title: The Third Man

text: Holly Martins, an American author of western fiction, arrives in post–World War II Vienna seeking his childhood friend Harry Lime, who has offered him a job. Martins is told that Lime was killed by a car while crossing the street. At Lime's funeral, Martins meets two British Royal Military Police: Sergeant Paine, a fan of Martins's books, and Major Calloway. Afterward, Martins is asked by Mr. Crabbin to lecture at a book club a few days later. He then meets a friend of Lime's, "Baron" Kurtz, who tells Martins that he and another friend, a Romanian called Popescu, carried Lime to the side of the street after the accident. Before he died, Lime asked them to take care of Martins as well as Lime's girlfriend, actress Anna Schmidt.


title: The Third Man

text: As Martins and Anna investigate Lime's death, they discover that accounts differ on whether two or three men carried away the body. The porter at Lime's apartment tells them that he saw a third man help carry away the body. Later, the porter offers to give Martins more information, but someone kills him before Martins can talk to him. Martins confronts Major Calloway and demands that Lime's death be investigated. Calloway reveals that Lime was stealing penicillin from military hospitals, diluting it, then selling it on the black market, injuring or killing many people. Martins, convinced by hard evidence, agrees to leave.


title: The Third Man

text: Martins visits Anna that evening. After leaving he walks the streets, until he sees someone watching from a darkened doorway. It is Harry. Martins calls out but Lime flees and vanishes. Martins summons Calloway, who realizes that Lime has escaped through the sewers. The British police exhume Lime's coffin and discover that the body is the orderly who stole the penicillin for Lime. Anna is to be sent to the Soviet sector, and is questioned again by Calloway.


title: The Third Man

text: Martins meets Lime and they ride the Wiener Riesenrad. Lime obliquely threatens Martins before leaving quickly. Calloway then asks Martins to help capture Lime. Martins agrees to help on one condition, demanding Anna's safe conduct out of Vienna. Anna is about to leave on the train when she spots Martins, who has come to observe her departure. She forces the plan out of him but wants no part of it. Exasperated, Martins decides to leave Vienna, but on the way to the airport, Calloway stops at a hospital to show Martins children crippled or dying of meningitis who were treated with Lime's diluted penicillin. Martins agrees to help the police again.


title: The Third Man

text: Lime arrives at a small café to meet Martins, but Anna warns Lime that the police are closing in. He tries again to escape using the sewer tunnels, but the police are there. Lime shoots and kills Paine, but Calloway shoots and wounds Lime. Badly injured, Lime drags himself up a ladder to a street grating; however, he cannot lift it. Martins finds Lime at the grate, and hears Calloway shouting to shoot Lime on sight, Lime and Martins exchange a look, and then Martins shoots and kills Lime, using Paine's revolver. Martins attends Lime's second funeral. At the risk of missing his flight out of Vienna, he waits on the street to speak with Anna, but she walks right past him without glancing in his direction.


title: The Third Man

text: Before writing the screenplay, Graham Greene worked out the atmosphere, characterisation, and mood of the story by writing a novella as a source text for the screenplay. He never intended it to be read by the general public, although it was later published under the same name as the film. In 1948, he met Elizabeth Montagu in Vienna. She gave him tours of the city, its sewers, and some of its less reputable night-clubs. She also introduced Greene to Peter Smolka, the central European correspondent for "The Times". Smolka gave Greene the stories about the black market in Vienna.


title: The Third Man

text: The narrator in the novella is Major Calloway, which gives the book a slightly different emphasis from that of the screenplay. A small portion of his narration appears in a modified form at the film's beginning in Reed's voice-over: "I never knew the old Vienna". Other differences include both Martins's and Lime's nationalities; they are English in the book. Martins's given name is Rollo rather than Holly. Popescu's character is an American called Cooler. Crabbin was a single character in the novella; the screenplay's original draft replaced him with two characters, played by Basil Radford and Naunton Wayne, but ultimately in the film, as in the novella, Crabbin remains a single character.


title: The Third Man

text: There is also a difference of ending. The novella's implies that Anna and Martins are about to begin a new life together, in stark contrast to the unmistakable snub by Anna that closes the film. In the book, Anna does walk away from Lime's grave, but the text continues:


title: The Third Man

text: I watched him striding off on his overgrown legs after the girl. He caught her up and they walked side by side. I don't think he said a word to her: it was like the end of a story except that before they turned out of my sight her hand was through his arm—which is how a story usually begins. He was a very bad shot and a very bad judge of character, but he had a way with Westerns (a trick of tension) and with girls (I wouldn't know what).


title: The Third Man

text: During the shooting of the film, the final scene was the subject of a dispute between Greene and David O. Selznick, who wanted the happy ending of the novella; and Reed, who stubbornly refused to end the film on what he felt was an artificially happy note. Greene later wrote: "One of the very few major disputes between Carol Reed and myself concerned the ending, and he has been proved triumphantly right."


title: The Third Man

text: David O. Selznick's contribution, according to himself, was mainly to have provided his actors Cotten and Welles and to have produced the shortened US version.


title: The Third Man

text: Through the years there was occasional speculation that Welles, rather than Reed, was the de facto director of "The Third Man". In Jonathan Rosenbaum's 2007 book "Discovering Orson Welles", Rosenbaum calls it a "popular misconception", although Rosenbaum did note that the film "began to echo the Wellesian theme of betrayed male friendship and certain related ideas from "Citizen Kane"." In the final analysis, Rosenbaum writes, "[Welles] didn't direct anything in the picture; the basics of his shooting and editing style, its music and meaning, are plainly absent. Yet old myths die hard, and some viewers persist in believing otherwise." Welles himself fuelled this theory in a 1958 interview, in which he said that he had had an important role in making "The Third Man", but that it was a "delicate matter, because [he] wasn't the producer". However, in a 1967 interview with Peter Bogdanovich, Welles said that his involvement was minimal: "It was Carol's picture". However, Welles did contribute some of the film's best-known dialogue. Bogdanovich also stated in the introduction to the DVD: However, I think it's important to note that the look of "The Third Man"—and, in fact, the whole film—would be unthinkable without "Citizen Kane", "The Stranger," and "The Lady from Shanghai", all of which Orson made in the '40s, and all of which preceded "The Third Man". Carol Reed, I think, was definitely influenced by Orson Welles, the director, from the films he had made.


title: The Third Man

text: Six weeks of principal photography was shot on location in Vienna, ending on 11 December 1948. Some use was made of the Sievering Studios facilities in the city. Production then moved to the Worton Hall Studios in Isleworth and Shepperton Studios near London and was completed in March 1949. Thomas Riegler emphasises the opportunities for Cold War espionage that the Vienna set made available, and notes that "the audio engineer Jack Davies noticed at least one mysterious person on the set."


title: The Third Man

text: The scenes of Harry Lime in the sewer were shot on location or on sets built at Shepperton; most of the location shots used doubles for Welles. However, Reed claimed that, despite initial reluctance, Welles quickly became enthusiastic, and stayed in Vienna to finish the film.


title: The Third Man

text: According to the recollection of assistant director Guy Hamilton, interviewed in 2015, Greene and Reed worked very well together, but Orson Welles "generally annoyed everyone on the set". His temporary absence forced Hamilton to step in as body double for him. Apparently, the filming of the sewer scenes was moved to studios in the UK as a result of Welles' complaints about shooting in the actual sewers.


title: The Third Man

text: Reed had four different camera units shooting around Vienna for the duration of the production. He worked around the clock, using Benzedrine to stay awake.


title: The Third Man

text: In a famous scene, Lime meets Martins on the Wiener Riesenrad in the Prater amusement park. Looking down on the people below from his vantage point, Lime compares them to dots, and says that it would be insignificant if one of them or a few of them "stopped moving, forever". Back on the ground, he notes:


title: The Third Man

text: You know what the fellow said – in Italy, for 30 years under the Borgias, they had warfare, terror, murder, and blood-shed; but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland, they had brotherly love; they had 500 years of democracy and peace – and what did that produce? The cuckoo clock!


title: The Third Man

text: Welles added this remark – in the published script, it is in a footnote. Greene wrote in a letter, "What happened was that during the shooting of "The Third Man" it was found necessary for the timing to insert another sentence." Welles apparently said the lines came from "an old Hungarian play"—in any event the idea is not original to Welles, acknowledged by the phrase "what the fellow said".


title: The Third Man

text: The likeliest source is the painter James Abbott McNeill Whistler. In a lecture on art from 1885 (published in "Mr Whistler's "Ten O'Clock" [1888]), he said "The Swiss in their mountains ... What more worthy people! ... yet, the perverse and scornful [goddess, Art] will have none of it, and the sons of patriots are left with the clock that turns the mill, and the sudden cuckoo, with difficulty restrained in its box! For this was Tell a hero! For this did Gessler die!" In a 1916 reminiscence, American painter Theodore Wores said that he "tried to get an acknowledgment from Whistler that San Francisco would some day become a great art center on account of our climatic, scenic and other advantages. 'But environment does not lead to a production of art,' Whistler retorted. 'Consider Switzerland. There the people have everything in the form of natural advantages – mountains, valleys and blue sky. And what have they produced? The cuckoo clock!"


title: The Third Man

text: Or it may be that Welles was influenced by Geoffrey Household, who wrote in his novel "Rogue Male": "...Swiss. A people, my dear fellow, of quite extraordinary stupidity and immorality. A combination which only a long experience of democratic government could have produced."


title: The Third Man

text: "This Is Orson Welles" (1993) quotes Welles: "When the picture came out, the Swiss very nicely pointed out to me that they've never made any cuckoo clocks," as the clocks are native to the German Black Forest. Writer John McPhee pointed out that when the Borgias flourished in Italy, Switzerland had "the most powerful and feared military force in Europe" and was not the peacefully neutral country it later became.


title: The Third Man

text: Anton Karas composed the musical score and performed it on the zither. Before the production came to Vienna, Karas was an unknown performer in local Heurigers. According to "Time":


title: The Third Man

text: According to Guy Hamilton, Reed met Karas by coincidence at a party in Vienna, where he was playing the zither. Reed brought Karas to London, where the musician worked with Reed on the score for six weeks. Karas stayed at Reed's house during that time. Film reviewer Roger Ebert wrote "Has there ever been a film where the music more perfectly suited the action than in Carol Reed's "The Third Man"?"


title: The Third Man

text: Additional music for the film was written by the Australian-born composer Hubert Clifford under the pseudonym of Michael Sarsfield. From 1944 until 1950 Clifford was working as Musical Director for Korda at London Film Productions, where he chose the composers and conducted the scores for films, as well as composing many original scores of his own. An extract from his "Third Man" music, "The Casanova Melody", was orchestrated by Rodney Newton in 2000.


title: The Third Man

text: As the original British release begins, the voice of director Carol Reed (uncredited) describes post-war Vienna from a racketeer's point of view. The version shown in American cinemas cut 11 minutes of footage and replaced Reed's voice-over with narration by Joseph Cotten as Holly Martins. David O. Selznick instituted the replacement because he did not think American audiences would relate to the seedy tone of the original. Today, Reed's original version appears on American DVDs, in showings on Turner Classic Movies, and in U.S. cinema releases, with the 11 minutes of footage restored, including a shot of a near topless dancer in a bar that would have violated the U.S. Code in 1948. Both the Criterion Collection and Studio Canal DVD releases include a comparison of the two opening monologues.


title: The Third Man

text: The Grand Gala World Premiere was held at the Ritz Cinema in Hastings, East Sussex on 1 September 1949.


title: The Third Man

text: According to "Kinematograph Weekly" the 'biggest winner' at the box office in 1949 Britain was "The Third Man" with "runners up" being "Johnny Belinda", "The Secret Life of Walter Mitty", "The Paleface", "Scott of the Antarctic", "The Blue Lagoon", "Maytime in Mayfair", "Easter Parade", "Red River," and "You Can't Sleep Here".


title: The Third Man

text: In Austria, "local critics were underwhelmed", and the film ran for only a few weeks. Still, the Viennese "Arbeiter-Zeitung", although critical of a "not-too-logical plot", praised the film's "masterful" depiction of a "time out of joint" and the city's atmosphere of "insecurity, poverty and post-war immorality". William Cook, after his 2006 visit to an eight-room museum in Vienna dedicated to the film, wrote "In Britain it's a thriller about friendship and betrayal. In Vienna it's a tragedy about Austria's troubled relationship with its past."


title: The Third Man

text: Some critics at the time criticised the film's unusual camera angles. C. A. Lejeune in "The Observer" described Reed's "habit of printing his scenes askew, with floors sloping at a diagonal and close-ups deliriously tilted" as "most distracting". American director William Wyler, Reed's close friend, sent him a spirit level, with a note stating "Carol, next time you make a picture, just put it on top of the camera, will you?"


title: The Third Man

text: Upon its release in Britain and America, the film received overwhelmingly positive reviews. "Time" wrote that the film was "crammed with cinematic plums that would do the early Hitchcock proud—ingenious twists and turns of plot, subtle detail, full-bodied bit characters, atmospheric backgrounds that become an intrinsic part of the story, a deft commingling of the sinister with the ludicrous, the casual with the bizarre." "The New York Times" movie critic Bosley Crowther, after a prefatory qualification that the film was "designed [only] to excite and entertain", wrote that Reed "brilliantly packaged the whole bag of his cinematic tricks, his whole range of inventive genius for making the camera expound. His eminent gifts for compressing a wealth of suggestion in single shots, for building up agonized tension and popping surprises are fully exercised. His devilishly mischievous humor also runs lightly through the film, touching the darker depressions with little glints of the gay or macabre." One very rare exception was the British communist paper "Daily Worker" (later the "Morning Star"), which complained that "no effort is spared to make the Soviet authorities as sinister and unsympathetic as possible."


title: The Third Man

text: Critics subsequently hailed the film as a masterpiece. Roger Ebert added the film to his "Great Movies" list and wrote, "Of all the movies that I have seen, this one most completely embodies the romance of going to the movies." In a special episode of "Siskel & Ebert" in 1994 discussing film villains, Ebert named Lime as his favourite film villain. Gene Siskel remarked that it was an "exemplary piece of moviemaking, highlighting the ruins of World War II and juxtaposing it with the characters' own damaged histories".


title: The Third Man

text: The film has a 99% rating on Rotten Tomatoes based on 80 reviews, with an average rating of 9.3/10 and the following consensus: "This atmospheric thriller is one of the undisputed masterpieces of cinema, and boasts iconic performances from Joseph Cotten and Orson Welles."


title: The Third Man

text: "The Third Man Theme" was released as a single in 1949/50 (Decca in the UK, London Records in the US). It became a best-seller; by November 1949, 300,000 records had been sold in Britain, with the teen-aged Princess Margaret a reported fan. Following its release in the US in 1950, ""The Third Man" Theme" spent 11 weeks at number one on "Billboard"s US Best Sellers in Stores chart, from 29 April to 8 July. The exposure made Anton Karas an international star, and the trailer for the film stated that "the famous musical score by Anton Karas" would have the audience "in a dither with his zither".


title: The Third Man

text: Besides its top ranking in the BFI Top 100 British films list, in 2004 the magazine "Total Film" ranked it the fourth greatest British film of all time. In 2005, viewers of BBC Television's "Newsnight Review" voted the film their fourth favourite of all time, the only film in the top five made before 1970.


title: The Third Man

text: The film also placed 57th on the American Film Institute's list of top American films in 1998, though the film's only American connections were its executive co-producer David O. Selznick and its actors Orson Welles and Joseph Cotten. The other two executive co-producers, Sir Alexander Korda and Carol Reed, were Hungarian and British, respectively. In June 2008, the American Film Institute (AFI) revealed its "10 Top 10"—the best 10 films in 10 "classic" American film genres—after polling over 1,500 people from the creative community. "The Third Man" was acknowledged as the fifth best film in the mystery genre. The film also placed 75th on AFI's list of 100 Years...100 Thrills and Harry Lime was listed as 37th villain in 100 Heroes and Villains.


title: The Third Man

text: In the United Kingdom, films of this vintage are copyright protected as dramatic works until 70 years after the end of the year in which that last "principal author" died. The principal authors are generally the writer/s, director/s or composer/s of original work, and since in the case of "The Third Man" Graham Greene died in 1991, the film is protected until the end of 2061.


title: The Third Man

text: This film lapsed into public domain in the United States when the copyright was not renewed after David Selznick's death. In 1996, the Uruguay Round Agreements Act restored the film's U.S. copyright protection to StudioCanal Image UK Ltd. The Criterion Collection released a digitally restored DVD of the original British print of the film. In 2008, Criterion released a Blu-ray edition, and in September 2010, Lions Gate reissued the film on Blu-ray.


title: The Third Man

text: On 18 January 2012, the Supreme Court of the United States ruled in "Golan v. Holder" that the copyright clause of the United States Constitution does not prevent the U.S. from meeting its treaty obligations towards copyright protection for foreign works. Following the ruling, notable films such as "The Third Man" and "The 39 Steps" were taken back out of the public domain and became fully copyrighted in the United States. Under current U.S. copyright law, "The Third Man" will remain copyrighted until 1 January 2045.


title: The Third Man

text: Cotten reprised his role as Holly Martins in the one-hour "Theatre Guild on the Air" radio adaptation on 7 January 1951. It was also adapted as a one-hour radio play on two broadcasts of "Lux Radio Theatre": on 9 April 1951 with Joseph Cotten reprising his role and on 8 February 1954 with Ray Milland as Martins.


title: The Third Man

text: The British radio series "The Adventures of Harry Lime" (broadcast in the US as "The Lives of Harry Lime") created as a prequel to the film, centres on Lime's adventures before his "death in Vienna", and Welles reprises his role as a somewhat less nefarious adventurer anti-hero than the sociopathic opportunist depicted in the film's incarnation. Fifty-two episodes aired in 1951 and 1952, several of which Welles wrote, including "Ticket to Tangiers", which is included on the Criterion Collection and Studio Canal releases of "The Third Man". Recordings of the 1952 episodes "Man of Mystery", "Murder on the Riviera", and "Blackmail Is a Nasty Word" are included on the Criterion Collection DVD "The Complete Mr. Arkadin".


title: The Third Man

text: A television spin-off starring Michael Rennie as Harry Lime ran for five seasons from 1959 to 1965. Seventy-seven episodes were filmed; directors included Paul Henreid (10 episodes) and Arthur Hiller (six episodes). Jonathan Harris played sidekick Bradford Webster for 72 episodes, and Roger Moore guest-starred in the installment "The Angry Young Man", which Hiller directed.


title: Douglas Fairbanks

text: Douglas Elton Fairbanks Sr. (born Douglas Elton Thomas Ullman; May 23, 1883 – December 12, 1939) was an American actor, screenwriter, director, and producer. He was best known for his swashbuckling roles in silent films including "The Thief of Bagdad", "Robin Hood", and "The Mark of Zorro", but spent the early part of his career making comedies.


title: Douglas Fairbanks

text: Fairbanks was a founding member of United Artists. He was also a founding member of The Motion Picture Academy and hosted the 1st Academy Awards in 1929. With his marriage to actress and film producer Mary Pickford in 1920, the couple became 'Hollywood royalty', and Fairbanks was referred to as "The King of Hollywood", a nickname later passed on to actor Clark Gable.


title: Douglas Fairbanks

text: Though he was considered one of the biggest stars in Hollywood during the 1910s and 1920s, Fairbanks's career rapidly declined with the advent of the "talkies". His final film was "The Private Life of Don Juan" (1934).


title: Douglas Fairbanks

text: Fairbanks was born Douglas Elton Thomas Ullman (spelled "Ulman" by Douglas Fairbanks Jr. in his memoirs) in Denver, Colorado. His parents were Hezekiah Charles Ullman and Ella Adelaide (née Marsh). He had two half-brothers, John Fairbanks Jr. and Norris Wilcox, and a full brother, Robert Payne Ullman.


title: Douglas Fairbanks

text: His father, known as Charles, was born in Berrysburg, Pennsylvania, and raised in Williamsport. He was the fourth child in a Jewish family consisting of six sons and four daughters. Charles's parents, Lazarus Ullman and Lydia Abrahams, had immigrated to the U.S. in 1830 from Baden, Germany. When he was 17, Charles started a small publishing business in Philadelphia. Two years later, he left for New York to study law.


title: Douglas Fairbanks

text: Charles met Ella Adelaide Marsh after she married his friend and client John Fairbanks, a wealthy New Orleans sugar mill and plantation owner. The couple had a son, John, and shortly thereafter John Senior died of tuberculosis. Ella, born into a wealthy southern Roman Catholic family, was overprotected and knew little of her husband's business. Consequently, she was swindled out of her fortune by her husband's partners. Even the efforts of Charles Ullman, acting on her behalf, failed to regain any of the family fortune for her.


title: Douglas Fairbanks

text: Distraught and lonely, she met and married a courtly Georgian, Edward Wilcox, who turned out to be an alcoholic. After they had another son, Norris, she divorced Wilcox, with Charles acting as her own lawyer in the suit. She soon became romantically involved with Charles and agreed to move to Denver with him to pursue mining investments. They arrived in Denver in 1881 with her son John. (Norris was left in Georgia with relatives and was never sent for by his mother.) They were married; in 1882 they had a son, Robert, and then a second son, Douglas, a year later. Charles purchased several mining interests in the Rocky Mountains and re-established his law practice. After hearing of his wife's philandering, he abandoned the family when Douglas was five years old. Douglas and his older brother Robert were brought up by their mother, who gave them the family name Fairbanks, after her first husband.


title: Douglas Fairbanks

text: Douglas Fairbanks began acting at an early age, in amateur theatre on the Denver stage, performing in summer stock at the Elitch Theatre, and other productions sponsored by Margaret Fealy, who ran an acting school for young people in Denver. He attended Denver East High School, and was expelled for cutting the strings on the school piano.


title: Douglas Fairbanks

text: He left school in the spring of 1899, at the age of 15. He variously claimed to have attended Colorado School of Mines and Harvard University, but neither claim is true. He went with the acting troupe of Frederick Warde, beginning a cross country tour in September 1899. He toured with Warde for two seasons, functioning in dual roles, both as actor and as the assistant stage manager in his second year with the group.


title: Douglas Fairbanks

text: After two years he moved to New York, where he found his first Broadway role in "Her Lord and Master", which premiered in February 1902. He worked in a hardware store and as a clerk in a Wall Street office between acting jobs. His Broadway appearances included the popular "A Gentleman from Mississippi" in 1908–09. On July 11, 1907, Fairbanks married Anna Beth Sully, the daughter of wealthy industrialist Daniel J. Sully, in Watch Hill, Rhode Island. They had one son, Douglas Fairbanks Jr., also a noted actor. The family moved to Los Angeles in 1915.


title: Douglas Fairbanks

text: After moving to Los Angeles, Fairbanks signed a contract with Triangle Pictures in 1915 and began working under the supervision of D. W. Griffith. His first film was titled "The Lamb", in which he debuted the athletic abilities that would gain him wide attention among theatre audiences. His athleticism was not appreciated by Griffith, however, and he was brought to the attention of Anita Loos and John Emerson, who wrote and directed many of his early romantic comedies.


title: Douglas Fairbanks

text: In 1916, Fairbanks established his own company, the Douglas Fairbanks Film Corporation, and would soon get a job at Paramount.


title: Douglas Fairbanks

text: Fairbanks met actress Mary Pickford at a party in 1916, and the couple soon began an affair. In 1917, they joined Fairbanks's friend Charlie Chaplin selling war bonds by train across the United States and delivering pro-war speeches as Four Minute Men. Pickford and Chaplin were the two highest-paid film stars in Hollywood at that time. To curtail these stars' astronomical salaries, the large studios attempted to monopolize distributors and exhibitors. By 1918, Fairbanks was Hollywood's most popular actor, and within three years of his arrival, Fairbanks's popularity and business acumen raised him to the third-highest paid.


title: Douglas Fairbanks

text: In 1917, Fairbanks capitalized on his rising popularity by publishing a self-help book, "Laugh and Live" which extolled the power of positive thinking and self-confidence in raising one's health, business and social prospects.


title: Douglas Fairbanks

text: To avoid being controlled by the studios and to protect their independence, Fairbanks, Pickford, Chaplin, and D. W. Griffith formed United Artists in 1919, which created their own distributorships and gave them complete artistic control over their films and the profits generated.


title: Douglas Fairbanks

text: Sully was granted a divorce from Fairbanks in late 1918, the judgment being finalized early the following year. After the divorce, the actor was determined to have Pickford become his wife, but she was still married to actor Owen Moore. Fairbanks finally gave her an ultimatum. She then obtained a rapid divorce in the small Nevada town of Minden on March 2, 1920. Fairbanks leased the Beverly Hills mansion Grayhall and was rumored to have used it during his courtship of Pickford. The couple married on March 28, 1920. Pickford's divorce from Moore was contested by Nevada legislators, however, and the dispute was not settled until 1922. Even though the lawmakers objected to the marriage, the public widely supported the idea of "Everybody's Hero" marrying "America's Sweetheart". That enthusiasm, in fact, extended far beyond the borders of the United States. Later, while honeymooning in Europe, Fairbanks and Pickford were warmly greeted by large crowds in London and Paris. Both internationally and at home, the celebrated couple were regarded as "Hollywood Royalty" and became famous for entertaining at "Pickfair", their Beverly Hills estate.


title: Douglas Fairbanks

text: By 1920, Fairbanks had completed twenty-nine films (twenty-eight features and one two-reel short), which showcased his ebullient screen persona and athletic ability. By 1920, he had the inspiration of staging a new type of adventure-costume picture, a genre that was then out of favor with the public; Fairbanks had been a comic in his previous films. In "The Mark of Zorro", Fairbanks combined his appealing screen persona with the new adventurous costume element. It was a smash success and parlayed the actor into the rank of superstar. For the remainder of his career in silent films, he continued to produce and star in ever more elaborate, impressive costume films, such as "When the Clouds Roll By", "The Three Musketeers" (1921), "Douglas Fairbanks in Robin Hood" (1922), "The Thief of Bagdad" (1924), "The Black Pirate" (1926), and "The Gaucho" (1927). Fairbanks spared no expense and effort in these films, which established the standard for all future swashbuckling films.


title: Douglas Fairbanks

text: In 1921, he, Pickford, Chaplin, and others, helped to organize the Motion Picture Fund to assist those in the industry who could not work, or were unable to meet their bills.


title: Douglas Fairbanks

text: During the first ceremony of its type, on April 30, 1927, Fairbanks and Pickford placed their hand and footprints in wet cement at the newly opened Grauman's Chinese Theatre in Hollywood. (In the classic comedy "Blazing Saddles", Harvey Korman's villain character sees Fairbanks's prints at Grauman's and exclaims, "How did he do such fantastic stunts ... with such little feet?")


title: Douglas Fairbanks

text: Fairbanks was elected first President of the Motion Picture Academy of Arts and Sciences that same year, and he presented the first Academy Awards at the Roosevelt Hotel. Today, Fairbanks also has a star on the Hollywood Walk of Fame at 7020 Hollywood Boulevard.


title: Douglas Fairbanks

text: While Fairbanks had flourished in the silent genre, the restrictions of early sound films dulled his enthusiasm for film-making. His athletic abilities and general health also began to decline at this time, in part due to his years of chain-smoking. On March 29, 1928, at Pickford's bungalow, United Artists brought together Pickford, Fairbanks, Charlie Chaplin, Norma Talmadge, Gloria Swanson, John Barrymore, D. W. Griffith and Dolores del Río to speak on the radio show "The Dodge Brothers Hour" to prove Fairbanks could meet the challenge of talking movies.


title: Douglas Fairbanks

text: Fairbanks's last silent film was the lavish "The Iron Mask" (1929), a sequel to the 1921 release "The Three Musketeers". "The Iron Mask" included an introductory prologue spoken by Fairbanks. He and Pickford chose to make their first talkie as a joint venture, playing Petruchio and Kate in Shakespeare's "The Taming of the Shrew" (1929). This film, and his subsequent sound films, were poorly received by Depression-era audiences. The last film in which he acted was the British production "The Private Life of Don Juan" (1934), after which he retired from acting.


title: Douglas Fairbanks

text: Fairbanks and Pickford separated in 1933, after he began an affair with Sylvia, Lady Ashley. Pickford had also been seen in the company of a high-profile industrialist. They divorced in 1936, with Pickford keeping the Pickfair estate. Fairbanks and Ashley were married in Paris in March 1936.


title: Douglas Fairbanks

text: He continued to be marginally involved in the film industry and United Artists, but his later years lacked the intense focus of his film years. His health continued to decline. During his final years he lived at 705 Ocean Front (now Pacific Coast Highway) in Santa Monica, California, although much of his time was spent traveling abroad with his third wife, Lady Ashley.


title: Douglas Fairbanks

text: On December 12, 1939, Fairbanks suffered a heart attack. He died later that day at his home in Santa Monica at the age of 56. His last words were reportedly, "I've never felt better." His funeral service was held at the Wee Kirk o' the Heather Church in Glendale's Forest Lawn Memorial Park Cemetery where he was placed in a crypt in the Great Mausoleum.


title: Douglas Fairbanks

text: Two years following his death, he was removed from Forest Lawn by his widow, Sylvia, who commissioned an elaborate marble monument for him featuring a long rectangular reflecting pool, raised tomb, and classic Greek architecture in Hollywood Forever Cemetery in Los Angeles. The monument was dedicated in a ceremony held in October 1941, with Fairbanks's close friend Charlie Chaplin reading a remembrance. The remains of his son, Douglas Fairbanks Jr., were also interred there upon his death in May 2000.


title: Douglas Fairbanks

text: In 1998, a group of Fairbanks fans started the Douglas Fairbanks Museum in Austin, Texas. The museum building was temporarily closed for mold remediation and repairs in February 2010.


title: Douglas Fairbanks

text: In 2002, AMPAS opened the "Fairbanks Center for Motion Picture Study" located at 333 S. La Cienega Boulevard in Beverly Hills. The building houses the Margaret Herrick Library.


title: Douglas Fairbanks

text: On November 6, 2008, the Academy of Motion Picture Arts and Sciences celebrated the publication of their "Academy Imprints" book on Douglas Fairbanks, authored by film historian Jeffrey Vance, with the screening of a new restoration print of "The Gaucho" with Vance introducing the film.


title: Douglas Fairbanks

text: The following year, opening on January 24, 2009, AMPAS mounted a major Fairbanks exhibition at its Fourth Floor Gallery, titled "Douglas Fairbanks: The First King of Hollywood". The exhibit featured costumes, props, pictures and documents from his career and personal life. In addition to the exhibit, AMPAS screened "The Thief of Bagdad" and "The Iron Mask" in March 2009. Concurrently with the Academy's efforts, the Museum of Modern of Art held their first Fairbanks film retrospective in over six decades, titled "Laugh and Live: The Films of Douglas Fairbanks" which ran from December 17, 2008, to January 12, 2009. Vance opened the retrospective with a lecture and screening of the restoration print of "The Gaucho".


title: Douglas Fairbanks

text: Recently, due to his involvement with the USC Fencing Club, a bronze statue of Fairbanks was erected in the Academy of Motion Picture Arts & Sciences Courtyard of the new School of Cinematic Arts building on the University of Southern California campus. Fairbanks was a key figure in the film school's founding in 1929, and in its curriculum development.


title: Douglas Fairbanks

text: The 2011 film "The Artist" was loosely based on Fairbanks, with the film's lead portraying Zorro in a silent film featuring a scene from the Fairbanks version. While thanking the audience in 2012 for a Golden Globe award as Best Actor for his performance, actor Jean Dujardin added, "As Douglas Fairbanks would say", then moved his lips silently as a comedic homage. When Dujardin accepted the 2011 Academy Award for Best Actor in a Leading Role, Fairbanks was cited at length as the main inspiration for Dujardin's performance in "The Artist".


title: Douglas Fairbanks

text: "The Thief of Bagdad" was screened at the 2012 edition of the Turner Classic Movies Film Festival. On April 15, 2012, the festival concluded with a sold-out screening of the Fairbanks film held at the historic Egyptian Theatre in Hollywood. The evening was introduced by Vance and TCM host Ben Mankiewicz.


title: Douglas Fairbanks

text: The nickname for the sports teams of the University of California-Santa Barbara is 'The Gauchos' in honor of Fairbanks's acting in the eponymous film.


title: Basalt

text: Basalt (; ) is an aphanitic (fine-grained) extrusive igneous rock formed from the rapid cooling of low-viscosity lava rich in magnesium and iron (mafic lava) exposed at or very near the surface of a rocky planet or moon. More than 90% of all volcanic rock on Earth is basalt. Rapid-cooling, fine-grained basalt is chemically equivalent to slow-cooling, coarse-grained gabbro. The eruption of basalt lava is observed by geologists at about 20 volcanoes per year. Basalt is also an important rock type on other planetary bodies in the Solar System. For example, the bulk of the plains of Venus, which cover ~80% of the surface, are basaltic; the lunar maria are plains of flood-basaltic lava flows; and basalt is a common rock on the surface of Mars.


title: Basalt

text: Molten basalt lava has a low viscosity due to its relatively low silica content (between 45% and 52%), resulting in rapidly moving lava flows that can spread over great areas before cooling and solidifying. Flood basalts are thick sequences of many such flows that can cover hundreds of thousands of square kilometres and constitute the most voluminous of all volcanic formations.


title: Basalt

text: Basaltic magmas within Earth are thought to originate from the upper mantle. The chemistry of basalts thus provides clues to processes deep in Earth's interior.


title: Basalt

text: Geologists classify igneous rock by its mineral content whenever possible, with the relative volume percentages of quartz, alkali feldspar, plagioclase, and feldspathoid (QAPF) being particularly important. An aphanitic (fine-grained) igneous rock is classified as basalt when its QAPF fraction is composed of less than 10% feldspathoid and less than 20% quartz, with plagioclase making up at least 65% of its feldspar content. This places basalt in the basalt/andesite field of the QAPF diagram. Basalt is further distinguished from andesite by its silica content of under 52%.


title: Basalt

text: It is often not practical to determine the mineral composition of volcanic rocks, due to their very fine grain size, and geologists then classify the rocks chemically, with the total content of alkali metal oxides and silica (TAS) being particularly important. Basalt is then defined as volcanic rock with a content of 45% to 52% silica and not more than 5% alkali metal oxides. This places basalt in the B field of the TAS diagram. Such a composition is described as mafic.


title: Basalt

text: Basalt is usually dark grey to black in colour, due to its high content of augite or other dark-coloured pyroxene minerals, but can exhibit a wide range of shading. Some basalts are quite light-coloured due to a high content of plagioclase, and these are sometimes described as "leucobasalts". Lighter basalt can be difficult to distinguish from andesite, but a common rule of thumb, used in field research, is that basalt has a color index of 35 or greater.


title: Basalt

text: The physical properties of basalt reflect its relatively low silica content and typically high iron and magnesium content. The average density of basalt is 2.9 g/cm, compared with a typical density for granite of 2.7 g/cm. The viscosity of basaltic magma is relatively low, around 10 to 10 cP, although this is still many orders of magnitude higher than water (which has a viscosity of about 1 cP). The viscosity of basaltic magma is similar to that of ketchup.


title: Basalt

text: Basalt is often porphyritic, containing larger crystals (phenocrysts) formed prior to the extrusion that brought the magma to the surface, embedded in a finer-grained matrix. These phenocrysts usually are of augite, olivine, or a calcium-rich plagioclase, which have the highest melting temperatures of the typical minerals that can crystallize from the melt and are therefore the first to form solid crystals.


title: Basalt

text: Basalt often contains vesicles, formed when dissolved gases bubble out of the magma as it decompresses during its approach to the surface, and the erupted lava then solidifies before the gases can escape. When vesicles make up a substantial fraction of the volume of the rock, the rock is described as scoria.


title: Basalt

text: The term "basalt" is at times applied to shallow intrusive rocks with a composition typical of basalt, but rocks of this composition with a phaneritic (coarser) groundmass are more properly referred to as diabase (also called dolerite) or, when more coarse-grained (crystals over 2 mm across), as gabbro. Diabase and gabbro are thus the hypabyssal and plutonic equivalents of basalt.


title: Basalt

text: In the Hadean, Archean, and early Proterozoic eons of Earth's history, the chemistry of erupted magmas was significantly different from today's, due to immature crustal and asthenosphere differentiation. These ultramafic volcanic rocks, with silica (SiO) contents below 45% are usually classified as komatiites.


title: Basalt

text: The word "basalt" is ultimately derived from Late Latin "basaltes", a misspelling of Latin "basanites" "very hard stone", which was imported from Ancient Greek βασανίτης ("basanites"), from βάσανος ("basanos", "touchstone"). The modern petrological term "basalt" describing a particular composition of lava-derived rock, originates from its use by Georgius Agricola in 1546 in his work "De Natura Fossilium". Agricola applied "basalt" to the volcanic black rock beneath the Bishop of Meissen's Stolpen castle, believing it to be the same as the "basaniten" described by Pliny the Elder in AD 77 in "Naturalis Historiae".


title: Basalt

text: On Earth, most basalt forms by decompression melting of the mantle. The high pressure in the upper mantle (due to the weight of the overlying rock) raises the melting point of mantle rock, so that almost all of the upper mantle is solid. However, mantle rock is ductile (the solid rock slowly deforms under high stress). When tectonic forces cause hot mantle rock to creep upwards, the decrease of the pressure on the ascending rock can cause its melting point to drop enough for the rock to partially melt. This produces basaltic magma.


title: Basalt

text: Decompression melting can occur in a variety of tectonic settings. These include continental rifts zones, at mid-ocean ridges, above hotspots, and in back-arc basins. Basalt is also produced in subduction zones, where mantle rock rises into a mantle wedge above the descending slab. Decompression melting in this setting is enhanced by further lowering of the melting point by water vapor and other volatiles released from the slab. Each such setting produces basalt with distinctive characteristics.


title: Basalt

text: The mineralogy of basalt is characterized by a preponderance of calcic plagioclase feldspar and pyroxene. Olivine can also be a significant constituent. Accessory minerals present in relatively minor amounts include iron oxides and iron-titanium oxides, such as magnetite, ulvöspinel, and ilmenite. Because of the presence of such oxide minerals, basalt can acquire strong magnetic signatures as it cools, and paleomagnetic studies have made extensive use of basalt.


title: Basalt

text: In tholeiitic basalt, pyroxene (augite and orthopyroxene or pigeonite) and calcium-rich plagioclase are common phenocryst minerals. Olivine may also be a phenocryst, and when present, may have rims of pigeonite. The groundmass contains interstitial quartz or tridymite or cristobalite. "Olivine tholeiitic basalt" has augite and orthopyroxene or pigeonite with abundant olivine, but olivine may have rims of pyroxene and is unlikely to be present in the groundmass.


title: Basalt

text: Alkali basalts typically have mineral assemblages that lack orthopyroxene but contain olivine. Feldspar phenocrysts typically are labradorite to andesine in composition. Augite is rich in titanium compared to augite in tholeiitic basalt. Minerals such as alkali feldspar, leucite, nepheline, sodalite, phlogopite mica, and apatite may be present in the groundmass.


title: Basalt

text: Basalt has high liquidus and solidus temperatures—values at the Earth's surface are near or above 1200 °C (liquidus) and near or below 1000 °C (solidus); these values are higher than those of other common igneous rocks.


title: Basalt

text: The majority of tholeiitic basalts are formed at approximately 50–100 km depth within the mantle. Many alkali basalts may be formed at greater depths, perhaps as deep as 150–200 km. The origin of high-alumina basalt continues to be controversial, with disagreement over whether it is a primary melt or derived from other basalt types by fractionation.


title: Basalt

text: Relative to most common igneous rocks, basalt compositions are rich in MgO and CaO and low in SiO and the alkali oxides, i.e., NaO + KO, consistent with their TAS classification. Basalt contains more silica than picrobasalt and most basanites and tephrites but less than basaltic andesite. Basalt has a lower total content of alkali oxides than trachybasalt and most basanites and tephrites.


title: Basalt

text: Basalt generally has a composition of 45–52 wt% SiO, 2–5 wt% total alkalis, 0.5–2.0 wt% TiO, 5–14 wt% FeO and 14 wt% or more AlO. Contents of CaO are commonly near 10 wt%, those of MgO commonly in the range 5 to 12 wt%.


title: Basalt

text: High-alumina basalts have aluminium contents of 17–19 wt% AlO; boninites have magnesium (MgO) contents of up to 15 percent. Rare feldspathoid-rich mafic rocks, akin to alkali basalts, may have NaO + KO contents of 12% or more.


title: Basalt

text: The abundances of the lanthanide or rare-earth elements (REE) can be a useful diagnostic tool to help explain the history of mineral crystallisation as the melt cooled. In particular, the relative abundance of europium compared to the other REE is often markedly higher or lower, and called the europium anomaly. It arises because Eu can substitute for Ca in plagioclase feldspar, unlike any of the other lanthanides, which tend to only form cations.


title: Basalt

text: Mid-ocean ridge basalts (MORB) and their intrusive equivalents, gabbros, are the characteristic igneous rocks formed at mid-ocean ridges. They are tholeiitic basalts particularly low in total alkalis and in incompatible trace elements, and they have relatively flat REE patterns normalized to mantle or chondrite values. In contrast, alkali basalts have normalized patterns highly enriched in the light REE, and with greater abundances of the REE and of other incompatible elements. Because MORB basalt is considered a key to understanding plate tectonics, its compositions have been much studied. Although MORB compositions are distinctive relative to average compositions of basalts erupted in other environments, they are not uniform. For instance, compositions change with position along the Mid-Atlantic Ridge, and the compositions also define different ranges in different ocean basins. Mid-ocean ridge basalts have been subdivided into varieties such as normal (NMORB) and those slightly more enriched in incompatible elements (EMORB).


title: Basalt

text: Isotope ratios of elements such as strontium, neodymium, lead, hafnium, and osmium in basalts have been much studied to learn about the evolution of the Earth's mantle. Isotopic ratios of noble gases, such as He/He, are also of great value: for instance, ratios for basalts range from 6 to 10 for mid-ocean ridge tholeiitic basalt (normalized to atmospheric values), but to 15–24 and more for ocean-island basalts thought to be derived from mantle plumes.


title: Basalt

text: Source rocks for the partial melts that produce basaltic magma probably include both peridotite and pyroxenite.


title: Basalt

text: The shape, structure and texture of a basalt is diagnostic of how and where it erupted—for example, whether into the sea, in an explosive cinder eruption or as creeping pāhoehoe lava flows, the classic image of Hawaiian basalt eruptions.


title: Basalt

text: Basalt that erupts under open air (that is, subaerially) forms three distinct types of lava or volcanic deposits: scoria; ash or cinder (breccia); and lava flows.


title: Basalt

text: Basalt in the tops of subaerial lava flows and cinder cones will often be highly vesiculated, imparting a lightweight "frothy" texture to the rock. Basaltic cinders are often red, coloured by oxidized iron from weathered iron-rich minerals such as pyroxene.


title: Basalt

text: Aā types of blocky cinder and breccia flows of thick, viscous basaltic lava are common in Hawaii. Pāhoehoe is a highly fluid, hot form of basalt which tends to form thin aprons of molten lava which fill up hollows and sometimes forms lava lakes. Lava tubes are common features of pāhoehoe eruptions.


title: Basalt

text: Basaltic tuff or pyroclastic rocks are less common than basaltic lava flows. Usually basalt is too hot and fluid to build up sufficient pressure to form explosive lava eruptions but occasionally this will happen by trapping of the lava within the volcanic throat and buildup of volcanic gases. Hawaii's Mauna Loa volcano erupted in this way in the 19th century, as did Mount Tarawera, New Zealand in its violent 1886 eruption. Maar volcanoes are typical of small basalt tuffs, formed by explosive eruption of basalt through the crust, forming an apron of mixed basalt and wall rock breccia and a fan of basalt tuff further out from the volcano.


title: Basalt

text: Amygdaloidal structure is common in relict vesicles and beautifully crystallized species of zeolites, quartz or calcite are frequently found.


title: Basalt

text: During the cooling of a thick lava flow, contractional joints or fractures form. If a flow cools relatively rapidly, significant contraction forces build up. While a flow can shrink in the vertical dimension without fracturing, it cannot easily accommodate shrinking in the horizontal direction unless cracks form; the extensive fracture network that develops results in the formation of columns. These structures are predominantly hexagonal in cross-section, but polygons with three to twelve or more sides can be observed. The size of the columns depends loosely on the rate of cooling; very rapid cooling may result in very small (<1 cm diameter) columns, while slow cooling is more likely to produce large columns.


title: Basalt

text: The character of submarine basalt eruptions is largely determined by depth of water, since increased pressure restricts the release of volatile gases and results in effusive eruptions. It has been estimated that at depths greater than , explosive activity associated with basaltic magma is suppressed. Above this depth, submarine eruptions are often explosive, tending to produce pyroclastic rock rather than basalt flows. These eruptions, described as Surtseyan, are characterised by large quantities of steam and gas and the creation of large amounts of pumice.


title: Basalt

text: When basalt erupts underwater or flows into the sea, contact with the water quenches the surface and the lava forms a distinctive "pillow" shape, through which the hot lava breaks to form another pillow. This "pillow" texture is very common in underwater basaltic flows and is diagnostic of an underwater eruption environment when found in ancient rocks. Pillows typically consist of a fine-grained core with a glassy crust and have radial jointing. The size of individual pillows varies from 10 cm up to several metres.


title: Basalt

text: When "pāhoehoe" lava enters the sea it usually forms pillow basalts. However, when "aā" enters the ocean it forms a littoral cone, a small cone-shaped accumulation of tuffaceous debris formed when the blocky "aā" lava enters the water and explodes from built-up steam.


title: Basalt

text: The island of Surtsey in the Atlantic Ocean is a basalt volcano which breached the ocean surface in 1963. The initial phase of Surtsey's eruption was highly explosive, as the magma was quite fluid, causing the rock to be blown apart by the boiling steam to form a tuff and cinder cone. This has subsequently moved to a typical pāhoehoe-type behaviour.


title: Basalt

text: Volcanic glass may be present, particularly as rinds on rapidly chilled surfaces of lava flows, and is commonly (but not exclusively) associated with underwater eruptions.


title: Basalt

text: Basalt is the most common volcanic rock type on Earth, making up over 90% of all volcanic rock on the planet. The crustal portions of oceanic tectonic plates are composed predominantly of basalt, produced from upwelling mantle below the ocean ridges. Basalt is also the principal volcanic rock in many oceanic islands, including the islands of Hawaii, the Faroe Islands, and Réunion. The eruption of basalt lava is observed by geologists at about 20 volcanoes per year.


title: Basalt

text: Basalt is the rock most typical of large igneous provinces. These include continental flood basalts, the most voluminous basalts found on land. Examples of continental flood basalts included the Deccan Traps in India, the Chilcotin Group in British Columbia, Canada, the Paraná Traps in Brazil, the Siberian Traps in Russia, the Karoo flood basalt province in South Africa, and the Columbia River Plateau of Washington and Oregon.


title: Basalt

text: Ancient Precambrian basalts are usually only found in fold and thrust belts, and are often heavily metamorphosed. These are known as greenstone belts, because low-grade metamorphism of basalt produces chlorite, actinolite, epidote and other green minerals.


title: Basalt

text: As well as forming large parts of the Earth's crust, basalt also occurs in other parts of the Solar System. Basalt commonly erupts on Io (the third largest moon of Jupiter), and has also formed on the Moon, Mars, Venus, and the asteroid Vesta.


title: Basalt

text: The dark areas visible on Earth's moon, the lunar maria, are plains of flood basaltic lava flows. These rocks were sampled both by the crewed American Apollo program and the robotic Russian Luna program, and are represented among the lunar meteorites.


title: Basalt

text: Lunar basalts differ from their Earth counterparts principally in their high iron contents, which typically range from about 17 to 22 wt% FeO. They also possess a wide range of titanium concentrations (present in the mineral ilmenite), ranging from less than 1 wt% TiO, to about 13 wt.%. Traditionally, lunar basalts have been classified according to their titanium content, with classes being named high-Ti, low-Ti, and very-low-Ti. Nevertheless, global geochemical maps of titanium obtained from the Clementine mission demonstrate that the lunar maria possess a continuum of titanium concentrations, and that the highest concentrations are the least abundant.


title: Basalt

text: Lunar basalts show exotic textures and mineralogy, particularly shock metamorphism, lack of the oxidation typical of terrestrial basalts, and a complete lack of hydration. Most of the Moon's basalts erupted between about 3 and 3.5 billion years ago, but the oldest samples are 4.2 billion years old, and the youngest flows, based on the age dating method of crater counting, are estimated to have erupted only 1.2 billion years ago.


title: Basalt

text: From 1972 to 1985, five Venera and two VEGA landers successfully reached the surface of Venus and carried out geochemical measurements using X-ray fluorescence and gamma-ray analysis. These returned results consistent with the rock at the landing sites being basalts, including both tholeiitic and highly alkaline basalts. The landers are thought to have landed on plains whose radar signature is that of basaltic lava flows. These constitute about 80% of the surface of Venus. Some locations show high reflectivity consistent with unweathered basalt, indicating basaltic volcanism within the last 2.5 million years.


title: Basalt

text: Basalt is also a common rock on the surface of Mars, as determined by data sent back from the planet's surface, and by Martian meteorites.


title: Basalt

text: Analysis of Hubble Space Telescope images of Vesta suggests this asteroid has a basaltic crust covered with a brecciated regolith derived from the crust. Evidence from Earth-based telescopes and the Dawn mission suggest that Vesta is the source of the HED meteorites, which have basaltic characteristics. Vesta is the main contributor to the inventory of basaltic asteroids of the main Asteroid Belt.


title: Basalt

text: Lava flows represent a major volcanic terrain on Io. Analysis of the "Voyager" images led scientists to believe that these flows were composed mostly of various compounds of molten sulfur. However, subsequent Earth-based infrared studies and measurements from the "Galileo" spacecraft indicate that these flows are composed of basaltic lava with mafic to ultramafic compositions. This conclusion is based on temperature measurements of Io's "hotspots", or thermal-emission locations, which suggest temperatures of at least 1,300 K and some as high as 1,600 K. Initial estimates suggesting eruption temperatures approaching 2,000 K have since proven to be overestimates because the wrong thermal models were used to model the temperatures.


title: Basalt

text: Compared to granitic rocks exposed at the Earth's surface, basalt outcrops weather relatively rapidly. This reflects their content of minerals that crystallized at higher temperatures and in an environment poorer in water vapor than granite. These minerals are less stable in the colder, wetter environment at the Earth's surface. The finer grain size of basalt and the volcanic glass sometimes found between the grains also hasten weathering. The high iron content of basalt causes weathered surfaces in humid climates to accumulate a thick crust of hematite or other iron oxides and hydroxides, staining the rock a brown to rust-red colour. Because of the low potassium content of most basalts, weathering converts the basalt to calcium-rich clay (montmorillonite) rather than potassium-rich clay (illite). Further weathering, particularly in tropical climates, converts the montmorillonite to kaolinite or gibbsite. This produces the distinctive tropical soil known as laterite. The ultimate weathering product is bauxite, the principal ore of aluminium.


title: Basalt

text: Chemical weathering also releases readily water-soluble cations such as calcium, sodium and magnesium, which give basaltic areas a strong buffer capacity against acidification. Calcium released by basalts binds CO from the atmosphere forming CaCO acting thus as a CO trap.


title: Basalt

text: Intense heat or great pressure transforms basalt into its metamorphic rock equivalents. Depending on the temperature and pressure of metamorphism, these may include greenschist, amphibolite, or eclogite. Basalts are important rocks within metamorphic regions because they can provide vital information on the conditions of metamorphism that have affected the region.


title: Basalt

text: Metamorphosed basalts are important hosts for a variety of hydrothermal ores, including deposits of gold, copper and volcanogenic massive sulfides.


title: Basalt

text: The common corrosion features of underwater volcanic basalt suggest that microbial activity may play a significant role in the chemical exchange between basaltic rocks and seawater. The significant amounts of reduced iron, Fe(II), and manganese, Mn(II), present in basaltic rocks provide potential energy sources for bacteria. Some Fe(II)-oxidizing bacteria cultured from iron-sulfide surfaces are also able to grow with basaltic rock as a source of Fe(II). Fe- and Mn- oxidizing bacteria have been cultured from weathered submarine basalts of Kamaʻehuakanaloa Seamount (formerly Loihi). The impact of bacteria on altering the chemical composition of basaltic glass (and thus, the oceanic crust) and seawater suggest that these interactions may lead to an application of hydrothermal vents to the origin of life.


title: Basalt

text: Basalt is used in construction (e.g. as building blocks or in the groundwork), making cobblestones (from columnar basalt) and in making statues. Heating and extruding basalt yields stone wool, which has potential to be an excellent thermal insulator.


title: Basalt

text: Carbon sequestration in basalt has been studied as a means of removing carbon dioxide, produced by human industrialization, from the atmosphere. Underwater basalt deposits, scattered in seas around the globe, have the added benefit of the water serving as a barrier to the re-release of CO into the atmosphere.


title: Cousin marriage law in the United States

text: Cousin marriage laws in the United States vary considerably from one state to another, ranging from cousin marriages being legal in some to being a criminal offense in others. However, even in the states where it is legal, the practice is not widespread. (See Incidence.)


text: Several states of the United States prohibit cousin marriage. , 24 U.S. states prohibit marriages between first cousins, 19 U.S. states allow marriages between first cousins, and seven U.S. states allow only some marriages between first cousins. Six states prohibit first-cousin-once-removed marriages. Some states prohibiting cousin marriage recognize cousin marriages performed in other states, but despite occasional claims that this holds true in general, laws also exist that explicitly void all foreign cousin marriages or marriages conducted by state residents out of state.


text: Data on cousin marriage in the United States is sparse. It was estimated in 1960 that 0.2% of all marriages between Roman Catholics were between first or second cousins, but no more recent nationwide studies have been performed. It is unknown what proportion of that number were first cousins, which is the group facing marriage bans.


text: While recent studies have cast serious doubt on whether cousin marriage is as dangerous as is popularly assumed, professors Diane B. Paul and Hamish G. Spencer speculate that legal bans persist in part due to "the ease with which a handful of highly motivated activists — or even one individual — can be effective in the decentralized American system, especially when feelings do not run high on the other side of an issue."


text: Cousin marriage was legal in all states before the Civil War. Anthropologist Martin Ottenheimer argues that marriage prohibitions were introduced to maintain the social order, uphold religious morality, and safeguard the creation of fit offspring. Writers such as Noah Webster (1758–1843) and ministers like Philip Milledoler (1775–1852) and Joshua McIlvaine helped lay the groundwork for such viewpoints well before 1860. This led to a gradual shift in concern from affinal unions, like those between a man and his deceased wife's sister, to consanguineous unions. By the 1870s, Lewis Henry Morgan (1818–1881) was writing about "the advantages of marriages between unrelated persons" and the necessity of avoiding "the evils of consanguine marriage", avoidance of which would "increase the vigor of the stock". To many, Morgan included, cousin marriage, and more specifically parallel-cousin marriage was a remnant of a more primitive stage of human social organization. Morgan himself had married his cousin in 1853.


text: In 1846, Massachusetts Governor George N. Briggs appointed a commission to study mentally handicapped people (termed "idiots") in the state. This study implicated cousin marriage as responsible for idiocy. Within the next two decades, numerous reports (e.g., one from the Kentucky Deaf and Dumb Asylum) appeared with similar conclusions: that cousin marriage sometimes resulted in deafness, blindness, and idiocy. Perhaps most important was the report of physician Samuel Merrifield Bemiss for the American Medical Association, which concluded cousin inbreeding does lead to the "physical and mental deprivation of the offspring". Despite being contradicted by other studies like those of George Darwin and Alan Huth in England and Robert Newman in New York, the report's conclusions were widely accepted.


text: These developments led to thirteen states and territories passing cousin marriage prohibitions by the 1880s. Though contemporaneous, the eugenics movement did not play much of a direct role in the bans. George Louis Arner in 1908 considered the ban a clumsy and ineffective method of eugenics, which he thought would eventually be replaced by more refined techniques. By the 1920s, the number of bans had doubled. Since that time, Kentucky (1943) and Texas have banned first-cousin marriage and since 1985, Maine has mandated genetic counseling for marrying cousins to minimise risk to any serious health defect to their children. The National Conference of Commissioners on Uniform State Laws unanimously recommended in 1970 that all such laws should be repealed, but no state has dropped its prohibition.


text: A bill to repeal the ban on first-cousin marriage in Minnesota was introduced by Phyllis Kahn in 2003, but it died in committee. Republican Minority Leader Marty Seifert criticized the bill in response, saying it would "turn us into a cold Arkansas". According to the University of Minnesota's "The Wake", Kahn was aware the bill had little chance of passing but introduced it anyway to draw attention to the issue. She reportedly got the idea after learning that cousin marriage is an acceptable form of marriage among some cultural groups that have a strong presence in Minnesota, namely the Hmong and Somali.


text: In contrast, Maryland delegates Henry B. Heller and Kumar P. Barve sponsored a bill to ban first-cousin marriages in 2000. It got further than Kahn's bill, passing the House of Delegates by 82 to 46 despite most Republicans voting no, but finally died in the state senate. In response to the 2005 marriage of Pennsylvanian first cousins Eleanor Amrhein and Donald W. Andrews Sr. in Maryland, Heller said that he might resurrect the bill because such marriages are "like playing genetic roulette".


text: Texas did pass a ban on first-cousin marriage the same year as Amrhein and Andrews married, evidently in reaction to the presence of the polygamous Fundamentalist Church of Jesus Christ of Latter-Day Saints (FLDS). Texas Representative Harvey Hilderbran, whose district includes the main FLDS compound, authored an amendment to a child protection statute to both discourage the FLDS from settling in Texas and to "prevent Texas from succumbing to the practices of taking child brides, incest, welfare abuse, and domestic violence". While Hilderbran stated that he would not have authored a bill solely to ban first-cousin marriage, he also said in an interview, "Cousins don't get married just like siblings don't get married. And when it happens you have a bad result. It's just not the accepted normal thing."


text: Some news sources then only mentioned the polygamy and child abuse provisions and ignored the cousin marriage portion of the bill, as did some more recent sources. The new statute made sex with an adult first cousin a more serious felony than with adult members of one's immediate family. However, this statute was amended in 2009; while sex with close adult family members (including first cousins) remains a felony, the more serious penalty now attaches to sex with an individual's direct ancestor or descendant.


text: The U.S. state of Maine allows first-cousin marriage if the couple agrees to have genetic counseling, while North Carolina allows it so long as the applicants for marriage are not rare double first cousins, meaning cousins through both parental lines. In the other 25 states permitting at least some first-cousin marriage, double cousins are not distinguished.


text: States have various laws regarding marriage between cousins and other close relatives, which involve factors including whether or not the parties to the marriage are half-cousins, double cousins, infertile, over 65, or whether it is a tradition prevalent in a native or ancestry culture, adoption status, in-law, whether or not genetic counselling is required, and whether it is permitted to marry a first cousin once removed.


title: Sally Kellerman

text: Sally Clare Kellerman (June 2, 1937 – February 24, 2022) was an American actress and singer whose acting career spanned 60 years. Her role as Major Margaret "Hot Lips" Houlihan in Robert Altman's film "M*A*S*H" (1970) earned her an Oscar nomination for Best Actress in a Supporting Role. After "M*A*S*H", she appeared in a number of the director's projects, namely the films "Brewster McCloud" (1970), "Welcome to L.A." (1976) (produced by Altman, directed by his protégé, Alan Rudolph), "The Player" (1992), and "Prêt-à-Porter" (1994), and the short-lived anthology TV series "Gun" (1997). In addition to her work with Altman, Kellerman appeared in films such as "Last of the Red Hot Lovers" (1972), "Back to School" (1986), plus many television series such as "The Twilight Zone" (1963), "The Outer Limits" (1963 & 1965), "" (1966), "Bonanza" (1966, 1970), "The Minor Accomplishments of Jackie Woodman" (2006), "90210" (2008), "Chemistry" (2011), and "Maron" (2013). She also voiced Miss Finch in "" (1985), which went on to become one of her most significant voice roles.


title: Sally Kellerman

text: At age 18, Kellerman signed a recording contract with Verve Records, but her first album ("Roll with the Feelin" on the Decca label) was not recorded until 1972. A second album "Sally" was released in 2009. Kellerman also contributed songs to the soundtracks for "Brewster McCloud" (1970), "Lost Horizon" (1973), "Rafferty and the Gold Dust Twins" (1975), and "" (1992).


title: Sally Kellerman

text: Kellerman did commercial voiceover work for Hidden Valley Ranch salad dressing, Mercedes-Benz, and Revlon. Kellerman's animation work included "The Mouse and His Child" (1977), "Happily Ever After" (1990), "Dinosaurs" (1992), "Unsupervised" (2012), and "The High Fructose Adventures of Annoying Orange" (2013). In 2013, she released her memoir "Read My Lips: Stories of a Hollywood Life", describing her trials and tribulations in the entertainment business.


title: Sally Kellerman

text: Kellerman was born in Long Beach, California, on June 2, 1937 to Edith Baine (née Vaughn), a piano teacher from Portland, Arkansas, and John Helm "Jack" Kellerman, a Shell Oil executive from St. Louis, Missouri. She had an older sister, Diana Dean Kellerman. Her younger sister, Victoria Vaughn Kellerman, died in infancy. Edith was a Christian Scientist and raised her daughters in this faith.


title: Sally Kellerman

text: When Kellerman was in fifth grade, the family moved from Long Beach to the San Fernando Valley. She spent her early life in then-rural Granada Hills in a largely unpopulated area surrounded by orange and eucalyptus groves. During her sophomore year of high school, the Kellermans moved from San Fernando to Park La Brea, Los Angeles, where she attended Hollywood High School. She grew to stand 5'10 1/2" (179.07 cms). Due to her shyness, she made few friends and received poor grades (except in choir and physical education) but appeared in a school production of "Meet Me in St. Louis".


title: Sally Kellerman

text: With the help of a high-school friend, Kellerman submitted a recording demo to Verve Records founder and head Norman Granz. After signing a contract with Verve, however, she was daunted by the task of becoming a recording artist and walked away.


title: Sally Kellerman

text: Kellerman attended Los Angeles City College, and also enrolled in Jeff Corey's acting class. Within a year, she appeared in a production of John Osborne's "Look Back in Anger" staged by Corey and featuring classmates Shirley Knight, Jack Nicholson, Dean Stockwell, and Robert Blake. Towards the end of the 1950s, Kellerman joined the newly opened Actors Studio West and debuted before the camera in the film, "Reform School Girl" (1957). To pay her tuition, Kellerman worked as a waitress at Chez Paulette.


title: Sally Kellerman

text: Kellerman made a number of television-series appearances. She was in an episode of the western "Cheyenne", as well as a role as a waitress in the John Forsythe sitcom "Bachelor Father". Struggling for parts in television and films, Kellerman acted on stage. She debuted in Henrik Ibsen's "An Enemy of the People", followed by parts in a Pasadena Playhouse production of Leslie Stevens's "The Marriage-Go-Round" and Michael Shurtleff's "Call Me by My Rightful Name" (1962).


title: Sally Kellerman

text: Kellerman appeared in two episodes of "The Outer Limits". First in 1963 in the episode The Human Factor, and again in 1965 when she played Judith Bellero, the manipulative and ruthless wife of Richard Bellero (played by Martin Landau), in the episode titled "The Bellero Shield". A role as Holly Mitchell, perverted mistress of George Peppard's character in "The Third Day" (1965), followed. She played leading lady to David Niven in his television series "The Rogues" in 1965 for an episode titled "God Bless You, G. Carter Huntington" which revolved around her striking beauty to a large degree, and appeared in a 1965 "Alfred Hitchcock Hour" episode titled "Thou Still Unravished Bride."


title: Sally Kellerman

text: A year later, she played psychiatrist Elizabeth Dehner (who studied the long-term effects of space on a crew) in "Where No Man Has Gone Before", the second pilot for "". Three months after that, Kellerman played Mag Wildwood in the original Broadway production of "Breakfast at Tiffany's", directed by Joseph Anthony and produced by David Merrick, which closed after four preview performances. Before the closing the musical numbers were recorded live, and she recorded three songs which appeared on the original cast recording.


title: Sally Kellerman

text: Near the end of the decade, Kellerman guest-starred in "The Invaders" in the episode "Labyrinth" (1968). She also had turns as the severely beaten (and only surviving) victim of Albert DeSalvo in "the Boston Strangler" (1968), and Phyllis Brubaker (Jack Lemmon's materialistic wife) in the romantic comedy "The April Fools" (1969). She turned down a role in Paul Mazursky's "Bob & Carol & Ted & Alice" (1969). She played Eleanor in the "Hawaii Five-O" episode "The Big Kahuna" (1969).


title: Sally Kellerman

text: In a 1971 "Life" magazine interview, Kellerman remembered her television years: "It took me eight years to get into TV — and six years to get out. Frigid women, alcoholics they gave me. I got beat up, raped, and never played comedy."


title: Sally Kellerman

text: Kellerman received her breakthrough role (Major Margaret "Hot Lips" Houlihan in Robert Altman's "M*A*S*H") in 1970. Her performance received Academy Award and Golden Globe nominations, winning the Kansas City Film Critics Circle (KCFCC) Award for Best Supporting Actress, the Golden Laurel for Best Comedy Performance (Female), and a second-place National Society of Film Critics (NSFC) Award for Best Supporting Actress. Kellerman was featured in "Life" magazine. She again collaborated with Altman in "Brewster McCloud" as Louise, guardian angel to Bud Cort, and recorded "Rock-a-Bye Baby" for the film's soundtrack.


title: Sally Kellerman

text: Her next role was as a hostile, chain-smoking, sex-addicted woman who was trying to have an afternoon affair with Alan Arkin's character in Gene Saks' film adaptation of Neil Simon's comedy "Last of the Red Hot Lovers" (1972). In Manhattan after the film, Kellerman declined an offer for a ten-page spread in "Vogue" from the then editor-in-chief Grace Mirabella. When she turned down the part of Linda Rogo in "The Poseidon Adventure" (1972), Stella Stevens got the role. Shortly afterwards she recorded her first demo with Lou Adler, and "Roll with the Feelin" for Decca Records with producer-arranger Gene Paige. After filming "Last of the Red Hot Lovers", Kellerman passed up a role in another Altman film:


title: Sally Kellerman

text: Kellerman's next roles included as a woman involved in a deadly plot in the slasher film "A Reflection of Fear" (1972); an eccentric woman in the road movie "Slither" opposite James Caan (1973), and a tormented journalist in Charles Jarrott's musical remake of Frank Capra's "Lost Horizon" (also contributing to the latter's soundtrack). Two years later, she played Mackinley Beachwood in Dick Richards' "Rafferty and the Gold Dust Twins" (1975), one of two women who kidnap driving instructor—and former United States Marine Corps gunnery sergeant—Rafferty (Alan Arkin), also singing "Honky Tonk Angels".


title: Sally Kellerman

text: In October 1975, Kellerman sang at Reno Sweeney, and performed two shows nightly at the Rainbow Grill from November 25 to December 14. Her next appearance was as Sybil Crane (a woman in the midst of a divorce) in "The Big Bus", a parody of disaster films, followed by a role as a lonely real estate agent in the Alan Rudolph-directed and Altman-produced "Welcome to L.A." (both 1976). The next year, Kellerman appeared in a week-long run of cabaret concerts beginning at the Grand Finale club on May 2. Songs that evening included versions of Leon Russell and Betty Everett hits.


title: Sally Kellerman

text: At the end of the decade, Kellerman's roles included Maureen, a veteran vaudevillian, in "" (1978); Veronica Sterling, a party-addicted socialite, in the made-for-television film "She'll Be Sweet" (1978); and Lise Bockweiss—one of several wives of Pasquinel (Robert Conrad) and daughter of Herman Bockweiss (Raymond Burr)—in the 12-episode miniseries "Centennial" (1978–1979). Kellerman played Kay King, the pretentious and kooky mother of a lovelorn daughter (Diane Lane), in George Roy Hill's "A Little Romance" (1979).


title: Sally Kellerman

text: Kellerman began the decade as Mary, a divorced middle-aged suburban mother struggling to raise her rebellious daughter (Jodie Foster) in Adrian Lyne's "Foxes" (1980); Martha, a six-times-married eccentric, in Bill Persky's "Serial", and the silly-but-sophisticated Mrs. Liggett in Jack Smight's "Loving Couples". Her later roles included Mary, a child psychiatrist in a sadomasochistic relationship with a psychology professor (Stephen Lackman) after they meet by accident (literally) in Michael Grant's "Head On", and a 1920s socialite in Kirk Browning's made-for-television film adaptation of Dorothy Parker's 1929 short story "Big Blonde" (both 1980). From October 3 to November 15, 1980, Kellerman starred as Julia Seton in an Ahmanson Theatre production of Philip Barry's "Holiday" (directed by Robert Allan Ackerman) with Kevin Kline, Maurice Evans, and Marisa Berenson.


title: Sally Kellerman

text: On February 7, 1981, Kellerman hosted "Saturday Night Live", appearing in four sketches ("Monologue", "The Audition", "Was I Ever Red", and "Lean Acres") and closing the show with Donna Summer's "Starting Over Again". Kellerman's next performances were in made-for-television films. She played the title character's first wife, Maxine Cates, in "Dempsey" and a honky-tonk dance-hall proprietress in "September Gun". That year she also appeared in a stage production, Tom Eyen's R-rated spoof of 1940s women's prison films "Women Behind Bars". Kellerman played Gloria, a tough inmate who controls the other prisoners.


title: Sally Kellerman

text: Her next roles were a KGB-training-school warden in the made-for-television film, "Secret Weapons" (1985); the sadomasochistic Judge Nedra Henderson in "Moving Violations" (1985); Rodney Dangerfield's love interest in Alan Metter's comedy "Back to School" (1986); Julie Andrews' and Jack Lemmon's eccentric neighbor in Blake Edwards' "That's Life" (1986); a porn star trying to get into heaven in "" (1986); Kerri Green's mother in "Three for the Road" (1987), and an actress in Henry Jaglom's "Someone to Love". Late in the decade, Kellerman planned to release her second album, which would have included "It's Good to Be Bad, It's Bad to Be Good" from 1992's "" (which she produced and starred in as Natasha Fatale); however, the album never was released.


title: Sally Kellerman

text: In 1992, there was a fourth collaboration between Kellerman and Altman in "The Player", in which she appeared as herself. Supporting roles followed in Percy Adlon's "Younger and Younger" (1993), "Murder She Wrote" (1993) and "Mirror, Mirror II: Raven Dance" (1994), the sequel of the Yvonne De Carlo and Karen Black horror film "Mirror, Mirror". The actress appeared in another Altman film, "Prêt-à-Porter" (1994), as Sissy Wanamaker, editor-in-chief of "Harper's Bazaar", with Tracey Ullman and Linda Hunt. During filming, Altman flew Kellerman and co-star Lauren Bacall from Paris for his tribute at Lincoln Center. From April 18 to May 21, 1995, Kellerman played the title role in the Maltz Jupiter Theatre production of "Mame". Around this time, Kellerman appeared in back-to-back plays in Boston and Edmonton. In Boston, she played Martha in the Hasty Pudding Theatricals production of "Who's Afraid of Virginia Woolf?", and starred as Mary Jane Dankworth in a two-month, two-character production of "Lay of the Land" with Michael Hogan in Edmonton. That year Kellerman planned to release her second album, "Something Kool", featuring songs from the 1950s.


title: Sally Kellerman

text: In 1996, Kellerman played a calculating sister in an episode of "The Naked Truth", "Sister in Sex Triangle with Gazillionaire!" A year later, she collaborated with Altman for the last time in "All the President's Women", an episode of the director's TV series "Gun". The actress then co-produced and reprised her Canadian stage role in a film version of "The Lay of the Land".


title: Sally Kellerman

text: In 1997, Kellerman was scheduled to play the title role in "Mrs. Scrooge: A Slightly Different Christmas Carol", a made-for-TV film version of Charles Dickens' novella. In the film, Mrs. Scrooge is a homophobic widow whose late partner (Jacob Marley) and three other spirits awaken her to the reality of AIDS. Although it was never released, the actress told a reporter for "The Advocate" why the project was more personal than professional: "My sister’s gay—and was gay before it was popular... My sister is a very loving person. So is her girlfriend. And my daughter is an amazing woman. They’re all heroic in my book."


title: Sally Kellerman

text: Kellerman appeared in the 1998 "Columbo" episode "Ashes to Ashes". On June 10, 1999, Kellerman joined actresses Kathleen Turner and Beverly Peele in a Planned Parenthood press conference supporting a proposed law introduced to the U.S. Congress.


title: Sally Kellerman

text: At the beginning of the century, Kellerman appeared in Canon Theatre's production of Eve Ensler's "The Vagina Monologues" with Teri Hatcher and Regina Taylor.


title: Sally Kellerman

text: This was followed by a cabaret show at Feinstein's at the Regency, which opened with Helen Reddy's "I Am Woman". Other songs ranged from Barbra Streisand's "The Way We Were" to "We Shall Overcome" and "America the Beautiful". In March 2002, Kellerman performed in Los Angeles' "What a Pair", a benefit for breast cancer research, joining singer-songwriter Julia Fordham for "Why Can't I". That year, the actress also played protagonist Judge Marcia Blackwell in the made-for-television film "Verdict in Blood". This was followed by another cabaret show, produced by Hal David, at the Palmdale Playhouse. Songs included Etta James' "Sunday Kind of Love" and "Long Way From St. Louis". An album ("Body Parts") was planned, but never released.


title: Sally Kellerman

text: In the summer of 2004, Kellerman played host Madame ZinZanni in "Teatro ZinZanni". That year she also received the Susan B. Anthony "Failure is Impossible" Award, honoring women in the film industry who have overcome adversity, at the High Falls Film Festival. Kellerman returned to the stage for a second "What a Pair" concert, joining actress Lauren Frost for "I'm Past My Prime". The next year, she played Dolores Montoya in Blank Theatre Company's Los Angeles revival of "The Wild Party", followed by the sexually-provocative Sandy in Susan Seidelman's "Boynton Beach Club". Kellerman sang Cole Porter's "My Heart Belongs to Daddy" with actress, singer and songwriter Kathleen "Bird" York at her third (and final) "What a Pair" concert. In 2006 the actress appeared as herself in the first episode of the IFC's "The Minor Accomplishments of Jackie Woodman", "A Cult Classic".


title: Sally Kellerman

text: In September 2008, Kellerman recorded a duet with Ray Brown Jr. (son of Ella Fitzgerald and Ray Brown), "I Thought About You", for Brown's duet CD "Friends and Family". In 2009, Kellerman released a jazz and blues album, "Sally", her first since "Roll with the Feelin". "Sally" featured interpretations of songs by Linda Ronstadt, Kim Carnes, Aerosmith, Nina Simone, the Motels, Neil Diamond, Jackson Browne, Marvin Gaye, Dolly Parton, Jennifer Warnes, and James Taylor. That year she also played Donette, owner of a small-town diner, in the made-for-television film "The Wishing Well".


title: Sally Kellerman

text: Kellerman starred with Ernest Borgnine and Mickey Rooney in "Night Club" (2011). Her performance as a woman with Alzheimer's living in a retirement home won an Accolade Competition Award for Best Supporting Actress. That year she played a recurring role as Lola (an eccentric artist) in Cinemax's sexually explicit comedy-drama series "Chemistry", followed by guest appearances on the CW teen drama series "90210" as Marla, an aging Hollywood actress with dementia who considers assisted suicide. On July 7, 2012, Kellerman appeared with Tito Ortiz, Cary Elwes, and Drake Bell in an episode of the Biography Channel's "Celebrity Ghost Stories".


title: Sally Kellerman

text: On April 30, 2013, the actress released her memoir, "Read My Lips: Stories of a Hollywood Life", published by Weinstein Books. In the book, she remembered a close-knit, family-oriented past Hollywood and her triumphs and tribulations as an actress during the 1960s. Kellerman made promotional book-signing appearances in Los Angeles, Santa Monica, Manhattan, and Jersey City. Shortly afterward, she appeared as Marc Maron's bohemian mother in the "Dead Possum" episode of his comedy series.


title: Sally Kellerman

text: Kellerman later received a Fort Lauderdale International Film Festival (FLIFF) Lifetime Achievement Award at Cinema Paradiso in Fort Lauderdale, Florida. The ceremony, which included a montage of her work and an audience question-and-answer session, was moderated by film historian Foster Hirsch. In September 2013 filmmaker Ellen Houlihan released a short film "Joan's Day Out", in which Kellerman played a grandmother who escapes from her assisted-living facility to bail her teenage granddaughter out of prison. The actress joined the "Love Can Initiative", a nonprofit organization dedicated to enriching the lives of low income families and their children, in February 2014. Kellerman made a return appearance in the second season of "Maron" in the episode "Mom Situation", and as part of an Epix Network documentary celebrating the life of Robert Altman on August 6, 2014.


title: Sally Kellerman

text: In October 2014, TVLine announced that Kellerman had been cast in the mysterious role of Constance Bingham on the daytime soap opera "The Young and the Restless" and was nominated for a Daytime Emmy as Best Actress in a Guest Role. In 2016, she continued her recurring role on "Maron" and played in five episodes of the new series "Decker".


title: Sally Kellerman

text: In 1961, Kellerman underwent a botched home abortion, and went to a hospital for the first time (due to her Christian Science upbringing). The relationship that had caused her terminated pregnancy was with bit actor William Duffy.


title: Sally Kellerman

text: In the late 1960s, she was briefly involved with actor-screenwriter Lawrence Hauben. Hauben shot a documentary, "Venus", about their relationship, which received a very limited theatrical release in 1971.


title: Sally Kellerman

text: After the release of "MASH", on December 17, 1970, Kellerman married "Starsky & Hutch" producer Rick Edelstein.


title: Sally Kellerman

text: Anjanette Comer, Joanne Linville, and Luana Anders were among her bridesmaids. On March 6, 1972, Kellerman divorced Edelstein, citing irreconcilable differences. "We've fought every day since we've met," she said at the time.


title: Sally Kellerman

text: In 1967, Kellerman's sister, Diana, came out as a lesbian and separated from her husband, Ian Charles Cargill Graham, who took full custody of the couple's daughter, Claire. After Diana moved to France with her partner, she didn't communicate with her daughter for eight years. Sally adopted Claire on January 30, 1976, and on April 10, Ian Graham died in Edinburgh, Scotland.


title: Sally Kellerman

text: For a time in the mid-1970s, Kellerman was involved with Mark Farner of the rock group Grand Funk Railroad. He wrote the song "Sally", from the 1976 album "Born to Die", as an ode to their relationship. She also dated screenwriters David Rayfiel and Charles Shyer, as well as journalist Warren Hoge, producer Jon Peters, and actor Edd Byrnes. In her autobiography, Kellerman made a point to note that her romance with Byrnes was never consummated.


title: Sally Kellerman

text: On May 11, 1980, Kellerman married producer Jonathan D. Krane in a private ceremony at Jennifer Jones's Malibu home. In 1989, the couple adopted newborn twins, Jack Donald and Hanna Vaughan, who were born on June 24 of that year. The family relocated to Jupiter, Florida in 1991. After encountering financial difficulties, they sold their condo there in 2008 and moved back to Hollywood.


title: Sally Kellerman

text: Jonathan Krane died of a heart attack on August 1, 2016, aged 64. Their adopted daughter, Hanna Krane, died on October 22, 2016, at age 27 from heroin and methamphetamine use.


title: Sally Kellerman

text: Kellerman and Krane separated twice during their 36-year marriage, first for a few months in 1994, then again during 1997–98 over Krane's public affair with Nastassja Kinski. As Kellerman had dated married men in the past, she forgave her husband for the affair.


title: Sally Kellerman

text: Kellerman died from heart failure at a care facility in Woodland Hills, Los Angeles, on February 24, 2022, at the age of 84. At the time of her death, she had dementia.


title: Anthony LaPaglia

text: Anthony LaPaglia (, ; born 31 January 1959) is an Australian actor. He is best known for his role as Jack Malone in the television drama "Without a Trace" (2002–2009), for which he received a Golden Globe Award in 2004.


title: Anthony LaPaglia

text: LaPaglia won a Primetime Emmy Award for his role as Simon Moon in the television sitcom "Frasier" (2000–2004). He has also appeared in films such as "Betsy's Wedding" (1990), "Empire Records" (1995), "Autumn in New York" (2000), "Lantana" (2001), "Balibo" (2009), "Holding the Man" (2015), "" (2017), and "Nitram" (2021), the lattermost of which earned him an AACTA Award.


title: Anthony LaPaglia

text: LaPaglia was born in Adelaide, South Australia, the son of Maria Johannes (née Brendel), a secretary and model, and Gedio "Eddie" LaPaglia (deceased), an auto mechanic and car dealer. LaPaglia's mother was Dutch, and his father emigrated from Bovalino, Calabria, Italy, at the age of eighteen. His younger brother, Jonathan LaPaglia, is also an actor, and his other brother, Michael, is a car wholesaler in Los Angeles. LaPaglia attended Rostrevor College and Norwood High School.


title: Anthony LaPaglia

text: LaPaglia was working in Adelaide as a shoe salesman for Florsheim Shoes in the early 1980s. He asked to be transferred to the US and continued working there while studying acting as he was rejected by the prestigious Sydney drama school NIDA. LaPaglia first began his venture into dramatic art in his late teens, when he enrolled in an acting course at the South Australian Castings Agency (SA Castings) in Adelaide. The two-and-half-year course was to be supplemented with a further three months, which would have included a "boot camp" and a trial listing with SA Castings. After completing one-and-a-half years of the course, LaPaglia left Adelaide for Los Angeles.


title: Anthony LaPaglia

text: LaPaglia's earliest credit was a 1985 part in an episode of the television series "Steven Spielberg's Amazing Stories". His first feature film was "Cold Steel" in 1987, followed that same year by the title role of Frank Nitti in the telemovie "Nitti: The Enforcer". LaPaglia had a supporting role as a mobster in the minor hit "Betsy's Wedding" (1990).


title: Anthony LaPaglia

text: He starred alongside Danny Aiello and Lainie Kazan in "29th Street", a fact-based comedy/bio-pic, as the first New York State Lottery winner, Frank Pesce Jr. This was followed by roles in the vampire/Mafia story "Innocent Blood" (1992), the comedy thriller "So I Married an Axe Murderer" (1993), the legal thriller "The Client" (1994), and the comedy "Empire Records" in 1995. That same year, LaPaglia appeared in the role of Jimmy Wyler, lead character in the TV series "Murder One", during its second and final season.


title: Anthony LaPaglia

text: During 1997–98, LaPaglia appeared in a Broadway production of Arthur Miller's "A View From the Bridge" with the Roundabout Theatre Company and later received a Tony Award for his portrayal of the protagonist, Eddie Carbone. LaPaglia also played Tito Merelli in Ken Ludwig's "Lend Me a Tenor" on Broadway. Before "A View From the Bridge" opened, LaPaglia was sent a script for the pilot of "The Sopranos" and met its creator, David Chase, to discuss the role of protagonist Tony Soprano. However, various factors, including Fox and his Broadway role, prevented LaPaglia from obtaining the role.


title: Anthony LaPaglia

text: Spike Lee cast LaPaglia as a New York police detective in "Summer of Sam" (1999). During 2000–04, LaPaglia appeared in eight episodes of the sitcom "Frasier", including the finale, playing Daphne Moon's brother Simon. The role won him an Emmy Award for "Outstanding Guest Actor in a Comedy Series".


title: Anthony LaPaglia

text: LaPaglia made his debut in an Australian production opposite Hugo Weaving in "The Custodian" (1993). The following year he appeared in the romantic comedy "Paperback Romance" (1994) with Gia Carides, whom he later married. He continued to live mainly in Los Angeles, returning occasionally—especially from about 2000—for roles in major Australian films such as "Looking for Alibrandi" (2000), "Lantana" (2001), "The Bank" (2001), "Happy Feet" (2006), "$9.99" (2008), "Balibo" (2009) and "Happy Feet Two" (2011).


title: Anthony LaPaglia

text: In 2002, LaPaglia co-starred as a fire captain opposite Sigourney Weaver in "The Guys", a film about New York firemen who died in the World Trade Center. He also played the role onstage, rotating with Bill Murray and others. "We did it as a tribute to the men," said LaPaglia. "I've been so lucky to do it, to be part of this experience. But I can't go back to that morning or watch the video. It's too painful." He also played fictional Australian actor Anthony Bella (who played Nicky Caesar in the fictitious series "Little Caesar") in the comedy movie "Analyze That", but was uncredited in his role.


title: Anthony LaPaglia

text: In addition to playing the central character in "Without a Trace" during 2002–09, LaPaglia co-wrote an episode entitled "Deep Water".


title: Anthony LaPaglia

text: In 2009, LaPaglia played the part of Roger East, a real-life Australian journalist, in the political thriller "Balibo", about the killing in 1975 of five Australian journalists by the Indonesian Army in the town of Balibo, East Timor. The opening scene depicts East's own summary execution, during the Indonesian invasion.


title: Anthony LaPaglia

text: In October 2011 it was announced that LaPaglia would join the cast of Quentin Tarantino's new film "Django Unchained", in which he would portray an Australian character once again. However, he eventually left the project, calling the production "out of control."


title: Anthony LaPaglia

text: On 18 February 2012, it was announced that LaPaglia would star in the ABC drama pilot "Americana". The show was not picked up.


title: Anthony LaPaglia

text: It was announced in May 2013 that LaPaglia signed on in the feature adaptation of Stephen King's "A Good Marriage" with Joan Allen.


title: Anthony LaPaglia

text: In March 2014, LaPaglia joined a new CBS terrorism drama pilot titled "Red Zone" starring as a retired CIA operative and current high school football coach who returns to active duty after a terrorist attack in Washington, D.C. It was renamed "Field of Play" and not picked up for the 2014 season.