title: Frank McCourt

text: Frank's formal education in Limerick ended at age 13, when the Irish Christian Brothers rejected him as a student in their secondary school. Frank then worked for the post office delivering telegrams from age 14 to 16; then he worked for Eason's delivering magazines and newspapers, and he gave most of what he earned to his mother. Less formally and in secret, he wrote debt-collection letters for a local Limerick woman who paid for clothing and other items and allowed debtors to make payments with high interest rates. Frank saved his money and once he had saved enough to pay the fare to New York and have some money upon his arrival, he left Ireland on a freighter, at age 19.


title: Frank McCourt

text: In October 1949, at the age of 19, McCourt left Ireland. He had saved money from various jobs including as a telegram delivery boy and stolen from one of his employers, a moneylender, after her death. He took a boat from Cork to New York City. A priest he had met on the ship got him a room to stay in and his job at New York City's Biltmore Hotel. He earned about $26 a week and sent $10 of it to his mother in Limerick. Brothers Malachy and Michael followed him to New York and so, later, did their mother Angela with youngest son Alphie. In 1951, McCourt was drafted into the Korean War and sent to Bavaria for two years initially training dogs, then working as a clerk. Upon discharge, he returned to New York City, where he held a series of jobs on docks, in warehouses, and in banks.


title: Frank McCourt

text: Using his G.I. Bill education benefits, McCourt talked his way into New York University by claiming he was intelligent and read a great deal; they admitted him on one year's probation provided he maintained a B average. He graduated in 1957 from New York University with a bachelor's degree in English. He taught at six New York schools, including McKee Vocational and Technical High School in Staten Island, New York City College of Technology in Brooklyn, Seward Park High School, Washington Irving High School, and the High School of Fashion Industries, all in Manhattan. In 1967, he earned a master's degree at Brooklyn College, and in the late 1960s he spent 18 months at Trinity College Dublin, failing to earn his PhD before returning to New York City. He became a regular English teacher at Stuyvesant High School after his doctoral studies.


title: Frank McCourt

text: In a 1997 "New York Times" essay, McCourt wrote about his experiences teaching immigrant mothers at New York City College of Technology in Brooklyn.


title: Frank McCourt

text: McCourt won the annual Pulitzer Prize for Biography or Autobiography (1997) and one of the annual National Book Critics Circle Awards (1996) for his bestselling 1996 memoir "Angela's Ashes," which details his impoverished childhood from Brooklyn to Limerick. Three years later, a movie version of "Angela's Ashes" opened to mixed reviews. Northern Irish actor Michael Legge played McCourt as a teenager. McCourt also authored "'Tis" (1999), which continues the narrative of his life, picking up from the end of "Angela's Ashes" and focusing on his life after he returned to New York. He subsequently wrote "Teacher Man" (2005), which details his teaching experiences.


title: Frank McCourt

text: Many Limerick natives, including Gerry Hannan and Richard Harris. accused McCourt of greatly exaggerating his family's impoverished upbringing and hammering his mother. McCourt's own mother denied the accuracy of his stories shortly before her death in 1981, shouting from the audience during a stage performance of his recollections that it was "all a pack of lies." When McCourt travelled to Limerick to accept an honorary doctorate of letters from the University of Limerick, those living in the city had mixed feelings about his book, or what they had heard about it if they had not read the book. McCourt was defended by Limerick socialist TD Jim Kemmy, who described Angela's Ashes as " the best book ever written about working class life in Limerick". Many of his Stuyvesant High School students remembered quite clearly the mordant childhood anecdotes he continually told during sessions of his senior-level Creative Writing (E7W-E8W) elective. Reviewers in the US had high praise for his first memoir, including the literary critic for "The New York Times".


title: Frank McCourt

text: McCourt wrote the book for the 1997 musical "The Irish… and How They Got That Way", which featured an eclectic mix of Irish music from the traditional "Danny Boy" to U2's "I Still Haven't Found What I'm Looking For."


title: Frank McCourt

text: McCourt was a member of the National Arts Club and was a recipient of the Award of Excellerhe Irish American of the Year by "Irish A"d"erica" magazine. In 1999, McCourt received the Golden Plate Award of the American Academy of Achievement. In 2002 he was awarded an honorary degree from the University of Western Ontario.


title: Frank McCourt

text: In October 2009, the New York City Department of Education, along with several partners from the community, founded the Frank McCourt High School of Writing, Journalism, and Literature, a screened-admissions public high school. The school is located on the Upper West Side of Manhattan on West 84th Street. The Frank McCourt School is one of four small schools designated to fill the campus of the former Louis D. Brandeis High School. The Frank McCourt High School began classes September 2010.


title: Frank McCourt

text: The Frank McCourt Museum officially opened by Malachy McCourt in July 2011 at Leamy House, Hartstonge Street, Limerick. This Tudor-style building was formerly known as the Leamy School, the former school of Frank and his brother Malachy. The museum showcased the 1930s classroom of Leamy School and contained a collection of memorabilia, including items such as school books of the period and old photos, all donated by former pupils of the school. As well as having a large selection of "Angela's Ashes" memorabilia, the museum had recreated the McCourt home as described in the book using period pieces and props from the "Angela's Ashes" motion picture. The downstairs of the museum housed the Dr. Frank McCourt Creative Writing centre. The museum closed in October 2019.


title: Frank McCourt

text: McCourt was married first in August 1961 to Alberta Small, whom he met at NYU and with whom he had a daughter, Margaret. They divorced in 1979. He married a second time in November 1984 to the psychotherapist Cheryl Floyd, and they divorced in 1989.


title: Frank McCourt

text: He married his third wife, Ellen Frey McCourt, on August 13, 1994, in Milford, Pennsylvania, five years after meeting at the Lion's Head bar in New York City. After the success of his memoir, they lived in New York City and Roxbury, Connecticut. He met Ellen in December 1989, when she was 35 and he was 59, retired from teaching high school. His brother Malachy described the first two marriages as difficult, and praised his brother's third wife Ellen as a woman who cherished his brother Frank, helping him to open up his creative side and write his books. Friends described wife Ellen as one to encourage his writing; he started writing "Angela's Ashes" after they married, and finished it 13 months later. After the unexpected critical and financial success of his first memoir, McCourt and his wife settled in two homes, "their two-bedroom apartment on the Upper West Side of Manhattan, across the street from the Museum of Natural History. Then there's a converted barn that sits on 25 wooded acres in Roxbury, Conn."


title: Frank McCourt

text: It was announced in May 2009 that McCourt had been treated for melanoma and that he was in remission, undergoing home chemotherapy. On July 19, 2009, he died from the cancer, with meningeal complications, at a hospice in Manhattan, a month before his 79th birthday.


title: Frank McCourt

text: His mother, Angela Sheehan McCourt, and father, Malachy Gerald McCourt, predeceased him, in 1981 and 1985, respectively. He was survived by his brothers Malachy, Michael and Alphie. His last surviving brother Malachy wrote a third memoir, "Death Need Not Be Fatal", at age 85 with Brian McDonald, talking of his own life, missing his brother Frank, and life after 30 years of alcoholism had ended.


title: Frank McCourt

text: After his death in 2009, McCourt's ashes were shared among his brothers, his wife and his daughter. On July 18, 2017, eight years after his death, his daughter Maggie spread her share of the ashes in Limerick, travelling there with her two sons, Jack and Avery and his widow Ellen McCourt. They scattered them in two places: at the ruins of Carrigogunnell Castle which overlooks the River Shannon at Clarina, a place where he rode a bicycle as a boy, dreaming of going to America; and at Mungret Abbey, where members of her Sheehan family are buried, which he mentioned to his daughter, but then said to her that it would be too much trouble to do that. Maggie did it anyway. The portion with his brothers are in an urn buried where the playwright Arthur Miller is buried, at Great Oak Cemetery, Litchfield, Connecticut.


title: Frank McCourt

text: While his family were in Limerick, "Angela’s Ashes - The Musical" opened in the Bord Gáis Energy Theatre in Dublin on Thursday night, after a sell-out run in Limerick. The Frank McCourt Museum in Limerick continued to be popular; the museum's curator Úna Heaton accompanied the family as they traveled in Limerick in honor of Frank.


title: Frank McCourt

text: Úna Heaton, an artist by profession, painted a portrait of Frank McCourt when he was alive and gave it to his wife. She also coordinated a mosaic painting, with parts done by many artists and visitors to the museum, marking 20 years after he won the Pulitzer Prize, hanging it in the museum she founded in his name in Limerick.


title: Frank McCourt

text: The Frank McCourt Museum on Hartstonge St in Limerick at the former Leamy's National School building has since closed, in October 2019, after 10 years in operation. McCourt's papers are at Glucksman Library in the University of Limerick. Items in the museum were auctioned in 2020, and the founder and curator Úna Heaton plans to write more about him and his times.


title: Texas Roadhouse

text: Texas Roadhouse is an American steakhouse that specializes in steaks in a Texan and Southwestern cuisine style. It is a subsidiary of Texas Roadhouse Inc, which has two other concepts (Bubba's 33 and Jaggers) and is headquartered in Louisville, Kentucky. The chain operates about 627 locations (as of August 2021) in 49 U.S. states and 29 international locations in 10 countries.


title: Texas Roadhouse

text: Texas Roadhouse was founded on February 17, 1993, at the Green Tree Mall in Clarksville, Indiana; across the Ohio River from Louisville, Kentucky. Founder W. Kent Taylor, a Louisville native, lived in Colorado and worked at nightclubs and restaurants there. In 1990, Taylor returned to his hometown of Louisville, Kentucky. He began work as a Kentucky Fried Chicken manager and had dreams to open a Colorado-themed restaurant. Former Kentucky Governor John Y. Brown, Jr. helped Taylor fulfill his dream by backing him with $80,000. In 1991, Taylor opened Buckhead Mountain Grill. Taylor was his own executive chef. Brown invested more money and wanted to open a second store in Clarksville, but complications in the partnership caused it to fall apart.


title: Texas Roadhouse

text: Brown had elected to pursue another steak concept without Taylor, leaving Taylor with the decision to either stay committed to Buckhead or attempt to start a new business. He decided to go with the latter; however, he had trouble finding investors to help him launch the new concept. Taylor was turned down by many potential investors. Finally, Taylor met a potential investor while he was managing at Buckhead. Dr. John Rhodes became interested in Taylor's proposition of the new steak restaurant concept that Taylor showed to him through drawings on loose papers and cocktail napkins. Taylor was able to convince Dr. Rhodes and two of his colleagues to invest $100,000 each in 1992. A year later in 1993, the first Texas Roadhouse in Clarksville, Indiana opened its doors. In 1994, Taylor sold his shares in Buckhead Mountain Grill to focus solely on Texas Roadhouse.


title: Texas Roadhouse

text: In 1993, the second Texas Roadhouse opened in Gainesville, Florida. In 1994, three additional restaurants opened in Cincinnati; Ohio, Clearwater, Florida; and Sarasota, Florida. These three locations would all close because of poor building locations. Kent Taylor was forced to decide how to continue the success of the first two restaurants in Clarksville and Gainesville while dealing with the failures of the three new stores. Taylor decided that better in-store training, building designs, and restaurant decor would help improve Roadhouse's growth. Taylor hired a promising chef who worked in Louisville, Kentucky, Jim Broyles. Broyles was hired as the Director of Food and Beverages and transformed the way Roadhouse prepared and served food. The chain expanded rapidly in the late 1990s, and by the end of 1999, 67 restaurants had been opened. In 2004, Roadhouse became a public company. In September 2011, Texas Roadhouse started their international expansion with the first international location in Dubai in the United Arab Emirates. During the COVID-19 Pandemic in 2020, Taylor donated his entire salary and bonus, totaling over $800,000, to his employees during the pandemic.


title: Texas Roadhouse

text: After struggling with unbearable tinnitus, Taylor died by suicide on March 18, 2021, at the age of 65. It was announced that Jerry Morgan would take over the role of president and CEO.


title: Texas Roadhouse

text: Taylor posthumously published his memoir, "Made From Scratch: The Legendary Success Story of Texas Roadhouse".


title: Texas Roadhouse

text: Texas Roadhouse's mission statement is "Legendary Food, Legendary Service". Their mascot is an armadillo named Andy. The company's restaurants offer entertainment in the form of line dancing. The waiters, waitresses and hosts perform these dances throughout the night. The employees participate in intercompany competitions: bartenders compete in "The Real Bar" competition, and meat cutters in the annual "Meat Hero Competition".


title: Texas Roadhouse

text: The Roadhouse Corporation supports the homebuilding programs Habitat for Humanity International and Homes For Our Troops. The company also sponsors a road cycling team of about 20 cyclists. Texas Roadhouse is a major supporter of Special Olympics.


title: Texas Roadhouse

text: Each restaurant had a table called "Willie's Corner", with pictures and memorabilia of Willie Nelson. In 2002, Nelson signed a deal to become an official partner of Texas Roadhouse. Since then, Nelson has heavily promoted the chain, including a special on Food Network. Willie Nelson is the owner of the Texas Roadhouse in South Austin, TX.


title: Neurasthenia

text: Neurasthenia (from the Ancient Greek νεῦρον "neuron" "nerve" and ἀσθενής "asthenés" "weak") is a term that was first used at least as early as 1829 for a mechanical weakness of the nerves and became a major diagnosis in North America during the late nineteenth and early twentieth centuries after neurologist George Miller Beard reintroduced the concept in 1869.


title: Neurasthenia

text: As a psychopathological term, the first to publish on neurasthenia was Michigan alienist E. H. Van Deusen of the Kalamazoo asylum in 1869, followed a few months later by New York neurologist George Beard, also in 1869, to denote a condition with symptoms of fatigue, anxiety, headache, heart palpitations, high blood pressure, neuralgia, and depressed mood. Van Deusen associated the condition with farm wives made sick by isolation and a lack of engaging activity, while Beard connected the condition to busy society women and overworked businessmen.


title: Neurasthenia

text: Neurasthenia was a diagnosis in the World Health Organization's ICD-10, but is no more diagnosed in ICD-11, marked as deprecated. It also is no longer included as a diagnosis in the American Psychiatric Association's "Diagnostic and Statistical Manual of Mental Disorders". The condition is, however, described in the Chinese Society of Psychiatry's Chinese Classification of Mental Disorders.


title: Neurasthenia

text: Americans were said to be particularly prone to neurasthenia, which resulted in the nickname "Americanitis" (popularized by William James). Another, rarely used, term for neurasthenia is nervosism.


title: Neurasthenia

text: The condition was explained as being a result of exhaustion of the central nervous system's energy reserves, which Beard attributed to modern civilization. Physicians in the Beard school of thought associated neurasthenia with the stresses of urbanization and with stress suffered as a result of the increasingly competitive business environment. Typically, it was associated with upper class people and with professionals working in sedentary occupations, but really can apply to anyone who lives within the monetary system.


title: Neurasthenia

text: Freud included a variety of physical symptoms into this category, including fatigue, dyspepsia with flatulence, and indications of intra-cranial pressure and spinal irritation. In common with some other people of the time, he believed this condition to be due to "non-completed coitus" or the non-completion of the higher cultural correlate thereof, or to "infrequency of emissions" or the infrequent practice of the higher cultural correlate thereof. Later, Freud formulated that in cases of coitus interruptus as well as in cases of masturbation, there was "an insufficient libidinal discharge" that had a poisoning effect on the organism, in other words, neurasthenia was the result of (auto)intoxication. Eventually he separated it from anxiety neurosis, though he believed that a combination of the two conditions existed in many cases.


title: Neurasthenia

text: In 19th-century Britain and, by extension, across the British Empire, neurasthenia was also used to describe mental exhaustion or fatigue in “brain workers” or in the context of “overstudy”. This use was often synonymous with the term “brain fag”.


title: Neurasthenia

text: From 1869, neurasthenia became a "popular" diagnosis, expanding to include such symptoms as weakness, dizziness and fainting. A common treatment promoted by neurologist S. Weir Mitchell was the rest cure, especially for women. Data from this period gleaned from the Annual Reports of Queen Square Hospital, London, indicates that the diagnosis was balanced between the sexes and had a presence within Europe. Virginia Woolf was known to have been forced to have rest cures, which she describes in her book "On Being Ill". Charlotte Perkins Gilman's protagonist in "The Yellow Wallpaper" also suffers under the auspices of rest cure doctors, much as Gilman herself did. Marcel Proust was said to suffer from neurasthenia. To capitalize on this epidemic, the Rexall drug company introduced a medication called 'Americanitis Elixir' which claimed to be a soother for any bouts related to neurasthenia.


title: Neurasthenia

text: Beard, with his partner A.D. Rockwell, advocated first electrotherapy and then increasingly experimental treatments for people with neurasthenia, a position that was controversial. An 1868 review posited that Beard's and Rockwell's knowledge of the scientific method was suspect and did not believe their claims to be warranted.


title: Neurasthenia

text: William James was diagnosed with neurasthenia, which he nicknamed 'Americanitis', and was quoted as saying, "I take it that no man is educated who has never dallied with the thought of suicide."


title: Neurasthenia

text: In 1895, Sigmund Freud reviewed electrotherapy and declared it a "pretense treatment." He emphasized the example of Elizabeth von R's note that "the stronger these were the more they seemed to push her own pains into the background."


title: Neurasthenia

text: Nevertheless, neurasthenia was a common diagnosis during World War I for "shell shock", but its use declined a decade later. Soldiers who deserted their post could be executed even if they had a medical excuse, but officers who had neurasthenia were not executed.


title: Neurasthenia

text: This concept remained popular well into the 20th century, eventually coming to be seen as a behavioural rather than physical condition. Neurasthenia has largely been abandoned as a medical diagnosis.


title: Neurasthenia

text: The ICD-10 system of the World Health Organization categorizes neurasthenia under "F48 – Other neurotic disorders". Under "F48.0 Neurasthenia", there are notable differences in characteristics of the disorder among various cultures. Two main overlapping forms of symptoms can be present: Increased fatigue after mental exertion can be associated with a reduction in cognitive function. Minimal physical effort might be felt as extream fatigue along with pain and anxiety. Many other symptoms of bodily discomfort may be felt with either form. Excluded from this disorder are: asthenia NOS (R53), burn-out (Z73.0), malaise and fatigue (R53), postviral fatigue syndrome (includes Myalgic encephalomyelitis/Chronic fatigue syndrome (ME/CFS)) (G93.3) and psychasthenia (F48.8).


title: Neurasthenia

text: One modern opinion of neurasthenia is that it was actually dysautonomia, an "imbalance" of the autonomic nervous system.


title: Neurasthenia

text: Barbara Ehrenreich, restating James's view, considered that neurasthenia was caused by the Calvinist gloom, and it was helped by the New Thought, through replacing the "puritanical 'demand for perpetual effort and self-examination to the point of self-loathing'" with a more hopeful faith.


title: Neurasthenia

text: The medical term "neurasthenia" is translated as Chinese "shenjing shuairuo" () or Japanese "shinkei-suijaku" (神経衰弱), both of which also translate the common term "nervous breakdown". This loanword combines "shenjing" (神經) or "shinkei" (神経) "nerve(s); nervous" and "shuairuo" or "suijaku" (衰弱) "weakness; feebleness; debility; asthenia".


title: Neurasthenia

text: Despite being omitted by the American Psychiatric Association's DSM in 1980, neurasthenia is listed in an appendix as the culture-bound syndrome "shenjing shuairuo" as well as appearing in the ICD-10. The condition is thought to persist in Asia as a culturally acceptable diagnosis that avoids the social stigma of a diagnosis of mental disorder.


title: Neurasthenia

text: In Japan, "shinkei-suijaku" is treated with Morita therapy involving mandatory rest and isolation, followed by progressively more difficult work, and a resumption of a previous social role. The diagnosis is sometimes used as a disguise for serious mental illnesses such as schizophrenia and mood disorders.


title: Neurasthenia

text: In China, traditional Chinese medicine describes "shenjingshuairuo" as a depletion of "qi" "vital energy" and reduction of functioning in the "wuzang" "five internal organs" (heart, liver, spleen, lungs, kidneys). The modern CCMD classifies it as a persistent mental disorder diagnosed with three of these five symptoms: "'weakness' symptoms, 'emotional' symptoms, 'excitement' symptoms, tension-induced pain, and sleep disturbances" not caused by other conditions. Arthur Kleinman described Chinese neurasthenia as a "biculturally patterned illness experience (a special form of somatization), related to depression or other diseases or to culturally sanctioned idioms of distress and psychosocial coping."


title: The Society of the Spectacle

text: The Society of the Spectacle () is a 1967 work of philosophy and Marxist critical theory by Guy Debord, in which the author develops and presents the concept of the Spectacle. The book is considered a seminal text for the Situationist movement. Debord published a follow-up book "Comments on the Society of the Spectacle" in 1988.


title: The Society of the Spectacle

text: The work is a series of 221 short theses in the form of aphorisms. Each thesis contains one paragraph.


title: The Society of the Spectacle

text: Debord traces the development of a modern society in which authentic social life has been replaced with its representation: "All that once was directly lived has become mere representation." Debord argues that the history of social life can be understood as "the decline of "being" into "having", and "having" into merely "appearing"." This condition, according to Debord, is the "historical moment at which the commodity completes its colonization of social life."


title: The Society of the Spectacle

text: The spectacle is the inverted image of society in which relations between commodities have supplanted relations between people, in which "passive identification with the spectacle supplants genuine activity". "The spectacle is not a collection of images," Debord writes, "rather, it is a social relation among people, mediated by images."


title: The Society of the Spectacle

text: In his analysis of the spectacular society, Debord notes that the quality of life is impoverished, with such a lack of authenticity that human perceptions are affected, and an attendant degradation of knowledge, which in turn hinders critical thought. Debord analyzes the use of knowledge to assuage reality: the spectacle obfuscates the past, imploding it with the future into an undifferentiated mass, a type of never-ending present; in this way the spectacle prevents individuals from realizing that the society of spectacle is only a moment in history, one that can be overturned through revolution.


title: The Society of the Spectacle

text: In the Situationist view, situations are actively created moments characterized by "a sense of self-consciousness of existence within a particular environment or ambience".


title: The Society of the Spectacle

text: Debord encouraged the use of détournement, "which involves using spectacular images and language to disrupt the flow of the spectacle."


title: The Society of the Spectacle

text: "The Society of the Spectacle" is a critique of contemporary consumer culture and commodity fetishism, dealing with issues such as class alienation, cultural homogenization, and mass media. When Debord says that "All that was once directly lived has become mere representation," he is referring to the central importance of the image in contemporary society. Images, Debord says, have supplanted genuine human interaction. Thus, Debord's fourth thesis is: "The spectacle is not a collection of images; rather, it is a social relationship between people that is mediated by images." In a consumer society, social life is not about living, but about having; the spectacle uses the image to convey what people need and must have. Consequently, social life moves further, leaving a state of "having" and proceeding into a state of "appearing"; namely the appearance of the image. "In a world which really is topsy-turvy, the true is a moment of the false."


title: The Society of the Spectacle

text: Debord also draws an equivalence between the role of mass media marketing in the present and the role of religions in the past. The spread of commodity-images by the mass media, produces "waves of enthusiasm for a given product" resulting in "moments of fervent exaltation similar to the ecstasies of the convulsions and miracles of the old religious fetishism".


title: The Society of the Spectacle

text: Debord contends further that "the remains of religion and of the family (the principal relic of the heritage of class power) and the moral repression they assure, merge whenever the enjoyment of this world is affirmed–this world being nothing other than repressive pseudo-enjoyment." "The monotheistic religions were a compromise between myth and history, ... These religions arose on the soil of history, and established themselves there. But there they still preserve themselves in radical opposition to history." Debord defines them as "Semi-historical religion". "The growth of knowledge about society, which includes the understanding of history as the heart of culture, derives from itself an irreversible knowledge, which is expressed by the destruction of God."


title: The Society of the Spectacle

text: In Chapter 8, "Negation and Consumption Within Culture", Debord includes a critical analysis of the works of three American sociologists. Debord discusses at length Daniel J. Boorstin's "The Image" (1961), arguing that Boorstin missed the concept of Spectacle. In thesis 192, Debord mentions some American sociologists who have described the general project of developed capitalism which "aims to recapture the fragmented worker as a personality well integrated in the group;" the examples mentioned by Debord are David Riesman, author of "The Lonely Crowd" (1950), and William H. Whyte, author of the 1956 bestseller "The Organization Man". Among the 1950s sociologists who are usually compared to Riesman and Whyte, is C. Wright Mills, author of "". Riesman's "Lonely Crowd" term is also used in thesis 28.


title: The Society of the Spectacle

text: Because the notion of the spectacle involves real life being replaced by representations of life, "Society of the Spectacle" is also concerned with the notion of authenticity versus inauthenticity, a theme which is revisited in Chapter 8, "Negation and Consumption within Culture". In Debord's treatment, modern society forces culture to constantly re-appropriate or re-invent itself, copying and re-packaging old ideas. Thesis 207 makes this point, rhetorically:


title: The Society of the Spectacle

text: "Ideas improve. The meaning of words participates in the improvement. Plagiarism is necessary. Progress implies it. It embraces an author's phrase, makes use of his expressions, erases a false idea, and replaces it with the right idea."


title: The Society of the Spectacle

text: This passage concerning plagiarism is itself directly lifted from "Poésies" by French-Uruguayan author Isidore Lucien Ducasse, better known as the Comte de Lautréamont. In particular, the original French text for both Debord and Lautréamont's versions of the passage are identical: "Les idées s'améliorent. Le sens des mots y participe. Le plagiat est nécessaire. Le progrès l'implique. Il serre de près la phrase d'un auteur, se sert de ses expressions, efface une idée fausse, la remplace par l'idée juste."


title: The Society of the Spectacle

text: The book cover of the 1983 edition is derived from a photograph by the "Life" magazine photographer, J. R. Eyerman. On November 26, 1952, at the Paramount Theatre (Oakland, California), the premiere screening of the film "Bwana Devil" by Arch Oboler took place as the first full-length, color 3-D (aka 'Natural Vision') motion picture. Eyerman took a series of photographs of the audience wearing 3-D glasses.


title: The Society of the Spectacle

text: "Life" magazine used one of the photographs as the cover of a brochure about the 1946-1955 decade. The photograph employed in the Black and Red edition shows the audience in "a virtually trance-like state of absorption, their faces grim, their lips pursed;" however, in the one chosen by "Life", "the spectators are laughing, their expressions of hilarity conveying the pleasure of an uproarious, active spectatorship." The Black and Red version also is flipped left to right, and cropped. Despite widespread association among English-speaking readers, Debord had nothing to do with this cover illustration, which was chosen by Black and Red.


title: James Russo

text: James Vincent Russo (born April 23, 1953) is an American film and television actor. He has appeared in over 150 films in three decades.


title: James Russo

text: Russo was born in New York City, New York, to an Italian father and German mother. A graduate of the High School of Art and Design and New York University (NYU), he wrote and starred in the prize-winning short film "The Candy Store". Before his first break in acting, he drove for a cab company, worked as a construction worker and a gravedigger. He was raised in Flushing, New York and spent his formative years on 156th street.


title: James Russo

text: Russo's first role in his acting career was in the 1981 made-for-television film "Chicago Story". He then went on to star in many hit films of the 1980s.


title: James Russo

text: His big break (but small role) came in the 1982 comedy film "Fast Times at Ridgemont High", as a convenience store robber. In 1984, he appeared in "Beverly Hills Cop" as Mikey Tandino, a friend of Axel Foley who is murdered. That same year he starred in "The Cotton Club" and played small-time hood Bugsy in Sergio Leone's "Once Upon a Time in America". Russo's other big role was as a brutal rapist in the 1986 drama "Extremities", opposite Farrah Fawcett. He starred in the 1988 drama-suspense-thriller film "Freeway".


title: James Russo

text: Russo's film roles in the 1990s include "State of Grace" (1990), "A Kiss Before Dying" (1991), and "My Own Private Idaho" (1991). Russo also had roles in the 1994 Western "Bad Girls", the 1997 films "The Postman", and "Donnie Brasco". In 2009 he had a small role in Michael Mann's "Public Enemies" as a member of John Dillinger's gang.


title: James Russo

text: In 2003, Russo was reunited with his co-star from "The Postman", Kevin Costner, in the Western film "Open Range". He made guest appearances in many TV dramas and films, including "The Equalizer", "Miami Vice", "", "", and "Las Vegas".


title: James Russo

text: In the summer of 2009, Russo starred in the psychological thriller "7E" with Brendan Sexton III, John Savage and Natasha Lyonne. The film was released on December 10, 2013. Russo had a supporting role in Quentin Tarantino's 2012 film "Django Unchained".


title: James Russo

text: In 2011, Russo provided video game voice talent for "Rage" and provided additional voice work for "".


title: Four Weddings and a Funeral (miniseries)

text: Four Weddings and a Funeral is an American romantic comedy streaming television miniseries, based on the 1994 British film of the same name written by Richard Curtis. The miniseries, which premiered on July 31, 2019 on Hulu, was created by Mindy Kaling and Matt Warburton. It stars Nathalie Emmanuel, Nikesh Patel, Rebecca Rittenhouse, Brandon Mychal Smith, and John Reynolds.


text: "Four Weddings and a Funeral" follows "four American friends — Maya, Craig, Ainsley, and Duffy — who reunite for a fabulous London wedding. But after a bombshell at the altar throws their lives into turmoil, they must weather a tumultuous year of romance and heartbreak. Relationships are forged and broken, political scandals exposed, London social life lampooned, love affairs ignited and doused, and of course, there are four weddings...and a funeral."


text: On November 1, 2017, it was announced that Hulu was developing an anthology television series adaptation of the film "Four Weddings and a Funeral". Executive producers were set to include Mindy Kaling, Matt Warburton, Richard Curtis, Jonathan Prince, Tim Bevan, Eric Fellner, and Howard Klein. Production companies involved with the series were expected to consist of Working Title Films, 3 Arts Entertainment, MGM Television, and Universal Television. On May 2, 2018, it was announced that Hulu had given the production a series order.


text: On October 26, 2018, it was announced that Jessica Williams, Nikesh Patel, Rebecca Rittenhouse, and John Reynolds had been cast in starring roles. On November 21, 2018, it was reported that Williams' lead role of Jess had been reconceived into a new character named Maya and that Williams had been recast in the role by Nathalie Emmanuel. Additionally, it was further reported that Brandon Mychal Smith, Zoe Boyle, Harish Patel and Guz Khan had joined the cast and that Andie MacDowell would make a guest appearance in a nod to her starring role in the 1994 film, albeit not as her original character Carrie from the film. On December 7, 2018, it was announced that Tom Mison and Ashley Madekwe had been cast in recurring roles and that Tommy Dewey would make a guest appearance. In February 2019, Sophia La Porta joined the cast.


text: "The Four Weddings and a Funeral" (Music From the Original TV Series) soundtrack was released on August 14, 2019 which consisted of a blend of cover versions and originals.


text: On review aggregator Rotten Tomatoes, the series holds an approval rating of 42% based on 38 reviews, with an average rating of 5.59/10. The website's critical consensus reads, "Despite an impressive cast and crew, "Four Weddings and a Funeral" falls flat, relying too heavily on genre clichés to offer audiences anything more than just another mediocre romcom." On Metacritic, it has a weighted average score of 50 out of 100, based on 20 critics, indicating "mixed or average reviews".


title: Misirlou

text: "Misirlou" ( < 'Egyptian' < "Miṣr" 'Egypt') is a folk song from the Eastern Mediterranean region. The original author of the song is not known, but Arabic, Greek, and Jewish musicians were playing it by the 1920s. The earliest known recording of the song is a 1927 Greek rebetiko/tsifteteli composition. There are also Arabic belly dancing, Armenian, Serbian, Persian, Indian and Turkish versions of the song. This song was popular from the 1920s onwards in the Arab American, Armenian American and Greek American communities who settled in the United States.


title: Misirlou

text: The song was a hit in 1946 for Jan August, an American pianist and xylophonist nicknamed "the one-man piano duet". It gained worldwide popularity through Dick Dale's 1962 American surf rock version, originally titled "Miserlou", which popularized the song in Western popular culture; Dale's version was influenced by an earlier Arabic folk version played with an oud. Various versions have since been recorded, mostly based on Dale's version, including other surf and rock versions by bands such as the Beach Boys, the Ventures, and the Trashmen, as well as international orchestral easy listening (exotica) versions by musicians such as Martin Denny and Arthur Lyman. Dale's surf rock version later gained renewed popularity when director Quentin Tarantino used it in his 1994 film "Pulp Fiction", and again when it was sampled in the Black Eyed Peas' song "Pump It" (2006).


title: Misirlou

text: Misirlou (Μισιρλού), due to the suffix "ou", is the feminine form (in Greek) of Misirlis (Μισιρλής- a surname) which comes from the Turkish word Mısırlı, which is formed by combining Mısır ("Egypt" in Turkish, borrowed from Arabic Miṣr) with the Turkish -lı suffix, literally meaning "Egyptian". Therefore, the song is about an Egyptian woman. The original Turkish word "Mısırlı" is, however, genderless.


title: Misirlou

text: The folk song has origins in the Eastern Mediterranean region of the Ottoman Empire, but the original author of the song is not known. There is evidence that the folk song was known to Arabic musicians, Greek rebetiko musicians and Jewish klezmer musicians by the 1920s. The claim in some sources that the tune derives from the song "Bint Misr" ("Egyptian Girl") written by Egyptian musician Sayed Darwish is thought to be incorrect.


title: Misirlou

text: The earliest known recording of the song was by the rebetiko musician Theodotos ("Tetos") Demetriades () in 1927. Demetriades, an Ottoman Greek, was born in Istanbul, Ottoman Empire, in 1897, and he resided there until he moved to the United States in 1921, during a period when most of the Greek speaking population fled the emerging Turkish state. It is likely that he was familiar with the song as a folk song before he moved to the United States. As with almost all early rebetika songs (a style that originated with the Greek refugees from Asia Minor in Turkey), the song's actual composer has never been identified, and its ownership rested with the band leader. Demetriades named the song "Misirlou" in his original 1927 Columbia recording, which is a Greek assimilated borrowing of the regional pronunciation of "Egyptian" in Turkish ("Mısırlı"), as opposed to the corresponding word for "Egyptian" (female) in Greek, which is ("Aigyptia").


title: Misirlou

text: The rebetiko version of the song was intended for a Greek tsifteteli dance, at a slower tempo and a different key than the Oriental performances that most are familiar with today. This was the style of recording by Michalis Patrinos in Greece, circa 1930, which was circulated in the United States by the Orthophonic label; another recording was made by Patrinos in New York City in 1931 as well.


title: Misirlou

text: The song's Oriental melody has been so popular for so long that many people, from Morocco to Iraq, claim it to be a folk song from their own country. In the realm of Middle Eastern music, the song is a very simple one, since it is little more than going up and down the "Hijaz Kar" or double harmonic scale (E-F-G#-A-B-C-D#). It still remains a well known Greek, Klezmer and Arab folk song.


title: Misirlou

text: In 1941, Nick Roubanis, a Greek-American music instructor, released a jazz instrumental arrangement of the song, crediting himself as the composer. Since his claim was never legally challenged, he is still officially credited as the composer today worldwide, except in Greece where credit is given to either Roubanis or Patrinos. Subsequently, Chaim Tauber, Fred Wise and Milton Leeds wrote English lyrics to the song. Roubanis is also credited with fine-tuning the key and the melody, giving it the Oriental sound that it is associated with today. The song soon became an "exotica" standard among the light swing (lounge) bands of the day.


title: Misirlou

text: Harry James recorded and released "'Misirlou" in 1941 on Columbia 36390, and the song peaked at No. 22 on the U.S. chart.


title: Misirlou

text: In 1946, pianist Jan August recorded a version of the song on Diamond Records (Diamond 2009), which reached No. 7 on the Billboard Jockey charts in the U.S.


title: Misirlou

text: In 1962, Dick Dale rearranged the song as a solo instrumental rock guitar piece. During a performance, Dale was bet by a young fan that he could not play a song on only one string of his guitar. Dale's father and uncles were Lebanese-American musicians, and Dale remembered seeing his uncle play "Misirlou" on one string of the oud. He vastly increased the song's tempo to make it into rock and roll. It was Dale's surf version that introduced "Misirlou" to a wider audience in the U.S.


title: Misirlou

text: The Beach Boys recorded a Dale-inspired "Misirlou" for the 1963 album "Surfin' U.S.A.", solidifying "Misirlou" as a staple of American pop culture.


title: Misirlou

text: In 1945, a Pittsburgh women's musical organization asked Professor Brunhilde E. Dorsch to organize an international dance group at Duquesne University to honor America's World War II allies. She contacted Mercine Nesotas, who taught several Greek dances, including Syrtos Haniotikos (from Crete), which she called Kritikos, but for which they had no music. Because Pittsburgh's Greek-American community did not know Cretan music, Pat Mandros Kazalas, a music student, suggested the tune "Misirlou", although slower, might fit the dance.


title: Misirlou

text: The dance was first performed at a program to honor America's allies of World War II at Stephen Foster Memorial Hall in Pittsburgh on March 6, 1945. Thereafter, this new dance, which had been created by putting the Syrtos Kritikos to the slower "Misirlou" music, was known as Misirlou and spread among the Greek-American community, as well as among non-Greek U.S. folk-dance enthusiasts.


title: Misirlou

text: It has been a staple for decades of dances held at Serbian Orthodox churches across the U.S., performed as a kolo, a circle dance. The dance is also performed to instrumental versions of "Never on Sunday" by Manos Hadjidakis – though in the Serbian-American community, "Never on Sunday" was popularly enjoyed as a couple's dance and actually sung in English. "Never on Sunday" was often one of only two songs performed in English at these dances, the other song being "Spanish Eyes" (formerly "Moon Over Naples") also internationally popular in its time.


title: Misirlou

text: The Misirlou dance also found its way into the Armenian-American community who, like the Greeks, were fond of circle dances, and occasionally adopted Greek dances. The first Armenian version of "Misirlou" was recorded by Reuben Sarkisian in Fresno the early 1950s. Sarkisian wrote the Armenian lyrics to "Misirlou" which are still sung today, however he wrote the song as "Akh, Anoushes" ("Ah, My Sweet") while later Armenian singers would change it to "Ah Anoush Yar" ("Ah, Sweet Lover"; Yar meaning sweetheart or lover, from Turkish).


title: Misirlou

text: In 1994, Dick Dale's version of "Misirlou" was used on the soundtrack of the motion picture "Pulp Fiction", prominently featured over the opening titles. Another version of this song performed by Studio Patrick Abrial has been featured in the French film Taxi in 1998. The Martin Denny cover also helped the song resurge in popularity, when it was sampled in the Season 2 episode of "Mad Men", "The Jet Set".


title: Misirlou

text: The song was selected by the Athens 2004 Olympics Organizing Committee as one of the most influential Greek songs of all time, and was heard in venues and at the closing ceremony – performed by Anna Vissi.


title: Misirlou

text: In March 2005, "Q" magazine placed Dale's version at number 89 in its list of the 100 Greatest Guitar Tracks.


title: Bonus Army

text: The Bonus Army was a group of 43,000 demonstrators – 17,000 veterans of U.S. involvement in World War I, their families, and affiliated groups – who gathered in Washington, D.C., in mid-1932 to demand early cash redemption of their service bonus certificates. Organizers called the demonstrators the Bonus Expeditionary Force (B.E.F.), to echo the name of World War I's American Expeditionary Forces, while the media referred to them as the "Bonus Army" or "Bonus Marchers". The demonstrators were led by Walter W. Waters, a former sergeant.


title: Bonus Army

text: Many of the war veterans had been out of work since the beginning of the Great Depression. The World War Adjusted Compensation Act of 1924 had awarded them bonuses in the form of certificates they could not redeem until 1945. Each certificate, issued to a qualified veteran soldier, bore a face value equal to the soldier's promised payment with compound interest. The principal demand of the Bonus Army was the immediate cash payment of their certificates.


title: Bonus Army

text: On July 28, 1932, U.S. Attorney General William D. Mitchell ordered the veterans removed from all government property. Washington police met with resistance, shot at the protestors, and two veterans were wounded and later died. President Herbert Hoover then ordered the U.S. Army to clear the marchers' campsite. Army Chief of Staff General Douglas MacArthur commanded a contingent of infantry and cavalry, supported by six tanks. The Bonus Army marchers with their wives and children were driven out, and their shelters and belongings burned.


title: Bonus Army

text: A second, smaller Bonus March in 1933 at the start of the Roosevelt administration was defused in May with an offer of jobs with the Civilian Conservation Corps at Fort Hunt, Virginia, which most of the group accepted. Those who chose not to work for the CCC by the May 22 deadline were given transportation home. In 1936, Congress overrode President Roosevelt's veto and paid the veterans their bonus nine years early.


title: Bonus Army

text: The practice of war-time military bonuses began in 1776, as payment for the difference between what a soldier earned and what he could have earned had he not enlisted. The practice derived from English legislation passed in the 1592–93 session of Parliament to provide medical care and maintenance for disabled veterans and bonuses for serving soldiers.


title: Bonus Army

text: In August 1776, Congress adopted the first national pension law providing half pay for life for disabled veterans. Considerable pressure was applied to expand benefits to match the British system for serving soldiers and sailors but had little support from the colonial government until mass desertions at Valley Forge that threatened the existence of the Continental Army led George Washington to become a strong advocate.


title: Bonus Army

text: In 1781, most of the Continental Army was demobilized. Two years later, hundreds of Pennsylvania war veterans marched on Philadelphia, then the nation's capital, surrounded the State House, where the U.S. Congress was in session, and demanded back pay. Congress fled to Princeton, New Jersey, and several weeks later, the U.S. Army expelled the war veterans from Philadelphia. Congress progressively passed legislation from 1788 covering pensions and bonuses, eventually extending eligibility to widows in 1836.


title: Bonus Army

text: Before World War I, the soldiers' military service bonus (adjusted for rank) was land and money; a Continental Army private received and $80.00 (2017: $1,968.51) at war's end, while a major general received . In 1855, Congress increased the land-grant minimum to , and reduced the eligibility requirements to fourteen days of military service or one battle; moreover, the bonus also applied to veterans of any Indian war. The provision of land eventually became a major political issue, particularly in Tennessee where almost 40% of arable land had been given to veterans as part of their bonus. By 1860, had been issued and lack of available arable land led to the program's abandonment and replacement with a cash-only system. Breaking with tradition, the veterans of the Spanish–American War did not receive a bonus and after World War I, that became a political matter when they received only a $60 bonus. The American Legion, created in 1919, led a political movement for an additional bonus.


title: Bonus Army

text: On May 15, 1924, President Calvin Coolidge vetoed a bill granting bonuses to veterans of World War I, saying: "patriotism... bought and paid for is not patriotism." Congress overrode his veto a few days later, enacting the World War Adjusted Compensation Act. Each veteran was to receive a dollar for each day of domestic service, up to a maximum of $500 (), and $1.25 for each day of overseas service, up to a maximum of $625 (). Deducted from this was $60, for the $60 they received upon discharge. Amounts of $50 or less were immediately paid. All other amounts were issued as Certificates of Service maturing in 20 years.


title: Bonus Army

text: There were 3,662,374 Adjusted Service Certificates issued, with a combined face value of $3.64 billion (equivalent to $ billion in ). Congress established a trust fund to receive 20 annual payments of $112 million that, with interest, would finance the 1945 disbursement of the $3.638 billion for the veterans. Meanwhile, veterans could borrow up to 22.5% of the certificate's face value from the fund; but in 1931, because of the Great Depression, Congress increased the maximum value of such loans to 50% of the certificate's face value. Although there was congressional support for the immediate redemption of the military service certificates, Hoover and Republican congressmen opposed such action and reasoned that the government would have to increase taxes to cover the costs of the payout and so any potential economic recovery would be slowed.


title: Bonus Army

text: The Veterans of Foreign Wars continued to press the federal government to allow the early redemption of military service certificates.


title: Bonus Army

text: The first march of the unemployed was Coxey's Army in 1894, when armies of men from various regions streamed to Washington as a "living petition" to demand that the federal government create jobs by investing in public infrastructure projects. In January 1932, a march of 25,000 unemployed Pennsylvanians, dubbed "Cox's Army", had marched on Washington, D.C., the largest demonstration to date in the nation's capital, setting a precedent for future marches by the unemployed.


title: Bonus Army

text: Most of the Bonus Army (Bonus Expeditionary Force or BEF) camped in a form of a "Hooverville" on the Anacostia Flats (now Section C of Anacostia Park), a swampy, muddy area away from the federal core of Washington. Other veterans lived much closer, in partially demolished buildings on Pennsylvania Avenue near the Third Street SW. Although occupation of Anacostia Flats was against federal law, Glassford obtained permission off the record from his friend Major General U.S. Grant III, Director of Public Buildings and Public Parks in the Capital, who promised to make no objection. The chosen site was located in the historically African American side of Anacostia; nearby were tennis courts and a baseball diamond, the latter of which was used by children of the camp. The War Department had refused a request by Senator James Hamilton Lewis to set up billets, so veterans, women and children lived in the shelters they built from materials dragged out of a junk pile nearby, which included old lumber, packing boxes, and scrap tin covered with roofs of thatched straw. The shack city was nicknamed Camp Marks, after the friendly Police Captain S.J. Marks.


title: Bonus Army

text: Camp Marks was tightly controlled by the veterans, who laid out streets, built sanitation facilities, set up an internal police force and held daily parades. A vibrant community arose revolving around several key sections, including the religious tent, where marchers could be heard expressing forbearance, trust in God and gratitude for what they had compared to other victims of the Depression. Also popular was the Salvation Army lending library, where marchers wrote letters home in its makeshift post office (postage stamps were more prized than cigarettes, it was said). To live in the camps, veterans were required to register and to prove they had been honorably discharged or provided a bonus certificate, at which point a membership card would be issued. The Superintendent of the D.C. Police, Pelham D. Glassford, worked with camp leaders to supply the camp with food and supplies.


title: Bonus Army

text: On June 15, 1932, the US House of Representatives passed the Wright Patman Bonus Bill (by a vote of 211–176) to move forward the date for World War I veterans to receive their cash bonus. Over 6,000 bonus marchers massed at the U.S. Capitol on June 17 as the U.S. Senate voted on the Bonus Bill. The bill was defeated by a vote of 62–18.


title: Bonus Army

text: On July 28, under prodding from President Herbert Hoover, the D.C. Commissioners ordered Pelham D. Glassford to clear their buildings, rather than letting the protesters drift away as he had previously recommended. When the veterans rioted, an officer (George Shinault) drew his revolver and shot at the veterans, two of whom, William Hushka and Eric Carlson, died later.


title: Bonus Army

text: During a previous riot, the Commissioners asked the White House for federal troops. Hoover passed the request to Secretary of War Patrick J. Hurley, who told MacArthur to take action to disperse the protesters. Towards the late afternoon, cavalry, infantry, tanks and machine guns pushed the "Bonusers" out of Washington.


title: Bonus Army

text: An Army intelligence report claimed that the BEF intended to occupy the Capitol permanently and instigate fighting, as a signal for communist uprisings in all major cities. It also conjectured that at least part of the Marine Corps garrison in Washington would side with the revolutionaries, hence Marine units eight blocks from the Capitol were never called upon. The report of July 5, 1932, by Conrad H. Lanza in upstate New York was not declassified until 1991.


title: Bonus Army

text: The Department of Justice released an investigative report on the Bonus Army in September 1932, noting that communists had attempted to involve themselves with the Bonus Army from the start, and had been arrested for various offenses during protests:


title: Bonus Army

text: In 1932, Hoover stated that the bulk of Bonus Army members behaved reasonably and a minority of what he described as communists and career criminals were responsible for most of the unrest associated with the events: "I wish to state emphatically that the extraordinary proportion of criminal, Communist, and nonveteran elements amongst the marchers as shown by this report, should not be taken to reflect upon the many thousands of honest, law-abiding men who came to Washington with full right of presentation of their views to the Congress. This better element and their leaders acted at all times to restrain crime and violence, but after the adjournment of Congress a large portion of them returned to their homes and gradually these better elements lost control." In his 1952 memoir, Hoover stated that at least 900 of the Bonus Army were "ex-convicts and Communists."


title: Bonus Army

text: In his memoir "The Whole of Their Lives" (1948) Benjamin Gitlow of the Communist Party USA reported that a number of communists had joined the Bonus Army during their trek across the nation, with the goal of recruiting people to the communist cause.


title: Bonus Army

text: A 2009 "Encyclopedia Britannica" blog post asserted these would-be communist organizers were largely rejected by the Bonus Army marchers: "[T]here were communists present in the camps, led by John T. Pace from Michigan. But if Pace believed that Bonus Army was a ready-made revolutionary cadre, he was mistaken. The marchers routinely expelled avowed communists from the camps. They destroyed communist leaflets and other literature. And among their other slogans the veterans adopted a motto directed at the communists, 'Eyes front—not left!'"


title: Bonus Army

text: At 1:40 pm, General Douglas MacArthur ordered General Perry Miles to assemble troops on the Ellipse immediately south of the White House. Within the hour the 3rd Cavalry led by George S. Patton, then a Major, crossed the Memorial Bridge, with the 12th Infantry arriving by steamer about an hour later. At 4 pm, Miles told MacArthur that the troops were ready, and MacArthur (like Eisenhower, by now in service uniform) said that Hoover wanted him to "be on hand as things progressed, so that he could issue necessary instructions on the ground" and "take the rap if there should be any unfavorable or critical repercussions."


title: Bonus Army

text: At 4:45 pm, commanded by MacArthur, the 12th Infantry Regiment, Fort Howard, Maryland, and the 3rd Cavalry Regiment, supported by five M1917 light tanks commanded by Patton , formed in Pennsylvania Avenue while thousands of civil service employees left work to line the street and watch. The Bonus Marchers, believing the troops were marching in their honor, cheered the troops until Patton ordered the cavalry to charge them, which prompted the spectators to yell, "Shame! Shame!"


title: Bonus Army

text: After the cavalry charged, the infantry, with fixed bayonets and tear gas (adamsite, an arsenical vomiting agent) entered the camps, evicting veterans, families, and camp followers. The veterans fled across the Anacostia River to their largest camp, and Hoover ordered the assault stopped. MacArthur chose to ignore the president and ordered a new attack, claiming that the Bonus March was an attempt to overthrow the US government. 55 veterans were injured and 135 arrested. A veteran's wife miscarried. When 12-week-old Bernard Myers died in the hospital after being caught in the tear gas attack, a government investigation reported he died of enteritis, and a hospital spokesman said the tear gas "didn't do it any good."


title: Bonus Army

text: During the military operation, Major Dwight D. Eisenhower, later the 34th president of the United States, served as one of MacArthur's junior aides. Believing it wrong for the Army's highest-ranking officer to lead an action against fellow American war veterans, he strongly advised MacArthur against taking any public role: "I told that dumb son-of-a-bitch not to go down there," he said later. "I told him it was no place for the Chief of Staff." Despite his misgivings, Eisenhower wrote the Army's official incident report that endorsed MacArthur's conduct.


title: Bonus Army

text: Although the troops were ready, Hoover twice sent instructions to MacArthur not to cross the Anacostia bridge that night, both of which were received. Shortly after 9 pm, MacArthur ordered Miles to cross the bridge and evict the Bonus Army from its encampment in Anacostia. This refusal to follow orders was claimed by MacArthur's assistant chief of staff George Van Horn Moseley. However, MacArthur's aide Dwight Eisenhower, Assistant Secretary of War for Air F. Trubee Davison, and Brigadier General Perry Miles, who commanded the ground forces, all disputed Moseley's claim. They said the two orders were never delivered to MacArthur and they blamed Moseley for refusing to deliver the orders to MacArthur for unknown reasons. The shacks in the Anacostia Camp were then set on fire, although who set them on fire is somewhat unclear.


title: Bonus Army

text: Joe Angelo, a decorated hero from the war who had saved Patton's life during the Meuse-Argonne offensive on September 26, 1918, approached him the day after to sway him. Patton, however, dismissed him quickly. This episode was said to represent the proverbial essence of the Bonus Army, each man the face of each side: Angelo the dejected loyal soldier; Patton the unmoved government official unconcerned with past loyalties.


title: Bonus Army

text: Though the Bonus Army incident did not derail the careers of the military officers involved, it proved politically disastrous for Hoover, and it is considered a contributing factor to his losing the 1932 election in a landslide to Franklin D. Roosevelt.


title: Bonus Army

text: Police Superintendent Glassford was not pleased with the decision to have the Army intervene, believing that the police could have handled the situation. He soon resigned as superintendent.


title: Bonus Army

text: MGM released the movie "Gabriel Over the White House" in March 1933, the month Roosevelt was sworn in as president. Produced by William Randolph Hearst's Cosmopolitan Pictures, it depicted a fictitious President Hammond who, in the film's opening scenes, refuses to deploy the military against a march of the unemployed and instead creates an "Army of Construction" to work on public works projects until the economy recovers. First Lady Eleanor Roosevelt judged the movie's treatment of veterans superior to Hoover's.


title: Bonus Army

text: During the presidential campaign of 1932, Roosevelt had opposed the veterans' bonus demands. A second bonus march planned for the following year in May by the "National Liaison Committee of Washington," disavowed by the previous year's bonus army leadership, demanded that the Federal government provide marchers housing and food during their stay in the capital. Despite his opposition to the marchers' demand for immediate payment of the bonus, Roosevelt greeted them quite differently than Hoover had done. The administration set up a special camp for the marchers at Fort Hunt, Virginia, providing forty field kitchens serving three meals a day, bus transportation to and from the capital, and entertainment in the form of military bands.


title: Bonus Army

text: Administration officials, led by presidential confidant Louis Howe, tried to negotiate an end to the protest. Roosevelt arranged for his wife, Eleanor, to visit the site unaccompanied. She lunched with the veterans and listened to them perform songs. She reminisced about her memories of seeing troops off to World War I and welcoming them home. The most that she could offer was a promise of positions in the newly created Civilian Conservation Corps (CCC). One veteran commented, "Hoover sent the army, Roosevelt sent his wife." In a press conference following her visit, the First Lady described her reception as courteous and praised the marchers, highlighting how comfortable she felt despite critics of the marchers who described them as communists and criminals.


title: Bonus Army

text: On May 11, 1933, Roosevelt issued an executive order allowing the enrollment of 25,000 veterans in the CCC, exempting them from the normal requirement that applicants be unmarried and under the age of 25. Congress, with Democrats holding majorities in both houses, passed the Adjusted Compensation Payment Act in 1936, authorizing the immediate payment of the $2 billion in World War I bonuses, and then overrode Roosevelt's veto of the measure. The House vote was 324 to 61, and the Senate vote was 76 to 19.


title: Bonus Army

text: A fictionalized version of the Bonus March is depicted in the opening scenes of the 1995 movie "In Pursuit of Honor"


title: My Kitchen Rules

text: My Kitchen Rules (often abbreviated as MKR) is an Australian competitive cooking game show broadcast on the Seven Network since 2010. The show is currently hosted and judged by chef Manu Feildel, who has appeared in every season of the show. Fellow chef Pete Evans co-hosted until his departure after season 11, following controversy about his personal views and social media posts. Other celebrity chefs and food critics frequently appear as guest judges or mentors in the kitchen. The series was originally produced by the team who created the Seven reality show "My Restaurant Rules", and was put into production based on the success of Network 10's "MasterChef Australia".


title: My Kitchen Rules

text: For many years, the program performed strongly in the ratings and was regularly one of the highest rated programs on Australian television, with the finales of each season consistently ranking amongst the top 10 highest rated programs of the year. However ratings declined notably during season 10 in 2019, and with further significant declines for season 11 in 2020, commentators speculated that 2020 would be its final season.


title: My Kitchen Rules

text: Seven did not renew the series at their annual upfronts in October 2020, but suggested the show may return in future. During Seven’s annual upfronts, the series was confirmed to return for a twelfth season in 2022. In December 2021, Feildel was announced to be returning as a judge. In April 2022, it was announced Nigella Lawson and Matt Preston will be joining the series as judges alongside Feildel with Colin Fassnidge, Gary Mehigan and Curtis Stone appearing as guest judges. In October 2022, the series was renewed for a 13th season which will air in 2023.


title: My Kitchen Rules

text: The Australian show initially had teams of two contestants with pre-existing relationships—from New South Wales, Queensland, South Australia, Victoria and Western Australia—competing against each other to "transform an ordinary home into an instant restaurant complete with theme and table decorations for one pressure-cooker night." From 2011, the number of competitors grew as teams from Tasmania joined the show. A team from New Zealand took part only in the third season. In the fourth season, there were fifteen teams made up of two teams from each state, plus three additional teams—the gatecrashers—from New South Wales, Victoria and Western Australia. Season 5 introduced a team from the Australian Capital Territory, whilst season 11 marks the first time that there was not a team from South Australia.


title: My Kitchen Rules

text: Applicable only during the first season, the show followed a sudden death format—where two teams will cook a three-course meal and the losing team will immediately be eliminated from winning the competition.


title: My Kitchen Rules

text: Each episode focuses on one team's day of cooking, setting up their instant restaurant and serving a three-course dinner—entrée, main, and dessert—for the judges and their opposing teams. Teams could only start cooking three hours before the other teams and judges arrive at their house. After the team served all three meals to the judges and their opposition, each opposing team must rate the total meal out of ten, then each main judge must rate each of the three courses separately out of ten. The lowest scoring team will be then at risk of elimination.


title: My Kitchen Rules

text: Contestants do not necessarily cook in their own homes, for example in third season, eight of the twelve couples did not use their own kitchens mainly due to their homes being too small to accommodate the production. In most cases when this happened it is the home of a family member or friend or a holiday home of one or both members of the team.


title: My Kitchen Rules

text: After the instant restaurants, the remaining teams compete in various challenges, either off-site or at Kitchen headquarters. Teams who cook the best dishes or receive the most votes/money can win People's Choice or Judge's Choice and are given advantages or are guaranteed safety from eliminations. Teams that fail to impress and receive poor reviews from the judges end up in a Sudden Death elimination.


title: My Kitchen Rules

text: Finals round consists of three rounds: two sets of semifinals, and a grand final. All follow a sudden death cook-off format where teams produce a three-course meal for the main judges and for the four guest judges. Teams' meals are scored out of ten by the judges and the lower scoring team is eliminated.


title: My Kitchen Rules

text: Prior to the grand final round, four remaining teams compete in a semifinal round. Teams going head-to-head in this round is determined variously in different seasons.


title: My Kitchen Rules

text: Winners of each semifinal go straight through the grand final round, the last stage of the competition. Each team's meal is scored and the higher scoring team is declared "My Kitchen Rules" champion.


title: My Kitchen Rules

text: From the first to the 10th series, the prize money was $250,000, however the prize money was reduced in the 11th season to $100,000.


title: My Kitchen Rules

text: From 2010–2013, a Québec's version of MKR was broadcast on Casa and TVA for 3 seasons, under the title of "Ça va chauffer!" with chefs Jonathan Garnier and Mathieu Cloutier.


title: My Kitchen Rules

text: Dinner Party Wars, was hosted/ judged by Corbin Tomaszeski (Canadian chef) and Anthea Turner (UK style and etiquette expert). The show had two seasons in 2017, based in Toronto, Ontario. Shown on Food Network Canada.


title: My Kitchen Rules

text: The show is produced in Israel by July August Productions for Keshet Media Group in October 2018, and is broadcast on its television channel Keshet 12, under the title of "MKR The Winning Kitchen" (Hebrew: ).


title: My Kitchen Rules

text: The first season ended in October 2014, won by Waikato's Neena and Belinda. The second season ended in December 2015 and was won by Wellington's Jess and Stella. The third season began on 25 September 2017, hosted by Pete Evans and Manu Feildel


title: My Kitchen Rules

text: In Serbia, local production company Emotion Production purchased the format rights. The show is called "Moja kuhinja, Moja pravila" (). The first series premiered in 2014 on B92.


title: My Kitchen Rules

text: Following the show's national and international ratings success in 2013, broadcaster Sky Living purchased the format rights to "My Kitchen Rules" for a United Kingdom version. The British franchise debuted on 25 January 2014, hosted by cook and author Lorraine Pascale and chef Jason Atherton.


title: My Kitchen Rules

text: A second British series aired on Channel 4 in September 2016, made up of 30-hour-long episodes, hosted by Prue Leith and Michael Caines and produced by 7 Wonder Productions, offering a £10,000 prize.


title: My Kitchen Rules

text: In 2012, US-based production company Kinetic Content acquired the format rights for an American version of the show during the MIPTV Media Market event in Cannes, France. U.S. TV network Fox has ordered 8 episodes of MKR featuring celebrities in their Hollywood homes with Curtis Stone & Cat Cora as series co-judges.


title: My Kitchen Rules

text: Seasonal television ratings on aggregate figures for "My Kitchen Rules" on free-to-air Seven Network channel were gathered from TV Tonight covering only the five city metro across Australia, namely: Adelaide, Brisbane, Melbourne, Perth, and Sydney. The number of viewers presented in the table below are in millions.


title: My Kitchen Rules

text: Season 5 was criticised by angry viewers who set up a Facebook page to boycott the finale as they claimed the runner-up team "bullied other teams." The show faced continued accusations of promoting bullying behaviour in subsequent seasons. In season 9, a team was dismissed from the show for their antagonistic behaviour towards other contestants and for getting into a physical altercation with another team off-camera; the incident has been blamed as one of the reasons behind the show's drop in viewership in later seasons. In April 2021, Seven was ordered to pay former season 10 contestant Piper O'Neill workers' compensation for “psychological injury” she suffered from her time on the show due to "vilification and bullying from producers and the network."


title: My Kitchen Rules

text: Later seasons were also criticised by long-time viewers who lamented the show shifting to focus more on interpersonal drama instead of cooking. During his tenure, the show also faced viewer consternation with the negative press garnered by former judge Pete Evans for his controversial lifestyle and dieting views that were sometimes at odds with the program.


title: Yaaradi Nee Mohini

text: Yaaradi Nee Mohini () is a 2008 Indian Tamil-language romantic comedy film directed by Mithran Jawahar. It is a remake of the 2007 Telugu hit Selvaraghavan's "Aadavari Matalaku Arthale Verule" and stars Dhanush, Selvaraghavan's brother, and Nayanthara in lead roles, whilst Karthik Kumar, Raghuvaran, Telugu film director K. Vishwanath, Karunas, and Saranya Mohan play supporting roles and slightly different climax. The music was scored by Yuvan Shankar Raja. The title is derived from a song from the 1958 Sivaji Ganesan-Padmini starrer " Uthama Puthiran".


title: Yaaradi Nee Mohini

text: "Yaaradi Nee Mohini" was released on 4 April 2008, becoming highly successful at the box office, emerging as one of the highest grossing Tamil films of the year.


title: Yaaradi Nee Mohini

text: Vasudevan (Dhanush) is from a middle-class family. He makes several bids to obtain employment, but all goes in vain due to his poor English language skills and inadequate education qualifications. All his friends settle in life, but he continues to struggle in finding work. Vasu has two faithful friends named Cheenu (Karthik Kumar) and Ganesh (Karunas). His father (Raghuvaran), who is a teacher, is always critical of him for being an irresponsible person. This adds to his woes.


title: Yaaradi Nee Mohini

text: At this juncture, Vasu glimpses a woman named Keerthi (Nayanthara) and immediately falls in love with her. He learns that she works for a software solutions firm. Luckily for him, Vasu secures employment in the same firm after completing several interviews. Keerthi eventually turns out to be a short-tempered young woman. On a business trip, Vasu accompanies her with two other colleagues (including Manobala), to Australia. Here he reveals his feelings of love to her. She immediately turns him down, saying that she comes from an Orthodox family, and her marriage has already been arranged with her uncle's son.


title: Yaaradi Nee Mohini

text: A depressed Vasu returns to India thereafter. Unable to see his son in depression, his father decides to meet Keerthi. She abuses him for recommending his son's love and accidentally slaps Vasu and his father. Later that night, Vasu's father dies of heart attack. To help change Vasu's mood, Cheenu persuades him to come to his family house in the country. Coincidentally, on the train journey, Keerthi is revealed to be Cheenu's fiance. However, their grandfather's (K. Viswanath) thoughts of getting them married earlier are put aside because Cheenu and Keerthi leave the house to have their own identity. This causes heartburn to their grandfather.


title: Yaaradi Nee Mohini

text: With the passing of a few days, Keerthi and Cheenu's parents decide to get them married to appease their grandfather. After several turns of events, Keerthi realizes that she is in love with Vasu instead. Vasu asks her to forget him because he believes that it would create problems in their happy family. Cheenu overhears their midnight conversation. During the wedding, Cheenu tries to force Vasu and Keerthi to confess their relationship to everyone. But when they hesitate to do so, Cheenu stops the marriage himself, by lying to his elders that he has a secret wife in Chennai. When Cheenu comes under fire from his relatives, Vasu tells them the truth and is driven out of the house. He is joined only by the grandma (Sukumari) of the house, who agrees to accompany him as she reminds Vasu of his late father.


title: Yaaradi Nee Mohini

text: In time, the rest of Cheenu and Keerthi's family comes to stay with him for a few days. But Cheenu's grandfather refuses to enter the house, telling Vasu he is still angry with him and needs time to change himself somehow. The movie ends when Vasu and Keerthi becoming a couple and live together happily.


title: Yaaradi Nee Mohini

text: Mithran Jawahar, an associate of Selvaraghavan, made his directional debut with this film, which is a remake of Selvaraghavan's Telugu film "Aadavari Matalaku Arthale Verule" (2007), while Jyothika was offered the female lead role,but she opted out of the contract due to her wedding arrangements and plans. She was later replaced by Nayanthara.


title: Yaaradi Nee Mohini

text: The music of "Yaaradi Nee Mohini" was scored by Yuvan Shankar Raja, who had composed the music for the original film as well. The first release of the soundtrack, released on 9 February 2008, contained five tracks, which were all retained from the original version with the song "Manasa Manninchamma" missing initially. Later a version of "Paalakattu Pakkathile" from "Vietnam Veedu" (1970) remixed by D. Imman was recorded and included in the film; the producers decided to bring out a second release. This release features 16 tracks, including the earlier released five songs, two more versions of the song "Engeyo Paartha" (sung by Karthik and Naveen, respectively), two more remixes of the song "Paalakattu Pakkathile" (remixed by Dharan), the Tamil version of "Manasa Manninchamma", "Penne Ennai Kodu", the song "The Person Is The Looser", which runs during the opening credits apart from four "film score tracks". The lyrics were provided by Na. Muthukumar.


title: Yaaradi Nee Mohini

text: The satellite rights of the film were sold to the channel Sun TV. it was dubbed in malayalam as same title of this name and it was telecasted on Zee Keralam.


title: Yaaradi Nee Mohini

text: "Behindwoods" wrote "Yaaradi Nee Moghini is smartly packaged with everything inevitable in a Dhanush movie. With subdued emotions that hardly ever go overboard and in your face humor, director A. Jawahar gets everything right. Well, almost". "Sify" wrote "If you like feel-good love stories mixed with a lot of comedy and sentiments then, Yaaradi Nee Mohini is an ideal treat for the entire family. All credits go to debutant director Jawahar, Selvaraghavan?s long time associate for remaking his guru?s Telugu super-hit Adavari Matalaku Ardhalu Verule into Tamil. It is a well packaged film that will appeal to a broad spectrum of audiences". "Rediff" wrote "The movie is another example of a familiar story making a good watch simply because it's been made differently".


title: Chelsea Girls

text: Chelsea Girls is a 1966 American experimental underground film directed by Andy Warhol and Paul Morrissey. The film was Warhol's first major commercial success after a long line of avant-garde art films (both feature-length and short). It was shot at the Hotel Chelsea and other locations in New York City, and follows the lives of several of the young women living there, and stars many of Warhol's superstars. The film is presented in a split screen, accompanied by alternating soundtracks attached to each scene and an alternation between black-and-white and color photography. The original cut runs at just over three hours long.


title: Chelsea Girls

text: The film was the inspiration for star Nico's 1967 debut album, "Chelsea Girl", which featured a ballad-like track titled "Chelsea Girls", which was written about the hotel and its inhabitants. The girl in the poster is Clare Shenstone, at the age of 16, an aspiring artist later influenced by Francis Bacon. With its creativity and eroticism, the poster captures the sensual essence of the film, and was designed for its London release by graphic artist Alan Aldridge. Warhol was extremely happy with the design, and commented that he "wished the movie was as good as the poster". The poster was used as the cover art for Felt's 1984 album "The Splendour of Fear".


title: Chelsea Girls

text: According to scriptwriter Ronald Tavel, Warhol first brought up the idea for the film in the back room of Max's Kansas City, Warhol's favorite nightspot, during the summer of 1966. In Ric Burns' documentary film "Andy Warhol", Tavel recollected that Warhol took a napkin and drew a line down the middle and wrote 'B' and 'W' on opposite sides of the line; he then showed it to Tavel, explaining "I want to make a movie that is a long movie, that is all black on one side and all white on the other." Warhol was referring to both the visual concept of the film, as well as the content of the scenes presented.


title: Chelsea Girls

text: The film was shot in the summer and early autumn of 1996 in various rooms and locations inside the Hotel Chelsea, though contrary to the film's title, only poet René Ricard actually lived there at the time. Filming also took place at Warhol's studio The Factory. Appearing in the film were many of Warhol's regulars, including Nico, Brigid Berlin, Gerard Malanga, Mary Woronov as Hanoi Hannah, Ingrid Superstar, International Velvet and Eric Emerson. According to Burns' documentary, Warhol and his companions completed an average of one 33-minute segment per week.


title: Chelsea Girls

text: Once principal photography wrapped, Warhol and co-director Paul Morrissey selected the 12 most striking vignettes they had filmed and then projected them side by side to create a visual juxtaposition of both contrasting images and divergent content (the so-called "white" or light and innocent aspects of life against the "black" or darker, more disturbing aspects.) As a result, the 6.5 hour running time was essentially cut in half, to 3 hours and 15 minutes. However, part of Warhol's concept for the film was that it would be unlike watching a regular movie because the two projectors could never achieve exact synchronization from viewing to viewing; therefore, despite specific instructions of where individual sequences would be played during the running time, each viewing of the film would, in essence, be an entirely different experience.


title: Chelsea Girls

text: Several of the sequences have gone on to attain a cult status, most notably the "Pope" sequence, featuring avant-garde actor and poet Robert Olivo, or Ondine as he called himself, as well as a segment featuring Mary Woronov titled "Hanoi Hannah," one of two portions of the film scripted specifically by Tavel.


title: Chelsea Girls

text: Notably missing is a sequence Warhol shot with his most popular superstar Edie Sedgwick which, according to Morrissey, Warhol excised from the final film at the insistence of Sedgwick, who claimed she was under contract to Bob Dylan's manager Albert Grossman at the time the film was made. Sedgwick's footage was used in the Warhol film "Afternoon".


title: Chelsea Girls

text: Although the film garnered the most commercial success of Warhol's films, reaction to it was mixed. On Rotten Tomatoes the film has an approval rating of 50%, based on reviews from 10 critics. In the UK, it was refused a theatrical certificate in 1967 by the British Board of Film Classification.


title: Chelsea Girls

text: Roger Ebert reviewed the film in June 1967, and had a negative response to it, granting it one star out of four. In his review of the film, he stated, "what we have here is 3½ hours of split-screen improvisation poorly photographed, hardly edited at all, employing perversion and sensation like chili sauce to disguise the aroma of the meal. Warhol has nothing to say and no technique to say it with. He simply wants to make movies, and he does: hours and hours of them." "Variety" wrote that the film was "a pointless, excruciatingly dull three-and-a-half hours spent in the company of Andy Warhol's friends."


title: Chelsea Girls

text: Kenneth Baker of the "San Francisco Chronicle" reviewed the film in honor of its screening in the San Francisco Bay Area in 2002, and gave the film a positive review, stating "The tyranny of the camera is the oppression "The Chelsea Girls" records and imposes. No wonder it still seems radical, despite all we have seen onscreen and off since 1966." Jonathan Rosenbaum also gave the film a positive review, stating that "the results are often spellbinding; the juxtaposition of two film images at once gives the spectator an unusual amount of freedom in what to concentrate on and what to make of these variously whacked-out performers." "TV Guide" reviewed the film in December 2006, granting it four stars, calling it "fascinating, provocative, and hilarious" and "a film whose importance as a 1960s cultural statement outweighs any intrinsic value it may have as a film."


title: Chelsea Girls

text: "Chelsea Girls" is largely unavailable for home video format. The film belongs to the Andy Warhol Foundation, and it, along with Warhol's other films (apart from a handful of his "Screen Tests", which have since been released on DVD) have never seen home video releases in the United States. In Europe, however, a handful of Warhol's films were released on DVD, including a short-lived DVD print of "Chelsea Girls" which was available in Italy for some time. This Italian DVD print, which is the film's only official home video release, was released on September 16, 2003.


title: Chelsea Girls

text: While the film is unavailable for personal purchase, it is often screened at art museums, and has been shown at The Museum of Modern Art (which owns a rare print of the film reels) as well as The Andy Warhol Museum in Pittsburgh, Pennsylvania. The film was screened in San Francisco for the first time in nearly 20 years at Castro Theatre in April 2002. Screenings were held in 2010 at the Seattle Art Museum and at the Varsity Theater in Chapel Hill, North Carolina, in 2011 at the High Museum of Art in Atlanta, Georgia, and the


title: Chelsea Girls

text: Block Museum of Art in Evanston, Illinois in 2016. The full 3 1/2 hour version of the film was screened at the Brooklyn Museum in a custom built theatre within their edition of the "Andy Warhol: Revelation" exhibit from November 19, 2021 to June 19, 2022.


title: Porsche 987

text: The Porsche 987 is the internal designation for the second generation Porsche Boxster sports car. It made its debut at the 2004 Paris Motor Show alongside the 911 (997) and went on sale in 2005.


title: Porsche 987

text: In 2005, it was joined in the range by the new Cayman fastback coupé (project 987c) with which it shared the same mid-engine platform and many components, including the front fenders and trunk lid, doors, headlights, taillights, and forward portion of the interior.


title: Porsche 987

text: The 987 was the second generation Boxster model, but remained very similar to the previous generation. The most obvious styling change is to the headlights, which now have a profile similar to those of the Carrera GT, Porsche's flagship mid-engine sports car of the time. The intake vents on the sides of the Boxster were now larger, with more pronounced horizontal slats and are coloured metallic silver, irrespective of the paint colour on the rest of the car. The wheel arches were enlarged to allow wheels up to 19 inches in diameter, a first for the Boxster series.


title: Porsche 987

text: The most significant updates from the 986 series are in the interior, with a more prominent circular theme evident in the instrument cluster and cooling vents. Porsche claims that the 987 Boxster shares only 20% of its components with its predecessor. The base engine is a 2.7-litre flat-6, with the Boxster S getting a 3.2-litre engine. The Cayman 2-door fastback coupé is derived from the 987.


title: Porsche 987

text: For the 2007 model year, the base Boxster received a revised engine featuring VarioCam Plus to provide a power increase ( the same as the Cayman). The Boxster S' engine was upgraded from 3.2-litre to 3.4-litre, resulting in a power increase of more ( the same as the Cayman S). These upgrades made the Boxster series and the Cayman series equivalent in terms of power.


title: Porsche 987

text: Porsche first revealed the new revised 987.2 2008 Boxster and Boxster S models at the Los Angeles International Auto Show in November 2008, using totally new engines (MA1.20/MA1.21). Both models featured greater power due to an increase in engine displacement for the Boxster and the incorporation of Direct Fuel Injection (DFI) for the Boxster S. Both models were available with Porsche's new 7-speed "Porsche Doppelkupplungsgetriebe" (PDK) dual clutch gearbox but came standard with a new 6-speed manual gearbox. Displacement in the standard Boxster's flat-six engine increased from 2.7 to 2.9 liters, increasing power from to . Use of DFI in the Boxster S raised the output of the 3.4-litre engine from to . Cosmetic changes to the 2009 Boxster and Boxster S included new head and tail lights, larger front air intakes with incorporated daytime running lights, and an altered lower rear end flanked by twin diffusers. The interior included the redesigned Porsche Communication Management System as an option with a touchscreen interface to reduce button clutter.


title: Porsche 987

text: In November 2007, Porsche announced a commemorative RS60 Spyder edition of the Boxster to celebrate Porsche's 1960 win in the 12 Hours of Sebring in Florida. Only 1,960 units were produced worldwide, with approximately 800 slated for the U.S. with each model bearing a numbered production badge on the dash. The RS60 Spyder came only in GT Silver Metallic exterior colour while the standard interior is Carrera Red leather, with dark gray leather as an option. The RS60 came standard with 19 inch SportDesign alloy wheels, Porsche's Active Suspension Management System, and a sports exhaust that increased the engine output to .


title: Porsche 987

text: The limited production Boxster S Porsche Design Edition 2 debuted in October 2008 as 2009 model. It featured a free-flowing exhaust system, which raised power from at 6,250 rpm to at an identical 6,250 rpm. It came in a unified Carrera White paint scheme with matching white 19-inch wheels, a black and grey interior with white gauges, red taillights and light grey stripes along the entire body. 500 were made for the worldwide market, 32 shipped into the U.S. and 18 into Canada.


title: Porsche 987

text: Porsche unveiled its 2008 Limited Edition Boxster and Boxster S models at a private gathering at the occasion of the 2007 New York Auto Show. Largely inspired by the 2007 911 GT3 RS, only 250 examples of each model were produced in brilliant orange. Other special exterior features included glossy black painted mirrors, alloy wheels, front and side air inlets, and model designation. The SportDesign package was included as standard which includes aggressive front splitters, a revised rear two-stage spoiler that extends automatically at speed, and an integrated rear diffuser. A sports exhaust system with a dual chromed exhaust tip completed the exterior modifications. On the interior, a numbered 'Limited Edition' plaque is found on the glove box door, while the seat inserts, 911 GT3-spec steering wheel, and handbrake lever all receive Alcantara trim, a suede-like material. Orange roll-over hoops, door lever surrounds, shift knob, cup-holder cover trim and even the font on the gear shift pattern carrying bright orange that match the exterior colour and offset the otherwise black interior.


title: Porsche 987

text: On 5 November 2009, Porsche officially announced a new variant of the Boxster, which was officially unveiled at the 2009 Los Angeles Motor Show. Positioned above the Boxster S, the Boxster Spyder was the lightest Porsche on the market at the time, weighing , lighter than a Boxster S. This was achieved through the elimination of the conventional soft top's operating mechanism, the radio/PCM unit, door handles, air conditioning, storage compartments, cup holders and large LED light modules on the front fascia, although some of these could be re-added to the car in the form of options. Weight saving was also gained using aluminum doors, an aluminum rear deck and the lightest 19-inch wheels in the Porsche pallet. The Spyder has a firmer suspension setup than the other Boxster models, and is almost one inch lower in order to have improved handling. A manually operated canvas top, carbon fibre sports bucket seats and two signature humps running along the back of the vehicle provide characteristic design elements. It is powered by a six-cylinder boxer engine rated at and of torque, a increase in power over the Boxster S and the related Cayman S. The Boxster Spyder came with a 6-speed manual transmission as standard and had Porsche's 7-speed PDK dual-clutch gearbox available as an option. The vehicle was released worldwide in February 2010 as a 2011 model.


title: Porsche 987

text: The 987 chassis was used to develop three battery-electric prototypes in 2011, each known as the Boxster E, as part of the "Model Region Electro-Mobility Stuttgart" practical trial. One prototype was equipped with electric traction motors for both the front and rear axles, while the other two were equipped with motors on the rear axle only. Each motor was the same, producing and , with a single-speed transmission and maximum speed of 12,000 RPM. The two-motor variant had a combined output of and . The Boxster E prototypes were unveiled at the Michelin Challenge Bibendum in May 2011.


title: Porsche 987

text: The two-motor Boxster E had a claimed performance of 0– of 5.5 seconds and a top speed of ; the rear-motor Es had a respective sprint time of 9.8 seconds and top speed of . On the NEDC, the rated range was , using a battery with 29 kW-hr gross capacity (26 kW-hr usable). The entire vehicle weighed , of which was the traction battery.


title: Porsche 987

text: After two years of development, the first model of the fastback coupé to be released was the Cayman S (type 987120). Photographs and technical details were released in May 2005, but the public unveiling took place at the September Frankfurt Motor Show. The S suffix (for Sport or Special) indicated that this was a higher performance version of a then unreleased base model. That model, the Cayman (987110), went on sale in July 2006.


title: Porsche 987

text: The Cayman fastback coupé (project 987c) and the second generation Boxster roadster (project 987) shared the same mid-engine platform and many components, including the front fenders and trunk lid, doors, headlights, taillights, and forward portion of the interior. The design of the Cayman's body incorporates styling cues from classic Porsches; 356/1, the 550 Coupé and the 904 Coupé.


title: Porsche 987

text: Unlike the Boxster, the Cayman has a hatchback for access to luggage areas on top of and in the back of the engine cover. The entire rear section rear-wards of the side doors of the Cayman is made from stainless steel. The suspension design is fundamentally the same as that of the Boxster with revised settings due to the stiffer chassis with the car's fixed roof.


title: Porsche 987

text: The 3.4-litre flat-6 boxer engine (M97.21) in the first generation Cayman S was derived from the 3.2-litre (M96.26) that was used in the Boxster S, with cylinder heads from the 997 S's 3.8-litre engine (M97.01), which have the VarioCam Plus inlet valve timing and lift system. A less powerful but more fuel efficient version, the 2.7-litre M97.20, powered the base model. The use of these engines exclusively in Caymans ended in the 2007 model year when Porsche upgraded the Boxster (987310) and Boxster S (987320).


title: Porsche 987

text: A 5-speed manual transaxle is standard on the Cayman (G87.01), while a 6-speed manual (Getrag 466) was the standard transmission for the S model (G87.21) and an option on the base model (A87.20). An electronically controlled 5-speed automatic transaxle (Tiptronic) was also available on the S (A87.21) and the non-S version (A87.02) (The 2009 models replaced this option with a seven-speed "PDK", Porsche's dual clutch transmission. Other options include active shock absorbers (ThyssenKrupp Bilstein GmbH's "DampTronic", rebadged as "PASM" by Porsche), ceramic disc brakes ("PCCB"), xenon headlights (Hella's "Bi-Xenon") and an electronically controlled sport mode ("Sport Chrono Package").


title: Porsche 987

text: The Cayman S' performances equalled the performance of Porsche's flagship models at the time. Rally racing driver Walter Röhrl lapped the Nürburgring Nordschleife track in a Cayman S equipped with optional 19" wheels, PCCB, and PASM in a time of 8 minutes, 11 seconds. The time for a standard Cayman S, as published by the manufacturer, was 8 minutes, 20 seconds. In contrast, Röhrl recorded 8 minutes, 15 seconds in a 911 Carrera.


title: Porsche 987

text: A Cayman prepared and run by private team of Jürgen and Uwe Alzen finished fourth overall (of 220 entrants) in the 2007 Nürburgring 24 Hour race, ahead of two flagship Porsche 997 GT3 RSR's, a 997 GT3 Cup, and a 996 GT3 Cup. Another two privateer Caymans, entered by CSR and MSpeed, finished 22nd and 117th overall, respectively. Porsche disclaims support for the Cayman teams, while supporting some or all of the 997 teams.


title: Porsche 987

text: Starting with the 2009 model, a limited slip differential was available as an option. The base Cayman received an engine upgrade to 2.9 L (), and the Cayman S a 3.4 L (). The factory tuned 2008 Cayman S Sport with its special exhaust system produces from its 3.4 L engine.