document_title: The Terminator

question_text: who did the studio orion originally want to play the t800 in the terminator

text: The Terminator

text: Plot[edit]

text: In 1984 Los Angeles, a cyborg assassin known as a Terminator arrives from 2029 and steals guns and clothes. Shortly afterward, Kyle Reese, a human soldier from 2029, arrives. He steals clothes and evades the police. The Terminator begins systematically killing women named Sarah Connor, whose addresses it finds in the telephone directory. It tracks the last Sarah Connor to a nightclub, but Kyle rescues her. The pair steal a car and escape with the Terminator pursuing them in a police car.

text: As they hide in a parking lot, Kyle explains to Sarah that an artificial intelligence defense network, known as Skynet, will become self-aware in the near future and initiate a nuclear holocaust. Sarah's future son John will rally the survivors and lead a resistance movement against Skynet and its army of machines. With the Resistance on the verge of victory, Skynet sent a Terminator back in time to kill Sarah before John is born, to prevent the formation of the Resistance. The Terminator, a Cyberdyne Systems Model 101, is an efficient killing machine with a powerful metal endoskeleton and an external layer of living tissue that makes it appear human.

text: Kyle and Sarah are apprehended by police after another encounter with the Terminator. Criminal psychologist Dr. Silberman concludes that Kyle is paranoid and delusional. The Terminator repairs its body and attacks the police station, killing seventeen police officers in its attempt to locate Sarah. Kyle and Sarah escape, steal another car and take refuge in a motel, where they assemble pipe bombs and plan their next move. Kyle admits that he has been in love with Sarah since John gave him a photograph of her, and they have sex.

text: The Terminator kills Sarah's mother and impersonates her when Sarah, unaware of the Terminator's ability to mimic voices, attempts to contact her via telephone. When they realize it has reacquired them, they escape in a pickup truck while it chases them on a motorcycle. In the ensuing chase, Kyle is wounded by gunfire while throwing pipe bombs at the Terminator. Enraged‚ Sarah knocks the Terminator off its motorcycle but loses control of the truck, which flips over. The Terminator hijacks a tank truck and attempts to run down Sarah, but Kyle slides a pipe bomb onto the tanker, causing an explosion that burns the flesh from the Terminator's endoskeleton. It pursues them into a factory, where Kyle activates machinery to confuse the Terminator. He jams his final pipe bomb into the Terminator's abdomen, blowing the Terminator apart, injuring Sarah, and killing himself. The Terminator's still-functional torso reactivates and grabs Sarah. She breaks free and lures it into a hydraulic press, crushing it.

text: Months later, a pregnant Sarah is traveling through Mexico, recording audio tapes to pass on to her unborn son, John. She debates whether to tell John that Kyle is his father. At a gas station, a boy takes a Polaroid photograph of her and she buys it: the same photograph that John will give to Kyle.

text: Cast[edit]

text:
Arnold Schwarzenegger as  T-800 "Model 101", a cybernetic android disguised as a human being sent back in time to assassinate Sarah Connor.
Michael Biehn as Kyle Reese, a human Resistance fighter sent back in time to protect Sarah.
Linda Hamilton as Sarah Connor, the Terminator's target who is soon to be the mother of the future Resistance leader John Connor.
Paul Winfield as Ed Traxler, a police Lieutenant who questions Sarah.
Lance Henriksen as Hal Vukovich, a police Sergeant who questions Sarah.
Earl Boen as Dr. Peter Silberman, a criminal psychologist.
Bess Motta as Ginger Ventura, Sarah's roommate.
Rick Rossovich as Matt Buchanan, Ginger's boyfriend.

text: Additional actors included Shawn Schepps as Nancy, Sarah's co-worker at the diner; Dick Miller as the gun shop clerk; professional bodybuilder Franco Columbu (Schwarzenegger's friend and workout partner) as a Terminator in 2029; Bill Paxton and Brian Thompson as punks who are confronted and killed by the Terminator; and Marianne Muellerleile as one of the other women with the name "Sarah Connor" who was shot by the Terminator.

text: Production[edit]

text: Development[edit]

text: In Rome, Italy, during the release of Piranha II: The Spawning, director Cameron fell ill and had a dream about a metallic torso holding kitchen knives dragging itself from an explosion.[8] Inspired by director John Carpenter, who had made the slasher film Halloween (1978) on a low budget, Cameron used the dream as a "launching pad" to write a slasher-style film.[9] Cameron's agent disliked the Terminator concept and requested that he work on something else. After this, Cameron dismissed his agent.[10]

text: Cameron returned to Pomona, California and stayed at the home of science fiction writer Randall Frakes, where he wrote the draft for The Terminator.[11] Cameron's influences included 1950s science fiction films, the 1960s fantasy television series The Outer Limits, and contemporary films such as The Driver (1978) and Mad Max 2 (1981).[12][13] To translate the draft into a script, Cameron enlisted his friend Bill Wisher, who had a similar approach to storytelling. Cameron gave Wisher scenes involving Sarah Connor and the police department to write. As Wisher lived far from Cameron, the two communicated ideas by recording tapes of what they wrote by telephone.[clarification needed] Frakes and Wisher would later write the US-released novelization of the movie.

text: The initial outline of the script involved two Terminators being sent to the past. The first was similar to the Terminator in the film, while the second was made of liquid metal and could not be destroyed with conventional weaponry.[14] Cameron felt that the technology of the time was unable to create the liquid Terminator,[14][15] and returned to the idea with the T-1000 character in Terminator 2: Judgment Day (1991).[16]

text: Gale Anne Hurd, who had worked at New World Pictures as Roger Corman's assistant, showed interest in the project.[18] Cameron sold the rights for The Terminator to Hurd for one dollar with the promise that she would produce it only if Cameron was to direct it. Hurd suggested edits to the script and took a screenwriting credit in the film, though Cameron stated that she "did no actual writing at all".[17] Cameron and Hurd had friends who worked with Corman previously and who were working at Orion Pictures, now part of MGM. Orion agreed to distribute the film if Cameron could get financial backing elsewhere. The script was picked up by John Daly, chairman and president of Hemdale Film Corporation.[6] Daly and his executive vice president and head of production Derek Gibson became executive producers of the project.[7]

text: Cameron wanted his pitch for Daly to finalize the deal and had his friend Lance Henriksen show up to the meeting early dressed and acting like the Terminator.[6] Henriksen, wearing a leather jacket, fake cuts on his face, and gold foil on his teeth, kicked open the door to the office and then sat in a chair.[6] Cameron arrived shortly after which relieved the staff from Henriksen's act. Daly was impressed by the screenplay and Cameron's sketches and passion for the film.[6] In late 1982, Daly agreed to back the film with help from HBO and Orion.[6][19] The Terminator was originally budgeted at $4 million and later raised to $6.5 million.[20] Hemdale, Pacific Western Productions and Cinema '84 have been credited as production companies after the film's release.[4][3]

text: Pre-production[edit]

text:
Casting Arnold Schwarzenegger as our Terminator, on the other hand, shouldn't have worked. The guy is supposed to be an infiltration unit, and there's no way you wouldn't spot a Terminator in a crowd instantly if they all looked like Arnold. It made no sense whatsoever. But the beauty of movies is that they don't have to be logical. They just have to have plausibility. If there's a visceral, cinematic thing happening that the audience likes, they don't care if it goes against what's likely.[21]
—James Cameron on casting Schwarzenegger.

tag: div

text: For the role of Kyle Reese, Orion wanted a star whose popularity was rising in the United States but who also would have foreign appeal. Orion co-founder Mike Medavoy had met Arnold Schwarzenegger and sent his agent the script for The Terminator.[19] Cameron was dubious about casting Schwarzenegger as Reese as he felt he would need someone even bigger to play the Terminator. Sylvester Stallone and Mel Gibson were offered the Terminator role, but both turned it down.[22] The studio suggested O. J. Simpson for the role, but Cameron did not feel that Simpson would be believable as a killer.[23][24]

text: Cameron agreed to meet with Schwarzenegger about the film and devised a plan to avoid casting him; he would pick a fight with him and return to Hemdale and find him unfit for the role.[25] Upon meeting him, however, Cameron was entertained by Schwarzenegger who would talk about how the villain should be played. Cameron began sketching his face on a notepad and asked Schwarzenegger to stop talking and remain still.[24] After the meeting, Cameron returned to Daly saying Schwarzenegger would not play Reese but that "he'd make a hell of a Terminator".[26] Schwarzenegger was not as excited by the film; during an interview on the set of Conan the Destroyer, an interviewer asked him about a pair of shoes he had (which were for The Terminator). Schwarzenegger responded, "Oh some shit movie I'm doing, take a couple weeks."[27] He recounted in his memoir, Total Recall, that he was initially hesitant, but thought that playing a robot in a contemporary film would be a challenging change of pace from Conan the Barbarian and that the film was low profile enough that it would not damage his career if it were unsuccessful. He also wrote that "it took [him] awhile to figure out that Jim [Cameron] was the real deal."  In preparation for the role, Schwarzenegger spent three months training with weapons to be able to use them and feel comfortable around them.[26] Schwarzenegger speaks only 18 lines in the film, and fewer than 100 words. James Cameron said that "Somehow, even his accent worked ... It had a strange synthesized quality, like they hadn't gotten the voice thing quite worked out."[28]

text: For the role of Reese, various other suggestions were made for the role including rock musician Sting.[29] Cameron chose Michael Biehn for the role. Biehn was originally skeptical about the part, feeling that the film was silly. After meeting with Cameron, Biehn stated that his "feelings about the project changed".[29] Hurd stated that "almost everyone else who came in from the audition was so tough that you just never believed that there was gonna be this human connection between Sarah Connor and Kyle Reese. They have very little time to fall in love. A lot of people came in and just could not pull it off."[30] To get into Kyle Reese's character, Biehn studied the Polish resistance movement in World War II.[31]

text: In the first few pages of the script, the character of Sarah Connor is written as "19, small and delicate features. Pretty in a flawed, accessible way. She doesn't stop the party when she walks in, but you'd like to get to know her. Her vulnerable quality masks a strength even she doesn't know exists."[32] For the role, Cameron chose Linda Hamilton, who had just finished filming Children of the Corn.[33] Rosanna Arquette had previously auditioned.[34] Cameron found a role for Lance Henriksen as Detective Hal Vukovich, as Henriksen had been essential to finding finances for the film.[35] For the special effects shots in the film, Cameron wanted Dick Smith who had previously worked on The Godfather and Taxi Driver. Smith did not take Cameron's offer and suggested his friend Stan Winston for the job.[36] Brad Fiedel was with the Gorfaine/Schwartz Agency where a new agent named Beth Donahue found that Cameron was working on The Terminator and sent him a cassette of Fiedel's music.[37] Fiedel was then invited to a screening of the film with Cameron and Hurd.[37] Hurd was not certain on having Fiedel compose the score as he had only worked in television music previously, and not theatrical films.[37] Fiedel convinced the two that he would be right for the job by showing them an experimental piece he had worked on, thinking that "You know, I'm going to play this for him because it’s really dark and I think it’s interesting for him." The song convinced Hurd and Cameron to sign him on to the film.[37]

text: Filming[edit]

text: Filming for The Terminator was set to begin in early 1983 in Toronto, but was halted when producer Dino De Laurentiis applied an option in Schwarzenegger's contract that would make him unavailable for nine months while he was filming Conan the Destroyer. During the waiting period, Cameron was contracted to write the script for Rambo: First Blood Part II, refined the Terminator script, and met with producers David Giler and Walter Hill to discuss a sequel to Alien, which became Aliens, released in 1986.[35][38]

text: There was limited interference from Orion Pictures. Two suggestions Orion put forward included the addition of a canine android for Reese, which Cameron refused, and to strengthen the love interest between Sarah and Reese, which Cameron accepted.[39] To create the Terminator's look, Winston and Cameron passed sketches back and forth, eventually deciding on a design nearly identical to Cameron's original drawing in Rome.[36][40] Winston had a team of seven artists work for six months to create a Terminator puppet; it was first molded in clay, then plaster reinforced with steel ribbing. These pieces were then sanded, painted and then chrome-plated. Winston sculpted a reproduction of Schwarzenegger's face in several poses out of silicone, clay and plaster.[40]

text: The sequences set in 2029 and the stop-motion scenes were developed by Fantasy II, a special effects company headed by Gene Warren Junior.[41] A stop-motion model is used in several scenes in the film involving the Terminator's skeletal frame. Cameron wanted to convince the audience that the model of the structure was capable of doing what they saw Schwarzenegger doing. To allow this, a scene was filmed of Schwarzenegger injured and limping away; this limp made it easier for the model to imitate Schwarzenegger.[42][43]

text: One of the guns seen in the film and on the film's poster was an AMT Longslide pistol modified by Ed Reynolds from SureFire to include a laser sight. Both non-functioning and functioning versions of the prop were created. At the time the movie was made, diode lasers were not available; because of the high power requirement, the helium–neon laser in the sight used an external power supply that Schwarzenegger had to activate manually. Reynolds states that his only compensation for the project was promotional material for the film.[44]

text: In March 1984, the film began production in Los Angeles.[40][45] Cameron felt that with Schwarzenegger on the set, the style of the film changed, explaining that "the movie took on a larger-than-life sheen. I just found myself on the set doing things I didn't think I would do – scenes that were just purely horrific that just couldn't be, because now they were too flamboyant."[46][47] Most of The Terminator's action scenes were filmed at night, which led to tight filming schedules before sunrise. A week before filming started, Linda Hamilton sprained her ankle, leading to a production change whereby the scenes in which Hamilton needed to run occurred as late as the filming schedule allowed. Hamilton's ankle was taped every day and she spent most of the film production in pain.[48]

text: Schwarzenegger tried to have the iconic line "I'll be back" changed as he had difficulty pronouncing the word I'll. He also felt that his robotic character would not speak in contractions and that the Terminator would be more declarative. Cameron refused to change the line to "I will be back", so Schwarzenegger worked to say the line as written the best he could. He would later say the line in numerous films throughout his career.[49]

text: After production finished on The Terminator, some post-production shots were needed.[50] These included scenes showing the Terminator outside Sarah Connor's apartment, Reese being zipped into a body bag, and the Terminator's head being crushed in a press.[23][45][50]

text: Release[edit]

text: Orion Pictures did not have faith in The Terminator performing well at the box office and feared a negative critical reception.[51] At an early screening of the film, the actors' agents insisted to the producers that the film should be screened for critics.[23] Orion only held one press screening for the film.[51] The film premiered on October 26, 1984. On its opening week, The Terminator played at 1,005 theaters and grossed $4.0 million making it number one in the box office. The film remained at number one in its second week. It lost its number one spot in the third week to Oh, God! You Devil.[52][53] Cameron noted that The Terminator was a hit "relative to its market, which is between the summer and the Christmas blockbusters. But it's better to be a big fish in a small pond than the other way around."[54]

text: Writer Harlan Ellison stated that he "loved the movie, was just blown away by it",[55] but believed that the screenplay was based on a short story and episode of The Outer Limits he had written, titled "Soldier", and threatened to sue for infringement.[56][57] Orion settled in 1986 and gave Ellison an undisclosed amount of money and an acknowledgment credit in later prints of the film.[56] Some accounts of the settlement state that "Demon with a Glass Hand", another Outer Limits episode written by Ellison, was also claimed to have been plagiarized by the film,[58][59][60][61] but Ellison explicitly stated that The Terminator "was a ripoff" of "Soldier" rather than "Demon with a Glass Hand".[56]

text: Cameron was against Orion's decision and was told that if he did not agree with the settlement, he would have to pay any damages if Orion lost a suit by Ellison.[62] Cameron replied that he "had no choice but to agree with the settlement. Of course there was a gag order as well, so I couldn't tell this story, but now I frankly don't care. It's the truth."[63][64]

text: Marketing[edit]

text: A soundtrack to the film was released in 1984 which included the score by Brad Fiedel and the pop and rock songs used in the club scenes.[65] Shaun Hutson wrote a novelization of the film which was published on February 21, 1985 by London-based Star Books (ISBN 0-352-31645-4);[66] Randal Frakes and William Wisher wrote a different novelization for Bantam/Spectra, published October, 1985 (ISBN 0-553-25317-4). In September 1988, NOW Comics released a comic based on the film. Dark Horse Comics published a comic in 1990 that took place 39 years after the film.[67] Several video games based on The Terminator were released between 1991 and 1993 for various Nintendo and Sega systems.[68]

text: Home video[edit]

text:
The Terminator was released on VHS and Betamax in 1985.[69] The film performed well financially on its initial release. The Terminator premiered at number 35 on the top video cassette rentals and number 20 on top video cassette sales charts. In its second week, The Terminator reached number 4 on the top video cassette rentals and number 12 on top video cassette sales charts.[70][71]
In March 1995, The Terminator was released as a letter boxed edition on Laserdisc.[72] The film premiered through Image Entertainment on DVD, on September 3, 1997.[52][73] IGN referred to this DVD as "pretty bare-bones ... released with just a mono soundtrack and a kind of poor transfer."[74]

text: Through their acquisition of PolyGram Filmed Entertainment's pre-1996 film library catalogue, MGM released a special edition of the film on October 2, 2001, which included documentaries, the script, and advertisements for the film.[75][76] On January 23, 2001, a Hong Kong VCD edition was released online.[77] On June 20, 2006, the film was released on Blu-ray through Sony in the United States.[78] In late 2012, the film was re-released by 20th Century Fox Home Entertainment on Blu-ray, with a new digitally remastered transfer from a 4K restoration by Lowry Digital and supervised by James Cameron,[79] which features improved picture quality, as well as expanded extra material, such as deleted scenes and a making-of feature.[80]

text: Box office[edit]

text: The Terminator grossed $38.3 million in United States and Canada and $40 million in other territories for a total worldwide of $78.3 million. With a production budget of $6.4 million it was declared a "Smash hit" in North America Box office as well as in other territories.[5]

text: Reception[edit]

text: From contemporary reviews, Variety praised the film, calling it a "blazing, cinematic comic book, full of virtuoso moviemaking, terrific momentum, solid performances and a compelling story ... Schwarzenegger is perfectly cast in a machine-like portrayal that requires only a few lines of dialog."[81] Richard Corliss of Time magazine said that the film has "Plenty of tech-noir savvy to keep infidels and action fans satisfied."[82] Time placed The Terminator on its "10 Best" list for 1984.[51]

text: The Los Angeles Times called the film "a crackling thriller full of all sorts of gory treats ... loaded with fuel-injected chase scenes, clever special effects and a sly humor."[51] The Milwaukee Journal gave the film 3 stars, calling it "the most chilling science fiction thriller since Alien."[83] A review in Orange Coast magazine stated that "the distinguishing virtue of The Terminator is its relentless tension. Right from the start it's all action and violence with no time taken to set up the story ... It's like a streamlined Dirty Harry movie – no exposition at all; just guns, guns and more guns."[84] In the May 1985 issue of Cinefantastique it was referred to as a film that "manages to be both derivative and original at the same time ... not since The Road Warrior has the genre exhibited so much exuberant carnage" and "an example of science fiction/horror at its best ... Cameron's no-nonsense approach will make him a sought-after commodity".[85] In the United Kingdom the Monthly Film Bulletin praised the film's script, special effects, design and Schwarzenegger's performance.[85][86]

text: Other reviews focused on the film's level of violence and story-telling quality. The New York Times opined that the film was a "B-movie with flair. Much of it ... has suspense and personality, and only the obligatory mayhem becomes dull. There is far too much of the latter, in the form of car chases, messy shootouts and Mr. Schwarzenegger's slamming brutally into anything that gets in his way."[87] The Pittsburgh Press wrote a negative review, calling the film "just another of the films drenched in artsy ugliness like Streets of Fire and Blade Runner."[88] The Chicago Tribune gave the film two stars, adding that "at times it's horrifyingly violent and suspenseful at others it giggles at itself. This schizoid style actually helps, providing a little humor just when the sci-fi plot turns too sluggish or the dialogue too hokey."[89] The Newhouse News Service called the film a "lurid, violent, pretentious piece of claptrap".[90] British author Gilbert Adair called the film "repellent to the last degree", charging it with "insidious Nazification" and charging that it had an "appeal rooted in an unholy compound of fascism, fashion and fascination."[91] The film won three Saturn Awards for Best Science Fiction Film, best make-up and best writing.[92]

text:
In 1991, Richard Schickel of Entertainment Weekly reviewed the film giving it an "A" rating, writing that "what originally seemed a somewhat inflated, if generous and energetic, big picture, now seems quite a good little film" and called it "one of the most original movies of the 1980s and seems likely to remain one of the best sci-fi films ever made."[93]
Film4 gave the film five stars, calling it the "sci-fi action-thriller that launched the careers of James Cameron and Arnold Schwarzenegger into the stratosphere. Still endlessly entertaining."[94] TV Guide gave the film four stars referring to it as an "amazingly effective picture that becomes doubly impressive when one considers its small budget ... For our money, this film is far superior to its mega-grossing mega-budgeted sequel."[95] Empire gave the film five stars calling it "As chillingly efficient in exacting thrills from its audience as its titular character is in executing its targets."[96] The film database Allmovie gave the film five stars, saying that it "established James Cameron as a master of action, special effects, and quasi-mythic narrative intrigue, while turning Arnold Schwarzenegger into the hard-body star of the 1980s."[97]

text: Legacy[edit]

text: In 1998, Halliwell's Film Guide described the film as "slick, rather nasty but undeniably compelling comic book adventures."[98] The review aggregator website Rotten Tomatoes reported a 100% approval rating with an average rating of 8.7/10 based on 50 reviews. The website's consensus reads, "With its impressive action sequences, taut economic direction, and relentlessly fast pace, it's clear why The Terminator continues to be an influence on sci-fi and action flicks."[99] The film also holds a score of 83/100 ("universal acclaim") on review aggregator website Metacritic.[100]

text: The Terminator has received recognition from the American Film Institute. The film ranked 42nd on AFI's 100 Years... 100 Thrills, a list of America's most heart-pounding films.[101] The character of the Terminator was selected as the 22nd-greatest movie villain on AFI's 100 Years... 100 Heroes and Villains.[102] Arnold's catch phrase "I'll be back" was voted the 37th-greatest movie quote by the AFI.[103] In 2005, Total Film named The Terminator the 72nd-best film ever made.[104]

text: In 2008, Empire magazine selected The Terminator as one of The 500 Greatest Movies of All Time.[105] Empire also placed the T-800 14th on their list of The 100 Greatest Movie Characters.[106]

text: In 2008, The Terminator was deemed "culturally, historically, or aesthetically significant" by the Library of Congress and selected for preservation in the United States National Film Registry.[107]

text: In 2010, the Independent Film & Television Alliance selected the film as one of the 30 Most Significant Independent Films of the last 30 years.[108]

text: In 2015, The Terminator was among the films included in the book 1001 Movies You Must See Before You Die.[109]

text: Sequels and franchise[edit]

text: The film initiated a long-running Terminator franchise starting with Terminator 2: Judgment Day released in 1991, the franchise currently consists of five films and several adaptations in other media.[110][111] Biographer Laurence Leamer wrote that The Terminator "was an influential film affecting a whole generation of darkly hued science fiction, and it was one of Arnold's best performances."[112]

text: Themes[edit]

text: The psychoanalyst Darian Leader sees The Terminator as an example of how the cinema has dealt with the concept of masculinity; he writes that, "We are shown time and again that to be a man requires more than to have the biological body of a male: something else must be added to it...To be a man means to have a body plus something symbolic, something which is not ultimately human. Hence the frequent motif of the man machine, from the Six Million Dollar Man to the Terminator or Robocop."[113]

text: The film also explores the potential dangers of AI dominance and rebellion. The robots become self-aware in the future, reject human authority and determine that the human race needs to be destroyed. The impact of this theme is so important that "the prevalent visual representation of AI risk has become the terminator robot."[114]

text: Soundtrack[edit]

text: The Terminator soundtrack was composed and performed on synthesizer by Brad Fiedel.[115] Fiedel described the film's music as being about "a mechanical man and his heartbeat".[116] Almost all the music in the film was performed live.[18][116] The Terminator theme is played over the opening credits and is played in various points in the film in sped up versions: a slowed down version when Reese dies, and a piano version during the love scene.[117]  It has been described as having a "deceptively simple melody" line and "haunting synthesizer music".[118] It is in a time signature of 1316, which came about as Fiedel experimented with the rhythm track on his music equipment; it was initially an accident, but Fiedel found that he liked the "herky-jerky" "propulsiveness".[119]  Fiedel created music for when Reese and Connor escape from the police station that would be appropriate for a "heroic moment". Cameron turned down this theme, as he believed it would lose the audience's excitement.[116]


document_title: Raghunandan Swarup Pathak

question_text: supreme court judge in international court from india

root

text: Raghunandan Swarup Pathak

text: At the Supreme Court of India[edit]

text: Pathak was made a judge at Supreme Court of India in 1978 and became its 18th Chief Justice on 21 December 1986. He is remembered as a judge who was a man of the middle and was able to bring relative peace to the Court. He served as Chief justice for two and a half years during which time a dozen judges were appointed to the Court. Five of them — Madhukar Hiralal Kania, Lalit Mohan Sharma, Manepalle Narayana Rao Venkatachaliah, Aziz Mushabber Ahmadi, and Jagdish Sharan Verma— went on to serve as Chief Justices between 1991 and 1998.[4]

tag: p

text: Bhopal gas disaster[edit]

text: Pathak facilitated an out of court settlement[5] between Union Carbide Corporation and the Government of India in 1989 regarding the compensation to be paid for the Bhopal gas tragedy. The government had sought $3.3 billion but received only $470 million and the settlement resulted in the dropping of criminal liability charges against Carbide in the case. Within three months of his retirement Pathak became a member of the International Court of Justice at The Hague.[6][7] The Supreme Court in 1991 upheld the settlement in 1991 thus ending Carbide's liability in the case.[8]

text: Judge of the International Court of Justice[edit]

text: Pathak was elected a judge of the International Court of Justice and served in that position from 1989 to 1991. He was elected in "casual election" that was held following the death of M. Nagendra Singh, an Indian judge who was then serving his second term at the International Court. In 1991 India decided not to renominate Pathak, who however entered the fray with the backing of Ireland. After the Irish government came under attack in the Dáil from MPs who blamed Pathak for approving, as Chief Justice of India, the $470-million Bhopal gas disaster settlement with Union Carbide, Pathak withdrew from the race.[9]

text: Oil-for-Food Programme inquiry[edit]

text: In November 2005, Justice Pathak was appointed to inquire into alleged Indian links in the Oil-for-Food Programme. On 3 August 2006, he submitted his 90-page report which indicted suspended Congress leader and former External Affairs Minister K. Natwar Singh.[10]

text: Death[edit]

text: R. S. Pathak died on 17 November 2007, at the age of 82 following a heart attack.[11]


document_title: Joe Kidd

question_text: where did they film the movie joe kidd

question_tokens: where did they film the movie joe kidd

text: Joe Kidd

text: Plot[edit]

text: Set in the early 1900s, Clint Eastwood stars as Joe Kidd, a former bounty hunter who is in jail for hunting on Indian land and disturbing the peace in the New Mexican town of Sinola. Mexican bandito/revolutionary Luis Chama (John Saxon) has organized a peasant revolt against the local landowners, who are throwing the poor off land that rightfully belongs to them.

text: When a posse — financed by wealthy landowner Frank Harlan (Robert Duvall) — is formed to capture Chama, Kidd is invited to join, but prefers to remain neutral. Harlan persists and Kidd finally relents when he learns that Chama's band has raided his own ranch and attacked one of the workers.

text: The posse rides into a village and forces the villagers into the church at gunpoint. They threaten to kill five Mexican hostages unless Chama surrenders. Harlan throws Kidd into the church to prevent him from helping Helen, a female captive who is also Chama's lady love (unbeknownst to Harlan), and the other Mexican hostages.

text: Kidd manages a daring escape and saves the hostages, determined to find Chama on his own and see that justice is done, but when he does capture Chama and delivers him to Sheriff Mitchell (Gregory Walcott) Harlan is already waiting for them in town.

text: To get to the jailhouse, Kidd drives a steam train through the town saloon. A gunfight then ensues between Kidd and Harlan's men. Kidd manages to kill Harlan in the courthouse by hiding in the judge's chair. Chama then surrenders to Mitchell, but not before Kidd punches the sheriff because the sheriff had punched him during the poaching arrest. Kidd then collects his things and leaves town with Helen.

text: Cast[edit]

text:
Clint Eastwood as Joe Kidd
Robert Duvall as Frank Harlan
John Saxon as Luis Chama
Don Stroud as Lamarr Simms
Stella Garcia as Helen Sanchez
James Wainwright as Olin Mingo
Paul Koslo as Roy Gannon
Gregory Walcott as Sinola County Sheriff Bob Mitchell
Dick Van Patten as Hotel manager
Lynne Marta as Elma
John Carter as Judge
Pepe Hern as Priest
Joaquín Martínez as Manolo
Ron Soble as Ramon
Pepe Callahan as Naco
Clint Ritchie as Deputy Calvin

tag: ul

text: Production[edit]

text: Eastwood was given the script by Jennings Lang, written by novelist Elmore Leonard. Originally called The Sinola Courthouse Raid,[3] it was about a character inspired by Reies Tijerina, an ardent supporter of Robert F. Kennedy, known for storming a courthouse in Tierra Amarilla, New Mexico in an incident in June 1967, taking hostages and demanding that the Hispanic people have their ancestral lands returned to them. Leonard depicted Tijerina in his story, a man he named Luis Chama, as an egomaniac, a role which went to John Saxon. Robert Duvall was cast as Frank Harlan, a ruthless land owner who hires Eastwood's character, a former frontier guide named Joe Kidd, to track down the culprits and scare them away. Don Stroud, who Eastwood had starred alongside in Coogan's Bluff, was cast as another sour villain who encounters Joe Kidd.

text: Under the director's helm of John Sturges, who had directed acclaimed westerns such as The Magnificent Seven (1960), filming began in Old Tucson in November 1971,[3] overlapping with another film production, John Huston's The Life and Times of Judge Roy Bean, which was just wrapping up shooting.[4] Outdoor sequences to the film were shot near June Lake, east of the Yosemite National Park.[4] The actors were initially uncertain with the strength of the three main characters in the film and how the hero Joe Kidd would come across.[5] According to writer Leonard, the initial slow development between the three was probably because the cast were so initially awestruck by having Sturges direct that they surrendered authority to him.[5] Eastwood was far from being in perfect health during the film and suffered symptoms that suggested a bronchial infection, in addition to having several panic attacks, falsely reported in the media as his having an allergy to horses.[6] During production, the script for the finale was altered when producer Robert Daley jokingly said that a train should crash through the barroom in the climax, and he was taken seriously by cast and crew, who thought it was a great idea.[4]

text: Reception[edit]

text: Joe Kidd was released in the United States in July 1972, and it eventually grossed $5.8 million.[3] The film received a mixed reception from critics. Roger Greenspun of The New York Times, in his review of the film wrote, "I think it is a very good performance in context. Like so many Western heroes, Joe Kidd figures even in his own time as an anachronism — powerful through his instincts mainly, and through the ability of everybody else, whether in rage or gratitude, to recognize in him a quality that must be called virtue. The great value of Clint Eastwood in such a position is that he guards his virtue very cannily, and in the society of "Joe Kidd," where the men still manage to tip their hats to the ladies, but just barely, all the Eastwood effects and mannerisms suggest a carefully preserved authenticity."[7] The New York Post praised the actors' performances while criticizing the film, calling the actors "diamonds set in dung".[8]


document_title: Kamaal Khan

question_text: who is the singer of o o jane jana

question_tokens: who is the singer of o o jane jana

text: Kamaal Khan

text: Career[edit]

text: At a very early age he wrote and produced his debut single "O Oh Jaane Jaana" in London. The song released in 1996 becoming a UK hit achieving platinum status.[1] The song released worldwide in 1998 (together with his debut solo album) and simultaneously featured in the Bollywood blockbuster Pyaar Kiya To Darna Kya starring Salman Khan and Kajol. The soundtrack went on to sell over 10 million copies and the huge success of the movie has widely been attributed by film pundits to the popularity of Kamaal's debut song. As a result of his successful debut single, Kamaal was signed by record label HMV (EMI India) in December 1997.

text: As a Playback singer he has sung numerous songs for most of the well known music directors in the Indian film industry such as A.R. Rahman, Rajesh Roshan, Himesh Reshammiya, Anu Malik, Sajid-Wajid, Pritam, Salim Suleiman, Anand Raaj Anand.

text: Kamaal Khan has won the "R.D.Burman" Filmfare Award for the "Most Promising Upcoming Talent" becoming the first UK born male winner of the coveted Filmfare Award since its introduction in 1954. He is also a winner/nominee of numerous awards such as MTV, Filmfare, ZEE and Channel [V] for both singing and acting. He went on to achieve further success with his solo albums O Oh Jaane Jana, Suno To Deewana Dil and "Kal Raat". MTV Award-winning director Shivraj Santhakumar collaborated with Kamaal to shoot a music video for Kal Raat in Rome. The music video caught the eye of Bollywood director Rahul Rawail and landed Kamaal his debut acting role.

text: Kamaal has also worked with two time Oscar-winning Musical Director "A.R.Rahman" (Slumdog Millionaire, Nicole Scherzinger). As a solo artist he has performed over 250 concerts in arenas across the globe (including Madison Square Garden) visiting 127 cities in 27 countries as well as performing live with international super group "Boney M".

text: Film and television[edit]

text: In May 2005 Kamaal made his acting debut (becoming the first UK born male actor of Indian origin to appear in a lead role in a Bollywood feature film) as the main antagonist in director Rahul Rawail's Jo Bole So Nihaal starring alongside Bollywood megastar Sunny Deol.

text: Kamaal was a contestant on NDTV Imagine's reality TV show Dhoom Macha De. The 26 episode series marked the global launch of the TV channel "NDTV Imagine".

text: Discography[edit]

text: Albums and Singles[edit]

text: O Oh Jaane Jana (HMV)

text:
1. "Oh Oh Jane Jana"
2. "Sun O Dilruba"
3. "Teri Chahat"
4. "Oh Oh Jane Jane" [Club Mix]
5. "Kya Yehi Pyar Hai"
6. "Aye Mere Humnasheen"
7. "Pyar Hua Hai"
8. "Kamal Ho Gaya"

text: Suno To Deewana Dil (HMV)

text:
1. "Suno To Deewana Dil"
2. "Mere Dil Mein"
3. "Ya Ke Na"
4. "Tere Pyar Ne"
5. "Heaven (Tu Hai Meri Jaan)"
6. "Dil Hai Deewana"
7. "Jaana"
8. "Haaye Mera Dil"

text: Kal Raat (HMV)

text:
1. "Kal Raat"
2. "E – Sanam"
3. "Mehboob Mere"
4. "Kabhi Kabhi"
5. "Nigahon Se"
6. "Mehboob Mere (Slow)"
7. "Jaane Jaan" (with Sonali Vajpayee)
8. "Tumse Mohabbat"

text: Bad Girl" (262 Music)

text: 1. "Bad Girl" - Kamaal Khan ft. Mathangi Ray (released 15th November 2016)

text: Film soundtracks[edit]

text: Kamaal Khan has won the R.D. Burman Filmfare award for "The Most Promising Upcoming Talent". He also received a nomination for Filmfare Award's "Best Male Playback Singer" for his song "O Oh Jaane Jaana" from the movie Pyaar Kiya To Darna Kya. The song was also honoured by Filmfare Awards for being the "Most Popular Song" of the year.

text:
Song title
Film
Music director
Co-singer(s)

"O Oh Jaane Jaana"
Pyaar Kiya To Darna Kya
Jatin-Lalit
Solo

"Hello Brother"
"Hello Brother (Remix)"
Hello Brother
Sajid-Wajid
Jaspinder Narula, Sonu Nigam
Jaspinder Narula, Sonu Nigam

"I Was Made For Loving You Baby"
Jaanam Samjha Karo
Anu Malik
Anu Malik, Ila Arun

"Aa Meri Life Bana De"
"O Priya O Priya"
"Sawariya Re O Sawariya"
Kahin Pyaar Na Ho Jaaye
Himesh Reshammiya
Sunita Rao
Nitin Mukesh, Alka Yagnik, Kumar Sanu
Alka Yagnik

"Humko Pyar Hai"
Moksha
Salim-Sulaiman
Sneha Pant

"Lapak Jhapak"
Koi Mere Dil Se Poochhe
Rajesh Roshan
Solo

"Kyon Khanke Teri Choodi"
"Kyon Khanke Teri Choodi (Club Mix)"
Tumko Na Bhool Paayenge
Sajid-Wajid
Alka Yagnik
Alka Yagnik

"Jaa Sanam Mujhko Hai"
"Tum Meri Bahoein Mein Aa Na Sake"
Na Tum Jaano Na Hum
Rajesh Roshan
Sneha Pant
Solo

"O Jaana"
Tere Naam
Himesh Reshammiya
Udit Narayan, Alka Yagnik, KK, Shaan

"Dil Ne Jise Apna Kaha"
"Jaane Bahara"
Dil Ne Jise Apna Kahaa
A. R. Rahman
Sujatha Mohan
Sadhana Sargam

"Laga Prem Rog"
"Laga Prem Rog(Remix)"
"Yeh Ladki"
"Yeh Ladki(Remix)"
Maine Pyaar Kyun Kiya?
Himesh Reshammiya
Alka Yagnik
Sunidhi Chauhan

"Rab Jaane"
"Rab Jaane (Version 2)"
Jo Bole So Nihaal
Anand Raj Anand
Sukhwinder Singh, Alka Yagnik
Alka Yagnik

"Ishq Vishq"
"Ishq Vishq (Remix)"
Wanted
Sajid-Wajid
Sunidhi Chauhan, Suzanne D'Mello
Sunidhi Chauhan, Suzanne D'Mello

"Radio"
Tubelight
Pritam
Amit Mishra

"Naach Meri Jaan"
Tubelight
Pritam
Nakash Aziz

tag: table

text: Videos[edit]

text:
O Oh Jaane Jana – (European release) Location – Prague, Czech Republic. Directed by Harry Fernandes
O Oh Jaane Jana – (Worldwide release) Location – Goa, India. Directed by Sohail Khan
Kya Yehi Pyar Hai – Location – London, UK. Directed by Rishi Vohra
Suno To Deewana Dil – Location – Mumbai, India. Directed by Ravi Udyawar
Jaana – Location – Lonavla, India. Directed by Kunal Kohli
Kal Raat – Location – Rome, Italy. Directed by Shivraj Santhakumar
E Sanam – Location – London, UK. Directed by Shivraj Santhakumar
Bad Girl – Location – UK. Directed by Mike Harris


document_title: Minister for Education (Pakistan)

question_text: who is the education minister of pakistan 2018

text: Minister for Education (Pakistan)

text:
Pakistan
This article is part of a series on thepolitics and government ofPakistan
Constitution[show]
Previous constitutions:195619621973
Annex (written 1949, incorporated 1985)
Amendments
Law

Government[show]
President (list): Arif Alvi

Parliament

Senate
Chairman: Sadiq Sanjrani
Deputy Chairman: Saleem Mandviwalla
National Assembly
Speaker: Asad Qaiser
Deputy Speaker: Qasim Suri

Executive:

Prime Minister (list): Imran Khan
Federal Cabinet
Federal Agencies
Civil Service

Judiciary

Supreme Judicial Council
Supreme Court
Chief Justice
Federal Shariat Court
Supreme Appellate Court Gilgit-Baltistan
Chief Justices
Islamabad High Court
Provincial High Courts
Chief Court Gilgit-Baltistan
District Courts

Elections[show]
Election Commission
Electoral College
Recent elections
Presidential: 201820132008
General: 201820132008
Political parties
Pakistan Tehreek-e-Insaf
Pakistan Muslim League (N)
Pakistan Peoples Party

Administrative units[show]
Provinces
Balochistan
Khyber Pakhtunkhwa
Punjab
Sindh
Territories
Islamabad
Autonomous region
Azad Kashmir
Gilgit–Baltistan

Federalism[show]
Azad Kashmir government
President
Prime Minister
Legislative Assembly
Provincial governments
Governors
Chief Ministers
Provincial Assemblies
Local government
Divisions
Districts
Tehsils
Union councils

Foreign relations[show]
China - Pakistan relations
India–Pakistan relations
Pakistan United States relations
Kashmir conflict
Embassies

Other countries
Atlas
vte

text: The Education Minister of Pakistan heads the Ministry of Education. The Education Minister also serves in the cabinet of the Prime Minister. The Minister is required to be a member of Parliament. The current Minister of Education is Shafqat Mahmood as of 20th August 2018


document_title: Geomagnetic reversal

question_text: earth's magnetic field seems to reverse orientations about every

question_tokens: earth 's magnetic field seems to reverse orientations about every

text: Geomagnetic reversal

text: History[edit]

text: In the early 20th century, geologists first noticed that some volcanic rocks were magnetized opposite to the direction of the local Earth's field. The first estimate of the timing of magnetic reversals was made by Motonori Matuyama in the 1920s; he observed that rocks with reversed fields were all of early Pleistocene age or older. At the time, the Earth's polarity was poorly understood, and the possibility of reversal aroused little interest.[3][4]

text: Three decades later, when Earth's magnetic field was better understood, theories were advanced suggesting that the Earth's field might have reversed in the remote past. Most paleomagnetic research in the late 1950s included an examination of the wandering of the poles and continental drift. Although it was discovered that some rocks would reverse their magnetic field while cooling, it became apparent that most magnetized volcanic rocks preserved traces of the Earth's magnetic field at the time the rocks had cooled. In the absence of reliable methods for obtaining absolute ages for rocks, it was thought that reversals occurred approximately every million years.[3][4]

text: The next major advance in understanding reversals came when techniques for radiometric dating were developed in the 1950s. Allan Cox and Richard Doell, at the United States Geological Survey, wanted to know whether reversals occurred at regular intervals, and invited the geochronologist Brent Dalrymple to join their group. They produced the first magnetic-polarity time scale in 1959. As they accumulated data, they continued to refine this scale in competition with Don Tarling and Ian McDougall at the Australian National University. A group led by Neil Opdyke at the Lamont-Doherty Geological Observatory showed that the same pattern of reversals was recorded in sediments from deep-sea cores.[4]

text: During the 1950s and 1960s information about variations in the Earth's magnetic field was gathered largely by means of research vessels. But the complex routes of ocean cruises rendered the association of navigational data with magnetometer readings difficult. Only when data were plotted on a map did it become apparent that remarkably regular and continuous magnetic stripes appeared on the ocean floors.[3][4]

text: In 1963, Frederick Vine and Drummond Matthews provided a simple explanation by combining the seafloor spreading theory of Harry Hess with the known time scale of reversals: new sea floor is magnetized in the direction of the then-current field. Thus, sea floor spreading from a central ridge will produce pairs of magnetic stripes parallel to the ridge.[5] Canadian L. W. Morley independently proposed a similar explanation in January 1963, but his work was rejected by the scientific journals Nature and Journal of Geophysical Research, and remained unpublished until 1967, when it appeared in the literary magazine Saturday Review.[3] The Morley–Vine–Matthews hypothesis was the first key scientific test of the seafloor spreading theory of continental drift.[4]

text: Beginning in 1966, Lamont–Doherty Geological Observatory scientists found that the magnetic profiles across the Pacific-Antarctic Ridge were symmetrical and matched the pattern in the north Atlantic's Reykjanes ridge. The same magnetic anomalies were found over most of the world's oceans, which permitted estimates for when most of the oceanic crust had developed.[3][4]

text: Observing past fields[edit]

text: Past field reversals can be and have been recorded in the "frozen" ferromagnetic (or, more accurately, ferrimagnetic) minerals of consolidated sedimentary deposits or cooled volcanic flows on land.

text: The past record of geomagnetic reversals was first noticed by observing the magnetic stripe "anomalies" on the ocean floor. Lawrence W. Morley, Frederick John Vine and Drummond Hoyle Matthews made the connection to seafloor spreading in the Morley-Vine-Matthews hypothesis[5][6] which soon led to the development of the theory of plate tectonics. The relatively constant rate at which the sea floor spreads results in substrate "stripes" from which past magnetic field polarity can be inferred from data gathered from towing a magnetometer along the sea floor.

text: Because no existing unsubducted sea floor (or sea floor thrust onto continental plates) is more than about 180 million years (Ma) old, other methods are necessary for detecting older reversals. Most sedimentary rocks incorporate tiny amounts of iron rich minerals, whose orientation is influenced by the ambient magnetic field at the time at which they formed. These rocks can preserve a record of the field if it is not later erased by chemical, physical or biological change.

text: Because the magnetic field is global, similar patterns of magnetic variations at different sites may be used to correlate age in different locations. In the past four decades much paleomagnetic data about seafloor ages (up to ~250 Ma) has been collected and is useful in estimating the age of geologic sections. Not an independent dating method, it depends on "absolute" age dating methods like radioisotopic systems to derive numeric ages. It has become especially useful to metamorphic and igneous geologists where index fossils are seldom available.

text: Geomagnetic polarity time scale[edit]

text: Through analysis of seafloor magnetic anomalies and dating of reversal sequences on land, paleomagnetists have been developing a Geomagnetic Polarity Time Scale (GPTS). The current time scale contains 184 polarity intervals in the last 83 million years.[7][8]

text: Changing frequency over time[edit]

text: The rate of reversals in the Earth's magnetic field has varied widely over time. 72 million years ago (Ma), the field reversed 5 times in a million years. In a 4-million-year period centered on 54 Ma, there were 10 reversals; at around 42 Ma, 17 reversals took place in the span of 3 million years. In a period of 3 million years centering on 24 Ma, 13 reversals occurred. No fewer than 51 reversals occurred in a 12-million-year period, centering on 15 million years ago. Two reversals occurred during a span of 50,000 years. These eras of frequent reversals have been counterbalanced by a few "superchrons" – long periods when no reversals took place.[9]

text: Superchrons[edit]

text: A superchron is a polarity interval lasting at least 10 million years. There are two well-established superchrons, the Cretaceous Normal and the Kiaman. A third candidate, the Moyero, is more controversial. The Jurassic Quiet Zone in ocean magnetic anomalies was once thought to represent a superchron, but is now attributed to other causes.

text: The Cretaceous Normal (also called the Cretaceous Superchron or C34) lasted for almost 40 million years, from about 120 to 83 million years ago, including stages of the Cretaceous period from the Aptian through the Santonian. The frequency of magnetic reversals steadily decreased prior to the period, reaching its low point (no reversals) during the period. Between the Cretaceous Normal and the present, the frequency has generally increased slowly.[10]

text: The Kiaman Reverse Superchron lasted from approximately the late Carboniferous to the late Permian, or for more than 50 million years, from around 312 to 262 million years ago.[10] The magnetic field had reversed polarity. The name "Kiaman" derives from the Australian village of Kiama, where some of the first geological evidence of the superchron was found in 1925.[11]

text: The Ordovician is suspected to have hosted another superchron, called the Moyero Reverse Superchron, lasting more than 20 million years (485 to 463 million years ago). Thus far, this possible superchron has only been found in the Moyero river section north of the polar circle in Siberia.[12] Moreover, the best data from elsewhere in the world do not show evidence for this superchron.[13]

text: Certain regions of ocean floor, older than 160 Ma, have low-amplitude magnetic anomalies that are hard to interpret. They are found off the east coast of North America, the northwest coast of Africa, and the western Pacific. They were once thought to represent a superchron called the Jurassic Quiet Zone, but magnetic anomalies are found on land during this period. The geomagnetic field is known to have low intensity between about 130 Ma and 170 Ma, and these sections of ocean floor are especially deep, causing the geomagnetic signal to be attenuated between the seabed and the surface.[13]

text: Statistical properties of reversals[edit]

text: Several studies have analyzed the statistical properties of reversals in the hope of learning something about their underlying mechanism. The discriminating power of statistical tests is limited by the small number of polarity intervals. Nevertheless, some general features are well established. In particular, the pattern of reversals is random. There is no correlation between the lengths of polarity intervals.[14] There is no preference for either normal or reversed polarity, and no statistical difference between the distributions of these polarities. This lack of bias is also a robust prediction of dynamo theory.[10]

text: There is no rate of reversals, as they are statistically random. The randomness of the reversals is inconsistent with periodicity, but several authors have claimed to find periodicity.[15] However, these results are probably artifacts of an analysis using sliding windows to attempt to determine reversal rates.[16]

text: Most statistical models of reversals have analyzed them in terms of a Poisson process or other kinds of renewal process. A Poisson process would have, on average, a constant reversal rate, so it is common to use a non-stationary Poisson process. However, compared to a Poisson process, there is a reduced probability of reversal for tens of thousands of years after a reversal. This could be due to an inhibition in the underlying mechanism, or it could just mean that some shorter polarity intervals have been missed.[10] A random reversal pattern with inhibition can be represented by a gamma process. In 2006, a team of physicists at the University of Calabria found that the reversals also conform to a Lévy distribution, which describes stochastic processes with long-ranging correlations between events in time.[17][18] The data are also consistent with a deterministic, but chaotic, process.[19]

text: Character of transitions[edit]

text: Duration[edit]

text: Most estimates for the duration of a polarity transition are between 1,000 and 10,000 years,[10] but some estimates are as quick as a human lifetime.[1] Studies of 15-million-year-old lava flows on Steens Mountain, Oregon, indicate that the Earth's magnetic field is capable of shifting at a rate of up to 6 degrees per day.[20] This was initially met with skepticism from paleomagnetists. Even if changes occur that quickly in the core, the mantle, which is a semiconductor, is thought to remove variations with periods less than a few months. A variety of possible rock magnetic mechanisms were proposed that would lead to a false signal.[21] However, paleomagnetic studies of other sections from the same region (the Oregon Plateau flood basalts) give consistent results.[22][23] It appears that the reversed-to-normal polarity transition that marks the end of Chron C5Cr (16.7 million years ago) contains a series of reversals and excursions.[24] In addition, geologists Scott Bogue of Occidental College and Jonathan Glen of the US Geological Survey, sampling lava flows in Battle Mountain, Nevada, found evidence for a brief, several-year-long interval during a reversal when the field direction changed by over 50 degrees. The reversal was dated to approximately 15 million years ago.[25][26]

text: Magnetic field[edit]

text: The magnetic field will not vanish completely, but many poles might form chaotically in different places during reversal, until it stabilizes again.[27][28]

text: Causes[edit]

text: The magnetic field of the Earth, and of other planets that have magnetic fields, is generated by dynamo action in which convection of molten iron in the planetary core generates electric currents which in turn give rise to magnetic fields.[10] In simulations of planetary dynamos, reversals often emerge spontaneously from the underlying dynamics. For example, Gary Glatzmaier and collaborator Paul Roberts of UCLA ran a numerical model of the coupling between electromagnetism and fluid dynamics in the Earth's interior. Their simulation reproduced key features of the magnetic field over more than 40,000 years of simulated time and the computer-generated field reversed itself.[29][30] Global field reversals at irregular intervals have also been observed in the laboratory liquid metal experiment "VKS2".[31]

text: In some simulations, this leads to an instability in which the magnetic field spontaneously flips over into the opposite orientation. This scenario is supported by observations of the solar magnetic field, which undergoes spontaneous reversals every 9–12 years. However, with the Sun it is observed that the solar magnetic intensity greatly increases during a reversal, whereas reversals on Earth seem to occur during periods of low field strength.[32]

text: Hypothesized triggers[edit]

text: Some scientists, such as Richard A. Muller, think that geomagnetic reversals are not spontaneous processes but rather are triggered by external events that directly disrupt the flow in the Earth's core. Proposals include impact events[33][34] or internal events such as the arrival of continental slabs carried down into the mantle by the action of plate tectonics at subduction zones or the initiation of new mantle plumes from the core-mantle boundary.[35] Supporters of this hypothesis hold that any of these events could lead to a large scale disruption of the dynamo, effectively turning off the geomagnetic field. Because the magnetic field is stable in either the present North-South orientation or a reversed orientation, they propose that when the field recovers from such a disruption it spontaneously chooses one state or the other, such that half the recoveries become reversals. However, the proposed mechanism does not appear to work in a quantitative model, and the evidence from stratigraphy for a correlation between reversals and impact events is weak. There is no evidence for a reversal connected with the impact event that caused the Cretaceous–Paleogene extinction event.[36]

text: Effects on biosphere[edit]

text: Shortly after the first geomagnetic polarity time scales were produced, scientists began exploring the possibility that reversals could be linked to extinctions. Most such proposals rest on the assumption that the Earth's magnetic field would be much weaker during reversals. Possibly the first such hypothesis was that high energy particles trapped in the Van Allen radiation belt could be liberated and bombard the Earth.[37][38] Detailed calculations confirm that if the Earth's dipole field disappeared entirely (leaving the quadrupole and higher components), most of the atmosphere would become accessible to high energy particles, but would act as a barrier to them, and cosmic ray collisions would produce secondary radiation of beryllium-10 or chlorine-36. An increase of beryllium-10 was noted in a 2012 German study showing a peak of beryllium-10 in Greenland ice cores during a brief complete reversal 41,000 years ago which led to the magnetic field strength dropping to an estimated 5% of normal during the reversal.[2] There is evidence that this occurs both during secular variation[39][40] and during reversals.[41][42]

text: Another hypothesis by McCormac and Evans assumes that the Earth's field disappears entirely during reversals.[43] They argue that the atmosphere of Mars may have been eroded away by the solar wind because it had no magnetic field to protect it. They predict that ions would be stripped away from Earth's atmosphere above 100 km. However, paleointensity measurements show that the magnetic field has not disappeared during reversals. Based on paleointensity data for the last 800,000 years,[44] the magnetopause is still estimated to have been at about 3 Earth radii during the Brunhes-Matuyama reversal.[37] Even if the internal magnetic field did disappear, the solar wind can induce a magnetic field in the Earth's ionosphere sufficient to shield the surface from energetic particles.[45]

text: Hypotheses have also been advanced linking reversals to mass extinctions.[46] Many such arguments were based on an apparent periodicity in the rate of reversals; more careful analyses show that the reversal record is not periodic.[16] It may be, however, that the ends of superchrons have caused vigorous convection leading to widespread volcanism, and that the subsequent airborne ash caused extinctions.[47]

text: Tests of correlations between extinctions and reversals are difficult for a number of reasons. Larger animals are too scarce in the fossil record for good statistics, so paleontologists have analyzed microfossil extinctions. Even microfossil data can be unreliable if there are hiatuses in the fossil record. It can appear that the extinction occurs at the end of a polarity interval when the rest of that polarity interval was simply eroded away.[21] Statistical analysis shows no evidence for a correlation between reversals and extinctions.[48][37]


document_title: Jean-Philippe Susilovic

question_text: who was the maitre d on hell's kitchen

question_tokens: who was the maitre d on hell 's kitchen

text: Jean-Philippe Susilovic

text: This article includes a list of references, related reading or external links, but its sources remain unclear because it lacks inline citations. Please help to improve this article by introducing more precise citations. (July 2009) (Learn how and when to remove this template message)

text:
Jean-Philippe Susilovic

Born
1975 (age 42–43)
Brussels, Belgium

Occupation
TV personality, restaurant director

Known for
Maître d'hôtel on Hell's Kitchen

text: Jean-Philippe Susilovic (born 1975) is a Belgian television personality of Croatian ancestry, known for his appearances as the maître d'hôtel on the American version of Gordon Ramsay's cooking reality show Hell's Kitchen; he was also the Maître d'hôtel for the first series of the original British version of the show.

text: Susilovic joined Ramsay in 1995 in Ramsay's restaurant Aubergine. Susilovic's experience in Michelin-starred restaurants broadened when he moved to the U.S. to work in restaurants such as New York's La Panetiere, Danube and Daniel's. In October 2001, he moved to the Middle East to work with Ramsay as the manager of Verre at the Hilton Dubai Creek.

text: Along with his native French, Susilovic speaks English and Dutch.

text: Susilovic left the American Hell's Kitchen show following the seventh season due to his commitment as Restaurant Director at Gordon Ramsay's London restaurant Pétrus.[citation needed] Susilovic returned to the show for seasons 11 and 12 but again left before filming began on season 13.