[edit]

text: The lymph node capsule is composed of dense irregular connective tissue with some plain collagenous fibers, and from its internal surface are given off a number of membranous processes or trabeculae. They pass inward, radiating toward the center of the node, for about one-third or one-fourth of the space between the circumference and the center of the node. In some animals they are sufficiently well-marked to divide the peripheral or cortical portion of the node into a number of compartments (nodules), but in humans this arrangement is not obvious. The larger trabeculae springing from the capsule break up into finer bands, and these interlace to form a mesh-work in the central or medullary portion of the node. In these trabecular spaces formed by the interlacing trabeculae is contained the proper lymph node substance or lymphoid tissue. The node pulp does not, however, completely fill the spaces, but leaves, between its outer margin and the enclosing trabeculae, a channel or space of uniform width throughout. This is termed the subcapsular sinus (lymph path or lymph sinus). Running across it are a number of finer trabeculae of reticular connective tissue, the fibers of which are, for the most part, covered by ramifying cells.

text: Subcapsular sinus[edit]

text: The subcapsular sinus (lymph path, lymph sinus, marginal sinus) is the space between the capsule and the cortex which allows the free movement of lymphatic fluid and so contains few lymphocytes.[5] It is continuous with the similar lymph sinuses that flank the trabeculae.[5]

text: The lymph node contains lymphoid tissue, i.e., a meshwork or fibers called reticulum with white blood cells enmeshed in it. The regions where there are few cells within the meshwork are known as lymph sinus. It is lined by reticular cells, fibroblasts and fixed macrophages.[5]

text: The subcapsular sinus has clinical importance as it is the most likely location where the earliest manifestations of a metastatic carcinoma in a lymph node would be found.

text: Cortex[edit]

text: The cortex of the lymph node is the outer portion of the node, underneath the capsule and the subcapsular sinus.[7] It has an outer superficial part and a deeper part known as the paracortex.[7] The subcapsular sinus drains to the trabecular sinuses, and then the lymph flows into the medullary sinuses.

text: The outer cortex consists mainly of the B cells arranged as follicles, which may develop a germinal center when challenged with an antigen, and the deeper paracortex mainly consists of the T cells. Here the T-cells mainly interact with dendritic cells, and the reticular network is dense.[9]

text: Medulla[edit]

text: The medulla contains large blood vessels, sinuses and medullary cords that contain antibody-secreting plasma cells.

text: The medullary cords are cords of lymphatic tissue, and include plasma cells, macrophages, and B cells. The medullary sinuses (or sinusoids) are vessel-like spaces separating the medullary cords. Lymph flows into the medullary sinuses from cortical sinuses, and into the efferent lymphatic vessel. There is usually only one efferent vessel though sometimes there may be two.[10] Medullary sinuses contain histiocytes (immobile macrophages) and reticular cells.

text: Location[edit]

text: Lymph nodes are present throughout the body, are more concentrated near and within the trunk, and are divided in the study of anatomy into groups. Some lymph nodes can be felt when enlarged (and occasionally when not), such as the axillary lymph nodes under the arm, the cervical lymph nodes of the head and neck and the inguinal lymph nodes near the groin crease. Some lymph nodes can be seen, such as the tonsils. Most lymph nodes however lie within the trunk adjacent to other major structures in the body - such as the paraaortic lymph nodes and the tracheobronchial lymph nodes.

text: There are no lymph nodes in the central nervous system, which is separated from the body by the blood-brain barrier.

text: Function[edit]

text: The primary function of lymph nodes is the filtering of lymph to identify and fight infection. In order to do this, lymph nodes contain lymphocytes, a type of white blood cell, which includes B cells and T cells. These circulate through the bloodstream and enter and reside in lymph nodes.[11] B cells produce antibodies. Each antibody has a single predetermined target, an antigen, that it can bind to. These circulate throughout the bloodstream and if they find this target, the antibodies bind to it and stimulate an immune response. Each B cell produces different antibodies, and this process is driven in lymph nodes. B cells enter the bloodstream as "naive" cells produced in bone marrow. After entering a lymph node, they then enter a lymphoid follicle, where they multiply and divide, each producing a different antibody. If a cell is stimulated, it will go on to produce more antibodies (a plasma cell) or act as a memory cell to help the body fight future infection.[12] If a cell is not stimulated, it will undergo apoptosis and die.[12]

text: Antigens are molecules found on bacterial cell walls, chemical substances secreted from bacteria, or sometimes even molecules present in body tissue itself. These are taken up by cells throughout the body called antigen-presenting cells, such as dendritic cells.[13] These antigen presenting cells enter the lymph system and then lymph nodes. They present the antigen to T cells and, if there is a T cell with the appropriate T cell receptor, it will be activated.[12]

text: B cells acquire antigen directly from the afferent lymph.  If a B cell binds its cognate antigen it will be activated.  Some B cells will immediately develop into antibody secreting plasma cells, and secrete IgM.  Other B cells will internalize the antigen and present it to Follicular helper T cells on the B and T cell zone interface.  If a cognate FTh cell is found it will upregulate CD40L and promote somatic hypermutation and isotype class switching of the B cell, increasing its antigen binding affinity and changing its effector function.  Proliferation of cells within the lymph node will make the node expand.

text: Lymph is present throughout the body, and circulates through lymphatic vessels. These drain into and from lymph nodes – afferent vessels drain into nodes, and efferent vessels from nodes. When lymph fluid enters a node, it drains into the node just beneath the capsule in a space called the subcapsular sinus. The subcapsular sinus drains into trabecular sinuses and finally into medullary sinuses. The sinus space is criss-crossed by the pseudopods of macrophages, which act to trap foreign particles and filter the lymph. The medullary sinuses converge at the hilum and lymph then leaves the lymph node via the efferent lymphatic vessel towards either a more central lymph node or ultimately for drainage into a central venous subclavian blood vessel.

text:
The B cells migrate to the nodular cortex and medulla.
The T cells migrate to the deep cortex. This is a region of the lymph node called the paracortex that immediately surrounds the medulla. Unlike the cortex, which has mostly immature T cells, or thymocytes, the paracortex has a mixture of immature and mature T cells. Lymphocytes enter the lymph nodes through specialized high endothelial venules found in the paracortex.

text: The spleen and tonsils are the larger secondary lymphoid organs that serve similar functions to lymph nodes, though the spleen filters blood cells rather than lymph.

text: Clinical significance[edit]

text: Swelling[edit]

text: Lymph nodes may become enlarged due to an infection, tumor, autoimmune disease, drug reactions, or to leukemia.[14] Swollen lymph nodes (or the disease causing them) are referred to as lymphadenopathy.[15] Swollen lymph nodes may be seen, as in enlarged tonsils, or seen as gross enlargement of nodes due to lymphoma. They may be felt, or seen on a scan. Swollen lymph nodes may be painful or cause other symptoms such as a difficulty in swallowing or in breathing. When very large they may compress on a blood vessel.  Swelling can occur in one node, in a localised area, or be widespread.

text: The taking of a medical history and exam by a medical practitioner can help point to the cause of the swelling, whether it be a localised infection, or a systemic disorder. Many symptoms or signs may point to the cause of swelling - for example, a sore throat and a cough may point to an upper respiratory tract infection as the cause of tonsil swelling. Changes in the appearance of a breast or a mass that has been felt may explain underarm pain and axillary lymph node swelling. Ongoing fevers or night sweats may suggest a systemic infection or a lymphoma as the cause of swelling. Depending on these findings, a wide variety of medical tests that include blood tests and scans may be needed to further examine the cause. A biopsy of a lymph node may also be needed.

text: Lymphedema is another and fairly widespread condition that results in fluid retention and tissue swelling. It can be congenital as a result usually of undeveloped or absent lymph nodes, and is known as primary lymphedema. Secondary lymphedema usually results from the removal of lymph nodes during breast cancer surgery or from other damaging treatments such as radiation. It can also be caused by some parasitic infections. Affected tissues are at a great risk of infection.

text: Cancer[edit]

text: Lymph nodes can be affected by both primary cancers of lymph tissue, and secondary cancers affecting other part of the body. Primary cancers of lymph tissue are called lymphomas and include Hodgkin lymphoma and non-Hodgkin lymphoma. Cancer of lymph nodes can cause a wide range of symptoms from painless long-term slowly growing swelling to sudden, rapid enlargement over days or weeks. Lymphoma is managed by haematologists and oncologists

text: Local cancer in many parts of the body can cause lymph nodes to enlarge, usually because of tumours cells that have metastasised into the node. Lymph node involvement is often a key part in the diagnosis and treatment of cancer, acting as "sentinels" of local disease, incorporated into TNM staging and other cancer staging systems. As part of the investigations or workup for cancer, lymph nodes may be imaged or even surgically removed. Whether lymph nodes are affected will affect the stage of the cancer and overall treatment and prognosis.

text: Additional images[edit]

text:
Lymphatic system

Section of small lymph node of rabbit.

Lymphatics of the arm

Lymphatics of the axillary region

Lymph node histology