question_text: who is playing versace in american crime story

text: Cast and characters[edit]

text: Main[edit]

text:
Édgar Ramírez as Gianni Versace
Darren Criss as Andrew Cunanan
Ricky Martin as Antonio D'Amico
Penélope Cruz as Donatella Versace

text: Special guest stars[edit]

text:
Judith Light as Marilyn Miglin
Aimee Mann as Bar Singer
Finn Wittrock as Jeff Trail

text: Recurring[edit]

text:
Joanna P. Adler as Mary Ann Cunanan
Joe Adler as Jerome Gentes
Annaleigh Ashford as Elizabeth Cote
Jon Jon Briones as Modesto Cunanan
Will Chase as Det. Paul Scrimshaw
Giovanni Cirfiera as Santo Versace
Mike Farrell as Lee Miglin
Jay R. Ferguson as Agent Keith Evans
Cody Fern as David Madson
Max Greenfield as Ronnie Holston
Sophie von Haselberg as Linda Elwell
Edouard Holdener as Young Andrew Cunanan
Christine Horn as Agent Talarah Gruber
John Lacy as Howard Madson
Cathy Moriarty as Vivian Oliva
Michael Nouri as Norman Blachford
Dascha Polanco as Det. Lori Wieder
Terry Sweeney as David Gallo
José Zúñiga as Det. George Navarro

text: Guest[edit]

text:
Razaaq Adoti as Det. Pete Jackson
Vincenzo Amato as Versace Spokesman
Jack Armstrong as J. Paul Beitler
Cullen Douglas as Agent Reynolds
Nico Evers-Swindell as Philip Merrill
Alex Fernandez as Supt. Matt L. Rodriguez
Jacob Fortner as Duke Miglin
Molly Price as Escort Agency Manager
Paul Schneider as Paul Beck
Tara Summers as Laura Trail
Todd Waring as Lincoln Aston
Michael Shamus Wiles as Det. Robert Tichich

text: Episodes[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
Prod.
code
U.S. viewers
(millions)

1
1
"The Man Who Would Be Vogue"
Ryan Murphy
Tom Rob Smith
January 17, 2018 (2018-01-17)[a]
3WAX01
2.22[6]

On the morning of July 15, 1997, fashion designer Gianni Versace is shot and killed outside his Miami Beach mansion by wanted spree killer Andrew Cunanan. Seven years earlier, Cunanan meets Versace at a gay nightclub in San Francisco and tells his roommates about the encounter the following morning, albeit with most of the details fabricated. Cunanan later attends a performance of Capriccio as Versace's guest and exchanges origin stories with him after the performance. In the present, Cunanan flees the scene, evading Versace's partner Antonio D'Amico. Versace, meanwhile, is rushed to the hospital and pronounced dead. As local police start to collaborate with the federal authorities, Versace's sister Donatella and brother Santo plan the future of their brother's business empire while Cunanan purchases newspapers covering Versace's death with a remorseless expression.

2
2
"Manhunt"
Nelson Cragg
Tom Rob Smith
January 24, 2018 (2018-01-24)
3WAX02
1.42[7]

In March 1994, Versace learns that he is HIV positive and Donatella immediately blames Antonio for the illness. Three years later, Cunanan arrives in Miami after fleeing from South Carolina and moves into a motel under an assumed identity. He juggles working as a prostitute, giving his earnings to his homosexual neighbor Ronnie, and feeding his obsession with Versace. Versace, meanwhile, juggles dealing with creative block and reeling from Antonio's proposal of a wedding. While at a nightclub one evening, Cunanan surprises Versace and Antonio and attempts to follow them only to lose them in the crowd.

3
3
"A Random Killing"
Gwyneth Horder-Payton
Tom Rob Smith
January 31, 2018 (2018-01-31)
3WAX03
1.26[8]

In May 1997, Chicago real estate developer Lee Miglin is found dead in his garage by his wife Marilyn. One week earlier, Miglin invites Cunanan, whom he knows as a gay escort, over to his house after Marilyn leaves Chicago to promote her perfume brand. Cunanan proceeds to brutally torture and kill Miglin before stealing his Lexus. In the present, detectives assigned to the case discover gay pornographic magazines surrounding Miglin's dead body. Marilyn insists that the killer owns the magazines and that her husband's murder was nothing more than a random killing. The authorities later use the car's phone in an attempt to track Cunanan, who learns about their plan after it is leaked to the media. He then abandons Miglin's Lexus in Pennsville, New Jersey before gunning down caretaker William Reese and stealing his red pick-up truck. Marilyn, meanwhile, deals with her grief as she continues to promote her perfume.

4
4
"House by the Lake"
Daniel Minahan
Tom Rob Smith
February 7, 2018 (2018-02-07)
3WAX04
0.98[9]

In April 1997, Cunanan lures former acquaintance Jeff Trail to the Minneapolis loft-apartment of his former lover, David Madson, and bludgeons him to death with a claw hammer. After forcing Madson to remain complicit, Cunanan decides to flee to Mexico when one of Madson's co-workers visits him. The Minneapolis Police Department, meanwhile, discovers Trail's corpse and suspect Madson to be the killer. They proceed to question Madson's parents, who firmly believe that their son is innocent. When Madson confronts Cunanan about his lies, Cunanan realizes that he has lost his hold on his lover and shoots Madson near a lake outside Rush City.

5
5
"Don't Ask Don't Tell"
Daniel Minahan
Tom Rob Smith
February 14, 2018 (2018-02-14)
3WAX05
0.91[10]

In June 1995, Versace ignores Donatella's disapproval and makes his sexuality public in an interview. In November 1995, U.S. Navy lieutenant Jeff Trail is suspected as a homosexual after saving a fellow veteran from being assaulted in San Diego. Following an unsuccessful suicide attempt, Trail goes to a gay bar and meets Cunanan. Trail later agrees to do an interview about homophobia in the military, during which he "makes the decision" to leave the Navy. Two years later, Cunanan runs into Trail and David Madson in Minneapolis. Both men, however, try to avoid him, with Trail staying at his sister's house and Madson stating he has moved on. Abandoned and angry, Cunanan resolves to murder Trail.

6
6
"Descent"
Gwyneth Horder-Payton
Tom Rob Smith
February 28, 2018 (2018-02-28)
3WAX07
1.10[11]

In 1996, Cunanan lives in La Jolla, California with middle-aged businessman Norman Blachford, who handles his finances as part of their arranged relationship. During his twenty-seventh birthday party, Cunanan tries to impress David Madson by fabricating details about his life and boasting that everyone loves him. After an attempt to ask Blachford for more extravagant demands results in him being kicked out of their house, Cunanan spends thousands of dollars in an attempt to win Madson over only for Madson to cut all ties with him. Cunanan then turns to drugs and outs Jeff Trail to his father in a postcard, causing Trail to threaten him before moving to Minneapolis. Following a severe, drug-fueled bout of depression, Cunanan reunites with his mother Mary Ann and tells her he is going to Minneapolis.

7
7
"Ascent"
Gwyneth Horder-Payton
Tom Rob Smith
March 7, 2018 (2018-03-07)
3WAX06
0.92[12]

In 1992, Versace pressures Donatella into taking over the company after his death. Following a failed attempt to collaborate on a dress for the Vogue anniversary gala, Versace is diagnosed with ear cancer and travels to Miami to recover, forcing Donatella to take the reins. That same year, Cunanan, who is living with Mary Ann, starts working as a gay escort for older men. He develops a relationship with architect Lincoln Aston, a close friend of Norman Blachford, only for Aston to break up with him after discovering he and David Madson spent the night together. Cunanan's attempt to reconcile with Aston ends with him witnessing Aston's brutal murder. Cunanan then moves out of his mother's apartment following an argument and uses Aston's death to develop a relationship with Blachford, who lets him move into his house.

8
8
"Creator / Destroyer"
Matt Bomer
Tom Rob Smith and Maggie Cohn
March 14, 2018 (2018-03-14)
3WAX08
1.00[13]

In 1957 Italy, a young Versace starts designing clothes under tutelage from his dressmaker mother. In 1980, a young Cunanan receives preferential treatment from his stockbroker father Modesto, who abuses his mother and siblings. Seven years later, Cunanan juggles attending private school and secretly dating older men. Modesto, meanwhile, flees to Manila after being fired for embezzling from elderly clients and learning that he is wanted by the FBI, leaving his family penniless. Cunanan tracks him down and confronts him over the charges only to be rejected. Upon returning to the United States, Cunanan applies for a job at a pharmacy, where he tells the manager that Modesto owns pineapple plantations.

9
9
"Alone"
Daniel Minahan
Tom Rob Smith
March 21, 2018 (2018-03-21)
3WAX09
1.20[14]

On the evening of July 15, 1997, Cunanan hides in a Miami Beach houseboat in an attempt to evade both local and federal authorities. Over the course of the next two days, Cunanan attempts to leave the island city only to continue hiding due to the strong police presence. As the authorities interrogate Mary Ann and Ronnie, Marilyn grapples with the fact that he has gone unpunished. At the same time, Cunanan's friend Elizabeth Cote appeals to him in a television interview, David Madson's father insists his son is a victim, and Modesto uses Cunanan's story in an attempt to get attention. On July 22, 1997, as Versace is buried in his family vault near Lake Como, Italy, Donatella tells Antonio he cannot reside in the house that he was promised. The next morning, the authorities corner Cunanan only for him to shoot himself in the mouth. Cunanan is later buried in a public mausoleum while Donatella prepares to meet with Versace's lawyers and Antonio attempts suicide.

text: Production[edit]

text: Development[edit]

text: The Assassination of Gianni Versace: American Crime Story was picked up on October 18, 2016, and was announced as the third season of the series, following the season about Katrina.[2] The announcement also revealed that English author Tom Rob Smith would be the writer of multiple episodes of the season, including the first two,[2] while executive producer Ryan Murphy would be directing the season premiere.[5] Following the airing of the first season's finale in April 2016, it was revealed that series creators Scott Alexander and Larry Karaszewski would not be returning for the second season.[15]

text: In June 2017, it was announced that Katrina would not begin production until early 2018 and that Versace would air in early 2018, replacing Katrina as the show's official second installment.[16]

text: On October 2, 2017, American Horror Story veteran Matt Bomer was announced as the director of the eighth episode, making it his directorial debut.[17] During its production, the working title of the season was American Crime Story: Versace/Cunanan.[18][19]

text: In December 2017, after the first public screening, it was revealed that Versace would have nine episodes,[3] despite being originally reported to consist of ten episodes.[2]

text: Casting[edit]

text: In February 2017, Édgar Ramírez and Darren Criss joined the cast of The Assassination of Gianni Versace as Gianni Versace and Andrew Cunanan, respectively.[20] Murphy confirmed the reports announcing Lady Gaga would portray Donatella Versace in The Assassination of Gianni Versace were false;[21][22] Penélope Cruz was later cast in the role.[23] In April 2017, it was announced that Ricky Martin was joining the cast of The Assassination of Gianni Versace as Antonio D'Amico, Versace’s longtime partner.[24] On April 28, 2017, Annaleigh Ashford was seen filming on the set of The Assassination of Gianni Versace with Criss.[25] On June 21, 2017, it was announced through Entertainment Weekly that Ashford's role in the series would be as Elizabeth Cote, a friend of Cunanan's since high school, while Nico Evers-Swindell would play her husband, Philip Merrill.[26]

text: On May 5, 2017, Murphy announced via his Instagram account that Max Greenfield joined the casting, by publishing a photo of Greenfield and Criss on the set.[27] On June 21, 2017, it was announced that Finn Wittrock will star in The Assassination of Gianni Versace, playing Jeffrey Trail, Cunanan's first victim.[28]

text: In November 2017, the official Twitter account for the series revealed that Judith Light and Dascha Polanco are part of the cast.[29][30] In December 2017, the official webpage for the series released cast and character bios revealing that Max Greenfield would play Ronnie, whilst confirming the casting of Judith Light as Marilyn Miglin, Dascha Polanco as Detective Lori Wieder, Jon Jon Briones as Modesto Cunanan, Cody Fern as David Madson, and Mike Farrell as Lee Miglin.[31]

text: Filming[edit]

text: According to multiple set reports and photos, principal photography of season 2 took place at the beginning of May 2017, in Miami.[32] As revealed by Darren Criss via his Twitter account, shooting ended during the week of November 13.[33]

text: Promotion[edit]

text: In September 2017, FX released the first promotional teaser for The Assassination of Gianni Versace, showing doves sitting outside Versace's former mansion and flying away when two gunshots ring out.[34] A second teaser was released that same month, depicting Versace's sister Donatella placing flowers on a casket.[35] In October, a new teaser was released, depicting some police radio communications as a black clothes cover, with the name Versace on it, is being closed.[36] The same month, a second teaser was released, showing Donatella kissing the stairs where Gianni was murdered, before entering in his mansion.[37] On Halloween day, FX aired a new promotional video during a commercial break of the ninth episode of American Horror Story: Cult, which announced that the season would premiere on January 17, 2018.[1]

text: In November 2017, four new teasers were released. The first one shows Versace relaxing next to his pool, as Cunanan comes out of it.[38] The second one depicts D'Amico leaving Gianni's house, as he hears two gunshots (the unseen murder) and runs to see what happened; while a voice-over by Ricky Martin as D'Amico says that he was Gianni's partner and lover.[39] The third one shows Donatella and Gianni hugging and watching themselves in front of a mirror, as the latter tells his sister that she would be Versace without him.[40] The fourth one depicts a running sewing machine, which ends up having some issues and not being able to finish its work.[41]

text: On November 15, 2017, the first full trailer for the season was released via the Twitter account of the series. It shows some moments of Cunanan's unstable past and the first aftermaths of Versace's assassination.[42] The same day, it was announced that the first episode of the season would be available five days before the official premiere for FX+ subscribers.[5] On November 28, 2017, FX released a new short trailer depicting the main cast of the season: Cruz, Ramírez, Martin and Criss; while a voice-over by Criss as Cunanan reveals how he feels the same as Versace.[43]

text: In December 2017, more teasers were released. The first one opposes Versace and Cunanan as they speak about themselves and their past.[44] The second one features a Versace fashion show where models start crying, as news reports about Versace's death are being heard.[45] The third one shows Cunanan trying to convince someone that he really has a date with Versace, while the scene is being cut by shots of the assassination and its aftermaths.[46] The fourth one features Donatella Versace in a black dress for her brother's funeral;[47] the fifth one shows different rooms of Versace's mansion, with multiple voice-overs by different characters;[48] and the sixth one features a showering Cunanan, surrounding his face with duct tape, as Max Greenfield's Ronnie asks him what he is doing.[49] On December 28, a first look at the series was released, with multiple interviews from the crew and the cast.[50] That same day, a new teaser was also revealed, depicting Cunanan as he is about to kill his sexual partner and then Versace.[51]

text: At the start of January 2018, a new teaser was released. It features Cunanan changing the license plate of his car and greeting a young girl, while a voice-over is saying that the police are looking for him and that he is very dangerous.[52] On January 16, 2018, the full red band trailer was released,[53] and a short version premiered the next day.[54]

text: Reception[edit]

text: Reviews[edit]

text: The second season of American Crime Story received positive reviews from critics. The review aggregator Rotten Tomatoes gave the season an approval rating of 86% based on 81 reviews, with an average rating of 7.02/10. The site's critical consensus reads, "The Assassination of Versace starts with a bang and unfurls slowly, moving backward through an intricate (and occasionally convoluted) murder mystery anchored by a career-defining performance from Darren Criss."[55] On Metacritic, the season has a score of 74 out of 100, based on 35 critics, indicating "generally favorable reviews."[56]

text: Reaction from individuals involved[edit]

text: In January 2018, the Versace family released a statement criticizing the series. They explained they have "neither authorized nor had any involvement whatsoever" in the production of the season, before adding that it "should only be considered as a work of fiction."[57] Executive producer Ryan Murphy answered that the series was "not a work of fiction" as it is based on a non-fiction book, Maureen Orth's Vulgar Favors, and that the production team and FX stand by the author and her work. Comparing it to The People v. O. J. Simpson, Murphy added that the season is "a work of non-fiction obviously with docudrama elements," and not a documentary.[57] Following this answer, the Versace family released a second statement, still slamming the series as "a work of fiction" because "the Orth book itself is full of gossip and speculation." They also heavily criticized Orth's work, calling it an "effort to create a sensational story" with "second-hand hearsay that is full of contradictions." They gave the example of Gianni Versace's medical condition, as Orth claims that Versace was HIV positive at the time of his death.[58]

text: Antonio D'Amico also criticized the series, deeming some scenes as "ridiculous" and insisting that "so much has been fictionalised". He also revealed that he does not plan to watch it, but that he would have been happy if Ricky Martin, who plays his role, got in contact to get some insight into his relationship with Versace.[59]

text: According to Ryan Murphy, Donatella Versace was very supportive that Penélope Cruz played her role. As Cruz and Versace are friends, Murphy explained that, when he offered her the role, Cruz asked the permission of Versace before agreeing to do it. He also revealed that, while Cruz was representing the series at the 75th Golden Globe Awards, Versace "very graciously sent [her] a lovely and huge flower arrangement saying 'good luck.'"[57]

text: Ratings[edit]

text:
No.
Title
Air date
Rating/share
(18–49)
Viewers
(millions)
DVR
(18–49)
DVR viewers
(millions)
Total
(18–49)
Total viewers
(millions)

1
"The Man Who Would Be Vogue"
January 17, 2018
0.7
2.22[6]
0.6
1.76
1.3
3.98[60]

2
"Manhunt"
January 24, 2018
0.4
1.42[7]
0.7
1.98
1.1
3.40[61]

3
"A Random Killing"
January 31, 2018
0.4
1.26[8]
0.7
1.94
1.1
3.20[62]

4
"House by the Lake"
February 7, 2018
0.3
0.98[9]
0.6
1.79
0.9
2.77[63]

5
"Don't Ask Don't Tell"
February 14, 2018
0.2
0.91[10]
TBD
TBD
TBD
TBD

6
"Descent"
February 28, 2018
0.3
1.10[11]
0.6
1.58
0.9
2.68[64]

7
"Ascent"
March 7, 2018
0.3
0.92[12]
0.5
1.55
0.8
2.47[65]

8
"Creator / Destroyer"
March 14, 2018
0.3
1.00[13]
0.5
1.57
0.8
2.57[66]

9
"Alone"
March 21, 2018
0.3
1.20[14]
0.6
1.62
0.9
2.82[67]

text:
Season
Ep. 1
Ep. 2
Ep. 3
Ep. 4
Ep. 5
Ep. 6
Ep. 7
Ep. 8
Ep. 9
Ep. 10

The People v. O. J. Simpson
5.12
3.90
3.34
3.00
2.73
3.00
2.89
2.91
2.76
3.27

The Assassination of Gianni Versace
2.22
1.42
1.26
0.98
0.91
1.10
0.92
1.00
1.20
N/A

text: Accolades[edit]

text:
Year
Association
Category
Nominated artist/work
Result

2018
MTV Movie & TV Awards
Best Performance in a Show
Darren Criss
Pending

text: Notes[edit]

text: Jump up ^ This episode was available five days before the official premiere for FX+ subscribers.[5]


document_title: Coming to America

question_text: who played the robber in coming to america

root

text: Coming to America

text: Plot

text: In the fictional wealthy African nation of Zamunda, crown prince Akeem Joffer lives a pampered life, but he wishes to do more for himself. When his parents, King Jaffe and Queen Aeoleon, present him with an arranged bride-to-be, Akeem takes action. Seeking an independent woman who loves him for himself and not his social status, Akeem and his best friend/personal aide, Semmi, travel to the New York City borough of Queens and rent a squalid tenement in the neighborhood of Long Island City under the guise of poor foreign students. Beginning their search for Akeem's bride, they end up invited by some locals to a rally that is raising money for the inner city. During the rally, Akeem encounters Lisa McDowell, who possesses all the qualities he is looking for, and upon his insistence he and Semmi get entry-level jobs working at the local fast food restaurant called McDowell's — an obvious ripoff of McDonald's — owned by widower Cleo McDowell, Lisa's father.

tag: p

text: Akeem's attempts to win Lisa's love are complicated by Lisa's lazy and obnoxious boyfriend, Darryl Jenks (Eriq La Salle), whose father owns Soul Glo (a Jheri curl–like hairstyling aid). After Darryl announces their engagement — without Lisa's consent — to their families, she starts dating Akeem, who claims that he comes from a family of poor goat herders. Meanwhile, although Akeem thrives on hard work and learning how commoners live, Semmi is not comfortable with living in such meager conditions. After a dinner date with Lisa is thwarted when Semmi furnishes their apartment with a jacuzzi and other luxuries, Akeem confiscates his money and donates it to two homeless men. Semmi wires a telegraph to King Jaffe for more money, prompting Akeem's parents to travel to Queens and expose his identity as a prince.

text: Mr. McDowell, initially disapproving of Akeem as he did not want to see his daughter with a poor man, is ecstatic that he is actually an extremely wealthy prince. Lisa, however, becomes angry and confused that Akeem lied to her about his identity. Akeem explains that he wanted her to love him for who, not what, he is, even offering to renounce his throne; but Lisa, still hurt and angry, refuses to marry him. Despondent, Akeem resigns himself to the arranged marriage, but as they leave, Jaffe is reprimanded by Aeoleon for clinging to out-dated traditions instead of thinking of his son's happiness.

text: At the wedding procession, a still-heartbroken Akeem waits at the altar as his veiled bride-to-be makes her way down the aisle, but when Akeem lifts the veil to kiss her, he finds Lisa in the wedding gown. Following the ceremony, they ride happily in a carriage to the cheers of Zamundans. Witnessing such splendor, Lisa is both surprised and touched by the fact that Akeem would have given it up just for her. Akeem offers again to abdicate if she doesn't want this life, but Lisa playfully declines.

text: Cast

text:
Eddie Murphy as Prince Akeem Joffer, the prince of Zamunda; Randy Watson, a soul singer with the fictional band Sexual Chocolate.[3] Eddie Murphy also plays Saul, the Jewish barbershop customer, as well as Clarence, the owner of the barber shop.[4][5]
Arsenio Hall as Semmi, Akeem's friend; Reverend Brown;[6] Morris the barber; and an unattractive clubgoer.[7][8]
James Earl Jones as King Jaffe Joffer, Akeem's father and King of Zamunda.[9]
John Amos as Cleo McDowell, Akeem's employer and Lisa's father.
Madge Sinclair as Queen Aeoleon, Akeem's mother and the Queen of Zamunda.
Shari Headley as Lisa McDowell, Cleo's oldest daughter and Akeem's love interest.
Paul Bates as Oha, a royal servant.
Eriq La Salle as Darryl Jenks, Lisa's boyfriend whom she eventually breaks up with.

tag: ul

text: The cast also includes: Frankie Faison[10] as Mr. Townsend, Akeem and Semmi's landlord in Queens; Vanessa Bell as Imani Izzi, Akeem's arranged wife, and Calvin Lockhart as Colonel Izzi, her father; Louie Anderson as Maurice, a McDowell's employee; Allison Dean as Patrice McDowell, Cleo's youngest daughter and Lisa's sister; Samuel L. Jackson as a robber; Vondie Curtis-Hall as the Basketball game vendor; Garcelle Beauvais as a rose bearer; Victoria Dillard as one of Akeem's Zamundan attendants, and Clint Smith as Sweets.  Ruben Santiago-Hudson and Cuba Gooding Jr. made their film debuts as a street hustler and a barber shop customer respectively (for the latter, he was credited as Boy Getting Haircut). Don Ameche and Ralph Bellamy reprise their roles as, respectively, Mortimer and Randolph Duke from Landis' 1983 Murphy-starring comedy film Trading Places.[11] A segment of the Trading Places score can be heard during their scene. The Dukes' limo driver from that film also cameos as the driver of Akeem and Semmi's limo.[citation needed]

text: Coming to America features Murphy and Hall in several different roles, which, following the success of this film, became a Murphy staple.[12] Hall plays Reverend Brown, who introduces Randy Watson (Murphy).[13] Murphy and Hall play elderly barbers Clarence and Morris respectively, who engage in debate with Saul, the old Jewish man (Murphy). Hall also plays a woman (credited as Extremely Ugly Girl) who flirts with Akeem and Semmi.

text: Production

text: Coming to America reunited star Eddie Murphy with director John Landis. The two had previously worked together on the comedy hit Trading Places (1983); however, Landis later recalled the differences in working with Murphy on the two movies: "The guy on Trading Places was young and full of energy and curious and funny and fresh and great. The guy on Coming to America was the pig of the world... But I still think he's wonderful in the movie."[14]

text: "We had a tussling confrontation… We didn't come to blows. Personalities didn't mesh. I grabbed him, and he thought I was playing. So he tried to grab my balls and I pushed him away. But I wasn't kidding. He was doing some silly shit that made me mad. He directed me in Trading Places when I was just starting out as a kid, but he was still treating me like a kid five years later during Coming to America. And I hired him to direct the movie! I was gonna direct Coming to America myself, but I knew that Landis had just done three fucked-up pictures in a row and that his career was hanging by a thread after the Twilight Zone trial. I figured the guy was nice to me when I did Trading Places, so I'd give him a shot… I was going out of my way to help this guy, and he fucked me over. Now he's got a hit picture on his resumé, a movie that made over $200 million, as opposed to him coming off a couple of fucked-up movies – which is where I'd rather see him be right now (laughs)." – Eddie Murphy[15]

text: Despite the experience, Landis and Murphy collaborated again six years later on Beverly Hills Cop III.

text: South African chorus Ladysmith Black Mambazo sings Mbube during the opening sequence (the song also known as The Lion Sleeps Tonight). The group has gone on to record several different versions of Mbube; however, the version heard in Coming to America had not been released on its soundtrack or on CD as of 2006.

text: Landis' calling card/easter egg, "See You Next Wednesday", appears on a science-fiction movie poster in the subway station after Lisa storms off the train.

text: A promotional song for the film, also titled "Coming to America", was written and performed by The System.

text: Release

text: Paramount cancelled press screenings of the film, after initial negative reactions to a press screening in  New York.[16]

text: Box office

text: Released on June 29, 1988, by Paramount Pictures in the United States, it was a commercial box-office success, both domestically and worldwide.[17][18] The film debuted at number one with $21,404,420 from 2,064 screens, for a five-day total of $28,409,497. The film made $128,152,301 in the United States and ended up with a worldwide total of $288,752,301.[19] It was the highest earning film that year for the studio and the third-highest-grossing film at the United States box office.[20]

text: It opened a month later in the UK and earned $7,712,622 during its seven-week run. It opened on September 2 in West Germany, where it debuted at number one with $3,715,791 from 297 screens. It ended its run after 13 weeks with $15,743,447.

text: Reception

text:
Coming To America received positive reviews upon release.
Review-aggregation website Rotten Tomatoes gives the film a score of 67%, based on reviews from 42 critics with an average rating of 5.9/10. The website's critical consensus reads, "Eddie Murphy was in full control at this point, starkly evident in Coming to America's John Landis' coasting direction."[21] On Metacritic, the film holds a weighted average score of 47 out of 100, based on 16 reviews, indicating "mixed or average reviews".[22]

text: Sheila Benson in the Los Angeles Times called it a "hollow and wearying Eddie Murphy fairy tale" and bemoans, "That an Eddie Murphy movie would come to this."[23] Vincent Canby in The New York Times was also critical of the writing, calling it a "possibly funny idea" but suggesting the screenplay had escaped before it was ready. Canby viewed the film as essentially a romantic comedy but said the romantic elements fell flat, and the film instead goes for broad slapstick.[24] Siskel & Ebert had mixed opinions on the film. Siskel enjoyed the acting from Murphy and Hall but Ebert was disappointed that Murphy did not bring his usual more lively performance, and Ebert was also critical of the unoriginal script.[25]

text: Awards

text: The film was nominated for two Oscars: Best Costume Design by Deborah Nadoolman Landis and Best Makeup by Rick Baker,[26] who designed the makeup effects for both Murphy's and Arsenio Hall's multiple supporting characters.[27]

text: Lawsuit

text: The film was the subject of the Buchwald v. Paramount civil suit, which the humorist Art Buchwald filed in 1990 against the film's producers on the grounds that the film's idea was stolen from his 1982 script treatment about a rich, despotic African potentate who comes to America for a state visit. Paramount had optioned the treatment from Buchwald, and John Landis was attached as director and Eddie Murphy as the lead, but after two years of development hell Paramount abandoned the project in March 1985. In 1987, Paramount began working on Coming to America based on a story by Eddie Murphy.[28][29] Buchwald won the breach of contract action and the court ordered monetary damages. The parties later settled the case out-of-court before an appeal going to trial.[30]

text: Soundtrack

text:
Coming to America: Original Motion Picture SoundtrackSoundtrack album by Various artistsReleased
July 1988Genre
PopLength
40:16Label
Atco Records
Singles from Coming to America

"Coming to America"
"Come into My Life"
"That's the Way It Is"
"Better Late Than Never"

tag: table

text: The soundtrack to the film was released on LP, cassette and CD. The songs "Coming to America" by The System, "Better Late Than Never" by The Cover Girls and "Come into My Life" by Laura Branigan and Joe Esposito were released as singles from the album. "That's The Way It Is" by Mel & Kim had been released as a single in the UK, before the film's release, in February 1988, and became a top ten hit. It was released as a single in the USA at the time of the film's release.

text:
"Coming to America" — The System (3:49)
"Better Late Than Never" — The Cover Girls (4:02)
"All Dressed Up (Ready to Hit the Town)" — Chico DeBarge (4:50)
"I Like It Like That" — Michael Rodgers (4:01)
"That's the Way It Is" — Mel and Kim (3:25)

tag: ol

text:
"Addicted to You" — LeVert (3:54)
"Comin' Correct" — J.J. Fad (3:56)
"Livin' the Good Life" — Sister Sledge (3:46)
"Transparent" — Nona Hendryx (3:50)
"Come into My Life" — Laura Branigan and Joe Esposito (4:39)

text: Legacy

text: Television pilot

text: A television pilot of a weekly sitcom version of the film was produced for CBS, following the film's success, starring Tommy Davidson as Prince Tariq, and Paul Bates reprising his role as Oha. The pilot went unsold, but was televised on July 4, 1989 as part of the CBS Summer Playhouse pilot anthology series.[31][2]

text: Movie remakes

text: A Tamil movie, My Dear Marthandan, was produced based on the plot of Coming to America. A Hong Kong movie, The Fun, the Luck & the Tycoon, also has the same plot.

text: Influences in music

text: The melody heard in the bathroom scene, where Prince Akeem is being washed by female servants, was sampled in Snoop Dogg's 2006 song "That's That" featuring R. Kelly; a remix of the song featuring rapper Nas includes a woman's voice saying "the royal penis is clean your highness", a line taken from the same scene. Also, the music videos for Busta Rhymes' 1997 single "Put Your Hands Where My Eyes Could See" and Action Bronson's 2015 single "Baby Blue" are loosely based on the film. The song "Coming 2 America" by Ludacris from the album Word of Mouf features samples[32] and lyrics[33] referencing the film.

text: Planned sequel

text: In early 2017, an announcement was publicized which addressed the impending production of a sequel to the film. Kevin Misher was named as producer, and Sheffield and Blaustein, the original screenwriters, were also attached to the project. However, a possible participation of lead actors Eddie Murphy and Arsenio Hall was left undefined.[34][35] According to several public accounts, Murphy himself apparently posted an announcement regarding the film project a month prior on Facebook, but later claimed that his account had been hacked and completely deleted it.[34]


document_title: Abundance of elements in Earth's crust

question_text: the most abundant element on the earth's crust

question_tokens: the most abundant element on the earth 's crust

text: Abundance of elements in Earth's crust

text: The abundance of elements in Earth's crust is shown in tabulated form with the estimated crustal abundance for each chemical element shown as either percentage or parts per million (ppm) by mass (10,000 ppm = 1%).

text:
Abundance of chemical elements in Earth's crust, from various sources

Rank
Z, element & symbol
Abundance in crust (ppm) by source
Annual production

Darling[1]
Barbalace[2]
WebElements[3]
Israel Science and Technology[4]
Jefferson Lab[5]
(2016, tonnes)[6]

1
8
oxygen
O
466,000
474,000
460,000
467,100
461,000

2
14
silicon [A]
Si
277,200
277,100
270,000
276,900
282,000
7,200,000

3
13
aluminium
Al
81,300
82,000
82,000
80,700
82,300
57,600,000

4
26
iron
Fe
50,000
41,000
63,000
50,500
56,300
1,150,000,000

5
20
calcium
Ca
36,300
41,000
50,000
36,500
41,500

6
11
sodium
Na
28,300
23,000
23,000
27,500
23,600
255,000,000

7
19
potassium
K
25,900
21,000
15,000
25,800
20,900

8
12
magnesium
Mg
20,900
23,000
29,000
20,800
23,300
1,010,000

9
22
titanium
Ti
4,400
5,600
6,600
6,200
5,600
6,600,000

10
1
hydrogen
H
1,400

1,500
1,400
1,400

11
15
phosphorus
P
1,200
1,000
1,000
1,300
1,050

12
25
manganese
Mn
1,000
950
1,100
900
950
16,000,000

13
9
fluorine
F
800
950
540
290
585

14
56
barium
Ba
500
340
340
500
425

15
6
carbon
C
300
480
1,800
940
200

16
38
strontium
Sr

370
360

370
350,000

17
16
sulfur
S
500
260
420
520
350
69,300,000

18
40
zirconium
Zr

190
130
250
165
1,460,000

19
74
tungsten
W

160.6
1.1

1.25
86,400

20
23
vanadium
V
100
160
190

120
76,000

21
17
chlorine
Cl
500
130
170
450
145

22
24
chromium
Cr
100
100
140
350
102
26,000,000

23
37
rubidium
Rb
300
90
60

90

24
28
nickel
Ni

80
90
190
84
2,250,000

25
30
zinc
Zn

75
79

70
11,900,000

26
29
copper
Cu
100
50
68

60
19,400,000

27
58
cerium
Ce

68
60

66.5

28
60
neodymium
Nd

38
33

41.5

29
57
lanthanum
La

32
34

39

30
39
yttrium
Y

30
29

33
6,000

31
7
nitrogen
N
50
25
20

19
140,000,000

32
27
cobalt
Co

20
30

25
123,000

33
3
lithium
Li

20
17

20
35,000

34
41
niobium
Nb

20
17

20
64,000

35
31
gallium
Ga

18
19

19

36
21
scandium
Sc

16
26

22

37
82
lead
Pb

14
10

14
4,820,000

38
62
samarium
Sm

7.9
6

7.05

39
90
thorium
Th

12
6

9.6

40
59
praseodymium
Pr

9.5
8.7

9.2

41
5
boron
B

950
8.7

10
9,400,000

42
64
gadolinium
Gd

7.7
5.2

6.2

43
66
dysprosium
Dy

6
6.2

5.2

44
72
hafnium
Hf

5.3
3.3

3.0

45
68
erbium
Er

3.8
3.0

3.5

46
70
ytterbium
Yb

3.3
2.8

3.2

47
55
caesium
Cs

3
1.9

3

48
4
beryllium
Be

2.6
1.9

2.8
220

49
50
tin
Sn
0
2.2
2.2

2.3
280,000

50
63
europium
Eu

2.1
1.8

2.0

51
92
uranium
U

0
1.8

2.7
74,119

52
73
tantalum
Ta

2
1.7

2.0
1,100

53
32
germanium
Ge

1.8
1.4

1.5
155

54
42
molybdenum
Mo

1.5
1.1

1.2
227,000

55
33
arsenic
As

1.5
2.1

1.8
36,500

56
67
holmium
Ho

1.4
1.2

1.3

57
65
terbium
Tb

1.1
0.94

1.2

58
69
thulium
Tm

0.48
0.45

0.52

59
35
bromine
Br

0.37
3

2.4
391,000

60
81
thallium
Tl

0.6
0.530

0.850
10

61
71
lutetium[7]
Lu

0.5

62
51
antimony
Sb

0.2
0.2

0.2
130,000

63
53
iodine
I

0.14
0.490

0.450
31,600

64
48
cadmium
Cd

0.11
0.15

0.15
23,000

65
47
silver
Ag

0.070
0.080

0.075
27,000

66
80
mercury
Hg

0.05
0.067

0.085
4,500

67
34
selenium
Se

0.05
0.05

0.05
2,200

68
49
indium
In

0.049
0.160

0.250
655

69
83
bismuth
Bi

0.048
0.025

0.0085
10,200

70
52
tellurium
Te

0.005
0.001

0.001
2,200

71
78
platinum
Pt

0.003
0.0037

0.005
172

72
79
gold
Au

0.0011
0.0031

0.004
3,100

73
44
ruthenium
Ru

0.001
0.001

0.001

74
46
palladium
Pd

0.0006
0.0063

0.015
208

75
75
rhenium
Re

0.0004
0.0026

0.0007
47.2

76
77
iridium
Ir

0.0003
0.0004

0.001

77
45
rhodium
Rh

0.0002
0.0007

0.001

78
76
osmium
Os

0.0001
0.0018

0.0015

text: Jump up ^ 5,000 tonnes of annual production is electronic grade


document_title: Lake Mungo remains

question_text: where are the bones found in lake mungo

question_tokens: where are the bones found in lake mungo

text: Lake Mungo remains

text: Geology[edit]

text: Lake Mungo is a dry lake located in south-eastern Australia, in the south-western portion of New South Wales. It is about 760 kilometres (470 mi) due west of Sydney[4] and 90 kilometres (56 mi) north-east of Mildura, and 110 km north-west of Balranald. The lake is the central feature of Mungo National Park, and is one of seventeen lakes in the World Heritage listed Willandra Lakes Region. Sediments at Lake Mungo have been deposited over more than 100,000 years. There are three distinct layers of sands and soil forming the Walls[clarification needed - Unclear, single-use term]. The oldest is the reddish Gol Gol layer, formed between 100,000 and 120,000 years ago. The middle greyish layer is the Mungo layer, deposited between 50,000 and 25,000 years ago. The most recent is the pale brown Zanci layer, which was laid down mostly between 25,000 and 15,000 years ago.

text: The Mungo layer, which was deposited before the last glacial period, is archaeologically the richest. Although this layer corresponds with a time of low rainfall and cooler weather, more rainwater ran off the western side of the Great Dividing Range during that period, keeping the lake full and teeming with fish and waterbirds. It supported a significant human population and had abundant resources, as well as many varieties of Australian megafauna.

text: During the last ice age period, the water level in the lake fell, and it became a salt lake. This made the soil alkaline, which helped to preserve the remains left behind.

text: Lake Mungo 1 (LM1)[edit]

text: LM1 was discovered in 1969 at the Willandra Lakes Region by Jim Bowler with the University of Melbourne.[5] LM1 has been 14C dated at 24,700 to 19,030 years ago. A date of 26,250 ±1120 BP was achieved with charcoal from a hearth 15 cm above the burial.[6] Preservation of the remains is poor. Very limited detailed information was published before the bones were unconditionally repatriated to the Indigenous people of Australia in 1992. A lack of a detailed description of the remains along with a limited distribution of casts with no access to the original artifacts makes it difficult to assess the published material.[6]

text: Cremation burial[edit]

text: The reconstruction and description were mainly done by Alan Thorne at the Australian National University. LM1 was an early human inhabitant of the continent of Australia. Her remains are one of the oldest sets of anatomically modern human remains found in Australia.

text: It represents one of the world's oldest known cremations. The finding implies that complicated burial rituals existed in early human societies.

text: The bones of LM1 are thought to imply that after she died, the corpse was burned, then smashed, then burned a second time before being liberally covered with ochre, sourced from a location several hundred kilometres from the site. One suggested explanation for this behaviour is that the process was perhaps a ritual wherein the descendants tried to ensure that the dead did not return to haunt them.[by whom?][citation needed]

text: Current status[edit]

text: The bones were unconditionally repatriated in 1992 to the traditional owners, an alliance called the Three Traditional Tribal Groups (3TTG), consisting of the Paakantji, the Muthi Muthi, and the Ngiyampaa. LM1 had become a symbol of the long Aboriginal occupation in Australia, and an important icon for both archaeologists and indigenous Australians. LM1 is now in a locked vault at the Mungo National Park exhibition centre. The vault has a double lock and can be opened only if two keys are used. One key is controlled by archaeologists, the other by the local indigenous peoples.

text: Lake Mungo 3 (LM3)[edit]

text: Discovery[edit]

text: Lake Mungo 3 (LM3) was discovered by ANU geomorphologist Dr. Jim Bowler on 26 February 1974 when shifting sand dunes exposed the remains.[7] LM3 was found near Lake Mungo, one of several dry lakes in the southeast part of the continent and 500m east of the LM1 site. The body had been laid out in great ceremony on its back, with knees bent and hands positioned at the groin with the fingers interlocked. Next to the body were the remains of fire. The body had been sprinkled with red ochre, in the earliest known example of such a sophisticated and artistic burial practice. This ritual burial aspect of the discovery has been particularly significant to Indigenous Australians, since it indicates that certain cultural traditions have existed on the Australian continent for much longer than previously thought. At the time of LM3's discovery, it was believed that Aboriginals had arrived in Australia from Asia around 20,000 years ago. Since the discovery of LM3, further archeological finds at Lake Mungo suggest that human occupation of the area dates as far back as 50,000 years ago.

text: Morphology[edit]

text: The skeleton had belonged to an individual who, based on evidence of osteoarthritis in the lumbar vertebrae, eburnation, and severe wear on the teeth with pulp exposure, was about 50 years old – relatively old for an early human – when he died.[8] The bone structure had a gracile character, which contrasts with the morphology of modern indigenous Australians.[9] Parts of the skeleton had deteriorated in situ: substantial portions of the skull were missing and most of the bones in the limbs have suffered surface damage.

text: Determination of LM3's sex was initially difficult, due to the deterioration of the skull and pelvis bones, which normally carry many features used for this purpose. Nevertheless, studies of other features suggest strongly that the remains were those of an adult male.[10][11][12] Subsequent studies using the length of limb bones to estimate LM3's height, suggest a height of 196 centimetres (77 inches or 6 ft 5 in), a height that is unusually tall for modern Aboriginal males.[13]

text: Age[edit]

text: The first estimate of LM3's age was made in 1976 when the team of paleoanthropologists from the Australian National University (ANU) who excavated LM3 published their findings. They estimated that LM3 was between 28,000 and 32,000 years old.[7] They did not test LM3's remains directly, but rather established an estimate by stratigraphic comparison with LM1, an earlier set of partially cremated remains also found at Lake Mungo.

text: In 1987, an electron spin resonance test conducted on bone fragments from LM3's skeleton established an estimate of his age at 31,000 years, plus or minus 7,000 years. In 1999 Thermoluminescence dating work was carried out on quartz from unburnt sediment associated with the LM3 burial site with the selective bleach results indicating a burial older than 24,600 ± 2,400 and younger than 43,300 ± 3,800 years ago.[14] Later Thorne et al. (1999), arrived at a new estimate of 62,000 ± 6,000 years. This estimate was determined by combining data from uranium-thorium dating, electron spin resonance dating and optically stimulated luminescence (OSL) dating of the remains and the immediately surrounding soil.[15]

text: However, this estimate was very controversial.[16][17][18] The lowest level of the LM3 which are as old as 43,000 years demonstrated that LM3 should not be older than the lowest layer. However, the ANU team had dated the stratum itself to be between 59,000 and 63,000 years old. The problems with using uranium-thorium dating on tooth enamel were criticized. The results from 25 additional OSL tests suggest that LM3 can not be older than 50,000 years BP. According to anthropologist Peter Brown, with the absence of the original deposit that once lay above the burial, a minimum age for the burial has not been established, only a possible maximum.[8]

text: In 2003, Professor Bowler led a project bringing together a multi-disciplinary team of Australian expert groups (comprising four Australian universities, the NSW National Parks & Wildlife Service and the CSIRO, as well as including descendants of the Mungo people) to collaborate on a final determination of the skeleton's age. They reached a consensus that LM3 is about 40,000 years old.[19] This age largely corresponds with stratigraphic evidence using 4 different dating methods. The age of 40,000 years is currently the most widely accepted age for the LM3, making LM3 the second oldest modern human fossil east of India. The study also found that LM1 was a similar age to LM3, and not 30,000 years old, as previously thought.[20] The LM1 remains are generally held to be the earliest evidence of human cremation yet discovered.[21]

text: The current mainstream thinking, the recent African origin of modern humans model, suggests that all humans outside of Africa alive today descended from a small group which left Africa at a specific time, currently generally estimated at about 60,000 years ago. This estimate of 60,000 years is arrived at from the recent breakthrough of widespread genetic investigation. In the model, humans then fairly quickly spread over the whole globe, from that starting point or bottleneck (indeed, with Australia being perhaps the farthest, most difficult to reach, area).[citation needed]

text: This explains the controversy of Thorne and other's older dates for LM3 - the establishment of (fully modern) human settlements in the different continents, could have happened only after (although perhaps remarkably shortly after) the exodus of the original (perhaps remarkably small) group of humans who left Africa via the middle-East.

text: Mitochondrial DNA and origins[edit]

text: In 2001, mitochondrial DNA (mtDNA) from the Lake Mungo 3 (LM3) skeleton was published and compared with several other sequences. It was found to have more than the expected number of sequence differences when compared to modern human DNA (CRS).[22] Comparison of the mitochondrial DNA with that of ancient and modern Aborigines led to the conclusion that Mungo Man fell outside the range of genetic variation seen in Australian Aboriginal people, and was used to support the multiregional origin of modern humans hypothesis.[22][23] These results proved politically controversial, and several scientific concerns were raised over the validity of the results and analysis. With the consent of the Willandra Lakes World Heritage Area Aboriginal Elders Committee, a reanalysis was performed on LM3 and other ancient specimens from the area. The 2016 report of this study stated that only contaminating mtDNA of modern European origin was obtained from LM3, and it was uncertain if any of the DNA analysed in the 2001 study was ancient DNA. Reanalysis of the sequence reported in 2001, whether it represented ancient DNA or modern contamination, showed it to be akin to modern Aboriginal Australian sequences and thus inconsistent with the multiregionalist interpretation of the earlier study. The authors did recover ancient mtDNA from Willandra Lakes skeleton WLH4, "estimated to be late Holocene in age (∼3,000–500 y B.P.)" and determined it to be of haplogroup S2, of Aboriginal origin.[24][25]

text: Return[edit]

text: On discovery in 1974, LM3 was removed from the site by archaeologists to the Australian National University in Canberra for safe-keeping and research. In 2014, leading up to the 40th anniversary of the discovery of LM3, the traditional owners of the Willandra Lakes formally requested return and repatriation of the remains. In 2015 ANU handed the remains over to Aboriginal elders at a formal ceremony and expressed "sincere regret" for their removal, recognising this had caused "ongoing grief" to Aboriginal communities.[26] As an interim step, the skeleton was placed for safekeeping at the National Museum of Australia’s human remains storage facility.[27] Proposals had been ongoing for a facility to be built at Lake Mungo as a "keeping-place" that would allow the ancient remains to be returned to the earth while still allowing access for bona fide research.[28] In November 2017 the remains were returned to Lake Mungo.[29] There had been no agreement or funding by government for a keeping-place, and on 17 November 2017 the remains were buried directly in the earth in a casket of ancient red gum.[30]

text: Further discoveries[edit]

text: In 1988, the skeleton of a child believed to be contemporary with Mungo man was discovered. Investigation of the remains was blocked by the 3TTG with the remains subsequently protected but remaining in-situ.[31] An adult skeleton was exposed by erosion in 2005 but by late 2006 had been completely destroyed by wind and rain. This loss resulted in the indigenous custodians' receiving a government grant of $735,000 to survey and improve the conservation of skeletons, hearths and middens that were eroding from the dunes. Conservation is in-situ and no research is permitted.[32]

text: Tourism[edit]

text: Mungo National Park can be visited by tourists and is accessed by an unsealed road. Boardwalks have been installed throughout the sand dunes and visitors are forbidden from stepping off the boardwalks unless accompanied by an Aboriginal guide. In 2014, fake bones were buried throughout the area as part of an experiment for La Trobe University. Within two weeks, nearly all of the artificial bones had disappeared.[33]


document_title: Suite: Judy Blue Eyes

question_text: who was sweet judy blue eyes written for

text: Suite: Judy Blue Eyes

text: History[edit]

text: The title "Suite: Judy Blue Eyes" refers to Stephen Stills' former girlfriend, singer/songwriter Judy Collins, and the lyrics to most of the suite's sections consist of his thoughts about her and their imminent breakup. Collins is known for her piercing blue eyes. During a July 15, 2007 interview for the National Public Radio program Just Roll Tape, Stills revealed that Collins was present in the studio when the demo tapes were recorded. Collins had advised Stills "not to stay [at the studio] all night." Stills later commented that "the breakup was imminent...we were both too large for one house." Stills said that he liked parts of this demo version of "Suite: Judy Blue Eyes" better than the released version.

text: Collins and Stills had met in 1967 and dated for two years. In 1969, she was appearing in the New York Shakespeare Festival musical production of Peer Gynt and had fallen in love with her co-star Stacy Keach, eventually leaving Stills for him. Stills was devastated by the possible breakup and wrote the song as a response to his sadness. In a 2000 interview, Collins gave her impressions of when she first heard the song:

text: "[Stephen] came to where I was singing one night on the West Coast and brought his guitar to the hotel and he sang me "Suite: Judy Blue Eyes," the whole song. And of course it has lines in it that referred to my therapy. And so he wove that all together in this magnificent creation. So the legacy of our relationship is certainly in that song."

text: The final section of the song is included on 4 Way Street, the CSNY live album. It fades in on the opening of side one of the album.

text: Charts[edit]

text:
Chart (1970–71)
Peak
position

Canada 100 (RPM)[2]
11

Netherlands (Single Top 100)[6]
30

US Hot 100 (Billboard)[7]
21

US Cash Box Top 100[8]
15

text: Personnel[edit]

text:
David Crosby–harmony vocals
Stephen Stills–lead vocals, acoustic guitar, bass, keyboards, percussion
Graham Nash–harmony vocals

text: Sections[edit]

text: "Suite: Judy Blue Eyes" has four distinct sections. The timings below are for the full album version. The shortened version released as a single cut the second and fourth verses from the first section, cut the third and fourth verses from the second section, cut the final verse and preceding break from the third section, and shortened the guitar break between the second and the third sections. (The final section is the only part that stayed fully intact on the single.)

text: First section[edit]

text: The first section is a traditional pop song with four verses, featuring a chorus of "I am yours, you are mine, you are what you are." Running at approximately 2:56, the lead vocal is performed by Stills, with Crosby and Nash providing harmonies.

text: Second section[edit]

text: The second section is performed in half time relative to the first section, and features four verses of three-part harmony from the band, with Stills performing a brief vocal solo between the second and third. This section runs from 2:56 to 4:43.

text: Third section[edit]

text: The third section is more upbeat and features poetic lyrics ("chestnut brown canary, ruby-throated sparrow"), lasting from 4:43 to 6:25. Each of the three phrases is initially sung by Stills, with Nash then joining, and finally Crosby rounding out the harmonies. Connecting the phrases are instrumental breaks performed by Stills on acoustic guitar.

text: Final section[edit]

text: The final section (the coda) is sung in Spanish, starting at 6:34 until the song concludes. The "doo-doo-doo-da-doo" backing vocals are the best known segment of "Suite: Judy Blue Eyes", with Stills singing Spanish lyrics in the background. Stills has said that he intentionally made the final stanzas unexpected and difficult, even using a foreign language for the lyrics, "just to make sure nobody would understand it" (not even Spanish speaking people).[9]

text: The final section has been parodied many times, notably in Frank Zappa's compositions "Billy the Mountain" and "Magdalena" on The Mothers of Invention's album Just Another Band From L.A. Most recently, "Weird Al" Yankovic performs a takeoff of it ("Mission Statement") on his 2014 album Mandatory Fun, only instead of Spanish, the lyrics are corporate buzzwords strung together in such a way as to be ultimately nonsensical. It is also sampled in the 2010 Cypress Hill song "Armada Latina".

text: Structural Analysis[edit]

text:
Section
Phrasing & Subphrasing By Bar

TEMPO 1

Intro
4 [2+1+1]
3 [2+1]

Verse 1
8 [5+3]
8 [5+3]

Chorus
6 [4+2]

Verse 2
8 [5+3]
8 [5+3]

Chorus
6 [4+2] (2 bar overlap)

Intro
8 [2+1+1+2+2]

Verse 3
8 [5+3]
8 [5+3]

Chorus
6 [4+2]

Verse 4
8 [5+3]
8 [5+3]

Chorus
4

Chorus+
8 [2+2+2+2]

1/2 FEEL

Vamp
4 [2+2]

Verse 5
14 [4+6+4]

Verse 6
14 [4+6+4]

Break
12 [2+2+4+4]

Verse 7
14 [4+6+4]

Verse 8
14 [4+6+4]

TEMPO 1

Solo
18 [16+2]

Verse 9
9 [4+5] (2+2+1+1+3)

Solo
9 [4+4+1]

Verse 10
9 [4+5]

Solo
9 [4+4+1]

Verse 11
9 [4+5]

Break
8 [2+2+1+1+2]

Coda
4 [2+2] (1+1+1+1) [vamp out]


document_title: List of U.S. states and territories by area

question_text: what is the biggest state in the united states

text: Area by state/territory[edit]

text:
Total area[2]
Land area[2]
Water[2]

State/territory
Rank
sq mi
km²
Rank
sq mi
km²
 % land
Rank
sq mi
km²
 % water

 Alaska
7000100000000000000♠1
665,384.04
1,723,337
7000100000000000000♠1
570,640.95
1,477,953
7001857600000000000♠85.76%
7000100000000000000♠1
94,743.10
245,384
7001142400000000000♠14.24%

 Texas
7000200000000000000♠2
268,596.46
695,662
7000200000000000000♠2
261,231.71
676,587
7001972600000000000♠97.26%
7000800000000000000♠8
7,364.75
19,075
7000274000000000000♠2.74%

 California
7000300000000000000♠3
163,696.32
423,972
7000300000000000000♠3
155,779.22
403,466
7001951600000000000♠95.16%
7000600000000000000♠6
7,915.52
20,501
7000484000000000000♠4.84%

 Montana
7000400000000000000♠4
147,039.71
380,831
7000400000000000000♠4
145,545.80
376,962
7001989800000000000♠98.98%
7001260000000000000♠26
1,493.91
3,869
7000102000000000000♠1.02%

 New Mexico
7000500000000000000♠5
121,590.30
314,917
7000500000000000000♠5
121,298.15
314,161
7001997600000000000♠99.76%
7001490000000000000♠49
292.15
757
6999240000000000000♠0.24%

 Arizona
7000600000000000000♠6
113,990.30
295,234
7000600000000000000♠6
113,594.08
294,207
7001996500000000000♠99.65%
7001480000000000000♠48
396.22
1,026
6999350000000000000♠0.35%

 Nevada
7000700000000000000♠7
110,571.82
286,380
7000700000000000000♠7
109,781.18
284,332
7001992800000000000♠99.28%
7001360000000000000♠36
790.65
2,048
6999720000000000000♠0.72%

 Colorado
7000800000000000000♠8
104,093.67
269,601
7000800000000000000♠8
103,641.89
268,431
7001995700000099999♠99.57%
7001440000000000000♠44
451.78
1,170
6999430000000000000♠0.43%

 Oregon
7000900000000000000♠9
98,378.54
254,799
7001100000000000000♠10
95,988.01
248,608
7001975700000099999♠97.57%
7001200000000000000♠20
2,390.53
6,191
7000243000000000000♠2.43%

 Wyoming
7001100000000000000♠10
97,813.01
253,335
7000900000000000000♠9
97,093.14
251,470
7001992600000000000♠99.26%
7001370000000000000♠37
719.87
1,864
6999740000000000000♠0.74%

 Michigan
7001110000000000000♠11
96,713.51
250,487
7001220000000000000♠22
56,538.90
146,435
7001584600000000000♠58.46%
7000200000000000000♠2
40,174.61
104,052
7001415400000000000♠41.54%

 Minnesota
7001120000000000000♠12
86,935.83
225,163
7001140000000000000♠14
79,626.74
206,232
7001915900000000000♠91.59%
7000900000000000000♠9
7,309.09
18,930
7000841000000000000♠8.41%

 Utah
7001130000000000000♠13
84,896.88
219,882
7001120000000000000♠12
82,169.62
212,818
7001967900000000000♠96.79%
7001170000000000000♠17
2,727.26
7,064
7000321000000000000♠3.21%

 Idaho
7001140000000000000♠14
83,568.95
216,443
7001110000000000000♠11
82,643.12
214,045
7001988900000000000♠98.89%
7001330000000000000♠33
925.83
2,398
7000111000000000000♠1.11%

 Kansas
7001150000000000000♠15
82,278.36
213,100
7001130000000000000♠13
81,758.72
211,754
7001993700000000000♠99.37%
7001420000000000000♠42
519.64
1,346
6999630000000000000♠0.63%

 Nebraska
7001160000000000000♠16
77,347.81
200,330
7001150000000000000♠15
76,824.17
198,974
7001993200000099999♠99.32%
7001410000000000000♠41
523.64
1,356
6999680000000000000♠0.68%

 South Dakota
7001170000000000000♠17
77,115.68
199,729
7001160000000000000♠16
75,811.00
196,350
7001983100000000000♠98.31%
7001290000000000000♠29
1,304.68
3,379
7000169000000000000♠1.69%

 Washington
7001180000000000000♠18
71,297.95
184,661
7001200000000000000♠20
66,455.52
172,119
7001932100000099999♠93.21%
7001110000000000000♠11
4,842.43
12,542
7000679000000000000♠6.79%

  North Dakota
7001190000000000000♠19
70,698.32
183,108
7001170000000000000♠17
69,000.80
178,711
7001976000000000000♠97.60%
7001240000000000000♠24
1,697.52
4,397
7000240000000000000♠2.40%

 Oklahoma
7001200000000000000♠20
69,898.87
181,037
7001190000000000000♠19
68,594.92
177,660
7001981300000000000♠98.13%
7001300000000000000♠30
1,303.95
3,377
7000187000000000000♠1.87%

 Missouri
7001210000000000000♠21
69,706.99
180,540
7001180000000000000♠18
68,741.52
178,040
7001986100000000000♠98.61%
7001320000000000000♠32
965.47
2,501
7000138990000099999♠1.39%

 Florida
7001220000000000000♠22
65,757.70
170,312
7001260000000000000♠26
53,624.76
138,887
7001815500000000000♠81.55%
7000300000000000000♠3
12,132.94
31,424
7001184500000000000♠18.45%

 Wisconsin
7001230000000000000♠23
65,496.38
169,635
7001250000000000000♠25
54,157.80
140,268
7001826900000000000♠82.69%
7000400000000000000♠4
11,338.57
29,367
7001173109999900000♠17.31%

 Georgia
7001240000000000000♠24
59,425.15
153,910
7001210000000000000♠21
57,513.49
148,959
7001967800000000000♠96.78%
7001220000000000000♠22
1,911.66
4,951
7000322000000000000♠3.22%

 Illinois
7001250000000000000♠25
57,913.55
149,995
7001240000000000000♠24
55,518.93
143,793
7001958700000000000♠95.87%
7001190000000000000♠19
2,394.62
6,202
7000413000000000000♠4.13%

 Iowa
7001260000000000000♠26
56,272.81
145,746
7001230000000000000♠23
55,857.13
144,669
7001992600000000000♠99.26%
7001450000000000000♠45
415.68
1,077
6999740000000000000♠0.74%

 New York
7001270000000000000♠27
54,554.98
141,297
7001300000000000000♠30
47,126.40
122,057
7001863800000000000♠86.38%
7000700000000000000♠7
7,428.58
19,240
7001136200000099999♠13.62%

 North Carolina
7001280000000000000♠28
53,819.16
139,391
7001290000000000000♠29
48,617.91
125,920
7001903400000000000♠90.34%
7001100000000000000♠10
5,201.25
13,471
7000966000000000000♠9.66%

 Arkansas
7001290000000000000♠29
53,178.55
137,732
7001270000000000000♠27
52,035.48
134,771
7001978500000000000♠97.85%
7001310000000000000♠31
1,143.07
2,961
7000215000000000000♠2.15%

 Alabama
7001300000000000000♠30
52,420.07
135,767
7001280000000000000♠28
50,645.33
131,171
7001966100000000000♠96.61%
7001230000000000000♠23
1,774.74
4,597
7000339000000000000♠3.39%

 Louisiana
7001310000000000000♠31
52,378.13
135,659
7001330000000000000♠33
43,203.90
111,898
7001824800000000000♠82.48%
7000500000000000000♠5
9,174.23
23,761
7001175200000000000♠17.52%

 Mississippi
7001320000000000000♠32
48,431.78
125,438
7001310000000000000♠31
46,923.27
121,531
7001968900000000000♠96.89%
7001250000000000000♠25
1,508.51
3,907
7000311000000000000♠3.11%

 Pennsylvania
7001330000000000000♠33
46,054.35
119,280
7001320000000000000♠32
44,742.70
115,883
7001971500000000000♠97.15%
7001280000000000000♠28
1,311.64
3,397
7000285000000000000♠2.85%

 Ohio
7001340000000000000♠34
44,825.58
116,098
7001350000000000000♠35
40,860.69
105,829
7001911500000000000♠91.15%
7001140000000000000♠14
3,964.89
10,269
7000885000000000000♠8.85%

 Virginia
7001350000000000000♠35
42,774.93
110,787
7001360000000000000♠36
39,490.09
102,279
7001923200000099999♠92.32%
7001150000000000000♠15
3,284.84
8,508
7000768000000000000♠7.68%

 Tennessee
7001360000000000000♠36
42,144.25
109,153
7001340000000000000♠34
41,234.90
106,798
7001978400000000000♠97.84%
7001350000000000000♠35
909.36
2,355
7000216000000000000♠2.16%

 Kentucky
7001370000000000000♠37
40,407.80
104,656
7001370000000000000♠37
39,486.34
102,269
7001977200000000000♠97.72%
7001340000000000000♠34
921.46
2,387
7000227990000099999♠2.28%

 Indiana
7001380000000000000♠38
36,419.55
94,326
7001380000000000000♠38
35,826.11
92,789
7001983700000000000♠98.37%
7001390000000000000♠39
593.44
1,537
7000162990000000000♠1.63%

 Maine
7001390000000000000♠39
35,379.74
91,633
7001390000000000000♠39
30,842.92
79,883
7001871800000000000♠87.18%
7001120000000000000♠12
4,536.82
11,750
7001128200000000000♠12.82%

 South Carolina
7001400000000000000♠40
32,020.49
82,933
7001400000000000000♠40
30,060.70
77,857
7001938800000000000♠93.88%
7001210000000000000♠21
1,959.79
5,076
7000612000000000000♠6.12%

 West Virginia
7001410000000000000♠41
24,230.04
62,756
7001410000000000000♠41
24,038.21
62,259
7001992100000099999♠99.21%
7001500000000000000♠50
191.83
497
6999790000000000000♠0.79%

 Maryland
7001420000000000000♠42
12,405.93
32,131
7001420000000000000♠42
9,707.24
25,142
7001782500000000000♠78.25%
7001180000000000000♠18
2,698.69
6,990
7001217500000000000♠21.75%

 Hawaii
7001430000000000000♠43
10,931.72
28,313
7001470000000000000♠47
6,422.63
16,635
7001587500000000000♠58.75%
7001130000000000000♠13
4,509.09
11,678
7001412500000000000♠41.25%

 Massachusetts
7001440000000000000♠44
10,554.39
27,336
7001450000000000000♠45
7,800.06
20,202
7001739000000000000♠73.90%
7001160000000000000♠16
2,754.33
7,134
7001261000000000000♠26.10%

 Vermont
7001450000000000000♠45
9,616.36
24,906
7001430000000000000♠43
9,216.66
23,871
7001958400000000000♠95.84%
7001460000000000000♠46
399.71
1,035
7000416000000000000♠4.16%

 New Hampshire
7001460000000000000♠46
9,349.16
24,214
7001440000000000000♠44
8,952.65
23,187
7001957600000000000♠95.76%
7001470000000000000♠47
396.51
1,027
7000424000000000000♠4.24%

 New Jersey
7001470000000000000♠47
8,722.58
22,591
7001460000000000000♠46
7,354.22
19,047
7001843100000000000♠84.31%
7001270000000000000♠27
1,368.36
3,544
7001156900000000000♠15.69%

 Connecticut
7001480000000000000♠48
5,543.41
14,357
7001480000000000000♠48
4,842.36
12,542
7001873500000000000♠87.35%
7001380000000000000♠38
701.06
1,816
7001126500000000000♠12.65%

 Delaware
7001490000000000000♠49
2,488.72
6,446
7001490000000000000♠49
1,948.54
5,047
7001782900000000000♠78.29%
7001400000000000000♠40
540.18
1,399
7001217100000000000♠21.71%

 Rhode Island
7001500000000000000♠50
1,544.89
4,001
7001500000000000000♠50
1,033.81
2,678
7001669200000000000♠66.92%
7001430000000000000♠43
511.07
1,324
7001330800000000000♠33.08%

 District of Columbia
7002100000000000000♠
68.34
177
7002100000000000000♠
61.05
158
7001893300000000000♠89.33%
7002100000000000000♠
7.29
19
7001106700000000000♠10.67%

 Puerto Rico
7002100000000000000♠
5,324.84
13,791
7002100000000000000♠
3,423.78
8,868
7001643000000000000♠64.30%
7002100000000000000♠
1,901.07
4,924
7001357000000000000♠35.70%

 Northern Mariana Islands
7002100000000000000♠
1,975.57
5,117
7002100000000000000♠
182.33
472
7000923000000000000♠9.23%
7002100000000000000♠
1,793.24
4,644
7001907700000000000♠90.77%

 United States Virgin Islands
7002100000000000000♠
732.93
1,898
7002100000000000000♠
134.32
348
7001183309999999999♠18.33%
7002100000000000000♠
598.61
1,550
7001816700000000000♠81.67%

 American Samoa
7002100000000000000♠
581.05
1,505
7002100000000000000♠
76.46
198
7001131600000000000♠13.16%
7002100000000000000♠
504.60
1,307
7001868400000000000♠86.84%

 Guam
7002100000000000000♠
570.62
1,478
7002100000000000000♠
209.80
543
7001367700000000000♠36.77%
7002100000000000000♠
360.82
935
7001632300000000000♠63.23%

 Minor Outlying Islands[3][a]
7002100000000000000♠
16.00
41
7002100000000000000♠
16.00
41
—
7002100000000000000♠
—
—
—

 Contiguous United States
Total
3,120,426.47
8,081,867
7002100000000000000♠
2,954,841.42
7,653,004
7001946900000000000♠94.69%
7002100000000000000♠
165,584.6
428,862
7000530990000099999♠5.31%

 50 states and D.C.
Total
3,796,742.23
9,833,517
7002100000000000000♠
3,531,905.43
9,147,593
7001930200000000000♠93.02%
7002100000000000000♠
264,836.79
685,924
7000698000000000000♠6.98%

 All U.S. territory
Total
3,805,943.26
9,857,348
7002100000000000000♠
3,535,948.12
9,158,064
7001929100000000000♠92.91%
7002100000000000000♠
269,995.13
699,284
7000709000000000000♠7.09%

text: Area by division[edit]

text: All divisions presented below are as configured by the United States Census Bureau.

text:
Total area[2]
Land area[2]
Water[2]

Division
Rank
sq mi
km²
Rank
sq mi
km²
 % land
Rank
sq mi
km²
 % water

East North Central
7000500000000000000♠5
301,368.57
780,541
7000600000000000000♠6
242,902.44
629,114

7000200000000000000♠2
58,466.13
151,427

East South Central
7000700000000000000♠7
183,403.89
475,014
7000700000000000000♠7
178,289.83
461,769

7000900000000000000♠9
5,114.60
13,247

Middle Atlantic
7000800000000000000♠8
109,331.89
283,168
7000800000000000000♠8
99,223.32
256,987

7000600000000000000♠6
10,108.57
26,181

Mountain
7000200000000000000♠2
863,564.63
2,236,622
7000200000000000000♠2
855,766.98
2,216,426

7000800000000000000♠8
7,797.65
20,196

New England
7000900000000000000♠9
71,987.96
186,448
7000900000000000000♠9
62,668.46
162,311

7000700000000000000♠7
9,299.50
24,086

Pacific
7000100000000000000♠1
1,009,687.00
2,615,077
7000100000000000000♠1
895,286.33
2,318,781

7000100000000000000♠1
114,400.67
296,296

South Atlantic
7000600000000000000♠6
292,990.46
758,842
7000500000000000000♠5
265,061.97
686,507

7000300000000000000♠3
27,928.49
72,334

West North Central
7000300000000000000♠3
520,355.80
1,347,715
7000300000000000000♠3
507,620.08
1,314,730

7000500000000000000♠5
12,735.72
32,985

West South Central
7000400000000000000♠4
444,052.01
1,150,089
7000400000000000000♠4
425,066.01
1,100,916

7000400000000000000♠4
18,986.00
49,174

text: Area by region[edit]

text: All regions presented below are as configured by the United States Census Bureau.

text:
Total area[2]
Land area[2]
Water[2]

Region
Rank
sq mi
km²
Rank
sq mi
km²
 % land
Rank
sq mi
km²
 % water

Midwest
7000300000000000000♠3
821,724.38
2,128,256
7000300000000000000♠3
750,522.52
1,943,844

7000200000000000000♠2
71,201.86
184,412

Northeast
7000400000000000000♠4
181,319.85
469,616
7000400000000000000♠4
161,911.78
419,350

7000400000000000000♠4
19,408.07
50,267

South
7000200000000000000♠2
920,446.37
2,383,945
7000200000000000000♠2
868,417.82
2,249,192

7000300000000000000♠3
52,028.55
134,753

West
7000100000000000000♠1
1,873,251.63
4,851,699
7000100000000000000♠1
1,751,053.31
4,535,207

7000100000000000000♠1
122,198.32
316,492

text:
U.S. states by total area

U.S. states by land area

U.S. states by water area

U.S. states by water percentage

Alaska is the largest state by total area, land area, and water area. It is the 7th largest country subdivision in the world.[citation needed]

The area of Alaska is 7001180000000000000♠18% of the area of the United States and 7001210000000000000♠21% of the area of the contiguous United States

The second largest state, Texas, is only 7001400000000000000♠40% of the total area of the largest state, Alaska

Rhode Island is the smallest state by total area and land area

San Bernardino County is the largest county in the contiguous U.S. and is larger than each of the nine smallest states; it is larger than the four smallest states combined.

Michigan is second (after Alaska) in water area, and first in water percentage

Florida is mostly a peninsula, and has the third largest water area and seventh largest water area percentage


document_title: Optimum HDTV viewing distance

question_text: minimum distance to watch 32 inch led tv

text: Optimum HDTV viewing distance

text: Background[edit]

text: HDTV is designed to provide an experience more realistic than the television system it is designed to replace.[4] The "thrilling realism"[5] HDTV attempts to offer arises from increased resolution (detail) and the typically large screen sizes. A larger display increases the visual angle at which content is viewed, both of which contribute to an increased feeling of presence.[6][7] Thus, correct viewing distance is critical to the enjoyment of HDTV as it is intended. While helping to define the HDTV standard, RCA engineer (and later vice-president) Bernard J. Lechner did an early analysis of viewing distance under various conditions, deriving the so-called Lechner distance.

text: Presence[edit]

text: The concept of presence has been described as the sensation of “reality”, of “being there”, and as “an illusion of nonmediation”.[6] The concept of presence originated and was studied with regard to Virtual Reality (VR) and other 3D environments. It was later established that television viewers could also experience a feeling of presence.[6] Presence is influenced by a number of factors, including video camera techniques, audio fidelity, visual and aural dimensionality, and most relevantly to this topic, image size (visual angle) and quality (angular resolution).[8][9]

text: Visual angle[edit]

text: The ideal optimum viewing distance is affected by the horizontal angle of the camera capturing the image. One concept of an ideal optimal viewing distance places the viewer where the horizontal angle subtended by the screen is the same as the horizontal angle captured by the camera. If this is the case, the angular relationships perceived by the viewer would be identical to those recorded by the camera.

text: If the camera's angle was always the same, an optimal viewing distance could be easily calculated. However the camera's horizontal angle varies as the focal length of its lens changes. If the camera's sensor has fixed dimensions, a shorter focal length (wide angle) lens captures a wider angle of view, requiring the viewer to sit closer to the screen. Conversely, a longer focal length (telephoto) lens captures a narrower angle of view, demanding a more distant viewer position.

text: Such opposing viewing distances would not only be impractical, but would negate the very purposes of telephoto shots (for example, to see a distant object in more detail, or minimize distortion in facial images) and wide-angle shots (causing the viewer to sit too close to the screen, where undesirable image artifacts would be visible).

text: One compromise assumes the lens is "standard" (a 50mm focal length, for a standard 35mm format). A "standard" lens preserves the same spatial relationships perceived by a spectator at the camera location. For a "standard" lens image, viewing distance should be equal to the diagonal length of the screen.

text: It has been demonstrated that viewing a display that occupies a greater visual angle (also referred to as field-of-view) increases the feeling of presence.[8] More importantly, the wider the visual angle (to approximately a plateau point of 80 degrees), the greater the feeling of presence.[10][11]

text: Angular resolution[edit]

text: With printed graphics, resolution refers to the number of pixels (usually referred to as "dots") in a fixed linear measurement.[12] With HDTV, resolution is measured in terms of the number of pixels in the physical display.[10] When the resolution of a printed image is increased, the image is cleaner, crisper and more detailed.[12] However, image quality does not improve if the increase in resolution exceeds the observer's visual capabilities. For a HDTV's image to noticeably improve, its resolution per degree of arc (or angular resolution) must increase as well as the pixel count of the display.[10]

text: Recommendations[edit]

text: To maximize the feeling of presence and thus provide a better viewing experience, the viewer would need to be situated at the theoretical spot where the HDTV occupies the widest view angle for that viewer[dubious – discuss]. It is also important that the resolution of the display per degree of arc remain at a high quality level.[1] Opinions regarding where the nirvana position lies are numerous and varied.

text: Recommendations on HDTV viewing distances fall into two general classes; a fixed distance based on HDTV display size, or a range of distances based on the display size. The most common recommendations from reasonably authoritative sources are presented below.

text: Fixed distance[edit]

text: Fixed distance recommendations are the more common of the two types. For the most part, the majority of the fixed distance recommendations were issued before the end of 2007, when arguably HDTV displays were still in the early adoption phase.[13][14] The most frequently cited fixed distance recommendations are listed.

text: Diagonal measurement × 2.5 (corresponding to 20-degree viewing angle)[edit]

text: One of the more popular recommendations on the proper HDTV viewing distance is multiply the diagonal measurement of the display screen by 2.5. This recommendation is cited by television manufacturers,[15] retailers,[16] respected publications[17][18] and websites,[19] though the popular electronics review website CNET suggests that high-resolution content can be watched at a closer distance – 1.5 times the display screen's diagonal measurement (corresponding to 32 degree viewing angle).[20]

text: Diagonal measurement × 1.6 (corresponding to 30-degree viewing angle)[edit]

text: Viewing an HDTV from a position where the display occupies a 30-degree field of view is widely quoted as the SMPTE (or SMPTE 30) recommendation (equivalent to about 1.6264 times the screen size in a 16:9 TV). This recommendation is very popular with the home theater enthusiast community,[21][22] appears in books on home theater design,[23] and is also supported by a white paper produced by Fujitsu.[24] Although an article on research into setting the specification for the next evolution of HDTV, Ultra HDTV (or UHDTV), does support the premise that HDTV was optimized for a view angle of 30 degrees,[10] there seems to be no direct recommendation from SMPTE on the issue.

text: Diagonal measurement × 1.2 (corresponding to 40-degree viewing angle)[edit]

text: THX recommends that the “best seat-to-screen distance” is one where the view angle approximates 40 degrees,[25] (the actual angle is 40.04 degrees).[3] Their recommendation was originally presented at the 2006 CES show, and was stated as being the theoretical maximum horizontal view angle, based on average human vision.[26] In the opinion of THX, the location where the display is viewed at a 40-degree view angle provides the most “immersive cinematic experience”,[25] all else being equal. For consumer application of their recommendations, THX recommends dividing the diagonal screen measurement by .84 to calculate the optimum viewing distance, for a 1080p resolution. This equates to multiplying the diagonal measurement by about 1.2.[25]

text: Optimum ranges[edit]

text: This article's tone or style may not reflect the encyclopedic tone used on Wikipedia. See Wikipedia's guide to writing better articles for suggestions. (June 2011) (Learn how and when to remove this template message)

text: Stating optimum viewing distance as a range rather than as fixed distance is on the rise; possibly because of changes in the profile of the typical HDTV purchaser. Early adopters of HDTV were typically videophiles,[27] the technically adventurous[28] and the sports enthusiast[29] looking to have the ultimate viewing experience. Today, the typical HDTV consumer’s aims may be a little more modest; total immersion takes a back seat to room integration.[30][31] Major retail chains like Best Buy that once stated their recommendation as a fixed distance,[16] are starting to provide range recommendations.[32] Manufacturers have also started to provide range recommendations, updating their website with small applications that denote the optimum viewing distance as a range of distances.[33][34][35] THX in March 2009, added range recommendations to their website.[25] The minimum end of the range tends to be the proponent’s fixed optimum distance recommendation.

text: Manufacturers' recommendations[edit]

text: Range recommendations from manufacturers are the most modest of the groupings. For the minimum (or nearest) viewing distance, they recommend a view angle of approximately 31 degrees; and for the maximum, a view angle as low as 10 degrees.[33][34] A 10-degree view angle is approximately the angle that NTSC television was typically viewed from.[36]

text:
RCA

Screen Size
Recommended Range

22"
3'0" – 8'4" (0.9 – 2.5 m)

26"
3'5" – 9'10" (1.0 – 3.0 m)

32"
4'4" – 12'1" (1.3 – 3.7 m)

40"
5'4" – 15'1" (1.6 – 4.6 m)

42"
5'5" – 15'10" (1.7 – 4.8 m)

52"
6'0" – 17'0" (1.8 – 5.2 m)

TOSHIBA[37]

Screen Size
Recommended Range

40"
4.0’ - 6.3’ (1.22 – 1.92 m)

42"
4.2’ - 6.7’ (1.28 – 2.04 m)

46"
4.6’ - 7.3’ (1.4 – 2.22 m)

47"
4.7’ - 7.4’ (1.43 – 2.26 m)

50"
5.0’ - 7.9’ (1.52 – 2.41 m)

55"
5.5’ - 8.7’ (1.68 – 2.65 m)

65"
6.5’ - 10.3’ (1.98 – 3.14 m)

text: Retail recommendations[edit]

text: The recommendations currently posted on the websites of retailers Best Buy and Crutchfield take more of a middle ground. Both retailers post a minimum viewing distance that accommodates a view angle of just a little over 32 degrees on average.[32][38] This viewing distance approximates the view angle needed to be able to see pixel level detail. The maximum viewing distance will provide a viewing angle of approximately 16 degrees with Best Buy’s recommendation and approximately 20 degrees with Crutchfield’s. The maximum viewing distance (minimum viewing angle) provided by Best Buy aligns with vision theory on the highest spatial frequencies perceivable by the human visual system.[39] Crutchfield’s maximum viewing distance aligns with the lower boundaries where viewers typically begin to find HDTV immersive.[10]

text:
BEST BUY

Screen Size
Recommended Range

26"
3.3' – 6.5' (1.0 m – 2.0 m)

30"
3.8' – 7.6' (1.2 m – 2.3 m)

34"
4.3' – 8.5' (1.3 m – 2.6 m)

42"
5.3' – 10.5' (1.6 m – 3.2 m)

46"
5.8' – 11.5' (1.8 m – 3.5 m)

50"
6.3' – 12.5' (1.9 m – 3.8 m)

55"
6.8' – 12.8' (2.1 m – 3.9 m)

60"
7.5' – 15.0' (2.3 m – 4.6 m)

65"
8.1' – 16.3' (2.5 m – 5.0 m)

CRUTCHFIELD

Screen Size
Recommended Range

26"
3.25' – 5.5' (1.0 m – 1.7 m)

32"
4.0' – 6.66' (1.2 m – 2.0 m)

37"
4.63' – 7.71' (1.4 m – 2.4 m)

40"
5.0' – 8.33' (1.5 m – 2.5 m)

42"
5.25' – 8.75' (1.6 m – 2.7 m)

46"
5.75' – 9.5' (1.7 m – 2.9 m)

50"
6.25' – 10.5' (1.9 m – 3.2 m)

52"
6.5' – 10.8' (2.0 m – 3.3 m)

55"
6.9' – 11.5' (2.1 m – 3.5 m)

58"
7.25' – 12.0' (2.2 m – 3.7 m)

65"
8.13' – 13.5' (2.5 m – 4.1 m)

70"
8.75' – 14.75' (2.7 m – 4.5 m)

text: THX ranges[edit]

text: While THX still contends that the optimum viewing distance is a position where the display occupies a 40-degree view angle for the viewer, they too provide a range recommendation. The minimum viewing distance is set to approximate a 40-degree view angle, and the maximum viewing distance is set to approximate 28 degrees.[25]

text:
THX

Screen Size
Recommended Range

35"
3.5' – 5.0' (1.0 – 1.5 m)

40"
4.0' – 6.0' (1.2 – 1.8 m)

50"
5' – 7.5' (1.5 – 2.2 m)

60"
6.0' – 9.0' (1.8 – 2.7 m)

text: Screen height[edit]

text: Consideration should also be given to the height at which the screen is placed. A common suggestion is that the viewer's eyes are horizontally level with the bottom or middle of the display, so that the screen does not overpower the viewer. THX recommends that a viewer’s head should not have to look up more than 15 degrees.[40]

text: Factors influencing the calculations[edit]

text: Each recommendation serves the underlying goal of the organization that proposes it. Manufacturers will have an easier time selling their HDTVs if they support a position that does not require consumers to purchase as large a set as required by the THX recommendations. In the absence of economic influences, calculating the best screen size to distance ratio that will produce the utmost feeling of presence is not at all straightforward. There are a number of factors that can affect the calculation including the limitations of the human visual system,[10] the technological limitations of HDTV displays,[1] human physiological considerations,[10] the content that will be viewed,[8] and the interpretation of empirical data from formal testing. There is also the fact that the screen image is on a flat plane and not curved. Perhaps the biggest of these are uncertainties surrounding the limits of the human visual system, and how those limitations apply to what we see and perceive. A further, more practical consideration, is one of room size, including the position of speakers, seating and other furniture in the room.

text: Human visual system limitation[edit]

text: The human visual system has a fixed capacity to detect detail from a distance. Our understanding of limitations with regard to visual detail recognition and identification from a distance is primarily based on the work of Dr. Hermann Snellen. Dr. Snellen developed the eye examination chart that bears his name (Snellen chart). From his findings and the work of others over the last hundred years, one arcminute is seen as the threshold beyond which critical detail cannot be identified,[41] by a person with normal vision.[42][43][44] An arcminute is an angular measurement, which is equal to 1/60 of one degree of a circle. Normal vision is referenced as 20/20 or 6/6 vision in North America and Europe respectively.[44][45] The visual acuity threshold has been identified as a constraint factor in the recommendations on the optimum viewing distance for HDTV,[36] and also in formal research that comment on the subject of television and angular resolution.[1][46][47][48] Assuming display is flat, with 1 arcminute as the constraint for seeing critical detail, in order not to miss any detail a viewer would need to be situated at a position where their view angle to a 1080p HDTV is approximately 31.2 degrees or greater (32 degrees for spherical display), for 2160p HDTV approximately 58.37 degrees or greater (64 degrees for spherical display) and for 4320p HDTV approximately 96.33 degrees or greater (128 degrees for spherical display).[1][3] However, there is not always agreement that the Snellenian limit should be the constraining factor.

text: To calculate the viewing distance, based on display size and content resolution, the following formula may be used:

text:
VD

=

DS

(

NHR

NVR

)

2

+
1

⋅

CVR

⋅
tan

1
60

{\displaystyle {\textrm {VD}}={\frac {\textrm {DS}}{{\sqrt {\left({\frac {\textrm {NHR}}{\textrm {NVR}}}\right)^{2}+1}}\cdot {\textrm {CVR}}\cdot \tan {\frac {1}{60}}}}}

Where:

VD: Viewing distance
DS: Display's diagonal size
NHR: Display's native horizontal resolution (in pixels)
NVR: Display's native vertical resolution (in pixels)
CVR: Vertical resolution of the video being displayed (in pixels)

Note: Make sure the angle mode is set to degrees when calculating the tangent. If using a spreadsheet such as Excel, you must multiply the angle by PI()/180. If DS is given in inches, VD will be in inches. If VD in meters is desired, multiply VD by 2.54 and divide by 100.

Example for DVD video on a 32-inch 1080p HDTV:

VD

=

32

(

1920

1080

)

2

+
1

⋅

480

⋅
tan

1
60

=
112.36

{\displaystyle {\textrm {VD}}={\frac {\textrm {32}}{{\sqrt {\left({\frac {\textrm {1920}}{\textrm {1080}}}\right)^{2}+1}}\cdot {\textrm {480}}\cdot \tan {\frac {1}{60}}}}=112.36}

 (inches)
Example for high-def video on a 32-inch 1080p HDTV:

VD

=

32

(

1920

1080

)

2

+
1

⋅

1080

⋅
tan

1
60

=
49.94

{\displaystyle {\textrm {VD}}={\frac {\textrm {32}}{{\sqrt {\left({\frac {\textrm {1920}}{\textrm {1080}}}\right)^{2}+1}}\cdot {\textrm {1080}}\cdot \tan {\frac {1}{60}}}}=49.94}

 (inches)

text: Sitting beyond these distances will result in a loss of detail.

text: A 1998 Sun Microsystems paper on the limits of human vision and video display systems uses a different constraint value of approximately ½ an arc minute (or 30 arc seconds), when estimating the saturation point for the human visual system.[39] With 30 arc seconds as the constraint, the view angle necessary to see all the detail provided by an HDTV with a 1080p resolution drops to approximately 16.1 degrees. Furthermore, several academic articles have challenged the notion that 1 arcminute of resolution is the typical resolving power of the human eye, suggesting that on average, we can resolve detail smaller than that.[45][49] Also, there is the issue of vernier acuity, which is the eye’s ability to detect an offset between 2 lines and stereoacuity, which is the ability to discriminate depth by the use of both eyes. Vernier acuity and stereoacuity are cited as being detected with only a 2–4 arc second degree of separation.[50] Ultimately all of the various types of acuity play a part in how we see things and more importantly, how we perceive what we are witnessing. The complexities of the human visual system and the relationship between different types of acuity are not yet fully understood.[50] Thus, depending on which human visual system constraints are applied, viewing angles calculations will vary to some degree, especially when technological constraints are factored in.

text: Technology limitations[edit]

text: While viewing an HDTV display from a shorter distance can produce an increased sense of presence, the limitations of technology can have an adverse effect if the viewer is too close to the display. If you examine an LCD or plasma HDTV display when it is turned off, you can see the construction of the pixel grid. Turning the display on doesn’t completely mask this. If you are too close to the display when it is on, it can look as though you’re viewing it through a screen door.[47][51] Even with different HDTV display technology, such as front or rear projection DLP, LCoS or laser TV, the way HDTV images are rendered limits how close a viewer can be before the image's segmented nature becomes evident.

text: HDTV displays produce images the same way computer bitmaps (also known as raster graphics) are produced, using a mosaic of colored 4-sided pixels. Like computer monitors, each HDTV display has a video resolution consisting of rows and columns of specific numbers of pixels. From far enough away, the human eye perceives the illuminated pixels as a smooth image.[12] As one gets closer, a point occurs where the blocky appearance of individual pixels becomes apparent.[1] The image then loses its smoothness, its perceived quality drops, and the advantage of closer viewing becomes a disadvantage.

text: Calculating the point where the human eye can detect pixels is not straightforward. Obviously, people's visual acuity varies greatly. But pixel geometry varies as well, in shape and spacing (known as interpixel gap[36]), depending on a display's technology and design.

text: Human physiological considerations[edit]

text: Research conducted on presence with HDTV and other higher resolution formats that use a wide field display, has revealed that sometimes the feeling of presence can be too real, producing physiological effect that some viewers may find undesirable. Subjects have reported experiencing an increase in symptoms that are common to motion sickness when viewing strong visual stimuli on large screens.[10] A study conducted using virtual reality simulation as part of the experiment, found that subjects with lower visual acuity experienced significantly more of the symptoms associated with motion sickness. Furthermore, the study also found that the symptoms of motion sickness increased when subjects observed the visual stimuli without the aid of their glass or contact lenses.[52] Consequently, optimum viewing distance recommendations based solely on human visual system and technological limitations may not always produce the best viewing experience. Viewers with lower visual acuity, who prefer to watch HDTV without their corrective lenses may want to sit closer to see critical details and run the risk of undesirable side effects.

text: End-user content selection[edit]

text: Although studies show the feeling of presence and image size are directly correlated, calculating the size to viewing distance relationship may not be a necessary exercise for all consumers. A 1997 study, which hypothesized that increases in screen size would give rise to increased feelings of presence, found that the content was more important than the screen size. The findings were that for commercials, action-adventure and reality programming an increase in the feeling of presence did correlate with increased size. The researcher attributed these findings to the fact that the aforementioned content contained scenes that were shot with a point of view camera, scenes with sudden movements and shorter shots. Conversely, for programming consisting of talk shows and drama programs changing the screen size had no effect on the feeling of presence.[53]


document_title: Red-eye gravy

question_text: where did red eye gravy get its name

question_tokens: where did red eye gravy get its name

text: Red-eye gravy

text: Origin[edit]

text: Red-eye gravy's name comes from its distinct appearance. Prepared traditionally, with coffee and grease combined in the final step (see Preparation below), a heterogeneous mixture forms with the water-based coffee sinking to the bottom and the oil-based grease forming the top layer. In a round bowl the mixture looks much like a red human eye.[1] Use of red pepper enhances the redness of the appearance.

text: Less traditional preparation techniques do not always result in the "red eye" appearance, leading to folk legends surrounding the origin of the name. For instance, one story is that former United States President Andrew Jackson requested ham with gravy as red as his cook's eyes, which were bloodshot from drinking the night before,[2] or that the black coffee in the gravy will keep people awake.[3]

text: Preparation[edit]

text: After a ham has been cooked, the grease is removed from the pan. Black coffee is then used to deglaze the pan. The coffee and grease are then poured into the same container in a one-to-one ratio.

text: Other recipes exist, using water instead of coffee, or adding coffee with grease still present in the pan. When the coffee is added to the grease in this manner, a homogeneous mixture may result that lacks the "red eye" appearance.

text: Florida Crackers referred to tomato gravy as red-eye gravy, and prepare it in much the same way by adding flour and tomatoes to bacon grease. This is served with fried catfish or other fish.