document_title: Star Trek Into Darkness

question_text: who plays the doctor in star trek into darkness

text: Star Trek Into Darkness

text: Plot[edit]

text: In 2259, Captain James T. Kirk is removed from command of the starship USS Enterprise  for violating the Prime Directive after exposing the ship to the primitive inhabitants of the planet Nibiru in order to save them, and Spock, from a cataclysmic volcanic eruption. Admiral Christopher Pike is reinstated as commanding officer with Kirk demoted to the rank of Commander and first officer. Commander Spock is transferred to another ship. Shortly after, the Section 31 installation in London is bombed by renegade Starfleet operative John Harrison. Harrison attacks Starfleet Headquarters in a jumpship during an emergency meeting about the situation, killing Pike and other senior officers. Kirk disables the jumpship, but Harrison transports to Kronos, homeworld of the hostile Klingons.

text: Admiral Alexander Marcus reinstates Kirk and Spock to Enterprise with orders to kill Harrison using a new long range stealth photon torpedo. Chief Engineer Montgomery Scott objects to allowing untested torpedoes on board the ship without knowing their specifications; when he is overruled, he resigns. Kirk assigns Pavel Chekov to replace Scotty. En route to Kronos, Enterprise's warp capabilities become disabled. Kirk leads a team with Spock and Uhura onto the planet in a small landing craft, where they are ambushed by Klingon patrols who order them to land. Uhura leaves the landing craft to talk to the Klingons. They decide to kill Uhura, but Harrison kills them. After the battle, Harrison demands that Kirk tell him the number of torpedoes on board the Enterprise, surrendering when Spock tells him.

text: Dr. Leonard McCoy and Marcus's daughter, Dr. Carol Marcus, open a torpedo at Harrison's behest, revealing a man in cryogenic stasis. Upon further investigation, all the other experimental torpedoes are revealed to similarly contain cryogenically frozen humans. Harrison is taken to the ship's brig, where he reveals his true identity as Khan, a genetically engineered superhuman awoken by Admiral Marcus from centuries of suspended animation to develop advanced weapons. Khan reveals that Marcus sabotaged Enterprise's warp drive, intending for the Klingons to destroy the ship after it fired on Kronos, creating an act of war by the Klingon Empire. Khan also gives Kirk a set of coordinates. Kirk contacts Scotty on Earth and asks him to investigate. Scotty discovers the coordinates lead to a covert Starfleet facility near Jupiter.

text: Enterprise is intercepted by a much larger Starfleet warship, USS Vengeance, commanded by Admiral Marcus. Marcus demands that Kirk deliver Khan, but Enterprise flees to Earth to expose him. After Vengeance disables Enterprise near the Moon, Carol reveals her presence aboard the ship. Marcus forcibly transports Carol to Vengeance before ordering Enterprise's destruction. Kirk offers Khan and himself for the lives of his crew, but Marcus rejects Kirk's offer, revealing he never intended to spare them and ordering Vengeance to attack. Vengeance suddenly loses power after being sabotaged by Scotty, who infiltrated the ship. With transporters down, Kirk and Khan, with the latter's knowledge of the warship's design, space-jump to Vengeance. Spock contacts his older self, who warns that Khan is ruthless and untrustworthy and that Khan's older self was only defeated at a terrible cost. After capturing the bridge, Khan overpowers Kirk, Scott and Carol, kills Marcus, and takes control of Vengeance.

text: Khan demands that Spock return his crew in exchange for the Enterprise officers. Spock complies but surreptitiously removes Khan's frozen crew from the torpedoes and arms the warheads. Khan beams Kirk, Scott and Carol aboard Enterprise, but betrays their agreement by attacking Enterprise; however, Vengeance is disabled when the torpedoes detonate. With both starships caught in Earth's gravity, they plummet toward the surface. Kirk enters the radioactive reactor chamber to realign the warp core, sacrificing himself to save the ship.

text: Khan crashes the Vengeance into downtown San Francisco in an attempt to destroy Starfleet headquarters. Khan escapes the wreckage so Spock transports down in pursuit. McCoy discovers that Khan's blood has regenerative properties that may save Kirk. Spock pursues Khan through the city and is about to kill him, but Uhura stops him. Khan's blood revives Kirk. One year later, Kirk speaks at Enterprise's re-dedication ceremony. Khan is sealed in his cryogenic pod and stored with his compatriots. The Enterprise crew embarks on a five-year exploratory mission.

text: Cast[edit]

text:
Chris Pine as Captain James T. Kirk, commanding officer of the starship Enterprise
Zachary Quinto as Commander Spock, first officer and science officer
Benedict Cumberbatch as John Harrison / Khan, a superhuman genetically engineered during the Eugenics Wars
Simon Pegg as Lieutenant Commander Montgomery "Scotty" Scott, second officer and chief engineer
Karl Urban as Lieutenant Commander Leonard "Bones" McCoy M.D., chief medical officer
Zoe Saldana as Lieutenant Nyota Uhura, communications officer
Alice Eve as Lieutenant Carol Marcus,[9] a science officer who uses the pseudonym "Carol Wallace" to board Enterprise
John Cho as Lieutenant Hikaru Sulu, third officer and helmsman
Peter Weller as Fleet Admiral Alexander Marcus, Carol's father, commander-in-chief of Starfleet, and a secret warmonger
Anton Yelchin as Ensign Pavel Chekov, navigator and Scott's temporary replacement as chief engineer
Bruce Greenwood as Admiral Christopher Pike, Kirk's mentor and previous captain of Enterprise[10]

text: Supporting cast and cameos[edit]

text:
Leonard Nimoy as the original incarnation of Spock.[11] This would be Nimoy's final acting performance; he died nearly two years after its release, aged 83.
Noel Clarke as Thomas Harewood, a Starfleet officer working in Section 31, who is extorted by Khan into bombing the facility
Nazneen Contractor as Rima Harewood, Thomas's wife
Christopher Doohan (son of James Doohan) as Transporter officer
Amanda Foreman as Ensign Brackett
Jay Scully as Lieutenant Chapin
Jonathan Dixon as Ensign Froman
Aisha Hinds as Navigation Officer Darwin
Joseph Gatt as Science Officer 0718
Bill Hader as the computer of USS Vengeance (voice)
Deep Roy as Keenser, Scotty's assistant
Sean Blakemore as a Klingon
Anjini Taneja Azhar as Lucille Harewood, Thomas's terminally ill daughter[12]
Nolan North as a Vengeance helmsman[13]
Heather Langenkamp[14][15] as Moto

text: Chris Hemsworth and Jennifer Morrison were credited for their archive footage of George Kirk and Winona Kirk.

text: Production[edit]

text: Development[edit]

text: In June 2008, it was reported that Paramount Pictures was interested in signing producers of the 2009 Star Trek J. J. Abrams, Bryan Burk, Damon Lindelof, Alex Kurtzman, and Roberto Orci for a sequel.[16] In March 2009, it was reported that these five producers had agreed to produce the film, with a script again written by Orci and Kurtzman (with the addition of Lindelof). A preliminary script was said to be completed by Christmas 2009 for a 2011 release.[17][18] Kurtzman and Orci began writing the script in June 2009, originally intending to split the film into two parts.[19] Leonard Nimoy, the original Spock who plays an older version of the character in the 2009 film, said he would not appear in the film.[20] Abrams was reportedly considering William Shatner for the sequel.[21]

text: By 2010, a release date of June 29, 2012, was set,[22] with Lindelof announcing he had begun working on the script with Kurtzman and Orci.[23] Pre-production was set for January 2011, although Burk said actual filming would probably begin during the spring or summer.[24] Actor Zachary Quinto later said that these reports were untrue.[25] Lindelof compared the sequel to The Dark Knight.[26]

text: Abrams, Kurtzman, and Orci said that selecting a villain was difficult; according to Abrams, "the universe Roddenberry created is so vast that it's hard to say one particular thing stands out". They also discussed the possibility of Khan Noonien Singh and Klingons.[27] Kurtzman and Lindelof said they had "broken" the story (created an outline); instead of a sequel, it will be a stand-alone film.[28] Abrams admitted in December 2010 that there was still no script.[29]

text: In January 2011, Abrams said he had not decided whether or not he would direct, since he had not yet seen a script.[30] Paramount Pictures then approached him, asking that the sequel be in 3D.[31] Abrams said that the film would not be shot in 3D, but filmed in 2D and converted during post-production.[32] He was also interested in filming in IMAX: "IMAX is my favorite format; I’m a huge fan."[32] In February, Orci tweeted that he (with Lindelof and Kurtzman) planned to deliver the script in March 2011.[33] Although the script was not finished on schedule, Paramount began financing pre-production;[34] similar circumstances on the next Jack Ryan film meant that Chris Pine would film the Star Trek sequel first.[35] By April, Orci said at WonderCon that the script's first draft had been completed.[36] Abrams told MTV that when he finished his film, Super 8, he would turn his full attention to the Trek sequel.[37]

text: Although a script was completed, uncertainty regarding the extent of Abrams's involvement led to the film's being pushed back six months from its scheduled June 2012 release.[38] Other factors which precluded the release, ending up pushing it further back were the high budget and overall difficulty of finding actors to fit the roles. In June, Abrams confirmed that his next project would be the sequel, noting that he would rather the film be good than ready by its scheduled release date.[39] Simon Pegg, who played Scotty, said in an interview that he thought filming would begin during the latter part of the year.[40] Abrams stated he would prioritize the film's story and characters over an early release date.[41] In September, Abrams agreed to direct the film, with the cast from the previous film reprising their respective roles for a winter 2012 or summer 2013 release.[42] In October, Orci said that location scouting was underway, and a comic book series (of which Orci would be creative director) would "foreshadow" the film.[43] Into Darkness was given a revised release date of 2013,[44] and Michael Giacchino confirmed that he would return to write the score.[45]

text: Lindelof said that Khan was considered a character they needed to use at some point, given that "he has such an intense gravity in the Trek universe, we likely would have expended more energy NOT putting him in this movie than the other way around." References to Star Trek II: The Wrath of Khan were eventually added to the script, but Lindelof, Orci, and Kurtzman "were ever wary of the line between 'reimagined homage' and 'direct ripoff'."[11] Orci and Kurtzman said they wanted a film which would work on its own and as a sequel, not using ideas from previous Star Trek works simply "because you think people are going to love it". Orci noted that when trying to create the "gigantic imagery" required by a summer blockbuster, Kurtzman suggested a scene where Enterprise rose from the ocean. With that as a starting point they (and Lindelof) came up with the cold open in Nibiru, which blended action and comedy and was isolated from the main story in an homage to Raiders of the Lost Ark.[46]

text: Actor Benicio del Toro had reportedly been sought as the villain, and had met with Abrams to discuss the role;[47] however, he later bowed out. In 2011, Alice Eve and Peter Weller agreed to their roles.[48][49] Doctor Who actor Noel Clarke agreed to an unknown role, reported to be "a family man with a wife and young daughter".[50] Demián Bichir auditioned for the villain role, but as reported by Variety on January 4, 2012, Benedict Cumberbatch was cast.[51]

text: Filming[edit]

text:
Into Darkness began principal photography on January 12, 2012, with a scheduled release date of May 16, 2013. Cinematographer Dan Mindel shot the film using a combination of anamorphic 35mm film and 15 perforation IMAX cameras.[52][53] About 30 minutes of the film is shot in the IMAX format,[54] while some other scenes were also shot on 8 perforation 65mm.[52] Into Darkness was released in 3D. On February 24, 2012, images from the set surfaced of Benedict Cumberbatch's character in a fight with Spock.[55][56] Edgar Wright directed one shot in the film.[57]
Production ended in May 2012.[58]

text: Filming was done on location in Los Angeles, California, and around the area at the Lawrence Livermore National Laboratory in Livermore. Additional locations included Paramount Studios in Hollywood, Sony Pictures Studios in Culver City, the Crystal Cathedral in Garden Grove, and the Greystone Mansion in Beverly Hills. Some shots were made in Iceland.[59][60][61]

text: Marc Okrand, the developer of the Klingon language, provided the Klingon dialogues with on-set coaching from constructed language experts. The dialogue did not make cohesive sense following editing and so new dialogue was constructed and dubbed during post production.[62]

text: Title[edit]

text: On September 10, 2012, Paramount confirmed the film's title as Star Trek Into Darkness.[63][64][65] Abrams had indicated that unlike some of the earlier films in the franchise, his second Star Trek would not include a number in its title.[66] This decision was made to avoid repeating the sequel numbering which began with Star Trek II: The Wrath of Khan, or making a confusing jump from Star Trek  to Star Trek 12.[66] Lindelof addressed the team's struggle to agree on a title: "There have been more conversations about what we're going to call it than went into actually shooting it... There's no word that comes after the colon after Star Trek that's cool. Not that Star Trek: Insurrection or First Contact aren't good titles, it's just that everything that people are turned off about when it comes to Trek is represented by the colon".[67] Of the titles proposed, he joked that he preferred Star Trek: Transformers 4 best because the title is "technically available".[67]

text: Music[edit]

text: Composer Michael Giacchino composed the film's incidental music.[68] Into Darkness was Giacchino's fourth film collaboration with Abrams, which included Star Trek (2009). The film score was recorded at the Sony Scoring Stage in Culver City, California from March 5 to April 3, 2013.[69] Its soundtrack album was released digitally on May 14, 2013, and was made available on May 28 through Varèse Sarabande.[70] The score contains the original Star Trek theme by Alexander Courage.

text: On April 24, 2013, it was announced that British singer Bo Bruce and Irish songwriter Gary Lightbody of Snow Patrol had collaborated on a song for the film's soundtrack entitled "The Rage That's In Us All".[71] Australian songwriter and producer Robert Conley co-wrote a track with Penelope Austin, "The Dark Collide".[72]

text: An expanded soundtrack album was released on July 28, 2014, limited to 6,000 copies.[73]

text: Themes[edit]

text: On May 10, 2013, Cho, Pegg, and Eve were interviewed on The Bob Rivers Show to promote the film. Rivers asked about the title: "The title Star Trek Into Darkness indicates some sort of ominous turn, obviously". Eve suggested that Pegg discuss the theme of terrorism, and Pegg obliged: "I think it's a very current film, and it reflects certain things that are going on in our own heads at the moment; this idea that our enemy might be walking among us, not necessarily on the other side of an ocean, you know. John Harrison, Benedict Cumberbatch's character, is ambiguous, you know? We [the characters in the film] don't know who to support. Sometimes, Kirk, he seems to be acting in exactly the same way as him [Harrison]. They're both motivated by revenge. And the Into Darkness in the title is less an idea of this new trend of po-faced, kind of, everything's-got-to-be-a-bit-dour treatments of essentially childish stories. It's more about Kirk's indecision." Cho agreed about the characterization of Captain Kirk: "It's his crisis of leadership."[74]

text: The pivotal scene near the end when Kirk enters the reactor chamber serves as a role reversal of a similar pivotal scene in Star Trek II: The Wrath of Khan.[75]

text: Originally conceived as a retelling of Heart of Darkness by Joseph Conrad, Kurtzman and Orci defined the main theme of Into Darkness as "how far will we go to exact vengeance and justice on an enemy that scares us. How far should we go from our values?" They added that running from personal values is a personal struggle, where "the enemy’s blood is within us; we are the enemy. We must not succumb to it; we are the same."[46]

text: Distribution[edit]

text: Dolby Laboratories and Paramount announced that Star Trek Into Darkness would be released in Dolby Atmos, with Andy Nelson and Anna Behlmer handling the mix with supervision from Ben Burtt and Matthew Wood.[76][77] The film was released on May 9, 2013, in international markets and May 16, 2013, in the United States.

text: Marketing[edit]

text: As part of a contest Abrams designed after the release of Super 8 (2011), the prize for answering a series of questions would be walk-on roles for two people in Into Darkness.[78] He debuted three frames of the film on Conan on October 4, 2012, showing what he described as Spock "in a volcano, in this crazy suit".[79] The official poster for the film was released two months later on December 3, 2012, showing a mysterious figure (thought to be Benedict Cumberbatch's villain) standing on a pile of burning rubble looking over what appears to be a damaged London;[80][81] he is standing in a hole in the shape of the Starfleet insignia, blown out of the side of a building.[82]

text: About nine minutes of the opening sequence was shown before IMAX presentations of The Hobbit: An Unexpected Journey, which was released in the United States on December 14, 2012.[83] Alice Eve, Cumberbatch, and Burk unveiled the IMAX prologue in London, England on December 14. A two-minute teaser was released in iTunes Movie Trailers on December 17. The teaser marked the beginning of a viral marketing campaign, with a hidden link directing fans to a movie-related website. A 30-second teaser premiered February 3, 2013 during the stadium blackout of Super Bowl XLVII.[84] The same day, Paramount released apps for Android, iPhone, and Windows Phone which enabled users to unlock tickets for showtimes two days before the film's release date.[85][86]

text: An international trailer was released on March 21, 2013, with an embedded URL revealing an online-only international poster. On April 8, Paramount released the final international one-sheet featuring solely Benedict Cumberbatch's character.[87] On March 24, 2013, at 9:30 pm a swarm of 30 mini-quadrotors equipped with LED lights drew the Star Trek logo over London.[88]  This choreography marked the beginning of the Paramount UK marketing campaign for Star Trek Into Darkness. It was coordinated with the World Wildlife Fund (WWF) Earth Hour event and was performed and developed by Ars Electronica Futurelab from Linz (Austria) in cooperation with Ascending Technologies from Munich (Germany).[89]

text:
On April 12, 2013, iTunes Movie Trailers revealed the final domestic one-sheet featuring USS Enterprise, and announced that the final US domestic trailer would be released on April 16. In the days leading up to the trailer release, character posters featuring Kirk, Spock, Uhura, and Harrison were released on iTunes.[90]
Paramount attempted to broaden the film's appeal to international audiences, an area where Star Trek and other science-fiction films had generally performed poorly.[91] Into Darkness was dedicated to post-9/11 veterans.[92] J.J. Abrams is connected with The Mission Continues, and a section of the film's website is dedicated to that organization.

text: Promotional tours[edit]

text: The cast (except for Anton Yelchin, Bruce Greenwood, and Peter Weller) participated in May 2013 press junkets. On May 7, Pegg appeared on Jimmy Kimmel Live!. On May 8, Quinto was interviewed on Late Night with Jimmy Fallon.[93] He was followed on May 10 by Cumberbatch (who told Fallon that his fans are called "Cumberbitches"; Fallon countered that his are called "FalPals")[94] and on May 17 by Saldana. Saldana said that she lobbied Abrams for four years: "If we make a sequel, Uhura needs to kick ass".[95] On May 9, Cumberbatch appeared on the Late Show with David Letterman.[96]

text: On May 10, Cho, Pegg, and Eve had a radio interview on The Bob Rivers Show. They discussed approaching a body of work already mastered by an earlier generation of actors, agreeing that they would remain with the franchise as long as it lasted.[97] That night, Chris Pine appeared on the Late Show with David Letterman; Letterman showed a gag reel of robots in a black-and-white film before showing a clip from Into Darkness. Pine said that he had to gain weight for the role of Captain Kirk.[98]

text: One story told by cast members during the promotion concerned an on-set prank initially devised by Pegg, which he later noted grew out of proportion. While filming at the National Ignition Facility, Pegg and Pine (with the crew's help) tricked the arriving actors into believing there was "ambient radiation" at the location and they had to wear "neutron cream" to avoid being burned by it.[99][100] Cumberbatch was tricked into signing a release (which was meant to give the joke away, but he signed it without reading it),[101] while Urban and Cho were tricked into recording a public service announcement about the necessity for neutron cream.[102]

text: On May 13, Abrams appeared on The Daily Show with Jon Stewart,[103] and on May 16, Pine appeared on The Ellen DeGeneres Show.[104] On May 14, Abrams, Zachary Quinto, Pine, and Alice Eve appeared on The Urgant Show (Russian: Вечерний Ургант) in Russia.

text: Release[edit]

text: Box office[edit]

text: Into Darkness earned $13.5 million on its opening day in the United States and Canada, lower than Star Trek's $30.9 million. The film earned $22 million the following Friday, also lower than its predecessor's earnings four years earlier ($26 million).[105] It earned $70.6 million during its opening weekend, finishing in the US box-office top spot (above The Great Gatsby and Iron Man 3). Total weekend earnings were $84.1 million, including the early-showing grosses. Although these were lower than Paramount's projected box-office earnings, studio vice-chairman Rob Moore said he was "extremely pleased" with the sequel's performance.[106]

text: Several weeks after release, the film grossed $147 million at the foreign box office, surpassing the lifetime international earnings of its predecessor.[107] Into Darkness reached the top spot of China's box office with a $25.8 million gross, tripling the overall earnings of the previous film during its opening weekend.[108] Star Trek Into Darkness ended its North American theatrical run on September 12, 2013, with a box office total of $228,778,661, which places it as the 11th highest-grossing film for 2013.[109] It earned $467,365,246 worldwide, ranking it in 14th place for 2013, and making it the highest-grossing film of the franchise.[4]

text: Scott Mendelson of Forbes contends that the film's box office performance was the result of Paramount's inability to sell the basic components of the film’s story, and inclusion of Khan "for little reason other than marketability and then spent the next year or so lying to everyone and claiming said villain wasn’t in the picture... With no added value elements to sell, Paramount was forced to craft a generic campaign based around Benedict Cumberbatch as "Generic Bad Guy", so the excitement never took hold... This was adding to the idea that merely withholding basic story elements is tantamount to promising stunning plot twists... and it made fans and general moviegoers less excited about Star Trek 2 than they were four, three, or even two years ago."[110] Calculating in all expenses, Deadline Hollywood estimated that the film made a profit of $29.9 million.[111]

text: Critical reception[edit]

text: On Rotten Tomatoes the film has an approval rating of 86%, based on 271 reviews, with an average rating of 7.5/10. The site's consensus reads, "Visually spectacular and suitably action packed, Star Trek Into Darkness is a rock-solid installment in the venerable sci-fi franchise, even if it's not as fresh as its predecessor."[112] On Metacritic the film has a score of 72 out of 100, based on 43 critics, indicating "generally favorable reviews".[113] It received an average grade of "A" from market-research firm CinemaScore.[114]

text: Critics called it a "rousing adventure"[115] and "a riveting action-adventure in space".[116] Cumberbatch's performance attracted praise from critics, with Peter Travers of Rolling Stone calling it a "tour de force to reckon with" and his character "a villain for the ages".[117] Joe Neumaier of the New York Daily News  wrote that Cumberbatch delivered "one of the best blockbuster villains in recent memory".[118] Jonathan Romney of The Independent noted Cumberbatch's voice, saying it was "so sepulchrally resonant that it could have been synthesised from the combined timbres of Ian McKellen, Patrick Stewart, and Alan Rickman holding an elocution contest down a well".[119] The New York Times praised his screen presence: "He fuses Byronic charisma with an impatient, imperious intelligence that seems to raise the ambient I.Q. whenever he's on screen".[120]

text: However, not all of reviews were positive; The Independent said the film would "underwhelm even the Trekkies".[121] Lou Lumenick of the New York Post gave the film one-and-a-half stars (out of four), saying it had a "limp plot" and the "special effects are surprisingly cheesy for a big-budget event movie".[122] A.O. Scott dismissed the film in The New York Times: "It's uninspired hackwork, and the frequent appearance of blue lens flares does not make this movie any more of a personal statement".[120]

text: The film was criticized for a scene with actress Alice Eve's character Carol Marcus in her underwear, which was called "wholly unnecessary" and "gratuitous".[123] Screenwriter and producer Damon Lindelof apologized on Twitter for the scene: "I take responsibility and will be more mindful in the future".[124] On Conan, Abrams addressed the matter by debuting a deleted scene of actor Benedict Cumberbatch's character Khan taking a shower.[125] Eve addressed the underwear controversy at a 2013 Las Vegas Star Trek Convention and said, "I didn’t know it would cause such a ruckus. I didn’t feel exploited."[126]

text:
The second one, where Benedict Cumberbatch played Khan, I thought was unfortunate. Benedict Cumberbatch is a wonderful actor. I love everything that he’s done, but if he was going to be playing that character, J.J. should have made him an original character that's singular to him. Because the Khan character first appeared in our TV series, "Space Seed" and Ricardo Montalbán was sensational in our second movie – he was the title character, The Wrath of Khan, you know! The other thought that Gene Roddenberry always had in the back of his mind — and that was his philosophy — was to embrace the diversity of this planet.

—George Takei, who originated the role of Hikaru Sulu and appeared in Star Trek films and TV episodes[127]

tag: div

text: Despite an acclaimed performance from Cumberbatch, Christian Blauvelt of Hollywood.com criticized the casting of the actor as Khan Noonien Singh, saying that the character had been "whitewashed into oblivion", since Khan is an explicitly non-white character Star Trek canon (introduced as a Sikh and former ruler of much of eastern Eurasia).[128] There have been similar accusations of whitewashing by fans[129] and American Sikhs,[130] with Star Trek: Voyager actor Garrett Wang tweeting "The casting of Cumberbatch was a mistake on the part of the producers. I am not being critical of the actor or his talent, just the casting".[131] George Takei, the original Hikaru Sulu, was also disappointed with the casting, as he thought it would have been better to cast Cumberbatch not as an established villain like Khan but as a new character.[127] On Trekmovie.com, co-producer and co-screenwriter Bob Orci addressed Khan's casting: "Basically, as we went through the casting process and we began honing in on the themes of the movie, it became uncomfortable for me to support demonizing anyone of color, particularly any one of Middle Eastern descent or anyone evoking that. One of the points of the movie is that we must be careful about the villain within US, not some other race".[132] An in-canon comic book has subsequently been created to retcon Khan's hitherto unexplained change in ethnicity in the film.[133]

text: In an interview with Buzzfeed two years after the film's release, Abrams addressed some of the film's shortcomings. He thought that the dynamic for Kirk and Spock's relationship in the film "wasn’t really clear." For keeping the identity of Khan a secret prior to the film's release, Abrams felt he "was trying to preserve the fun for the audience, and not just tell them something that the characters don’t learn for 45 minutes into the movie, so the audience wouldn’t be so ahead of it." In the end, Abrams recognized that "there were certain things I was unsure of.... Any movie...has a fundamental conversation happening during it. And [for Into Darkness,] I didn’t have it.... [The problems with the plot] was not anyone’s fault but mine, or, frankly, anyone’s problem but mine. [The script] was a little bit of a collection of scenes that were written by my friends.... And yet, I found myself frustrated by my choices, and unable to hang my hat on an undeniable thread of the main story. So then I found myself on that movie basically tap-dancing as well as I could to try and make the sequences as entertaining as possible.... I would never say that I don’t think that the movie ended up working. But I feel like it didn’t work as well as it could have had I made some better decisions before we started shooting."[134]

text: Accolades[edit]

text: Home media[edit]

text: Star Trek Into Darkness was released as a digital download on August 20, 2013.[135] It was first released on DVD, Blu-ray, and Blu-ray 3D in the United Kingdom on September 2[136] and in the United States and Canada on September 10.[137]  The British retailer Sainsbury's has an exclusive edition with a second bonus DVD disc containing 33 minutes of extra features.[citation needed] There is also a Special Limited Edition Blu-ray set available with a model on a stand of USS Vengeance as seen in this movie.[138]

text: In North America, the release is split into various retailer exclusives. Retailer Best Buy has an exclusive Blu-ray edition with 30 minutes of additional content,[139] available on disc in Canada, and via streaming service CinemaNow in the United States.[citation needed] Target's Blu-ray edition also has 30 minutes of additional content that is different from Best Buy's. Online retailer iTunes' version comes with audio commentary for the film not available in the retailer exclusives.[140] A collection of deleted scenes is available exclusively via the Xbox SmartGlass second-screen app paired with the Xbox Video release of the film.[141]

text: The split of the special features between various retailers has attracted criticism from fans. In particular, The Digital Bits' editor Bill Hunt remarked that "taking fully half or more of the disc-based special features created for a major Blu-ray release and casting them to the winds as retailer exclusives, thus forcing your customers to go on an expensive scavenger hunt is, I’m sorry, absolutely outrageous. Seriously, if Paramount is going to treat its Blu-ray customers like this, they should just get out of the business altogether. Or better yet, farm all their titles out to third party licensees who will treat these films and Blu-ray customers in general with greater care and respect."[142] Weeks after posting his article, Hunt himself was invited by Paramount to discuss about the issue of giving away the film's special features to different retail partners. He suggested "[putting] together the true special edition that should have been delivered from the start, with all of the extras that got scattered around to different retailers, including the enhanced audio commentary, plus all-new content just for this release... [and] to consider offering the IMAX version of the film..."[143] This eventually resulted with the release of Star Trek: The Compendium, a box set that includes all of the previously retailer exclusive special features, plus additional features for such as a gag reel, alongside both the theatrical release of Star Trek (2009) and the IMAX 2D version of Star Trek Into Darkness.[citation needed]

text: Both of Abrams' Star Trek films were among the first titles released by Paramount Home Media Distribution for the Ultra HD Blu-ray format, and were widely praised as reference quality titles.[citation needed]


document_title: Guinness World Records

question_text: who owns the guinness book of world records

root

text: Guinness World Records

text: History[edit]

text: On 10 November 1951, Sir Hugh Beaver, then the managing director of the Guinness Breweries,[3] went on a shooting party in the North Slob, by the River Slaney in County Wexford, Ireland. After missing a shot at a golden plover, he became involved in an argument over which was the fastest game bird in Europe, the golden plover or the red grouse (it is the plover[4]). That evening at Castlebridge House, he realized that it was impossible to confirm in reference books whether or not the golden plover was Europe's fastest game bird.[5][6] Beaver knew that there must be numerous other questions debated nightly in pubs throughout Ireland and abroad, but there was no book in the world with which to settle arguments about records. He realised then that a book supplying the answers to this sort of question might prove successful.[7]

tag: p

text: Beaver's idea became reality when Guinness employee Christopher Chataway recommended University friends Norris and Ross McWhirter, who had been running a fact-finding agency in London. The twin brothers were commissioned to compile what became The Guinness Book of Records in August 1954. A thousand copies were printed and given away.[8]

text: After the founding of The Guinness Book of Records at 107 Fleet Street, London, the first 198-page edition was bound on 27 August 1955 and went to the top of the British best seller lists by Christmas. The following year, it launched in the US, and sold 70,000 copies. Since then, Guinness World Records has become a household name and the global leader in world records. The book has gone on to become a record breaker in its own right; with sales of more than 100 million copies in 100 different countries and 37 languages, Guinness World Records is the world's best selling copyright book ever.[9]

text: Because the book became a surprise hit, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October, in time for Christmas. The McWhirters continued to compile it for many years. Both brothers had an encyclopedic memory; on the TV series Record Breakers, based upon the book, they would take questions posed by children in the audience on various world records and were able to give the correct answer. Ross McWhirter was assassinated by the Provisional Irish Republican Army in 1975.[10] Following Ross' assassination, the feature in the show where questions about records posed by children were answered was called Norris on the Spot.

text: Guinness Superlatives (later Guinness World Records) Limited was formed in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades. The group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment. Gullane was itself purchased by HIT Entertainment in 2002. In 2006, Apax Partners purchased HiT and subsequently sold Guinness World Records in early 2008 to the Jim Pattison Group, the parent company of Ripley Entertainment, which is licensed to operate Guinness World Records' Attractions. With offices in New York City and Tokyo, Guinness World Records' global headquarters remain in London, while its museum attractions are based at Ripley headquarters in Orlando, Florida, US.

text: Evolution[edit]

text: Recent editions have focused on record feats by person competitors. Competitions range from obvious ones such as Olympic weightlifting to the longest egg tossing distances, or for longest time spent playing Grand Theft Auto IV or the number of hot dogs that can be consumed in ten minutes, although eating and alcohol consumption entries are no longer accepted, possibly for fear of litigation. Besides records about competitions, it contains such facts as the heaviest tumour, the most poisonous plant, the shortest river (Roe River), the two longest-running dramas (General Hospital and Guiding Light) in the US, and the world's most successful salesman (Joe Girard), among others. Many records also relate to the youngest person who achieved something, such as the youngest person to visit all nations of the world, being Maurizio Giuliano.[11]

text: Each edition contains a selection of the records from the Guinness database, as well as select new records; the criteria for inclusion having changed over the years.

text: The ousting of Norris McWhirter from his consulting role in 1995 and the subsequent decision by Diageo Plc to sell the Guinness World Records brand have shifted it from a text-oriented to an illustrated reference book ("style over substance"). The majority of world records are no longer listed in the book or on the website, and can only be determined by a written application to Guinness to 'break' the record. For those unable to wait the 4–6 weeks for a reply, Guinness will process a 'fast-track' application for £300 (US$450)(EU300).

text: The Guinness Book of Records is the world's most sold copyrighted book, earning it an entry within its own pages. A number of spin-off books and television series have also been produced.

text: Guinness World Records bestowed the record of "Person with the most records" on Ashrita Furman of Queens, NY in April 2009. At that time, he held 100 records.[12]

text: In 2005, Guinness designated 9 November as International Guinness World Records Day to encourage breaking of world records.[13] In 2006, an estimated 100,000 people participated in over 10 countries. Guinness reported 2,244 new records in 12 months, which was a 173% increase over the previous year.[13] In February 2008, NBC aired The Top 100 Guinness World Records of All Time and Guinness World Records made the complete list available on their website.[14]

text: Defining records[edit]

text: For many records, Guinness World Records is the effective authority on the exact requirements for them and with whom records reside, the company providing adjudicators to events to determine the veracity of record attempts. The list of records which the Guinness World Records covers is not fixed; records may be added and also removed for various reasons. The public are invited to submit applications for records, which can be either the bettering of existing records or substantial achievements which could constitute a new record.[2] The company also provides corporate services for companies to "harness the power of record-breaking to deliver tangible success for their businesses."[16]

text: Ethical and safety issues[edit]

text: Guinness World Records states several types of records it will not accept for ethical reasons, such as those related to the killing or harming of animals.[19]

text: Several world records that were once included in the book have been removed for ethical reasons, including concerns for the well being of potential record breakers. For example, following publication of a "heaviest fish" record, many fish owners overfed their pets beyond the bounds of what was healthy, and therefore such entries were removed.[20] The Guinness Book also dropped records within their "eating and drinking records" section of Human Achievements in 1991 over concerns that potential competitors could harm themselves and expose the publisher to potential litigation.[21] These changes included the removal of all spirit, wine, and beer drinking records, along with other unusual records for consuming such unlikely things as bicycles and trees.[21] Other records, such as sword swallowing and rally driving (on public roads), were closed from further entry as the current holders had performed beyond what are considered safe human tolerance levels.

text: There have been instances of closed records being reopened. For example, the sword swallowing record was listed as closed in the 1990 Guinness Book of World Records, but the Guinness World Records Primetime TV show, which started in 1998, accepted three sword swallowing challenges (and so did the 2007 edition of the Guinness World Records onwards). Similarly, the speed beer drinking records which were dropped from the book in 1991, reappeared 17 years later in the 2008 edition, but were moved from the "Human Achievements" section of the older book[22] to the "Modern Society" section of the newer edition.[23]

text: As of 2011[update], it is required in the guidelines of all "large food" type records that the item be fully edible, and distributed to the public for consumption, to prevent food wastage.[2][dead link]

text: Chain letters are also not allowed: "Guinness World Records does not accept any records relating to chain letters, sent by post or e-mail. If you receive a letter or an e-mail, which may promise to publish the names of all those who send it on, please destroy it, it is a hoax. No matter if it says that Guinness World Records and the postal service are involved, they are not."[2]

text: Difficulty in defining records[edit]

text: For some potential categories, Guinness World Records has declined to list some records that are too difficult or impossible to determine. For example, its website states: "We do not accept any claims for beauty as it is not objectively measurable."[19]

text: On 10 December 2010, Guinness World Records stopped its new "dreadlock" category after investigation of its first and only female title holder, Asha Mandela, determining it was impossible to judge this record accurately.[24]

text: Verifying existing records[edit]

text: Guinness World Records website publishes selected records and is not supposed to be used for the record verification purposes, as it explains: "There are more than 40,000 current records in our database and we try our best to feature as many as possible online. We currently include over 15,000 records online which we update every week, so make sure to check the site regularly!" The book printed annually contains only 4,000 records. The only way to verify a record is to contact Guinness, and the average response time is twelve weeks.[25]

text: Museums[edit]

text: In 1976, a Guinness Book of World Records museum opened in the Empire State Building. Speed shooter Bob Munden then went on tour promoting The Guinness Book of World Records by performing his record fast draws with a standard weight single-action revolver from a western movie type holster. His fastest time for a draw was 0.02 seconds.[26] Among exhibits were life-size statues of the world's tallest man (Robert Wadlow) and world's largest earth worm, an X-ray photo of a sword swallower, repeated lightning strike victim Roy Sullivan's hat complete with lightning holes and a pair of gem-studded golf shoes on sale for $6500.[27] The museum closed in 1995.[28]

text: In more recent years, the Guinness company has permitted the franchising of small museums with displays based on the book, all currently (as of 2010[update]) located in towns popular with tourists: Tokyo, Copenhagen, San Antonio. There were once Guinness World Records museums and exhibitions at the London Trocadero, Bangalore, San Francisco, Myrtle Beach, Orlando,[29] Atlantic City, New Jersey,[30] and Las Vegas, Nevada.[31] The Orlando museum, which closed in 2002, was branded The Guinness Records Experience;[29] the Hollywood, Niagara Falls, Copenhagen, and Gatlinburg, Tennessee museums also previously featured this branding.[31]

text: Television series[edit]

text: Guinness World Records has commissioned various television series documenting world record breaking attempts, including:

text:
Country
Name
Network
Broadcast
Host(s)

 Australia
Australia's Guinness World Records
Seven Network
2005
Grant Denyer
Shelley Craft

Australia Smashes Guinness World Records
2010
James Kerley

 Bulgaria
Световните рекорди Гинес
bTV
2006–2007
Krasimir Vankov

 China
The Night of Guinness in China
CCTV
2006–
Wang Xuechun
Zhu Xun
Lin Hai

 France
L'émission des records (1999–2002)
L'été des records (2001)
TF1
1999–2002
Vincent Perrot

L'été de tous les records (2003–2005)
50 ans, 50 records (2004)
France 3
2003–2005
Pierre Sled

La nuit des records
France 2
2006
Olivier Minne
Adriana Karembeu

Le monde des records
W9
2008–2010
Alexandre Devoise
Karine Ferri

Les trésors du livre des records
Gulli
2015
Fauve Hautot
Willy Rovelli

 Germany
Guinness World Records - Die größten Weltrekorde
RTL Television
2004–2008
Oliver Welke (2004)
Oliver Geissen (2005–2008)

 India
Guinness World Records – Ab India Todega
Colors TV
2011
Preity Zinta
Shabbir Ahluwalia

 Italy
Lo show dei record
Canale 5
2006 (pilot)
2008–2012
2015
Barbara d'Urso (1–2)
Paola Perego (3)
Gerry Scotti (4, 6)
Teo Mammucari (5)

 New Zealand
NZ Smashes Guinness World Records
TV2
2009
Marc Ellis

 Philippines
Guinness Book of World Records Philippine Edition
ABC
2004
Cookie Calabig

 Poland
Światowe Rekordy Guinnessa
Polsat
2009–2011
Maciej Dowbor

 Portugal
Guinness World Records Portugal
SIC
2014
Rita Andrade
João Ricardo

 Spain
El show de los récords
Antena 3
2001–2002
Mar Saura
Manu Carreño
Mónica Martínez

Guinness World Records
Telecinco
2009
Carmen Alcayde
Luis Alfonso Muñoz

 Sweden
Guinness rekord-TV
TV3
1999–2000
Mårten Andersson (1999)
Linda Nyberg (1999)
Harald Treutiger (2000)
Suzanne Sjögren (2000)

 United Kingdom
Record Breakers
BBC1
1972–2001
Roy Castle (1972–1993)
Norris McWhirter (1972–85)
Ross McWhirter (1972–75)

Guinness World Records (UK)
ITV
1999–2001
Ian Wright
Kate Charman

Ultimate Guinness World Records
Challenge
2004
Jamie Rickers

Guinness World Records Smashed
Sky1
2008–2009
Steve Jones
Konnie Huq

Totally Bonkers Guinness Book of Records
ITV2
2012–2015
Matt Edmondson

Officially Amazing
CBBC
2013–
Ben Shires

 United States
The Guinness Game
Syndicated
1979–1980
Bob Hilton
Don Galloway

Guinness World Records Primetime
Fox
1998–2001
Cris Collinsworth
Mark Thompson

Guinness World Records Unleashed / Gone Wild
truTV
2013–2014
Dan Cortese

tag: table

text: Specials:

text: Guinness World Records: 50 Years, 50 Records - on ITV (UK), 11 September 2004

tag: ul

text: With the popularity of reality television, Guinness World Records began to market itself as the originator of the television genre, with slogans such as we wrote the book on Reality TV.

text: Gamer's edition[edit]

text: In 2008, Guinness World Records released its gamer's edition, a branch that keeps records for popular video game high scores, code, and feats in association with Twin Galaxies. The Gamer's Edition contains 258 pages, over 1236 video game related world records and four interviews including one with Twin Galaxies founder Walter Day. The most recent edition is the Guinness World Records Gamer's Edition, 2018, which was released August 29, 2017.

text: British pop music volume[edit]

text: The Guinness Book of British Hit Singles & Albums was published from 2003 to 2006, based on two earlier, separate HiT publications, British Hit Singles and British Hit Albums, which began in 1977. It was effectively replaced (in singles part) by the Virgin Book of British Hit Singles from 2007 onward.[32]

text: Other media[edit]

text: Video games[edit]

text: A video game, Guinness World Records: The Video Game, was developed by TT Fusion and released for Nintendo DS, Wii and iOS in November 2008.

text: Film[edit]

text: In 2012, Warner Bros. announced the development of a live-action film version of Guinness World Records with Daniel Chun as scriptwriter. The film version will apparently use the heroic achievements of record holders as the basis for a narrative that should have global appeal.[33]


document_title: List of highest paid American television stars

question_text: who is the highest paid actor on big bang theory

text: Network primetime salaries per episode[edit]

text:
Name
Program
Role
Salary
Year
Ref.

Charlie Sheen
Two and a Half Men
Charlie Harper
$1.8 million
2010–2011
[1]

Ray Romano
Everybody Loves Raymond
Raymond Barone
$1.7 million
2003–2005
[2]

Kelsey Grammer
Frasier
Frasier Crane
$1.6 million
2002–2004
[3]

Tim Allen
Home Improvement
Tim Taylor
$1.25 million
1998–1999
[1]

Peter Dinklage
Game of Thrones
Tyrion Lannister
$1.1 million[a]
2017–2018
[5]

Nikolaj Coster-Waldau
Jaime Lannister

Lena Headey
Cersei Lannister

Emilia Clarke
Daenerys Targaryen

Kit Harington
Jon Snow

Johnny Galecki
The Big Bang Theory
Leonard Hofstadter
$1 million
2014–2017
[6]

Jim Parsons
Sheldon Cooper

Kaley Cuoco
Penny

James Gandolfini
The Sopranos
Tony Soprano
$1 million
2006–2007
[7]

Jennifer Aniston
Friends
Rachel Green
$1 million
2002–2004
[8]

Courteney Cox
Monica Geller

Lisa Kudrow
Phoebe Buffay

Matt LeBlanc
Joey Tribbiani

David Schwimmer
Ross Geller

Matthew Perry
Chandler Bing

Helen Hunt
Mad About You
Jamie Buchman
$1 million
1998–99
[9]

Paul Reiser
Paul Buchman

Jerry Seinfeld
Seinfeld
Jerry Seinfeld
$1 million
1997–1998
[10]

Ashton Kutcher
Two and a Half Men
Walden Schmidt
$755,000

[1]

Drew Carey
The Drew Carey Show
Drew Carey
$750,000
2001–2004
[1]

Lauren Graham
Gilmore Girls
Lorelai Gilmore
$750,000
2016
[11]

Alexis Bledel
Rory Gilmore

Kunal Nayyar
The Big Bang Theory
Rajesh Koothrapalli
$750,000
2014–2017
[1]

Simon Helberg
Howard Wolowitz

David Hyde Pierce
Frasier
Niles Crane
$750,000

[12]

Hugh Laurie
House
Dr. Gregory House
$700,000

Andrew Lincoln
The Walking Dead
Rick Grimes
$650,000
2017–2018
[5]

Jon Cryer
Two and a Half Men
Alan Harper
$620,000
2013–2015
[13]

Julia Louis-Dreyfus
Seinfeld
Elaine Benes
$600,000
1997–1998
[1]

Jason Alexander
George Costanza

Michael Richards
Cosmo Kramer

Norman Reedus
The Walking Dead
Daryl Dixon
$550,000
2017–2018
[5]

text: Network primetime salaries per season[edit]

text:
Name
Program
Role
Salary
Year
Ref.

Simon Cowell
The X Factor
Judge
$75 million
2012–13
[14]

Katy Perry
American Idol
$25 million
2017–18
[15]

Jennifer Lopez
$20 million
2011–12
[16]

Mariah Carey
$18 million
2012–13
[17]

Hugh Laurie
House
Gregory House
$15 million
2013
[14]

Ryan Seacrest
American Idol
Host
2013–16
[14]

Britney Spears
The X Factor
Judge
2012
[17]

Miley Cyrus
The Voice
Coach
$13 million
2016–17
[18]

Adam Levine
2016–18
[18]

Blake Shelton
2016–18
[18]

Christina Aguilera
$12.5 million
2013
[19]

Kelly Clarkson
$12 million
2018
[20]

Nicki Minaj
American Idol
Judge
2012–13
[19]

Shakira
The Voice
Coach
2013
[19]

Gwen Stefani
2017
[21]

text: Morning annual salaries[edit]

text:
Name
Program
Role
Salary
Year
Ref.

Judith Sheindlin
Judge Judy
Judge
$47 million
2013
[22]

Barbara Walters
The View
Host
$13 million
2007
[23]

Bob Barker
The Price Is Right
Game show host
$10 million
2001
[24]

Ellen DeGeneres
The Ellen DeGeneres Show
Host
$5 million
2007
[25]

Jerry Springer
The Jerry Springer Show
Host
$3–4 million
1999
[26]

Tyra Banks
The Tyra Banks Show
Host
$3.5 million

[27][28]

text: News presenter annual salaries[edit]

text:
Name
Program
Role
Salary
Year
Ref.

Matt Lauer
Today
Anchor
$21 million

[29]

Meredith Vieira
Today
Anchor
$15 million

[30][31]

Katie Couric
CBS Evening News
News anchor
$15 million

[32]

text: Notes[edit]

text: Jump up ^ The ''Daily Express gives a £2 million figure, though sources differ. This figure possibly includes the percentage the cast makes from reruns and overseas syndications.[4]

tag: ol


document_title: Main Tera Boyfriend

question_text: main tera boyfriend tu meri girlfriend song movie name

text: Main Tera Boyfriend

text:
"Main Tera Boyfriend"Song by J Star (Original Version). Arijit Singh , Meet Bros , Neha Kakkar (Revamped version)from the album RaabtaGenre
Dance musicComposer(s)
Sohrabbudin (Original)Sourav Roy (Revamped).[1]Lyricist(s)
Jitendra Raghuvanshi (Original Version)Kumaar (Revamped version)[1]
Music video
"Main Tera Boyfriend" on YouTube

text: "Main Tera Boyfriend" is a dance song recorded by Meet Bros, Arijit Singh, and Neha Kakkar. The music video of the song stars Kriti Sanon and Sushant Singh Rajput. The song is from the Indian film Raabta.

text: The choreography was done by Ahmed Khan. It is a revamped version of J Star's 2015 chartbuster track "Na Na Na Na".[2][3]

text: Media coverage[edit]

text: India's leading newspaper and portal, the Daily News and Analysis's Prachita Pandey wrote: "It's so refreshing to hear Arijit Singh crooning something fun and peppy after a series of heartbreaking/slow/soft romantic numbers. He proves yet again that he can sing any song with utmost perfection. Neha Kakkar complements him well, but we felt her vocals to be a bit toned down in terms of energy. Meet brothers too have sung some additional portions in the song."[1]

text: "CNN-News18, described the song as the "Party Anthem of the Season".[4]


document_title: Haute couture

question_text: the person who is considered to be the founder of the paris haute couture was

text: Haute couture

text: French legal status of term[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (July 2015) (Learn how and when to remove this template message)

text: In France, the term haute couture is protected by law and is defined by the Chambre de commerce et d'industrie de Paris based in Paris. The chambre syndicale de la haute couture is defined as "the regulating commission that determines which fashion houses are eligible to be true haute couture houses". Their rules state that only "those companies mentioned on the list drawn up each year by a commission domiciled at the Ministry for Industry are entitled to avail themselves" of the label haute couture.[5] The Chambre Syndicale de la Couture Parisienne is an association of Parisian couturiers founded in 1868 as an outgrowth of medieval guilds that regulate its members in regard to counterfeiting of styles, dates of openings for collections, number of models presented, relations with press, questions of law and taxes, and promotional activities. Formation of the organization was brought about by Charles Frederick Worth. An affiliated school was organized in 1930 called L'Ecole de la Chambre Syndicale de la Couture. The school helps bring new designers to help the "couture" houses that are still present today. Since 1975, this organization has worked within the Federation Francaise, de couture, du Prêt-à-Porter des Couturiers et des Createurs de Mode.[6]

text: More rigorous criteria for haute couture were established in 1945.[7] To earn the right to call itself a couture house and to use the term haute couture in its advertising and any other way, members of the Chambre Syndicale de la Haute Couture must follow specific rules:[citation needed]

text:
design made-to-order for private clients, with one or more fittings;
have a workshop (atelier) in Paris that employs at least fifteen staff members full-time;
have at least twenty full-time technical people, in at least one workshop (atelier); and
present a collection of at least fifty original designs to the public every fashion season (twice, in January and July of each year), of both day and evening garments.

text: Other uses of the term[edit]

text: The term "haute couture" has taken on further popular meanings referring to non-dressmaking activities, such as production of fine art, music, etc.[8]

text: History[edit]

text: Haute couture can be referenced back as early as the 17th Century.[9] Rose Bertin, the French fashion designer to Queen Marie Antoinette, can be credited for bringing fashion and haute couture to French culture.[10] Visitors to Paris brought back clothing that was then copied by local dressmakers. Stylish women also ordered dresses in the latest Parisian fashion to serve as models.

text: As railroads and steamships made European travel easier, it was increasingly common for wealthy women to travel to Paris to shop for clothing and accessories. French fitters and dressmakers were commonly thought to be the best in Europe, and real Parisian garments were considered better than local imitations.[citation needed]

text: A couturier (French: [ku.ty.ʁje]) is an establishment or person involved in the clothing fashion industry who makes original garments to order for private clients. A couturier may make what is known as haute couture.[11] Such a person usually hires patternmakers and machinists for garment production, and is either employed by exclusive boutiques or is self-employed.[citation needed]

text: The couturier Charles Frederick Worth (October 13, 1826 – March 10, 1895), is widely considered the father of haute couture as it is known today.[4][12] Although born in Bourne, Lincolnshire, England, Worth made his mark in the French fashion industry[1]. Revolutionizing how dressmaking had been previously perceived, Worth made it so the dressmaker became the artist of garnishment: a fashion designer. While he created one-of-a-kind designs to please some of his titled or wealthy customers, he is best known for preparing a portfolio of designs that were shown on live models at the House of Worth. Clients selected one model, specified colors and fabrics, and had a duplicate garment tailor-made in Worth's workshop. Worth combined individual tailoring with a standardization more characteristic of the ready-to-wear clothing industry, which was also developing during this period.

text: Following in Worth's footsteps were Callot Soeurs, Patou, Poiret, Vionnet, Fortuny, Lanvin, Chanel, Mainbocher, Schiaparelli, Balenciaga, and Dior. Some of these fashion houses still exist today, under the leadership of modern designers.[citation needed]

text: In the 1960s, a group of young designers who had trained under men like Dior and Balenciaga left these established couture houses and opened their own establishments. The most successful of these young designers were Yves Saint Laurent, Pierre Cardin, André Courrèges, Ted Lapidus, and Emanuel Ungaro. Japanese native and Paris-based Hanae Mori was also successful in establishing her own line.

text: Lacroix is one of the fashion houses to have been started in the late 20th century. Other new houses have included Jean-Paul Gaultier and Thierry Mugler. Due to the high expenses of producing haute couture collections, Lacroix and Mugler have since ceased their haute couture activities.[13]

text: Modernized haute couture shows are not designed and made to be sold, rather they are exactly what they are displayed for – for show. Instead of being constructed for the purpose of selling and making money, they are made to further the publicity, as well as perception and understanding of brand image.

text: For all these fashion houses, custom clothing is no longer the main source of income, often costing much more than it earns through direct sales; it only adds the aura of fashion to their ventures in ready-to-wear clothing and related luxury products such as shoes and perfumes, and licensing ventures that earn greater returns for the company. Excessive commercialization and profit-making can be damaging, however. Cardin, for example, licensed with abandon in the 1980s and his name lost most of its fashionable cachet when anyone could buy Cardin luggage at a discount store. It is their ready-to-wear collections that are available to a wider audience, adding a splash of glamour and the feel of haute couture to more wardrobes.[14] Fashion houses still create custom clothing for publicity, for example providing items to the television show Gossip Girl.[15]

text: The 1960s also featured a revolt against established fashion standards by mods, rockers, and hippies, as well as an increasing internationalization of the fashion scene. Jet travel had spawned a jet set that partied—and shopped—just as happily in New York as in Paris. Rich women no longer felt that a Paris dress was necessarily better than one sewn elsewhere. While Paris is still pre-eminent in the fashion world, it is no longer the sole arbiter of fashion.

text: Members of the Chambre Syndicale de la Haute Couture[edit]

text: For the Spring 2017 season the official list of members are:[16]

text: Official members[edit]

text: Correspondent members (foreign)[edit]

text: Guest members[edit]

text: Jewelry[edit]

text: Accessories[edit]

text: Recent guest members have included the fashion houses of Boudicca, Cathy Pill, Richard René and Udo Edling,[19] as well as Eymeric François, Gerald Watelet (fr), Nicolas Le Cauchois (fr)[20] and Ma Ke (Wuyong).[21] In the 2008/2009 Fall/Winter Haute Couture week, Emanuel Ungaro showed as an Official Member.

text: Former members[edit]

text:
Anna May
Anne Valérie Hash
Balenciaga
Callot Soeurs
Carven (fr)
Christian Lacroix
Ektor Von Hoffmeister
Emilio Pucci
Erica Spitulski
Erik Tenorio
Escada
Fred Sathal
Gai Mattiolo
Germaine Lecomte
Grès
Guy Laroche
Hanae Mori
Jacques Fath
Jacques Griffe (fr)
Jacques Heim
Jean Patou
Jean-Louis Scherrer
Jeanne Lafaurie
Joseph
Lanvin
Lecoanet Hemant (fr)
Lefranc Ferrant[22]
Loris Azzaro
Louis Féraud
Lucien Lelong
Lucile Manguin
Louise Chéruit
Mad Carpentier
Madeleine Vionnet
Madeleine Vramant
Maggy Rouff
Mainbocher
Mak Shoe
Marcel Rochas
Marcelle Chaumont
Marcelle Dormoy
Martial et Armand
Nina Ricci
Paco Rabanne
Paul Poiret
Philippe et Gaston
Pierre Balmain
Pierre Cardin
Rabih Kayrouz[18]
Ralph Rucci
Seraglio
Robert Piguet
Ted Lapidus
Thierry Mugler
Sophie
Torrente (fr)
Vera Borea
Yves Saint Laurent

text: Public and private collections[edit]

text: This section needs expansion with: sourced information on publicly and privately held collections, to expand what appears to be a stray added fact into encyclopedic content. You can help by adding to it. (July 2015)

text: The largest private collection of haute couture may be that of Mouna Ayoub, whose collection is estimated to encompass more than 1,600 items.[23]


document_title: Class conflict

question_text: who argued that class struggles were what led to historical progress and development

text: Class conflict

text: Usage[edit]

text: In the past the term Class conflict was a term used mostly by socialists, who define a class by its relationship to the means of production—such as factories, land and machinery. From this point of view, the social control of production and labor is a contest between classes, and the division of these resources necessarily involves conflict and inflicts harm. It can involve ongoing low-level clashes, escalate into massive confrontations, and in some cases, lead to the overall defeat of one of the contending classes. However, in more contemporary times this term is striking chords and finding new definition amongst capitalistic societies in the United States and other Westernized countries.

text: The anarchist Mikhail Bakunin argued that the class struggle of the working class, peasantry and poor had the potential to lead to a social revolution involving the overthrow of ruling elites, and the creation of libertarian socialism. This was only a potential, and class struggle was, he argued, not always the only or decisive factor in society, but it was central. By contrast, Marxists argue that class conflict always plays the decisive and pivotal role in the history of class-based hierarchical systems such as capitalism and feudalism.[1] Marxists refer to its overt manifestations as class war, a struggle whose resolution in favor of the working class is viewed by them as inevitable under plutocratic capitalism.

text: Pre-capitalist societies[edit]

text: Where societies are socially divided based on status, wealth, or control of social production and distribution, class structures arise and are thus coeval with civilization itself. It is well documented since at least European Classical Antiquity (Conflict of the Orders, Spartacus, etc.[2]) and the various popular uprisings in late medieval Europe and elsewhere.

text: One of the earliest analysis of these conflicts is Friedrich Engels' The Peasant War in Germany.[3] One of the earliest analyses of the development of class as the development of conflicts between emergent classes is available in Peter Kropotkin's Mutual Aid. In this work, Kropotkin analyzes the disposal of goods after death in pre-class or hunter-gatherer societies, and how inheritance produces early class divisions and conflict.

text: 21st-century United States[edit]

text: Billionaire and friend to Warren Buffett, George Soros addresses the pejorative use of the term by the conservative-right by stating, "Speaking as a person who would be most hurt by this, I think my fellow hedge fund managers call this class warfare because they don't like to pay more taxes."[4][not in citation given]

text: Bill Moyers, for example, gave a speech at Brennan Center for Justice in December 2013 which was titled "The Great American Class War," referring to the current struggle between democracy and plutocracy in the U.S.[5] Chris Hedges wrote a column for Truthdig called "Let's Get This Class War Started," which was a play on Pink's song "Let's Get This Party Started."[6][7]

text: Historian Steve Fraser, author of The Age of Acquiescence: The Life and Death of American Resistance to Organized Wealth and Power, asserts that class conflict is an inevitability if current political and economic conditions continue, noting that “people are increasingly fed up… their voices are not being heard. And I think that can only go on for so long without there being more and more outbreaks of what used to be called class struggle, class warfare.”[8]

text: Capitalist societies[edit]

text: The typical example of class conflict described is class conflict within capitalism. This class conflict is seen to occur primarily between the bourgeoisie and the proletariat, and takes the form of conflict over hours of work, value of wages, division of profits, cost of consumer goods, the culture at work, control over parliament or bureaucracy, and economic inequality. The particular implementation of government programs which may seem purely humanitarian, such as disaster relief, can actually be a form of class conflict.[9] In the USA class conflict is often noted in labor/management disputes. As far back as 1933 representative Edward Hamilton of ALPA, the Airline Pilot's Association, used the term "class warfare" to describe airline management's opposition at the National Labor Board hearings in October of that year.[10] Apart from these day-to-day forms of class conflict, during periods of crisis or revolution class conflict takes on a violent nature and involves repression, assault, restriction of civil liberties, and murderous violence such as assassinations or death squads. (Zinn, People's History)

text: Thomas Jefferson, United States[edit]

text: Although Thomas Jefferson (1743–1826) led the United States as president from 1801–1809 and is considered one of the founding fathers, he died with immense amounts of debt. Regarding the interaction between social classes, he wrote,

text: I am convinced that those societies (as the Indians) which live without government enjoy in their general mass an infinitely greater degree of happiness than those who live under the European governments. Among the former, public opinion is in the place of law, & restrains morals as powerfully as laws ever did anywhere. Among the latter, under pretence of governing they have divided their nations into two classes, wolves & sheep. I do not exaggerate. This is a true picture of Europe. Cherish therefore the spirit of our people, and keep alive their attention. Do not be too severe upon their errors, but reclaim them by enlightening them. If once they become inattentive to the public affairs, you & I, & Congress & Assemblies, judges & governors shall all become wolves. It seems to be the law of our general nature, in spite of individual exceptions; and experience declares that man is the only animal which devours his own kind, for I can apply no milder term to the governments of Europe, and to the general prey of the rich on the poor.[11]

text: Warren Buffett, United States[edit]

text: The investor, and billionaire , and philanthropist Warren Buffett, one of the 10 wealthiest persons in the world,[12] voiced in 2005 and once more in 2006 his view that his class – the "rich class" – is waging class warfare on the rest of society. In 2005 Buffet said to CNN: "It's class warfare, my class is winning, but they shouldn't be."[13] In a November 2006 interview in The New York Times, Buffett stated that "[t]here’s class warfare all right, but it’s my class, the rich class, that’s making war, and we’re winning."[14] Later Warren gave away more than half of his fortune to charitable causes through a program developed by himself and computer software tycoon Bill Gates.[15] In 2011 Buffett called on government legislators to, "...stop coddling the super rich."[16]

text: Noam Chomsky[edit]

text: Noam Chomsky, American linguist, philosopher, and political activist has criticized class war in the United States:

text: Well, there’s always a class war going on. The United States, to an unusual extent, is a business-run society, more so than others. The business classes are very class-conscious—they’re constantly fighting a bitter class war to improve their power and diminish opposition. Occasionally this is recognized... The enormous benefits given to the very wealthy, the privileges for the very wealthy here, are way beyond those of other comparable societies and are part of the ongoing class war. Take a look at CEO salaries....

text: -- Noam Chomsky in OCCUPY: Class War, Rebellion and Solidarity, Second Edition (November 5, 2013)[17]

text: Max Weber, Germany[edit]

text: Max Weber (1864–1920) agrees with the fundamental ideas of Karl Marx about the economy causing class conflict, but claims that class conflict can also stem from prestige and power.[18] Weber argues that classes come from the different property locations. Different locations can largely affect one's class by their education and the people they associate with.[18] He also states that prestige results in different status groupings. This prestige is based upon the social status of one's parents. Prestige is an attributed value and many times cannot be changed. Weber states that power differences led to the formation of political parties.[18] Weber disagrees with Marx about the formation of classes. While Marx believes that groups are similar due to their economic status, Weber argues that classes are largely formed by social status.[18] Weber does not believe that communities are formed by economic standing, but by similar social prestige.[18] Weber does recognize that there is a relationship between social status, social prestige and classes.[18]

text: Arab Spring[edit]

text: Numerous factors have culminated in what's known as the Arab Spring. Agenda behind the civil unrest, and the ultimate overthrow of authoritarian governments throughout the Middle-East included issues such as dictatorship or absolute monarchy, human rights violations, government corruption (demonstrated by Wikileaks diplomatic cables),[19] economic decline, unemployment, extreme poverty, and a number of demographic structural factors,[20] such as a large percentage of educated but dissatisfied youth within the population.[21] Also, some, like Slovenian philosopher Slavoj Žižek attribute the 2009 Iranian protests as one of the reasons behind the Arab Spring.[22] The catalysts for the revolts in all Northern African and Persian Gulf countries have been the concentration of wealth in the hands of autocrats in power for decades, insufficient transparency of its redistribution, corruption, and especially the refusal of the youth to accept the status quo.[23][24] as they involve threats to food security worldwide and prices that approach levels of the 2007–2008 world food price crisis.[25] Amnesty International singled out Wikileaks' release of US diplomatic cables as a catalyst for the revolts.[26]

text: Socialism[edit]

text: Marxist perspectives[edit]

text: Karl Marx (1818–1883) was a German born philosopher who lived the majority of his adult life in London, England. In The Communist Manifesto, Karl Marx argued that a class is formed when its members achieve class consciousness and solidarity.[18] This largely happens when the members of a class become aware of their exploitation and the conflict with another class. A class will then realize their shared interests and a common identity. According to Marx, a class will then take action against those that are exploiting the lower classes.

text: What Marx points out is that members of each of the two main classes have interests in common. These class or collective interests are in conflict with those of the other class as a whole. This in turn leads to conflict between individual members of different classes.

text: Marxist analysis of society identifies two main social groups:

text:
Labour (the proletariat or workers) includes anyone who earns their livelihood by selling their labor power and being paid a wage or salary for their labor time. They have little choice but to work for capital, since they typically have no independent way to survive.
Capital (the bourgeoisie or capitalists) includes anyone who gets their income not from labor as much as from the surplus value they appropriate from the workers who create wealth. The income of the capitalists, therefore, is based on their exploitation of the workers (proletariat).

text: Not all class struggle is violent or necessarily radical, as with strikes and lockouts. Class antagonism may instead be expressed as low worker morale, minor sabotage and pilferage, and individual workers' abuse of petty authority and hoarding of information. It may also be expressed on a larger scale by support for socialist or populist parties. On the employers' side, the use of union busting legal firms and the lobbying for anti-union laws are forms of class struggle.

text: Not all class struggle is a threat to capitalism, or even to the authority of an individual capitalist. A narrow struggle for higher wages by a small sector of the working-class, what is often called "economism", hardly threatens the status quo. In fact, by applying the craft-union tactics of excluding other workers from skilled trades, an economistic struggle may even weaken the working class as a whole by dividing it. Class struggle becomes more important in the historical process as it becomes more general, as industries are organized rather than crafts, as workers' class consciousness rises, and as they self-organize away from political parties. Marx referred to this as the progress of the proletariat from being a class "in itself", a position in the social structure, to being one "for itself",an active and conscious force that could change the world.

text: Marx largely focuses on the capital industrialist society as the source of social stratification, which ultimately results in class conflict.[18] He states that capitalism creates a division between classes which can largely be seen in manufacturing factories. The proletariat, is separated from the bourgeoisie because production becomes a social enterprise. Contributing to their separation is the technology that is in factories. Technology de-skills and alienates workers as they are no longer viewed as having a specialized skill.[18] Another effect of technology is a homogenous workforce that can be easily replaceable. Marx believed that this class conflict would result in the overthrow of the bourgeoisie and that the private property would be communally owned.[18] The mode of production would remain, but communal ownership would eliminate class conflict.[18]

text: Even after a revolution, the two classes would struggle, but eventually the struggle would recede and the classes dissolve. As class boundaries broke down, the state apparatus would wither away. According to Marx, the main task of any state apparatus is to uphold the power of the ruling class; but without any classes there would be no need for a state. That would lead to the classless, stateless communist society.

text: The Soviet Union and similar societies[edit]

text: A variety of predominantly trotskyist and anarchist thinkers argue that class conflict existed in Soviet-style societies. Their arguments describe as a class the bureaucratic stratum formed by the ruling political party (known as the Nomenklatura in the Soviet Union)—sometimes termed a "new class".[27]—that controls and guides the means of production. This ruling class is viewed to be in opposition to the remainder of society, generally considered the proletariat. This type of system is referred by them as state socialism, state capitalism, bureaucratic collectivism or new class societies. (Cliff; Ðilas 1957) Marxism was such a predominate ideological power in what became the Soviet Union since a Marxist group known as the Russian Social Democratic Labour Party was formed in the country, prior to 1917. This party soon divided into two main factions; the Bolsheviks, who were led by Vladimir Lenin, and the Mensheviks, who were led by Julius Martov.

text: However many Marxist argue that unlike in Capitalism, the Soviet elites didn't own the Means of production, or generated surplus value for their personal wealth like in capitalism, as the generated profit from the economy was equally distributed into Soviet society.[28] Even some trotskyist like Ernest Mandel criticized the concept of a new ruling class as an oxymoron. He said: "The hypothesis of the bureaucracy’s being a new ruling class leads to the conclusion that, for the first time in history, we are confronted with a “ruling class” which does not exist as a class before it actually rules."[29]

text: Non-Marxist perspectives[edit]

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

text: Social commentators, historians and socialist theorists had commented on class struggle for some time before Marx, as well as the connection between class struggle, property, and law: Augustin Thierry,[30] François Guizot, François-Auguste Mignet and Adolphe Thiers. The Physiocrats, David Ricardo, and after Marx, Henry George noted the inelastic supply of land and argued that this created certain privileges (economic rent) for landowners. According to the historian Arnold Toynbee, stratification along lines of class appears only within civilizations, and furthermore only appears during the process of a civilization's decline while not characterizing the growth phase of a civilization.[31]

text: Proudhon, in What is Property? (1840) states that "certain classes do not relish investigation into the pretended titles to property, and its fabulous and perhaps scandalous history."[32] While Proudhon saw the solution as the lower classes forming an alternative, solidarity economy centered on cooperatives and self-managed workplaces, which would slowly undermine and replace capitalist class society, the anarchist Mikhail Bakunin while influenced by Proudhon, insisted that a massive class struggle, by the working class, peasantry and poor, was essential to the creation of libertarian socialism. This would require a (final) showdown in the form of a social revolution.

text: Fascists have often opposed class struggle and instead have attempted to appeal to the working class while promising to preserve the existing social classes and have proposed an alternative concept known as class collaboration.

text: Class vs. race struggle[edit]

text: Consistent with its internationalist perspective, Orthodox Marxism, and most left tendencies, reject racism, sexism, etc. as struggles within the capitalist order which are distractions from class struggle, the real conflict, which prevent the purported antagonists from acting in their common class interest.

text: According to Michel Foucault, in the 19th century the essentialist notion of the "race" was incorporated by racists, biologists, and eugenicists, who gave it the modern sense of "biological race" which was then integrated to "state racism". On the other hand, Foucault claims that when Marxists developed their concept of "class struggle", they were partly inspired by the older, non-biological notions of the "race" and the "race struggle". In a letter to Friedrich Engels in 1882 Karl Marx wrote: You know very well where we found our idea of class struggle; we found it in the work of the French historians who talked about the race struggle.[33][citation needed]For Foucault, the theme of social war provides the overriding principle that connects class and race struggle.[34]

text: Moses Hess, an important theoretician and labor zionist of the early socialist movement, in his "Epilogue" to "Rome and Jerusalem" argued that "the race struggle is primary, the class struggle secondary... With the cessation of race antagonism, the class struggle will also come to a standstill. The equalization of all classes of society will necessarily follow the emancipation of all the races, for it will ultimately become a scientific question of social economics."[35]

text: In modern times, emerging schools of thought in the U.S. and other countries hold the opposite to be true.[36] They argue that the race struggle is less important, because the primary struggle is that of class since labor of all races face the same problems and injustices.

text: Chronology[edit]

text: Riots with a basically nationalist background are not included.

text: Classical antiquity[edit]

text:
Conflict of the Orders
Roman Servile Wars

text: Middle Ages[edit]

text:
Ciompi in Florence 1378
Peasants' Revolt in England 1381
Jacquerie - France 14th century

text: Modern era[edit]

text:
German Peasants' War since 1524
English Civil War (1642–1651) (Diggers)
French Revolution since 1789[37]
Canut revolts in Lyon since 1831 - often considered as the beginning of the modern labor movement
Revolutions of 1848 France (et al.)
Paris Commune 1871
Donghak Peasant Revolution in Korea 1893/94
1905 Russian Revolution
1907 Romanian Peasants' Revolt
Mexican Revolution since 1910
October Revolution in 1917
Spartacist uprising in Germany 1919
Seattle General Strike of 1919 in Seattle
General Strike of 1919 in Spain
Winnipeg General Strike 1919
Ruhr Uprising in Germany 1920
Kronstadt rebellion 1921
Hamburg Uprising 1923
1926 United Kingdom general strike
1934 West Coast waterfront strike
Spanish Civil War 1936-1939
Mass killings of landlords under Mao Zedong 1947-1950
Uprising of 1953 in East Germany
Telangana Rebellion
Cuban Revolution 1953-1959
Hungarian Revolution of 1956 - foundation of worker's councils
Poznań 1956 protests
Mai 68 in France
Battle of Valle Giulia 1968 Italy
Wild cats in Western Germany in 1969
Several strikes by coal miners in the UK:

1969
1972
1974
1984-85

Winter of Discontent 1978/79
1993 Russian constitutional crisis
2006 Oaxaca protests in Mexico
2008 Greek riots
Kyrgyz Revolution of 2010
Egyptian Revolution of 2011
2011 England riots
World Social Forum
World Economic Forum


document_title: She Walks in Beauty

question_text: when did lord byron write she walks in beauty

text: She Walks in Beauty

text:
She Walks in Beauty

She walks in beauty, like the night
Of cloudless climes and starry skies;
And all that's best of dark and bright
Meet in her aspect and her eyes:
Thus mellow'd to that tender light
Which heaven to gaudy day denies.

One shade the more, one ray the less,
Had half impaired the nameless grace
Which waves in every raven tress,
Or softly lightens o'er her face;
Where thoughts serenely sweet express
How pure, how dear their dwelling-place.

And on that cheek, and o'er that brow,
So soft, so calm, yet eloquent,
The smiles that win, the tints that glow,
But tell of days in goodness spent,
A mind at peace with all below,
A heart whose love is innocent!

text: "She Walks in Beauty" is a short lyrical poem in iambic tetrameter written in 1813 by Lord Byron, and is one of his most famous works.

text: It is said to have been inspired by an event in Byron's life; while at a ball, Byron saw Mrs. Anne Beatrix Wilmot, the wife of his cousin, Robert Wilmot. He was struck by her unusual beauty, and the next morning the poem was written.[1]

text: It is thought that she was the first inspiration for his unfinished epic poem about Goethe, a personal hero of his. In this unpublished work, which Byron referred to in his letters as his magnum opus, he switches the gender of Goethe and gives him the same description of his cousin. This idea would have truly put Byron on the avant-garde.

text: Cultural references[edit]

text: The first two verses are cited in the novel The Philadelphian by Richard P. Powell. The poem is also referenced in a House of Night book, where Nathan, in his reminiscences of Byron, suggests (without any justification) that the subject of the poem may have been Byron's half-sister, Augusta Leigh.[2]

text: The poem has inspired various composers over time, including Roger Quilter, Gerald Finzi, Isaac Nathan, Nicolas Flagello, Connor J. Koppin and Chanticleer Men's Chorus Conductor/Composer Eric Barnum.

text: The first line of British rock band Suede's song 'Heroine' is 'She walks in beauty, like the night.'[3]

text: The first four lines of the poem are recited by Major Charles Winchester, played by David Ogden Stiers, in the 1979 M*A*S*H episode Ain't Love Grand. Also in an episode of The Cosby Show when mother, Clair Huxtable recites the poem to her former professor of Hillman College.


document_title: Area code 575

question_text: where is the area code 575 located in

question_tokens: where is the area code 575 located in

text: Area code 575

text: Area code 575 is an area code in the U.S. state of New Mexico. It serves the remainder of the state outside the Albuquerque, Santa Fe, Farmington, and Gallup metropolitan and micropolitan areas, which remain in area code 505. The new code became effective on October 7, 2007, splitting from area code 505.[1]

text: Since October 2007, it is the last area code in the United States introduced by a split from a previously existing code. All new area codes added in the U.S. since the introduction of 575 have been overlays, in which the new code serves the same geographic area as the previous code. Since the same above date, there are no splits currently proposed or being considered, with the cancellation of the proposed splits of area code 814 and area code 270.[2]