title: Harold Lloyd

text: In 1929 Lloyd had completed the silent feature "Welcome Danger", but talking pictures had become a sensation. He decided to remake the entire film with sound, using a new, stage-trained supporting cast for the dialogue exchanges. The silent version was made available to theaters that had not yet converted to sound, but the talking version became the standard edition of the film. "Welcome Danger" was a huge financial success, with audiences eager to hear Lloyd's voice on film.


title: Harold Lloyd

text: Lloyd survived the transition to sound and made several talking comedies, including "Feet First", with a similar scenario to "Safety Last" which found him clinging to a skyscraper at the climax; "Movie Crazy" with Constance Cummings; "The Cat's-Paw", which was a dark political comedy and a big departure for Lloyd; and "The Milky Way", which was Lloyd's only attempt at the fashionable genre of the screwball comedy film.


title: Harold Lloyd

text: To this point the films had been produced by Lloyd's company. However, his go-getting screen character was out of touch with Great Depression movie audiences of the 1930s. Lloyd's rate of film releases, which had been one or two a year in the 1920s, slowed to about one every two years. As his absences from the screen increased, his popularity declined, as did the fortunes of his production company. His final film of the decade, "Professor Beware" (1938), was made by the Paramount staff, with Lloyd functioning only as actor and partial financier.


title: Harold Lloyd

text: On March 23, 1937, Lloyd sold the land of his studio, Harold Lloyd Motion Picture Company, to the Church of Jesus Christ of Latter-day Saints. The location is now the site of the Los Angeles California Temple.


title: Harold Lloyd

text: Lloyd produced a few comedies for RKO Radio Pictures in the early 1940s, including Lucille Ball's "A Girl, a Guy, and a Gob" in 1941, but otherwise retired from the screen until 1947. He returned for an additional starring appearance in "The Sin of Harold Diddlebock", an ill-fated homage to Lloyd's career, directed by Preston Sturges and financed by Howard Hughes. This film had the inspired idea of following Harold's Jazz Age, optimistic character from "The Freshman" into the Great Depression years. "Diddlebock" opened with footage from "The Freshman" (for which Lloyd was paid a royalty of $50,000, matching his actor's fee) and Lloyd was sufficiently youthful-looking to match the older scenes quite well. Lloyd and Sturges had different conceptions of the material and fought frequently during the shoot; Lloyd was particularly concerned that while Sturges had spent three to four months on the script of the first third of the film, "the last two-thirds of it he wrote in a week or less." The finished film was released briefly in 1947, then shelved by producer Hughes. Hughes issued a recut version of the film in 1951 through RKO under the title "Mad Wednesday". Such was Lloyd's disdain that he sued Howard Hughes, the California Corporation, and RKO for damages to his reputation "as an outstanding motion picture star and personality", eventually accepting a $30,000 settlement.


title: Harold Lloyd

text: In October 1944, Lloyd emerged as the director and host of "The Old Gold Comedy Theater", an NBC radio anthology series, after Preston Sturges, who had turned the job down, recommended him for it. The show presented half-hour radio adaptations of recently successful film comedies, beginning with "Palm Beach Story" with Claudette Colbert and Robert Young.


title: Harold Lloyd

text: Some saw "The Old Gold Comedy Theater" as being a lighter version of "Lux Radio Theater", and it featured some of the best-known film and radio personalities of the day, including Fred Allen, June Allyson, Lucille Ball, Ralph Bellamy, Linda Darnell, Susan Hayward, Herbert Marshall, Dick Powell, Edward G. Robinson, Jane Wyman, and Alan Young. But the show's half-hour format—which meant the material might have been truncated too severely—and Lloyd's sounding somewhat ill at ease on the air for much of the season (though he spent weeks training himself to speak on radio prior to the show's premiere, and seemed more relaxed toward the end of the series run) may have worked against it.


title: Harold Lloyd

text: "The Old Gold Comedy Theater" ended in June 1945 with an adaptation of "Tom, Dick and Harry", featuring June Allyson and Reginald Gardiner and was not renewed for the following season. Many years later, acetate discs of 29 of the shows were discovered in Lloyd's home, and they now circulate among old-time radio collectors.


title: Harold Lloyd

text: Lloyd remained involved in a number of other interests, including civic and charity work. Inspired by having overcome his own serious injuries and burns, he was very active as a Freemason and Shriner with the Shriners Hospital for Crippled Children. He was a Past Potentate of Al-Malaikah Shrine in Los Angeles, and was eventually selected as Imperial Potentate of the Shriners of North America for the year 1949–50. At the installation ceremony for this position on July 25, 1949, 90,000 people were present at Soldier Field, including then sitting U.S. President Harry S Truman, also a 33° Scottish Rite Mason. In recognition of his services to the nation and Freemasonry, Lloyd was invested with the Rank and Decoration of Knight Commander Court of Honour in 1955 and coroneted an Inspector General Honorary, 33°, in 1965.


title: Harold Lloyd

text: He appeared as himself on several television shows during his retirement, first on Ed Sullivan's variety show "Toast of the Town" June 5, 1949, and again on July 6, 1958. He appeared as the mystery guest on "What's My Line?" on April 26, 1953, and three times on "This Is Your Life": in 1954 for a tribute to Mack Sennett and another for Bebe Daniels, and in 1955, when he was surprised for his own tribute.


title: Harold Lloyd

text: On November 6, 1956, "The New York Times" reported "Lloyd's Career Will Be Filmed". It said, as the first step, Lloyd would write the story of his life for Simon and Schuster. Then, the movie would be produced by Jerry Wald for 20th Century-Fox, limiting the screenplay to Lloyd's professional career. The tentative title for both was "The Glass Character", based on the glasses which were Lloyd's trademark. Neither project materialized.


title: Harold Lloyd

text: Lloyd studied colors and microscopy, and was very involved with photography, including 3D photography and color film experiments. Some of the earliest 2-color Technicolor tests were shot at his Beverly Hills home (these are included as extra material in the "Harold Lloyd Comedy Collection" DVD Box Set). He became known for his nude photographs of models, such as Bettie Page and stripper Dixie Evans, for a number of men's magazines. He also took photos of Marilyn Monroe lounging at his pool in a bathing suit, which were published after her death. In 2004, his granddaughter Suzanne produced a book of selections from his photographs, "Harold Lloyd's Hollywood Nudes in 3D!" ().


title: Harold Lloyd

text: Lloyd also provided encouragement and support for a number of younger actors, such as Debbie Reynolds, Robert Wagner, and particularly Jack Lemmon, whom Harold declared as his own choice to play him in a movie of his life and work.


title: Harold Lloyd

text: Lloyd kept copyright control of most of his films and re-released them infrequently after his retirement. Lloyd did not grant cinematic re-releases because most theaters could not accommodate an organist to play music for his films, and Lloyd did not wish his work to be accompanied by a pianist: "I just don't like pictures played with pianos. We never intended them to be played with pianos." Similarly, his features were never shown on television as Lloyd's price was high: "I want $300,000 per picture for two showings. That's a high price, but if I don't get it, I'm not going to show it. They've come close to it, but they haven't come all the way up." As a consequence, his reputation and public recognition suffered in comparison with Chaplin and Keaton, whose work has generally been more widely distributed. Lloyd's film character was so intimately associated with the 1920s era that attempts at revivals in 1940s and 1950s were poorly received, when audiences viewed the 1920s (and silent film in particular) as old-fashioned.


title: Harold Lloyd

text: In the early 1960s, Lloyd produced two compilation films, "Harold Lloyd's World of Comedy" and "The Funny Side of Life", featuring scenes from his old comedies. The first film was premiered at the 1962 Cannes Film Festival, where Lloyd was fêted as a major rediscovery. The renewed interest in Lloyd helped restore his status among film historians. Throughout his later years he screened his films for audiences at special charity and educational events, to great acclaim, and found a particularly receptive audience among college audiences: "Their whole response was tremendous because they didn't miss a gag; anything that was even a little subtle, they got it right away."


title: Harold Lloyd

text: Following his death, and after extensive negotiations, most of his feature films were leased to Time-Life Films in 1974. As Tom Dardis confirms: "Time-Life prepared horrendously edited musical-sound-track versions of the silent films, which are intended to be shown on TV at sound speed [24 frames per second], and which represent everything that Harold feared would happen to his best films". Time-Life released the films as half-hour television shows, with two clips per show. These were often near-complete versions of the early two-reelers, but also included extended sequences from features such as "Safety Last!" (terminating at the clock sequence) and "Feet First" (presented silent, but with Walter Scharf's score from Lloyd's own 1960s re-release). Time-Life released several of the feature films more or less intact, also using some of Scharf's scores which had been commissioned by Lloyd. The Time-Life clips series included a narrator rather than intertitles. Various narrators were used internationally: the English-language series was narrated by Henry Corden.


title: Harold Lloyd

text: The Time-Life series was frequently repeated by the BBC in the United Kingdom during the 1980s, and in 1990 a Thames Television documentary, "Harold Lloyd: The Third Genius" was produced by Kevin Brownlow and David Gill, following two similar series based on Charlie Chaplin and Buster Keaton. Composer Carl Davis wrote a new score for "Safety Last!" which he performed live during a showing of the film with the Royal Scottish National Orchestra to great acclaim in 1993.


title: Harold Lloyd

text: The Brownlow and Gill documentary was shown as part of the PBS series American Masters, and created a renewed interest in Lloyd's work in the United States, but the films were largely unavailable. In 2002, the Harold Lloyd Trust re-launched Harold Lloyd with the publication of the book "Harold Lloyd: Master Comedian" by Jeffrey Vance and Suzanne Lloyd and a series of feature films and short subjects called ""The Harold Lloyd Classic Comedies"" produced by Jeffrey Vance with executive producer Suzanne Lloyd and Harold Lloyd Entertainment. The new cable television and home video versions of Lloyd's great silent features and many shorts were remastered with new orchestral scores by Robert Israel. These versions are frequently shown on the Turner Classic Movies (TCM) cable channel. A DVD collection of these restored or remastered versions of his feature films and important short subjects was released by New Line Cinema in partnership with the Harold Lloyd Trust in 2005, along with theatrical screenings in the United States, Canada, and Europe. Criterion Collection has subsequently acquired the home video rights to the Lloyd library, and has released "Safety Last!", The "Freshman", and "Speedy".


title: Harold Lloyd

text: In the June 2006 Los Angeles Chamber Orchestra Silent Film Gala program book for "Safety Last!", film historian Jeffrey Vance stated that Robert A. Golden, Lloyd's assistant director, routinely doubled for Harold Lloyd between 1921 and 1927. According to Vance, Golden doubled Lloyd in the bit with Harold shimmy shaking off the building's ledge after a mouse crawls up his trousers.


title: Harold Lloyd

text: Lloyd married leading lady Mildred Davis on February 10, 1923, in Los Angeles, California. They had two children together: Gloria Lloyd (1923–2012) and Harold Clayton Lloyd Jr. (1931–1971). They also adopted Gloria Freeman (1924–1986) in September 1930, whom they renamed Marjorie Elizabeth Lloyd but was known as "Peggy" for most of her life. Lloyd discouraged Davis from continuing her acting career. He later relented but by that time her career momentum was lost. On August 18, 1969, Davis died in St. John's Hospital in Santa Monica, California, from a heart attack two years before Lloyd's death. Though her real age was a guarded secret, a family spokesperson at the time indicated she was 66 years old. Harold Jr. died from complications of a stroke three months after his father.


title: Harold Lloyd

text: In 1925, at the height of his movie career, Lloyd became a Freemason at the Alexander Hamilton Lodge No. 535 of Hollywood, advancing quickly through both the York Rite and Scottish Rite, and then joined Al Malaikah Shrine in Los Angeles. He took the degrees of the Royal Arch with his father. In 1926, he became a 32° Scottish Rite Mason in the Valley of Los Angeles, California. He was vested with the Rank and Decoration of Knight Commander Court of Honor (KCCH) and eventually with the Inspector General Honorary, 33rd degree.


title: Harold Lloyd

text: Lloyd's Beverly Hills home, "Green Acres", was built in 1926–1929, with 44 rooms, 26 bathrooms, 12 fountains, 12 gardens, and a nine-hole golf course. A portion of Lloyd's personal inventory of his silent films (then estimated to be worth $2 million) was destroyed in August 1943 when his film vault caught fire. Seven firemen were overcome while inhaling chlorine gas from the blaze. Lloyd himself was saved by his wife, who dragged him to safety outdoors after he collapsed at the door of the film vault. The fire spared the main house and outbuildings. After attempting to maintain the home as a museum of film history, as Lloyd had wished, the Lloyd family sold it to a developer in 1975.


title: Harold Lloyd

text: The grounds were subsequently subdivided but the main house and the estate's principal gardens remain and are frequently used for civic fundraising events and as a filming location, appearing in films like "Westworld" and "The Loved One". It is listed on the National Register of Historic Places.


title: Harold Lloyd

text: Lloyd died of prostate cancer on March 8, 1971, at the age of 77, in his Greenacres home in Beverly Hills, California. He was interred in a crypt in the Great Mausoleum at Forest Lawn Memorial Park Cemetery in Glendale, California. His former co-star Bebe Daniels died eight days after him, and his son Harold Lloyd Jr. died three months after him.


title: Harold Lloyd

text: In 1927, his was only the fourth concrete ceremony at Grauman's Chinese Theatre, preserving his handprints, footprints, and autograph, along with the outline of his famed glasses (which were actually a pair of sunglasses with the lenses removed). The ceremony took place directly in front of the Hollywood Masonic Temple, which was the meeting place of the Masonic lodge to which he belonged.


title: Harold Lloyd

text: In 1953, Lloyd received an Academy Honorary Award for being a "master comedian and good citizen". The second citation was a snub to Chaplin, who at that point had fallen foul of McCarthyism and had his entry visa to the United States revoked. Regardless of the political overtones, Lloyd accepted the award in good spirit.


title: Harold Lloyd

text: Lloyd was honored in 1960 for his contribution to motion pictures with a star on the Hollywood Walk of Fame located at 1503 Vine Street. In 1994, he was honored with his image on a United States postage stamp designed by caricaturist Al Hirschfeld.


title: Siphonophorae

text: Siphonophorae (from Greek "siphōn" 'tube' + "pherein" 'to bear') is an order within Hydrozoa, which is a class of marine organisms within the phylum Cnidaria. According to the World Register of Marine Species, the order contains 175 species thus far.


title: Siphonophorae

text: Although a siphonophore may appear to be an individual organism, each specimen is in fact a colonial organism composed of medusoid and polypoid zooids that are morphologically and functionally specialized. Zooids are multicellular units that develop from a single fertilized egg and combine to create functional colonies able to reproduce, digest, float, maintain body positioning, and use jet propulsion to move. Most colonies are long, thin, transparent floaters living in the pelagic zone.


title: Siphonophorae

text: Like other hydrozoans, some siphonophores emit light to attract and attack prey. While many sea animals produce blue and green bioluminescence, a siphonophore in the genus "Erenna" was only the second life form found to produce a red light (the first one being the scaleless dragonfish "Chirostomias pliopterus").


title: Siphonophorae

text: Siphonophores are colonial hydrozoans that do not exhibit alternation of generations, but instead reproduce asexually through a budding process. Zooids are the multicellular units that build the colonies. A single bud called the pro-bud initiates the growth of a colony by undergoing fission. Each zooid is produced to be genetically identical; however, mutations can alter their functions and increase diversity of the zooids within the colony. Siphonophores are unique in that the pro-bud initiates the production of diverse zooids with specific functions. The functions and organizations of the zooids in colonies widely vary among the different species; however, the majority of colonies are bilaterally arranged with dorsal and ventral sides to the stem. The stem is the vertical branch in the center of the colony to which the zooids attach. Zooids typically have special functions, and thus assume specific spatial patterns along the stem.


title: Siphonophorae

text: Siphonophores typically exhibit one of the three standard body plans. The body plans are named Cystonecta, Physonecta, and Calycophorae. Cystonects have a long stem with the attached zooids. Each group of zooids has a gastrozooid. The gastrozooid has a tentacle used for capturing and digesting food. The groups also have gonophores, which are specialized for reproduction. They use a pneumatophore, a gas-filled float, on their anterior end and mainly drift at the surface of the water. Physonects have a pneumatophore and nectosome, which harbors the nectophores used for jet propulsion. The nectophores pump the water back in order to move forward. Calycophorans differ from cystonects and physonects in that they have two nectophores and no pneumatophore.


title: Siphonophorae

text: Since their origin, an increase in the number of zooid types has been observed in siphonophores. Scientists have determined two possible evolutionary hypothesis for this observation: 1. As time has gone on, the amount of zooid types has increased. 2. The last common ancestor had many types of zooids and the diversity seen today is due to loss of zooid types. Research shows no evidence supporting the first hypothesis, and has seen some evidence in support of the second.


title: Siphonophorae

text: Currently, the World Register of Marine Species (WoRMS) identifies 175 species of siphonophores. They can differ greatly in terms of size and shape, which largely reflects the environment that they inhabit. Siphonophores are most often pelagic organisms, yet level species are benthic. Smaller, warm-water siphonophores typically live in the epipelagic zone and use their tentacles to capture zooplankton and copepods. Larger siphonophores live in deeper waters, as they are generally longer and more fragile and must avoid strong currents. They mostly feed on larger prey. The majority of siphonophores live in the deep sea and can be found in all of the oceans. Siphonophore species rarely only inhabit one location. Some species, however, can be confined to a specific range of depths and/or an area of the ocean.


title: Siphonophorae

text: Siphonophores use a method of locomotion similar to jet propulsion. A siphonophore is a complex aggregate colony made up of many nectophores, which are clonal individuals that form by budding and are genetically identical. Depending on where each individual nectophore is positioned within the siphonophore, their function differs. Colonial movement is determined by individual nectophores of all developmental stages. The smaller individuals are concentrated towards the top of the siphonophore, and their function is turning and adjusting the orientation of the colony. Individuals will get larger the older they are. The larger individuals are located at the base of the colony, and their main function is thrust propulsion. These larger individuals are important in attaining the maximum speed of the colony. Every individual is key to the movement of the aggregate colony, and understanding their organization may allow us to make advances in our own multi-jet propulsion vehicles. The colonial organization of siphonophores, particularly in "Nanomia bijuga" confers evolutionary advantages. A large number of concentrated individuals allows for redundancy. This means that even if some individual nectophores become functionally compromised, their role is bypassed so the colony as a whole is not negatively affected. The velum, a thin band of tissue surrounding the opening of the jet, also plays a role in swimming patterns, shown specifically through research done on the previous mentioned species "N. bijuga." The velum becomes smaller and more circular during times of forward propulsion compared to a large velum that is seen during refill periods. Additionally, the position of the velum changes with swimming behaviors; the velum is curved downward in times of jetting, but during refill, the velum is moved back into the nectophore. The siphonophore "Namonia bijuga" also practices diel vertical migration, as it remains in the deep-sea during the day but rises during the night.


title: Siphonophorae

text: Siphonophores are predatory carnivores. Their diets consist of a variety of copepods, small crustaceans, and small fish. Generally, the diets of strong swimming siphonophores consist of smaller prey, and the diets of weak swimming siphonophores consist of larger prey. A majority of siphonophores have gastrozooids that have a characteristic tentacle attached to the base of the zooid. This structural feature functions in assisting the organisms in catching prey. Species with large gastrozooids are capable of consuming a broad range of prey sizes. Similar to many other organisms in the phylum of Cnidaria, many siphonophore species exhibit nematocyst stinging capsules on branches of their tentacles called tentilla. The nematocysts are arranged in dense batteries on the side of the tentilla. When the siphonophore encounters potential prey, their tentillum react to where the tentacles create a net by transforming their shape around the prey. The nematocysts then shoot millions of paralyzing, and sometimes fatal, toxin molecules at the trapped prey which is then transferred to the proper location for digestion. Some species of siphonophores use aggressive mimicry by using bioluminescent light so the prey cannot properly identify the predator.


title: Siphonophorae

text: There are four types of nematocysts in siphonophore tentilla: heteronemes, haplonemes, desmonemes, and rhopalonemes. Heteronemes are the largest nematocysts and are spines on a shaft close to tubules attached to the center of the siphonophore. Haplonemes have open tipped tubules with spines, but no distinct shaft. This is the most common nematocyst among siphonophores. Desmonemes do not have spines but instead there are adhesive properties on the tubules to hold onto prey. Rhopalonemes are nematocysts with wide tubules for prey.


title: Siphonophorae

text: Due to the lack of food in the deep sea environment, a majority of siphonophore species function in a sit and wait tactic for food. The gelatinous body plan allows for flexibility when catching prey, but the gelatinous adaptations are based on habitat. They swim around waiting for their long tentacles to encounter prey. In addition, siphonophores in a group denoted "Erenna" have the ability to generate bioluminescence and red fluorescence while its tentilla twitches in a way to mimic motions of small crustaceans and copepods. These actions entice the prey to move closer to the siphonophore, allowing it to trap and digest it.


title: Siphonophorae

text: The modes of reproduction for siphonophores vary among the different species, and to this day, several modes remain unknown. Generally, a single zygote begins the formation of a colony of zooids. The fertilized egg matures into a protozooid, which initiates the budding process and creation of a new zooid. This process repeats until a colony of zooids forms around the central stalk. In contrast, several species reproduce using polyps. Polyps can hold eggs and/or sperm and can be released into the water from the posterior end of the siphonophore. The polyps may then be fertilized outside of the organism.


title: Siphonophorae

text: Siphonophores use gonophores to make the reproductive gametes. Gonophores are either male or female; however, the types of gonophores in a colony can vary among species. Species are characterized as monoecious or dioecious based on their gonophores. Monoecious species contain male and female gonophores in a single zooid colony, whereas dioecious species harbor male and female gonophores separately in different colonies of zooids.


title: Siphonophorae

text: Nearly all siphonophores have bioluminescent capabilities. Since these organisms are extremely fragile, they are rarely observed alive. Bioluminescence in siphonophores has been thought to have evolved as a defense mechanism. Siphonophores of the deep-sea genus "Erenna" (found at depths between 1,600-2,300 meters) are thought to use their bioluminescent capability for offense too, as a lure to attract fish. This genus is one of the few to prey on fish rather than crustaceans. The bioluminescent organs, called tentilla, on these non-visual individuals emit red fluorescence along with a rhythmic flicking pattern, which attracts prey as it resembles smaller organisms such as zooplankton and copepods. Thus, it has been concluded that they use luminescence as a lure to attract prey. Some research indicates that deep-sea organisms can not detect long wavelengths, and red light has a long wavelength of 680 nm. If this is the case, then fish are not lured by "Erenna", and there must be another explanation. However, the deep-sea remains largely unexplored and red light sensitivity in fish such as "Cyclothone" and the deep myctophid fish should not be discarded.


title: Siphonophorae

text: Bioluminescent lures are found in many different species of siphonophores, and are used for a variety of reasons. Species such as "Agalma okeni, Athorybia rosacea, Athorybia lucida," and "Lychnafalma utricularia" use their lures as a mimicry device to attract prey. "A. rosacea" mimic fish larvae, "A. lucida" are thought to mimic larvacean houses, and "L. utricularia" mimic hydromedusa. The species "Resomia ornicephala" uses their green and blue fluorescing tentilla to attract krill, helping them to outcompete other organisms that are hunting for the same prey. Siphonophores from the genus "Erenna" use bioluminescent lures surrounded by red fluorescence to attract prey, and possibly mimic a fish from the "Cyclothone" genus. Their prey is lured in through a unique flicking behavior associated with the tentilla. When young, the tentilla of organisms in the "Erenna" genus contain only bioluminescent tissue, but, as the organism ages, red fluorescent material is also present in these tissues.


title: Siphonophorae

text: Organisms in the order of Siphonophorae have been classified into the phylum Cnidaria and the class Hydrozoa. The phylogenetic relationships of siphonophores have been of great interest due to the high variability of the organization of their polyp colonies and medusae. Once believed to be a highly distinct group, larval similarities and morphological features have led researchers to believe that siphonophores had evolved from simpler colonial hydrozoans similar to those in the orders Anthoathecata and Leptothecata. Consequently, they are now united with these in the subclass Hydroidolina.


title: Siphonophorae

text: Early analysis divided siphonophores into 3 main subgroups based on the presence or the absence of 2 different traits: swimming bells (nectophores) and floats (pneumatophores). The subgroups consisted of Cystonectae, Physonectae, and Calycorphores. Cystonectae had pneumatophores, physonectae had nectophores, and calycophores had both.


title: Siphonophorae

text: Eukaryotic nuclear small subunit ribosomal gene 18S, eukaryotic mitochondrial large subunit ribosomal gene 16S, and transcriptome analyses further support the phylogenetic division of Siphonophorae into 2 main clades: Cystonectae and Codonophora. Suborders within Codonophora include Physonectae (consisting of the clades Calycophorae and Euphysonectae), Pyrostephidae, and Apolemiidae.


title: Siphonophorae

text: Carl Linnaeus described the first siphonophore, the Portuguese man o' war, in 1758. The discovery rate of siphonophore species was slow in the 18th century, as only four additional species were found. During the 19th century, 56 new species were observed due to research voyages conducted by European powers. The majority of new species found during this time period were collected in coastal, surface waters. During the HMS "Challenger" expedition, various species of siphonophores were collected. Ernst Haeckel attempted to conduct a write up of all of the species of siphonophores collected on this expedition. He introduced 46 "new species"; however, his work was heavily critiqued because some of the species that he identified were eventually found not to be siphonophores. Nonetheless, some of his descriptions and figures (pictured below) are considered useful by modern biologists. A rate of about 10 new species discoveries per decade was observed during the 20th century. Considered the most important researcher of siphonophores, A. K. Totton introduced 23 new species of siphonophores during the mid 20th century.


title: Siphonophorae

text: On April 6, 2020 the Schmidt Ocean Institute announced the discovery of a giant "Apolemia" siphonophore in submarine canyons near Ningaloo Coast, measuring 15 m (49 ft) diameter with a ring approximately 47 m (154 ft) long, possibly the largest siphonophore ever recorded.


title: Siphonophorae

text: There is no fossil record of siphonophores, though they have evolved and adapted for an extensive time period. Their phylum, Cnidaria, is an ancient lineage that dates back to c. 640 million years ago.


title: Siphonophorae

text: Ernst Haeckel described a number of siphonophores, and several plates from his "Kunstformen der Natur" (1904) depict members of the taxon:


title: Television film

text: A television film, alternatively known as a television movie, made-for-TV film/movie or TV film/movie, is a feature-length film that is produced and originally distributed by or to a television network, in contrast to theatrical films made for initial showing in movie theaters, and direct-to-video films made for initial release on home video formats. In certain cases, such films may also be referred to and shown as a miniseries, which typically indicates a film that has been divided into multiple parts or a series that contains a predetermined, limited number of episodes.


title: Television film

text: Precursors of "television movies" include "Talk Faster, Mister", which aired on WABD (now WNYW) in New York City on December 18, 1944, and was produced by RKO Pictures, and the 1957 "The Pied Piper of Hamelin", based on the poem by Robert Browning, and starring Van Johnson, one of the first filmed "family musicals" made directly for television. That film was made in Technicolor, a first for television, which ordinarily used color processes originated by specific networks. Most "family musicals" of the time, such as "Peter Pan", were not filmed but broadcast live and preserved on kinescope, a recording of a television program made by filming the picture from a video monitor – and the only (relatively inexpensive) method of recording a television program until the invention of videotape.


title: Television film

text: Many television networks were hostile toward film programming, fearing that it would loosen the network's arrangements with sponsors and affiliates by encouraging station managers to make independent deals with advertisers and film producers.


title: Television film

text: Conversely, beginning in the 1950s episodes of American television series would be placed together and released as feature films in overseas cinemas.


title: Television film

text: Television networks were in control of the most valuable prime time slots available for programming, so syndicators of independent television films had to settle for fewer television markets and less desirable time periods. This meant much smaller advertising revenues and license fees compared with network-supplied programming.


title: Television film

text: The term "made-for-TV movie" was coined in the United States in the early 1960s as an incentive for movie audiences to stay home and watch what was promoted as the equivalent of a first-run theatrical film. Beginning in 1961 with "NBC Saturday Night at the Movies", a prime time network showing of a television premiere of a major theatrical film release, the other networks soon copied the format, with each of the networks having several "[Day of the Week] Night At The Movies" showcases which led to a shortage of movie studio product. The first of these made-for-TV movies is generally acknowledged to be "See How They Run", which debuted on NBC on October 7, 1964. A previous film, "The Killers", starring Lee Marvin and Ronald Reagan, was filmed as a TV-movie, although NBC decided it was too violent for television and it was released theatrically instead.


title: Television film

text: The second film to be considered a television movie, Don Siegel's "The Hanged Man", was broadcast by NBC on November 18, 1964.


title: Television film

text: These features originally filled a 90-minute programming time slot (including commercials), later expanded to two hours, and were usually broadcast as a weekly anthology television series (for example, the "ABC Movie of the Week"). Many early television movies featured major stars, and some were accorded higher budgets than standard television series of the same length, including the major dramatic anthology programs which they came to replace.


title: Television film

text: In 1996, 264 made-for-TV movies were made by five of the six largest American television networks at the time (CBS, NBC, Fox, ABC, and UPN), averaging a 7.5 rating. By 2000, only 146 TV movies were made by those five networks, averaging a 5.4 rating, while the number of made-for-cable movies made annually in the U.S. doubled between 1990 and 2000.


title: Television film

text: In several respects, television films resemble B movies, the low-budget films issued by major studios from the 1930s through the 1950s for short-term showings in movie theaters, usually as a double bill alongside a major studio release. Like made-for-TV movies, B movies were designed as a disposable product, had low production costs and featured second-tier actors.


title: Television film

text: ABC's "Battlestar Galactica: Saga of a Star World" premiered to an audience of over 60 million people on September 17, 1978.


title: Television film

text: The most-watched television movie of all time was ABC's "The Day After", which premiered on November 20, 1983, to an estimated audience of 100 million people. The film depicted America after a nuclear war with the Soviet Union, and was the subject of much controversy and discussion at the time of its release due to its graphic nature and subject matter. The BBC’s 1984 television film "Threads" earned a similar reputation in the United Kingdom as it followed two families and workers of Sheffield City Council in the run up and aftermath of a nuclear war. The two are often compared on aspects such as realism.


title: Television film

text: Another popular and critically acclaimed television movie was 1971's "Duel", written by Richard Matheson, directed by Steven Spielberg and starring Dennis Weaver. Such was the quality and popularity of "Duel" that it was released to cinemas in Europe and Australia, and had a limited theatrical release to some venues in the United States and Canada. The 1971 made-for-TV movie "Brian's Song" was also briefly released to theatres after its success on television, and was even remade in 2001. In some instances, television movies of the period had more explicit content included in the versions prepared to be exhibited theatrically in Europe. Examples of this include "The Legend of Lizzie Borden", "Helter Skelter", "Prince of Bel Air" and "Spectre".


title: Television film

text: Many television movies released in the 1970s were a source of controversy, such as Linda Blair's 1974 film "Born Innocent" and 1975's "Sarah T. - Portrait of a Teenage Alcoholic", as well as 1976's "" and its 1977 sequel, "", which were vehicles for former "Brady Bunch" actress Eve Plumb. Another significant film was Elizabeth Montgomery's portrayal of a rape victim in the drama "A Case of Rape" (1974).


title: Television film

text: "My Sweet Charlie" (1970) with Patty Duke and Al Freeman Jr. dealt with racial prejudice, and "That Certain Summer" (1972), starring Hal Holbrook and Martin Sheen, although controversial, was considered the first television movie to approach the subject of homosexuality in a non-threatening manner. "If These Walls Could Talk", a film which deals with abortion in three different decades (the 1950s, the 1970s and the 1990s) became a huge success, and was HBO's highest rated film on record.


title: Television film

text: If a network orders a two-hour television pilot for a proposed show, it will usually broadcast it as a television movie to recoup some of the costs even if the network chooses to not order the show to series. Often a successful series may spawn a television movie sequel after ending its run. For example, "" launched the science fiction series "Babylon 5" and is considered to be distinct from the show's regular run of one-hour episodes. "Babylon 5" also has several made-for-TV movie sequels set within the same fictional continuity. The 2003 remake of "Battlestar Galactica" began as a two-part miniseries that later continued as a weekly television program. Another example is the Showtime movie "Sabrina, the Teenage Witch", which launched the sitcom of the same name that originally aired on ABC, and used the same actress (Melissa Joan Hart) for the lead role in both. The term "TV movie" is also frequently used as vehicles for "reunions" of long-departed series, as in "Return to Mayberry" and "A Very Brady Christmas". They can also be a spin-off from a TV series including "The Incredible Hulk Returns", "The Trial of the Incredible Hulk" and "The Death of the Incredible Hulk".


title: Television film

text: Occasionally, television movies are used as sequels to successful theatrical films. For example, only the first film in "The Parent Trap" series was released theatrically. "The Parent Trap II", "III" and "" were produced for television, and similarly, the "Midnight Run" sequels have all been released as made-for-TV movies despite the first having a strong run in theaters. These types of films may be, and more commonly are, released direct-to-video; there have been some films, such as "" (a prequel to the film version of "The Dukes of Hazzard") and "James A. Michener's Texas", which have been released near simultaneously on DVD and on television, but have never been released in theatres.


title: Television film

text: Made-for-TV movie musicals have also become popular. One prime example is the "High School Musical" series, which aired its first two films on the Disney Channel. The first television movie was so successful that a sequel was produced, "High School Musical 2", that debuted in August 2007 to 17.2 million viewers (this made it the highest-rated non-sports program in the history of basic cable and the highest-rated made-for-cable movie premiere on record). Due to the popularity of the first two films, the second "HSM" sequel, "", was released as a theatrical film in 2008 instead of airing on Disney Channel; "High School Musical 3" became one of the highest-grossing movie musicals.


title: Television film

text: Television movies traditionally were often broadcast by the major networks during sweeps season. Such offerings now are very rare; as Ken Tucker noted while reviewing the Jesse Stone CBS television movies, "broadcast networks aren’t investing in made-for-TV movies anymore". The slack has been taken up by cable networks such as Hallmark Channel, Syfy, Lifetime and HBO, with productions such as "Temple Grandin" and "Recount", often utilizing top creative talent.


title: Television film

text: High-calibre limited programming which would have been formerly scheduled solely as a two-hour film or miniseries also has been re-adapted to the newer "limited series" format over a period of weeks (rather than the consecutive days usually defined by a miniseries) where a conclusion is assured; an example of such would be "", and these are most often seen on cable networks and streaming services such as Netflix.


title: Television film

text: In a 1991 "New York Times" article, television critic John J. O'Connor wrote that "few artifacts of popular culture invite more condescension than the made-for-television movie". Network-made television movies in the United States have tended to be inexpensively-produced and perceived to be of low quality. Stylistically, these films often resemble single episodes of dramatic television series. Often, television films are made to "cash in" on the interest centering on stories currently prominent in the news, as the films based on the "Long Island Lolita" scandal involving Joey Buttafuoco and Amy Fisher were in 1993.


title: Television film

text: The stories are written to reach periodic semi-cliffhangers coinciding with the network-scheduled times for the insertion of commercials, and are further managed to fill, but not exceed, the fixed running times allotted by the network to each movie "series". In the case of films made for cable channels, they may rely on common, repetitive tropes (Hallmark Channel, for example, is notorious for its formulaic holiday romances, while Lifetime movies are well known for their common use of damsel in distress storylines). The movies tend to rely on smaller casts, one such exception being those produced for premium cable, such as "Behind the Candelabra" (which featured established film actors Michael Douglas and Matt Damon in the lead roles) and a limited range of scene settings and camera setups. Even Spielberg's "Duel", while having decent production values, features a very small cast (apart from Dennis Weaver, all other actors appearing in the film play smaller roles) and mostly outdoor shooting locations in the desert.


title: Television film

text: The movies typically employ smaller crews, and rarely feature expensive special effects. Although a film's expenses would be lessened by filming using video, as the movies were contracted by television studios, these films were required to be shot on 35 mm film. Various techniques are often employed to "pad" television movies with low budgets and underdeveloped scripts, such as music video-style montages, flashbacks, or repeated footage, and extended periods of dramatic slow motion footage. However, the less expensive digital 24p video format has made some quality improvements on the television movie market.


title: Television film

text: Part of the reason for the lower budgets comes from the lack of revenue streams from them; whereas a theatrical film can make money from ticket sales, re-releases and syndication to television stations, most television films lacked those revenue streams, and the films are seldom rerun. Raconteur Jean Shepherd produced several television films in the 1970s and 1980s before realizing that the proceeds from his first theatrical film, "A Christmas Story", far exceeded anything he had ever done in television.


title: Television film

text: Nonetheless, notable exceptions exist of high production quality and well-known casts and crews that even earned awards, such as "The Diamond Fleece", a 1992 Canadian TV film directed by Al Waxman and starring Ben Cross, Kate Nelligan and Brian Dennehy. It earned Nelligan the 1993 Gemini Award for "Best Performance by an Actress in a Leading Role in a Dramatic Program or Mini-Series".


title: Television film

text: Occasionally, a long-running television series is used as the basis for television movies that air during the show's run (as opposed to the above-mentioned "reunion specials"). Typically, such movies employ a filmed single-camera setup even if the television series is videotaped using a multiple-camera setup, but are written to be easily broken up into individual 30- or 60-minute episodes for syndication. Many such movies relocate the cast of the show to an exotic overseas setting. However, although they may be advertised as movies, they are really simply extended episodes of television shows, such as the pilots and the finales of "", "" and "". Most of these are made and shown during sweeps period in order to attract a large television audience and boost viewership for a show.


title: Television film

text: Crossover episodes containing a number of episodes of the characters of individual series interacting with characters across different shows (as has been done with the "CSI", "NCIS" and "Chicago" franchises, along with between "Murder, She Wrote" and "Magnum, P.I.", "Scandal" and "How to Get Away With Murder", and "Ally McBeal" and "The Practice") also play as films, encouraging tune-in among all the series crossed over to effectively create a multiple-hour plot that plays as a film when watched as a whole.


title: Vertical bar

text: The vertical bar, , is a glyph with various uses in mathematics, computing, and typography. It has many names, often related to particular meanings: Sheffer stroke (in logic), pipe, bar, or (literally the word "or"), vbar, and others.


title: Vertical bar

text: In LaTeX mathematical mode, the ASCII vertical bar produces a vertical line, and codice_1 creates a double vertical line (codice_2 is set as formula_40). This has different spacing from codice_3 and codice_4, which are relational operators: codice_5 is set as formula_41. See below about LaTeX in text mode.


title: Vertical bar

text: A pipe is an inter-process communication mechanism originating in Unix, which directs the output (standard out and, optionally, standard error) of one process to the input (standard in) of another. In this way, a series of commands can be "piped" together, giving users the ability to quickly perform complex multi-stage processing from the command line or as part of a Unix shell script ("bash file"). In most Unix shells (command interpreters), this is represented by the vertical bar character. For example:


title: Vertical bar

text: where the output from the grep process (all lines containing 'blair') is piped to the more process (which allows a command line user to read through results one page at a time).


title: Vertical bar

text: In many programming languages, the vertical bar is used to designate the logic operation "or", either bitwise "or" or logical "or".


title: Vertical bar

text: Specifically, in C and other languages following C syntax conventions, such as C++, Perl, Java and C#, codice_7 denotes a bitwise "or"; whereas a double vertical bar codice_8 denotes a (short-circuited) logical "or". Since the character was originally not available in all code pages and keyboard layouts, ANSI C can transcribe it in form of the trigraph codice_9, which, outside string literals, is equivalent to the codice_10 character.


title: Vertical bar

text: In regular expression syntax, the vertical bar again indicates logical "or" (alternation). For example: the Unix command codice_11 matches lines containing 'fu' or 'bar'.


title: Vertical bar

text: The double vertical bar operator "||" denotes string concatenation in PL/I, standard ANSI SQL, and theoretical computer science (particularly cryptography).


title: Vertical bar

text: Although not as common as commas or tabs, the vertical bar can be used as a delimiter in a flat file. Examples of a pipe-delimited standard data format are LEDES 1998B and HL7. It is frequently used because vertical bars are typically uncommon in the data itself.


title: Vertical bar

text: Similarly, the vertical bar may see use as a delimiter for regular expression operations (e.g. in sed). This is useful when the regular expression contains instances of the more common forward slash (codice_12) delimiter; using a vertical bar eliminates the need to escape all instances of the forward slash. However, this makes the bar unusable as the regular expression "alternative" operator.


title: Vertical bar

text: In Backus–Naur form, an expression consists of sequences of symbols and/or sequences separated by '|', indicating a choice, the whole being a possible substitution for the symbol on the left.


title: Vertical bar

text: In calculi of communicating processes (like pi-calculus), the vertical bar is used to indicate that processes execute in parallel.


title: Vertical bar

text: The pipe in APL is the modulo or "residue" function between two operands and the absolute value function next to one operand.


title: Vertical bar

text: The vertical bar is used for list comprehensions in some functional languages, e.g. Haskell and Erlang. Compare set-builder notation.


title: Vertical bar

text: The vertical bar is used as a special character in lightweight markup languages, notably MediaWiki's Wikitext (in the templates and internal links).


title: Vertical bar

text: In LaTeX text mode, the vertical bar produces an em dash (—). The codice_13 command can be used to produce a vertical bar.


title: Vertical bar

text: In the Khoisan languages and the International Phonetic Alphabet, the vertical bar is used to write the dental click (). A double vertical bar is used to write the alveolar lateral click (). Since these are technically letters, they have their own Unicode code points in the Latin Extended-B range: U+01C0 for the single bar and U+01C1 for the double bar.


title: Vertical bar

text: Some Northwest and Northeast Caucasian languages written in the Cyrillic script have a vertical bar called palochka (), indicating the preceding consonant is an ejective.


title: Vertical bar

text: In medieval European manuscripts, a single vertical bar was a common variant of the virgula used as a period, scratch comma, and caesura mark.


title: Vertical bar

text: In Sanskrit and other Indian languages, a single vertical mark, a danda, has a similar function as a period (full stop). Two bars || (a 'double danda') is the equivalent of a pilcrow in marking the end of a stanza, paragraph or section. The danda has its own Unicode code point, U+0964.


title: Vertical bar

text: A double vertical bar or is the standard caesura mark in English literary criticism and analysis. It marks the strong break or caesura common to many forms of poetry, particularly Old English verse. It is also traditionally used to mark the division between lines of verse printed as prose (the style preferred by Oxford University Press), though it is now often replaced by the forward slash.


title: Vertical bar

text: In the Geneva Bible and early printings of the King James Version, a double vertical bar is used to mark margin notes that contain an alternative translation from the original text. These margin notes always begin with the conjunction "Or". In later printings of the King James Version, the double vertical bar is irregularly used to mark any comment in the margins.


title: Vertical bar

text: In music, when writing chord sheets, single vertical bars associated with a colon (|: A / / / :|) represents the beginning and end of a section (e.g. Intro, Interlude, Verse, Chorus) of music. Single bars can also represent the beginning and end of measures (|: A / / / | D / / / | E / / / :|). A double vertical bar associated with a colon can represent the repeat of a given section (||: A / / / :|| - play twice).


title: Vertical bar

text: Many early video terminals and dot-matrix printers rendered the vertical bar character as the allograph broken bar . This may have been to distinguish the character from the lower-case 'L' and the upper-case " on these limited-resolution devices, and to make a vertical line of them look more like a horizontal line of dashes. It was also (briefly) part of the ASCII standard.


title: Vertical bar

text: An initial draft for a 7-bit character set that was published by the X3.2 subcommittee for Coded Character Sets and Data Format on June 8, 1961, was the first to include the vertical bar in a standard set. The bar was intended to be used as the representation for the logical OR symbol. A subsequent draft on May 12, 1966, places the vertical bar in column 7 alongside regional entry codepoints, and formed the basis for the original draft proposal used by the International Standards Organisation. This draft received opposition from the IBM user group SHARE, with its chairman, H. W. Nelson, writing a letter to the American Standards Association titled "The Proposed revised American Standard Code for Information Interchange does NOT meet the needs of computer programmers!"; in this letter, he argues that no characters within the international subset designated at columns 2-5 of the character set would be able to adequately represent logical OR and logical NOT in languages such as IBM's PL/I universally on all platforms. As a compromise, a requirement was introduced where the exclamation mark (!) and circumflex (^) would display as logical OR (|) and logical NOT (¬) respectively in use cases such as programming, while outside of these use cases they would represent their original typographic symbols:


title: Vertical bar

text: The original vertical bar encoded at 0x7C in the original May 12, 1966 draft was then broken as , so it could not be confused with the unbroken logical OR. In the 1967 revision of ASCII, along with the equivalent ISO 464 code published the same year, the code point was defined to be a broken vertical bar, and the exclamation mark character was allowed to be rendered as a solid vertical bar. However, the 1977 revision (ANSI X.3-1977) undid the changes made in the 1967 revision, enforcing that the circumflex could no longer be stylised as a logical NOT symbol, the exclamation mark likewise no longer allowing stylisation as a vertical bar, and defining the code point originally set to the broken bar as a solid vertical bar instead; the same changes were also reverted in ISO 646-1973 published four years prior.


title: Vertical bar

text: Some variants of EBCDIC included both versions of the character as different code points. The broad implementation of the extended ASCII ISO/IEC 8859 series in the 1990s also made a distinction between the two forms. This was preserved in Unicode as a separate character at U+00A6 (the term "parted rule" is used sometimes in Unicode documentation). Some fonts draw the characters the same (both are solid vertical bars, or both are broken vertical bars). The broken bar does not appear to have any clearly identified uses distinct from those of the vertical bar. In non-computing use — for example in mathematics, physics and general typography — the broken bar is not an acceptable substitute for the vertical bar.


title: Vertical bar

text: Many keyboards with US or US-International layout display the broken bar on a keycap even though the solid vertical bar character is produced in modern operating systems. This includes many German QWERTZ keyboards. This is a legacy of keyboards manufactured during the 1980s and 1990s for IBM PC compatible computers featuring the broken bar, as such computers used IBM's 8-bit Code page 437 character set based on ASCII, which continued to display the glyph for the broken bar at codepoint 7C on displays from MDA (1981) to VGA (1987) despite the changes made to ASCII in 1977.


title: Vertical bar

text: The broken bar character can be typed (depending on the layout) as or or on Windows and on Linux. It can be inserted into HTML as


title: Vertical bar

text: In some dictionaries, the broken bar is used to mark stress that may be either primary or secondary. That is, covers the pronunciations and .


title: Patrick J. Kennedy

text: Patrick Joseph Kennedy II (born July 14, 1967) is an American politician and mental health advocate. From 1995 to 2011, he served as a Democratic member of the United States House of Representatives from Rhode Island's 1st congressional district. He is a former member of the President's Commission on Combatting Drug Addiction and the Opioid Crisis, and co-founder of One Mind.


title: Patrick J. Kennedy

text: Born and raised in Boston, he is the youngest child and second son of the long-time Massachusetts Senator Ted Kennedy, and is a nephew of former U.S. President John F. Kennedy. Kennedy graduated from Phillips Academy in Andover, Massachusetts, and graduated with a Bachelor of Science degree from Providence College. He was elected to the Rhode Island House of Representatives in 1989, becoming the youngest member of the Kennedy family to hold elected office. He was then elected to represent Rhode Island's 1st congressional district. He was re-elected, serving from January 3, 1995, to January 3, 2011 (the 104th to 111th Congresses). In the House, Kennedy served on the Armed Services and Natural Resources Committees before being appointed to the Appropriations Committee.


title: Patrick J. Kennedy

text: At the time of his father's death in late August 2009, Patrick was the last remaining member of the Kennedy family to serve in an elective office in Washington. After he chose not to seek re-election in 2010 and left office the following year, it was the first time that no member of the Kennedy family held elected office since 1947. The Kennedys' absence in politics was temporary, however, and following the next mid-term election, Joe Kennedy III would be elected to Congress and Caroline Kennedy would be appointed to an ambassadorship.


title: Patrick J. Kennedy

text: Patrick Kennedy was born at St. Elizabeth's Hospital in the Brighton neighborhood of Boston. He is the youngest of three children born to Senator Edward Moore "Ted" Kennedy (1932–2009) (brother of John F. Kennedy) and musician/socialite/former model Virginia Joan Kennedy, "née" Bennett (born 1936). His sister Kara (1960–2011) was a television and film producer, while his brother, Ted, Jr. (born 1961), is a lawyer and former member of the Connecticut State Senate. Patrick was named after his paternal great-grandfather, businessman and politician Patrick Joseph Kennedy (1858–1929).


title: Patrick J. Kennedy

text: Kennedy graduated from Phillips Academy in Andover, Massachusetts (1986), and graduated with a Bachelor of Science degree from Providence College in Providence, Rhode Island (1991).


title: Patrick J. Kennedy

text: While a junior at Providence College, Kennedy defeated five-term incumbent John F. Skeffington, Jr., for the Democratic nomination in District 9. In 1988, Kennedy became the youngest member of the Kennedy family to hold elected office, when he won election to the Rhode Island House of Representatives at age 21. He served two terms in the House representing District 9 in Providence. He chose not to run for a third term and was succeeded by Anastasia P. Williams.


title: Patrick J. Kennedy

text: In 1994, Kennedy was elected as a Democrat to represent Rhode Island's 1st congressional district. He was re-elected seven times, serving from January 3, 1995, to January 3, 2011 (the 104th to 111th Congresses).


title: Patrick J. Kennedy

text: In the House, Kennedy served on the Armed Services and Natural Resources Committees before being appointed to the Appropriations Committee.


title: Patrick J. Kennedy

text: Kennedy was lead sponsor of the Mental Health Parity and Addiction Equity Act, which passed on October 3, 2008.


title: Patrick J. Kennedy

text: Kennedy authored and co-sponsored the Positive Aging Act, the Foundations for Learning Act, which established a grant program to improve mental and emotional health for school children through screening and early intervention, the National Neurotechnology Initiative Act, Genomics and Personalized Medicine Act; the COMBAT PTSD Act; the Nurse-Family Partnership Act, the Alzheimer's Treatment and Caregiver Support Act, and the Ready, Willing, and Able Act


title: Patrick J. Kennedy

text: Kennedy was among the founders of the Congressional Down Syndrome Caucus and the 21st Century Healthcare Caucus and served as vice chairman of the Native American Caucus. He also joined the Congressional Boating Caucus; the Caucus on Armenian Issues; the Caucus on Hellenic Issues; the Fire Services Caucus; the Human Rights Caucus; the Travel and Tourism Caucus; the National Guard and Reserve Components Caucus; the Portuguese American Caucus (co-chair); and the Older American Caucus. He was a founder of the Rhode Island Chapter of the National Committee for Prevention of Child Abuse and chaired the Democratic Congressional Campaign Committee for two years (1999-2001). During his tenure as DCCC chairman, Kennedy became a headliner at Democratic political events and fundraisers around the country.


title: Patrick J. Kennedy

text: Kennedy campaigned for the seat being vacated by U.S. Representative Ronald Machtley (who was retiring) in the 1994 Rhode Island 1st congressional district election. He won the election, defeating Republican candidate Kevin Vigilante. Kennedy was one of four Democrats in the 1994 congressional elections to win a congressional seat that had previously been held by a Republican, while Republicans gained dozens of seats to take over the U.S. House. He was re-elected every two years from 1996 until 2008 and did not run for re-election in 2010.


title: Patrick J. Kennedy

text: In 2000, Kennedy considered running against Republican Lincoln Chafee in the U.S. Senate election in Rhode Island but instead chose to run for re-election. Kennedy had recently won appointment to the House Appropriations Committee, a high-profile assignment that caused him to pass up the Senate race. He again considered running against Chafee in 2006 but instead chose to run for re-election.


title: Patrick J. Kennedy

text: Kennedy did not run for re-election in 2010 and completed his final term in January 2011. He finished his 8th term at the completion of the 111th United States Congress.


title: Patrick J. Kennedy

text: Since leaving Congress, Kennedy has written and spoken publicly about his long struggle with bipolar disorder and drug addiction and become a leading advocate for a stronger mental health care system in the United States.


title: Patrick J. Kennedy

text: Partnering with Shari and Garen Staglin in 2011, Kennedy launched One Mind (formerly One Mind for Research) with the intention of promoting the study of brain diseases. One Mind supports better diagnostics and new therapies to advance neuroscience discovery and fills the gaps in research funding by disseminating donor-supported funds.


title: Patrick J. Kennedy

text: Kennedy founded The Kennedy Forum in 2013, a behavioral health nonprofit, of which he is CEO, with the mission of leading the national dialogue on transforming mental health and addiction care delivery by uniting mental health advocates, business leaders, and government agencies around a common set of principles, including full implementation of the Federal Parity Law. In 2018, "Politico" termed Kennedy "the unlikely go-to player for companies seeking to benefit from the Trump administration’s multibillion-dollar response to the opioid crisis". Kennedy sits on the boards of eight corporations involved with the government's response to the drug crisis. He "holds an equity stake in the firms" and "collects director fees" from the latter organizations, many of which "stand to benefit from fresh efforts in Congress and the Trump administration to combat the opioid crisis". As such, Kennedy lobbied "former congressional colleagues to advocate for higher levels of spending".


title: Patrick J. Kennedy

text: In 2015, he co-authored "A Common Struggle: A Personal Journey Through the Past and Future of Mental Illness and Addiction" detailing his journey through mental illness, addiction, and his ongoing political advocacy for federal legislation in support of mental health and addiction health care.


title: Patrick J. Kennedy

text: In 2016, Kennedy founded Advocates for Opioid Recovery together with former House Speaker Newt Gingrich and Van Jones, a former domestic policy adviser to President Barack Obama.


title: Patrick J. Kennedy

text: He is also co-founder of Smart Approaches to Marijuana, established in 2013 with Kevin Sabet and David Frum, an anti-legalization group. Speaking in the context of California's Proposition 64, Kennedy argued the legalization movement was "putting our children at risk" and "exposed children from communities of color to more racial discrimination than before."


title: Patrick J. Kennedy

text: Kennedy is a vocal advocate for health care reform. During his tenure in Congress, he joined with U.S. Senator Pete Domenici (R-NM) in introducing legislation that places mental illness under the umbrella of health insurance.


title: Patrick J. Kennedy

text: He was a chief sponsor of one of the major pieces of legislation of 2008, the Mental Health Parity Act, a bill requiring most group health plans to provide coverage for the treatment of mental illnesses which is no less restrictive than coverage provided for physical illnesses.


title: Patrick J. Kennedy

text: He was a strong proponent of adding a comprehensive prescription-drug benefit to the U.S. Medicare and consistently opposed attempts to privatize the Medicare program. Kennedy also made numerous speeches advocating the re-orientation of the U.S. health-care system to preventive care. He has received numerous awards for his health care advocacy, including the Lymphoma Research Foundation's Paul E. Tsongas Memorial Award as well as the Leukemia & Lymphoma Society Congressional Honors Award. He also received the Society for Neuroscience — Public Service Award (2002), Eli Lilly and Company 2003 Helping Move Lives Forward Reintegration Award, American Psychoanalytic Association 2003 President's Award, American Psychiatric Association Alliance award (2003), and the Depression and Bipolar Support Alliance — Paul Wellstone Mental Health Award (2003).


title: Patrick J. Kennedy

text: He has also been awarded the National Recovery Champion Award, the American Foundation for Suicide Prevention Humanitarian Award, the American Psychiatric Association Patient Advocacy Award, the New York Academy of Science Breaking the Chains of Stigma Award, the Society for Neuroscience Public Service Award, the American College of Neuropsychopharmacology Distinguished Service Award, the Clifford Beers Foundation Centennial Award, the Autism Society of America Congressional Leadership Award, the Epilepsy Foundation Public Service Award, and the NAMI Humanitarian of the Year Award.


title: Patrick J. Kennedy

text: In a March 7, 2008, speech to the Cleveland City Club, Kennedy acknowledged having bipolar disorder and being a recovering alcoholic. He and his siblings have legal custody of their mother, who has long struggled with alcoholism.


title: Patrick J. Kennedy

text: Kennedy served on the Office of National Drug Control Policy's President's Commission on Combating Drug Addiction and the Opioid Crisis in 2017.


title: Patrick J. Kennedy

text: Kennedy was on the opposite side of the Iraq war debate as his father. Patrick Kennedy joined with 80 House Democrats in voting for the Authorization for Use of Military Force Against Iraq Resolution of 2002 (the minority view among House Democrats), whereas his father in the Senate joined anti-war Democrats in voting against the bill, which was a minority position among Senate Democrats.


title: Patrick J. Kennedy

text: On January 28, 2008, Kennedy joined his father in endorsing Barack Obama in the 2008 U.S. presidential election, stating that Obama was the "perfect antidote to George Bush". Prior to that, Kennedy had joined his first cousin Timothy Shriver in endorsing U.S. Senator Christopher Dodd from Connecticut.


title: Patrick J. Kennedy

text: Kennedy has acknowledged being treated for cocaine use during his teenage years, and admitted that he abused alcohol and other drugs while he was a student at Providence College. He sought treatment for an OxyContin addiction in 2006. Due to his experience with addiction, Kennedy advocates against the legalization of recreational marijuana, but supports its medicinal use.


title: Patrick J. Kennedy

text: On May 4, 2006, Kennedy crashed his automobile into a barricade on Capitol Hill in Washington, D.C., at 2:45 a.m. A United States Capitol Police official said the congressman had appeared intoxicated when he crashed his car. According to Kennedy, he was disoriented from the prescription medications Ambien and Phenergan. Anonymous sources are alleged to have seen Kennedy drinking at the nearby Hawk & Dove bar prior to the accident. Kennedy also stated to officers that he was "late for a vote". However, the last vote of the night had occurred almost six hours earlier. The standard field sobriety test was not administered, and Kennedy was driven home by an officer.


title: Patrick J. Kennedy

text: On May 5, 2006, Kennedy admitted publicly that he had an addiction to prescription medication and announced he would be readmitting himself to a drug-rehabilitation facility at the Mayo Clinic in Minnesota where he had sought treatment for prior addictions. He has stated that he has no recollection of the car crash. On May 8, 2006, Kennedy got a show of support when he was endorsed by the Rhode Island Democratic Party. On June 5, 2006, Kennedy was released from drug rehabilitation.


title: Patrick J. Kennedy

text: On June 13, 2006, Kennedy made a deal with prosecutors and pleaded guilty to a charge of driving under the influence of prescription drugs. He was sentenced to one-year probation and a fine of $350. Two of the three charges (reckless driving and failure to exhibit a driving permit) were dismissed. He was also ordered to attend a rehabilitation program that includes weekly urine tests, twice-weekly meetings with a probation officer, near-daily Alcoholics Anonymous meetings and a weekly meeting of recovering addicts.


title: Patrick J. Kennedy

text: On June 12, 2009, Kennedy announced that he had again entered rehab, for an indefinite time at an undisclosed facility. In a statement to the press, Kennedy said that his recovery is a "life-long process" and that he would do whatever it takes to preserve his health: "I have decided to temporarily step away from my normal routine to ensure that I am being as vigilant as possible in my recovery", Kennedy said.


title: Patrick J. Kennedy

text: His father, Massachusetts Senator Ted Kennedy, died on August 25, 2009. Patrick made a tearful eulogy at the funeral, saying that, "He [Ted] would be very proud to see you all out here today paying a final respect and tribute to his memory". He further elaborated on his experiences with his father as a child, saying his father would stay at his bedside during his frequent bouts of ill health.


title: Patrick J. Kennedy

text: When Kennedy decided not to run for re-election in 2010, he stated this was because his life "has taken a new direction". Mark Weiner, a major Democratic party fund-raiser in Rhode Island and one of Kennedy's top financial backers, said: "It's tough to get up and go to work every day when your partner is not there. I think he just had a broken heart after his father passed away."


title: Patrick J. Kennedy

text: Kennedy now resides in Brigantine, New Jersey. In March 2011, he announced his engagement to eighth-grade history teacher Amy Savell. The couple married on July 15, 2011, in Hyannis Port, Massachusetts. They have two sons and two daughters:


title: Patrick J. Kennedy

text: In January 2020, Amy Kennedy announced her candidacy for the Democratic nomination for United States Congress, to represent New Jersey's 2nd congressional district. Amy Kennedy defeated Brigid Callahan Harrison in the Democratic primary in July, and faced Democrat-turned-Republican incumbent Jeff Van Drew in the November general election. She was ultimately defeated by Van Drew.


title: Lorenzo's Oil

text: Lorenzo's Oil is a 1992 American drama film directed and co-written by George Miller. It is based on the true story of Augusto and Michaela Odone, parents who search for a cure for their son Lorenzo's adrenoleukodystrophy (ALD), leading to the development of Lorenzo's oil. The film was shot in Pittsburgh, Pennsylvania, primarily from September 1991 to February 1992. It had a limited release in North America on December 30, 1992, with a nationwide release two weeks later, on January 15, 1993. Though it was a box office disappointment, grossing million against its million budget, the film was generally well received by the critics and garnered two nominations at the 65th Academy Awards.


title: Lorenzo's Oil

text: Lorenzo is a bright and vibrant young boy living in the Comoro Islands, as his father Augusto Odone works for the World Bank and is stationed there. However, after relocating with his parents to the United States, he begins to show signs of neurological problems (such as falling, loss of hearing, tantrums, etc.). The boy is diagnosed as having adrenoleukodystrophy (ALD), which is fatal within two years. Failing to find a doctor capable of treating their son's rare disease, Augusto and his wife, Michaela, set out on a mission to find a treatment to save their son. In their quest, the Odones clash with doctors, scientists and a support group that is skeptical that anything could be done about ALD, much less by laypeople. But they persist, setting up camp in medical libraries, reviewing animal experiments, enlisting the aid of Professor Gus Nikolais, badgering researchers, questioning top doctors all over the world and even organizing an international symposium about the disease.


title: Lorenzo's Oil

text: Despite research dead-ends, the horror of watching their son's health decline and being surrounded by skeptics (including the coordinators of the support group they attend), they persist until they finally hit upon a possible therapy. The Odones sponsor an international meeting of scientists doing research on ALD, requiring two conditions ahead of time. First they insist that the meeting focus on potential treatments and second, they require that they be allowed to participate, despite being non-scientist laypeople. The pivotal scene in the movie portrays this meeting, in which the scientists are presenting their research. When Dr. William B. Rizzo mentions his studies in which the addition of oleic acid to cultured cells blocked accumulation of the factors which cause ALD, the Odones jump into the conversation, asking if this oil might help their son. Although the scientists play down their hope, pointing out that it would take years of work to produce the oil and test in clinical trials, the Odones seize the promise of this possible curative treatment. As the scene ends, Michaela Odone is shown beginning the effort to find someone able and willing to produce the same oil Dr. Rizzo gave to his cells. They contact over 100 firms around the world until they find an elderly British chemist, Don Suddaby, who is working for Croda International and is willing to take on the challenge of distilling the proper formula.


title: Lorenzo's Oil

text: The Odones obtain a precious vial of the oil (actually containing two specific long chain fatty acids, isolated from rapeseed oil and olive oil) and add it to their son's diet. This treatment proves successful in normalizing the accumulation of the very long chain fatty acids (which had been causing their son's steady decline), as measured in blood levels. This treatment halts the progression of his disease and is dubbed "Lorenzo's Oil". This oil is soon found to be successful in preventing the progression of harm in other patients with ALD. Meanwhile, Lorenzo has a great deal of neurological damage, and the Odones are dismayed to see that the oil can reverse their son's symptoms only very, very slowly. The Odones realize that more rapid improvement of his son's severe condition will require treatments to repair the myelin sheath (a lipid insulator) around the nerves, and Augusto is shown taking on the new challenge of organizing biomedical efforts to heal myelin damage in patients.


title: Lorenzo's Oil

text: Finally, Lorenzo, at the age of 14, shows definite improvement (swallowing for himself and answering "yes" or "no" questions by blinking) and it is revealed that he has regained his sight, can move his head from side to side, vocalize simple sounds and is learning to use a computer. The movie ends with scenes of ALD patients who were treated with Lorenzo's Oil earlier in the course of their disease. In these patients the devastating neurological degeneration from which Lorenzo suffered was able to be prevented.


title: Lorenzo's Oil

text: Possibly to emphasize the “everyman" aspect of the plot (the notion that a cure could affect families and individuals anywhere), many smaller roles were played by inexperienced actors or non-actors with unusual physical features and mannerisms. For example, the poet James Merrill was noticed by a casting director at a New York public reading of his poetry. His rarefied speaking cadences were utilized in a symposium scene in which he played a questioning doctor.


title: Lorenzo's Oil

text: The film uses Allegri's Miserere, Edward Elgar's cello concerto, as well as Barber's Adagio for Strings and Mozart's Ave verum corpus K.618.


title: Lorenzo's Oil

text: The opening song is "Kijana Mwana Mwali" (Swahili, "Song about a Young Lady"), sung by the Gonda Traditional Entertainers.


title: Lorenzo's Oil

text: A 1960 recording of Maria Callas with the La Scala orchestra and chorus is heard singing selections from Bellini's "Norma" at several points.


title: Lorenzo's Oil

text: The music for the Easter Midnight Mass scene is a Russian Orthodox Church hymn, "Bogoroditse Devo" (Rejoice, O Virgin) from "Three Choruses from 'Tsar Feodor Ioannovich'", taken from the album "Sacred Songs of Russia" by Gloriae Dei Cantores.


title: Lorenzo's Oil

text: Roger Ebert of the "Chicago Sun Times" gave the film four out of four stars and called it an "immensely moving and challenging movie", adding that "it was impossible not to get swept up in it." James Berardinelli of ReelViews gave it three out of four stars and claimed, "it was about the war for knowledge and the victory of hope through perseverance."


title: Lorenzo's Oil

text: Review aggregation website Rotten Tomatoes retrospectively collected reviews from 39 critics to give the film a score of 92%, with an average rating of 7.10/10, . The website's consensus reads, "A harrowing tribute to the heroism of parental love, "Lorenzo's Oil" is kept from abject misery by George Miller's sensitive direction and outstanding performances from Nick Nolte and Susan Sarandon." On Metacritic, the film has a weighted average score of 80 out of 100, based on 21 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film a grade of "A" on an A+ to F scale.


title: Lorenzo's Oil

text: Though the film seemed to accurately portray the events related to the boy's condition and his parents' efforts during the time period covered by the film, it was criticized for falsely painting a picture of a miracle cure. Subsequent research with Lorenzo's oil has not clearly proven its long-term effectiveness in treating ALD after its onset. The actual subject of the film, Lorenzo Odone, died of pneumonia in May 2008 at the age of 30, having lived two decades longer than originally predicted by doctors.


title: Lorenzo's Oil

text: Hugo Moser, on whom the character of Professor Nikolais was based, called the film's portrayal of that character "an abomination".


title: Lorenzo's Oil

text: Jason Bateman portrays a government official named "Special Agent Lorenzo Zoil" in the 2011 sci-fi comedy movie Paul.


title: Lorenzo's Oil

text: Lorenzo's Oil was mentioned in an episode of Community, with one of the main characters providing an incorrect summary.


title: Lorenzo's Oil

text: The video game Earthworm Jim 2 parodies the title of the film by having a level named "Lorenzo's Soil".


title: Los Lobos

text: Los Lobos (, Spanish for "the Wolves") are an American rock band from East Los Angeles, California. Their music is influenced by rock and roll, Tex-Mex, country, zydeco, folk, R&B, blues, brown-eyed soul, and traditional music such as cumbia, boleros and norteños. The band rose to international stardom in 1987, when their version of Ritchie Valens' "La Bamba" peaked at the top of the "Billboard" Hot 100, and also topped the charts in the United Kingdom, and several other countries. Songs by Los Lobos have been recorded by Elvis Costello, Waylon Jennings, Frankie Yankovic, and Robert Plant. In 2015, they were nominated for induction into the Rock and Roll Hall of Fame. In 2018, they were inducted into the "Austin City Limits" Hall of Fame. They are also known for performing the theme song for "Handy Manny".


title: Los Lobos

text: Vocalist and guitarist David Hidalgo and drummer Louie Pérez met at Garfield High School in East Los Angeles, California, and bonded over their mutual affinity for musical acts such as Fairport Convention, Randy Newman and Ry Cooder. Pérez recalls, "We’re looking at each other, 'You like this stuff? I thought I was the only weird one.' So I went over to his house one day for about a year, which we spent listening to records, playing guitars, and starting to write songs." The two borrowed reel-to-reel recorders from a friend and created multitrack recordings of music spanning from parody songs to free-form jazz. They later enlisted fellow students Frank González, Cesar Rosas and Conrad Lozano to complete the group's lineup, in 1973. Their first album, "Los Lobos del Este de Los Angeles", was recorded at two studios in Hollywood in 1977 over a period of about four months. At that time, they all had regular jobs, and it was hard to get together for the sessions. To accommodate that situation, their producer Luis Torres would call the engineer, Mark Fleisher, who owned and operated a high-speed tape duplicating studio in Hollywood, to find a studio when he knew all the band members could get off work that night. Most of the songs were recorded at a studio on Melrose Avenue, located next to the Paramount studios at the time, and a low-priced studio on Sunset Boulevard.


title: Los Lobos

text: The band members were unsatisfied with playing only American Top 40 songs and began experimenting with the traditional Mexican music they listened to as children. This style of music received a positive reaction from audiences, leading the band to switch genres, performing at hundreds of weddings and dances between 1974 and 1980. "If you were married between 1973 and 1980 in East L.A., we probably played your wedding," said Louie Perez. "They would pay us like $400 for the 4 of us, a case of beer, and all the mole we could eat..." said David Hidalgo. However, Los Lobos took notice of the popular groups on the Hollywood music scene and added influences of rock to its sound.


title: Los Lobos

text: Originally, they called themselves Los Lobos del Este (de Los Angeles) ("The Wolves of the East [of Los Angeles)]"), which was a play on the name of the norteño band Los Tigres del Norte; also, there was another conjunto band at the time named "Los Lobos Del Norte", who had released several albums already, and in fact Los Lobos del Este were from east L.A. The name was quickly shortened to Los Lobos.


title: Los Lobos

text: The band's first noteworthy public appearance occurred in 1980 at the Olympic Auditorium in Los Angeles, when they were hired by David Ferguson and CD Presents to open for Public Image Ltd. On September 28,1983, the band released an extended play entitled "...And a Time to Dance", which was well received by critics but sold only about 50,000 copies. Slash Records/Warner Bros Records was not confident enough in Los Lobos to release a standard 10-song LP. So , they released a 7-song debut LP . 7 months after the release, the group won a Grammy Award for Best Mexican American Song in 1984 However, the sales of the EP earned the group enough money to purchase a Dodge van, enabling the band to tour throughout the United States for the first time. Los Lobos returned to the studio in the summer of 1984 to record its first major-label album, "How Will the Wolf Survive?" The album's title and the title song were inspired by a "National Geographic" article entitled "Where Can the Wolf Survive," which the band members related to their own struggle to gain success in the United States while maintaining their Mexican roots.


title: Los Lobos

text: Los Lobos were exposed to Rock and Roll audiences when they opened for The Clash, a punk/new wave group, and they later opened for a Los Angeles band the Blasters, with influences in rhythm and blues and rockabilly. Steve Berlin, who was born in Philadelphia, was a saxophone player for the Blasters and then left the group to join Los Lobos. When he joined the group, Berlin spoke about his similar record collection to the other members of Los Lobos, where they shared loves for George Jones and Hank Williams.


title: Los Lobos

text: The film "Colors" includes "One Time, One Night" in the opening credits, although the song was not included on the soundtrack album. In 1986, members of Los Lobos appeared alongside Tomata du Plenty in the punk rock musical "". In 1987, they released a second album, "By the Light of the Moon". In the same year, they recorded some Ritchie Valens covers for the soundtrack of the film "La Bamba", including the title track, which became a number one single for the band plus "Come On Let's Go" and "Donna" which also charted.


title: Los Lobos

text: In 1988, they followed with another album, "La pistola y el corazón", featuring original and traditional Mexican songs. The album never peaked above #189 in the pop charts, but it did garner Los Lobos their 2nd Grammy Award for Best Mexican American Album in 1990. Also in 1988 they contributed their cover of "I Wan'na Be Like You (The Monkey Song)", to the Disney tribute album "".


title: Los Lobos

text: In the late 1980s and early 1990s the band toured extensively throughout the world, opening for such acts as Bob Dylan, U2 and the Grateful Dead.


title: Los Lobos

text: Los Lobos returned with "The Neighborhood" in 1990, and the more experimental "Kiko" (produced by Mitchell Froom) in 1992. In 1991, the band contributed a lively cover of "Bertha", a song which they often performed live, to the Grateful Dead tribute–rain forest benefit album "Deadicated." In 1994 they also contributed a track, "Down Where the Drunkards Roll", to the Richard Thompson tribute album "Beat the Retreat".


title: Los Lobos

text: On the band's twentieth anniversary they released a two-CD collection of singles, outtakes, live recordings and hits, entitled "Just Another Band from East L.A."


title: Los Lobos

text: In 1995, Los Lobos released the prestigious and bestselling record "Papa's Dream" on Music for Little People Records along with veteran guitarist and singer Lalo Guerrero. The album garnered a Grammy nomination for Best Children's Album. The band also scored the film "Desperado". The album track "Mariachi Suite" won a Grammy Award for Best Pop Instrumental Performance and was their 3rd Grammy Award. They have been nominated for Grammy Awards a total of 12 times.


title: Los Lobos

text: In 1996, they released "Colossal Head". In spite of the fact that the album was critically acclaimed, Warner Brothers decided to drop the band from their label. Los Lobos spent the next few years on side projects. The band contributed along with Money Mark to the AIDS benefit album "", produced by the Red Hot Organization, on which they performed "Pepe and Irene."


title: Los Lobos

text: Los Lobos signed to Mammoth Records (a music division of The Walt Disney Company) in 1997 and released "This Time" in 1999. Mammoth also reissued 1977's "Del Este de Los Angeles". In 2000, Rhino/Warner Archives released the boxed set "Cancionero: Mas y Mas".


title: Los Lobos

text: The band released their Mammoth Records debut, "Good Morning Aztlan" in 2002. They released "The Ride" in 2004. "The Ride" featured Tom Waits, Mavis Staples, Bobby Womack, Elvis Costello and others covering Los Lobos music along with the band.


title: Los Lobos

text: Los Lobos released its first full-length live-show DVD "Live at the Fillmore" in 2004. The DVD captures the band's act over a two-day period in July at the famed San Francisco venue.


title: Los Lobos

text: In September 2006, Los Lobos released "The Town and the City" (Mammoth Records) to much critical acclaim. The album's lyrics deal with Louis Perez's childhood in East Los Angeles, while the music provides complex and original soundscapes reminiscent of their previous release "Kiko". Cartoonist Jaime Hernandez did the artwork for the album. The album is told in the first person, with each song serving as an episodic step.


title: Los Lobos

text: In 2007, Los Lobos performed a cover of Bob Dylan's "Billy 1" (from "Pat Garrett & Billy the Kid") for the soundtrack to Todd Haynes's film "I'm Not There". Also in 2007, they participated in "" (Vanguard), contributing their version of Domino's "The Fat Man."


title: Los Lobos

text: In 2009, the group under contract to Disney Music released an album of Disney covers, "Los Lobos Goes Disney" (Disney Sound/Walt Disney Records) and participated in a tribute album to the late Doug Sahm, "" (Vanguard). The same year, on October 13, they also played on the South Lawn of the White House during the "In Performance at the White House: Fiesta Latina" concert, celebrating Hispanic musical heritage.


title: Los Lobos

text: In 2010, Cesar Rosas and David Hidalgo were featured artists in the Experience Hendrix Tour. On August 3, 2010, the group released their first album of new material in 4 years, entitled "Tin Can Trust", through Shout! Factory, which features two Spanish-language tracks.


title: Los Lobos

text: On October 9, 2015, Los Lobos was nominated for induction into the Rock and Roll Hall of Fame for the first time.


title: Los Lobos

text: In 2017, Los Lobos appeared in the multi award-winning documentary film "The American Epic Sessions" directed by Bernard MacMahon, where they recorded, “El Cascabel”, live direct-to-disc on the first electrical sound recording system from the 1920s. During their session, the belt holding the 100Ib weight that powered the 1924 cutting lathe broke and Jack White had to rush to an upholstery shop to repair it.


title: Los Lobos

text: On October 4, 2019, Los Lobos released "Llegó Navidad", an album of Christmas music from Central America and South America with Mexican folk songs, as well as an original song by Hidalgo and Pérez.


title: Los Lobos

text: The band was a recipient of a 2021 National Heritage Fellowship awarded by the National Endowment for the Arts, which is the United States government's highest honor in the folk and traditional arts.


title: Los Lobos

text: On July 30, 2021, Los Lobos released their 18th album, "Native Sons", on New West Records. It is a collection of 12 songs written or performed by California based musicians (including Jackson Browne, The Beach Boys, The Blasters, Thee Midniters, Willie Bobo, and Lalo Guerrero) with one song written by Hidalgo and Pérez, the title track "Native Sons".


title: Los Lobos

text: On April 3, 2022, Los Lobos won their fourth Grammy Award, in the Best Americana Album category, for "Native Sons". Steve Berlin went onstage to accept the award. "Had the Grammys been in L.A., the other guys would've been here to accept," Berlin later said jokingly.


title: Bespoke

text: The word bespoke () has evolved from a verb meaning 'to speak for something', to its contemporary usage as an adjective. Originally, the adjective "bespoke" described tailor-made suits and shoes. Later, it described anything commissioned to a particular specification (altered or tailored to the customs, tastes, or usage of an individual purchaser). In contemporary usage, "bespoke" has become a general marketing and branding concept implying exclusivity and limited runs.


title: Bespoke

text: "Bespoke" is derived from the verb "bespeak", meaning to "speak for something". The particular meaning of the verb form is first cited from 1583 and given in the "Oxford English Dictionary": "to speak for, to arrange for, engage beforehand: to 'order' (goods)." The adjective "bespoken" means "ordered, commissioned, arranged for" and is first cited from 1607.


title: Bespoke

text: According to "Collins English Dictionary", the term was generally British English in 2008. American English more commonly uses the word "custom" instead, as in custom-made, custom car, or custom motorcycle. Nevertheless, "bespoke" has seen increased usage in American English during the 21st century.


title: Bespoke

text: The word "bespoke" is most known for its "centuries-old relationship" with tailor-made suits, but the "Oxford English Dictionary" also ties the word to shoemaking in the mid-1800s. Although it is now used as an adjective, it was originally used as the past participle of "bespeak". According to a spokesperson for Collins English Dictionary, it later came to mean "to discuss", and then to the adjective describing something that was "discussed in advance", which is how it came to be associated with tailor-made apparel. The word was used as an adjective in "A Narrative of the Life of Mrs Charlotte Charke", the 1755 autobiography of the actress Charlotte Charke, which refers to "The Beaux' Stratagem" as "a bespoke play". After that, the adjective was generally associated with men's tailor-made suits.


title: Bespoke

text: Before about the 19th century, most clothing was made to measure, or bespoke, whether made by professional tailors or dressmakers, or as often, at home. The same applied to many other types of goods. With the advent of industrialised ready to wear clothing, bespoke became largely restricted to the top end of the market, and is now normally considerably more expensive, at least in developed countries.


title: Bespoke

text: At some point after that, the word "bespoke" came to be applied to more than tailoring, although it is unclear exactly when. Mark-Evan Blackman of the Fashion Institute of Technology in New York told "The Wall Street Journal" in 2012 that the "bespoke proliferation may be tied to young Hollywood types becoming enamored with custom suits about a decade ago". "The Wall Street Journal" article said that "language purists" were not happy, while suit makers said the word had been "bastardized".


title: Bespoke

text: In 1990, American writer William Safire, questioned in a "The New York Times" article what had become of "custom, a word fading from our fashion vocabulary in a blizzard of British usage". In a play on words, he wrote of the snob appeal of the word: "To be suitably trendy, bespeak to me of bespoke tailoring." "Gentlemen's Quarterly" magazine wrote that the word was "gaining in popularity", meaning "the opposite of off-the-rack". In its contemporary usage, it implies exclusivity, and is used as an aid in marketing and branding. A 2014 "India Today" article described bespoke as an emerging branding trend that marketers would need to embrace.


title: Bespoke

text: A 2001 google search of "bespoke and software" produced 50,000 hits, many not in the UK or the US. "The New York Times" quoted an Indian tech director as saying the "global communications boom" contributed to a "superset of English vocabulary"; another business writer explained that software companies in India were accustomed to adapting their language depending on the client, so that switching between "bespoke software" and "custom software" was the equivalent of switching between "lift" and "elevator" or "queue" and "line". By 2008, the term was more often used to describe software, database and computer applications than suits, shirts or shoes.


title: Bespoke

text: The "BBC News Magazine" wrote in 2008 that the word had increasingly been used to describe things other than websites, suits and shoes—like cars and furniture. Some examples of usage of the word are:


title: Bespoke

text: Deborah Tannen, a Georgetown University linguistics professor, told "The New York Times" that "Americans associate it with the British upper class", adding that the word for Americans tapped into "our individualism. We want everything made special for us. Even when it comes to salad bars." As of 2012, there were 39 applications using the term "bespoke" at the U.S. Patent and Trademark Office, with half of those having been filed only in the previous 18 months. "The Wall Street Journal" said that the term had started to proliferate in corporations and among investors a few years before that. A writer in "The Independent" said that consumers no longer wanted to "keep up with the Joneses", but wanted to set themselves apart, saying that the bespoke drive was anti-tradition, and about a desire to be different rather than identify collectively with others.