title: Arms of Canada

text: Prior to Confederation in 1867, the Royal Arms of the United Kingdom served in Canada as the symbol of royal authority. Arms had not been granted to any of the colonies in British North America, apart from 17th-century grants to Nova Scotia and Newfoundland. The year after Confederation, arms were granted by Royal Warrant on 26 May 1868 to Ontario, Quebec, Nova Scotia (that Nova Scotia had been granted arms was forgotten, and it took until 1929 for the historic arms granted in the 17th century to be reinstated) and New Brunswick. In the Royal Warrant of 1868, Queen Victoria authorized the four arms of the first provinces to be quartered for use on the Great Seal of Canada and while this was not done for the first Great Seal, it is through this reference it became the "de facto" arms for Canada until 1921. That is why it was in this form Canada was represented on the first Red Ensign carried by Canadian troops at Vimy Ridge in 1917.


title: Arms of Canada

text: A shield of arms first quartered and then, over time, as more provinces and territories joined Canada, marshalled with the arms of the new members of Confederation emerged through popular and even Canadian governmental usage. This eventually resulted in a shield with nine quarterings, an arrangement that had never been approved by the monarch. For greater clarity: none of the more complex shields, besides the original 4-segment version of 1868, which flag-makers took to substituting on Canadian Red Ensigns as additional Provinces entered Confederation, were ever official in any sense, nor were any of these shields a national "coat of arms".


title: Arms of Canada

text: Nine quarterings on a shield was considered too complex for a national symbol and by 1915 a push had begun to design a new coat of arms for Canada. A committee was formed in 1919 to pursue the issue, eventually agreeing that the elements of the new arms would reference the Royal Arms of England, Ireland, Scotland, and France, with maple leaves representing Canada, though there was at the time no consensus on how the leaves were to be used. The decision was settled by 1920, and the committee conferred with the College of Arms in London, only to face resistance to the use of the Royal Arms from the Garter King of Arms. After some manoeuvring, including the personal intervention of Winston Churchill, the new arms of Canada were eventually formally requested by an Order in Council on 30 April 1921 and adopted on 21 November of the same year by proclamation of King George V as the Arms or Ensigns Armorial of the Dominion of Canada. The new layout closely reflected the arms of the United Kingdom with the addition of maple leaves in the base and the reference to the French royal arms in the fourth quarter. The proclamation also established white and red as the national colours of Canada.


title: Arms of Canada

text: In 1931, with the passage of the Statute of Westminster, Canada and other Dominions became fully sovereign from the United Kingdom. This had the effect of elevating the Canadian coat of arms, which had been granted as deputed arms for particular uses in a colony, to the status of the royal arms of the King in right of the country, for general purposes throughout the country. They thus replaced the British coat of arms, which had previously been arms of general purpose throughout the British Empire, in courtrooms and on government buildings to represent the ruling monarch. This change can be seen in the Great Seal of Canada of King George VI, where the royal arms of Canada replaced the British arms, and is even more evident in the Great Seal of Canada for Queen Elizabeth II, where the title has been redefined as "Queen of Canada". These are the coat of arms of the Queen of Canada.


title: Arms of Canada

text: By 1957, the arms were redrawn by Alan Beddoe so as to have red leaves and to change the royal crown from one of a Tudor design to one more resembling St. Edward's Crown, as preferred by Queen Elizabeth II. To mark the 1982 patriation of the Canadian constitution, which finally ended the last vestiges of British authority over Canada, a McGill University student named Bruce Hicks proposed to Secretary of State Gerald Regan that the motto of the Order of Canada be placed around the shield in order to bring these royal arms into line with other royal arms, many of which have been displayed in Canada during French, Scottish, and English colonisation, where those countries' highest national order of honour appears around the shield of the arms (the British arms displayed the Order of the Garter, the Scottish royal arms the Order of the Thistle, and the royalist arms of the French Regime the Order of the Holy Spirit and Order of Saint Michael). While unsuccessful in this first attempt, Hicks continued his campaign and was joined by a number of other amateur and professional heraldists. As a journalist in the parliamentary press gallery in Ottawa in the late 1980s and early 90s, Hicks strategically recast the change as something worth doing to commemorate the 25th Anniversary of the Order of Canada in 1992, an idea that was endorsed by the Advisory Committee on the Order of Canada.


title: Arms of Canada

text: It took until 1994 for the Queen to approve the new design for general use, though the Canadian Heraldic Authority began to allow for its limited use beginning in 1987, where the arms were used to represent the Queen personally on letters patent granting new arms for distinguished Canadians. These letters patent carried the shield from the royal arms along with the annulus behind the shield bearing the motto of the Order of Canada—"Desiderantes meliorem patriam". As soon as royal approval was forthcoming, the full achievement was redesigned for use by the federal government within the Federal Identity Program. The present design of the arms of Canada was drawn by Cathy Bursey-Sabourin, Fraser Herald at the Canadian Heraldic Authority.


title: Arms of Canada

text: In June 2008, Member of Parliament Pat Martin introduced a motion into the House of Commons of Canada calling on the government to amend the coat of arms to incorporate symbols representing Canada's First Nations, Inuit, and Métis peoples.


title: Arms of Canada

text: As the Royal Arms are personal to the sovereign they cannot be used without consent. The coat of arms "as designed in 1921 and revised in 1957...(and) in 1994" are "protected under the "Trade-marks Act" and the "Copyright Act" and cannot be used or reproduced without authorization". Further, "Marks and designs similar to the official symbols are pursued as a copyright or trade-mark infringement". The "Trade-marks Act" further states that "No person shall adopt in connection with a business, as a trade-mark or otherwise, any mark consisting of, or so nearly resembling as to be likely to be mistaken for... the arms, crest or flag adopted and used at any time by Canada". In addition, under Crown copyright, "permission is always required when the work is being revised, adapted, or translated regardless if the purpose of the reproduction is for personal or public non-commercial distribution".


title: Arms of Canada

text: As the arms of the sovereign and the state, the symbol is used to signify national sovereignty and ownership. The federal government uses the arms to represent the state under the Federal Identity Program, and as a mark of authority for various government agencies and representatives, including the prime minister and Cabinet, and the Supreme Court, as well as the Canadian Armed Forces and Royal Canadian Mounted Police (RCMP). In the Canadian Armed Forces and RCMP, the most senior non-commissioned ranks wear the 1957 version of the Arms as a badge of rank, representing the fact that they have received the King's warrant (as opposed to the King's Commission for officers).


title: Arms of Canada

text: The Arms of Canada is also present on all pre-polymer denominations of Canadian banknotes (in fact, the way the arms were printed on each bill is a security feature), as well as the 50¢ coin, and on the cover of Canadian passports. Permanent resident cards issued from 2015 feature a holographic representation of the 1957 version of the coat of arms.


title: Arms of Canada

text: The full achievement of the coat of arms has been used by the Canadian government on occasion on a plain red flag, such as in 1967 for the country's centennial celebrations. It is also used on a flag in its full achievement in military ceremonies, such as Canadian Armed Forces Tattoo performances.


title: Arms of Canada

text: Since 1962, a banner of the arms, defaced with a variant of the Queen's cypher, has formed the sovereign's standard for Canada, for use by the Queen in her capacity as monarch of Canada. Since, six additional standards for use by other members of the Canadian Royal Family were created in the 2010s.


title: Arms of Canada

text: The personal flag of the Governor General has, since 1981, features the crest of the royal arms of Canada on a blue background.


title: Arms of Canada

text: In response to a new campaign by Bruce Hicks for the Canadian Parliament to have a distinct heraldic symbol along the lines of the portcullis (variations of which are used by the Commons and Lords in the British Parliament), a proposal that was supported by Speakers of the House of Commons John Fraser and Gilbert Parent, a Commons committee was eventually struck following a motion by MP Derek Lee, before which Hicks and Robert Watt, the first Chief Herald of Canada, was called as the only two expert witnesses, though Senator Serge Joyal joined the committee ex-officio on behalf of the Senate. Commons' Speaker Peter Milliken then asked the Canadian Heraldic Authority to authorize such a symbol and, on 15 February 2008, the Governor General authorized the House of Commons to begin using a badge of the shield of the royal arms superimposed on the ceremonial mace assigned to the House of Commons as a symbol of the royal authority under which it operates. Following the Commons example, the Senate then requested and obtained on 15 April 2008 a similar badge for itself with the shield of the royal arms surmounted on the mace assigned to the Senate.


title: Arms of Canada

text: Tierced in fesse the first and second divisions containing the quarterly coat following, namely, 1st, gules three lions passant guardant in pale Or, 2nd, Or a lion rampant within a double tressure flory-counter-flory gules, 3rd, azure a harp Or stringed argent, 4th, azure, three fleurs-de-lis Or, and the third division argent three maple leaves conjoined on one stem proper. And upon a royal helmet mantled argent doubled gules the crest, that is to say, on a wreath of the colours argent and gules a lion passant guardant Or imperially crowned proper and holding in the dexter paw a maple leaf gules. And for supporters on the dexter a lion rampant Or holding a lance argent, point Or, flying therefrom to the dexter the Union Flag, and on the sinister, a unicorn argent armed crined and unguled Or, gorged with a coronet composed of crosses-patée and fleurs-de-lis a chain affixed thereto reflexed of the last, and holding a like lance flying therefrom to the sinister a banner azure charged with three fleurs-de-lis Or; the whole ensigned with the Imperial Crown proper and below the shield upon a wreath composed of roses, thistles, shamrocks and lillies a scroll azure inscribed with the motto A mari usque ad mare.


title: Arms of Canada

text: The circlet of the Order of Canada was added around the shield for limited use in 1987, and for general use in 1994.


title: Game show

text: A game show is a genre of broadcast viewing entertainment (radio, television, internet, stage or other) where contestants compete for a reward. These programs can either be participatory or demonstrative and are typically directed by a host, sharing the rules of the program as well as commentating and narrating where necessary. The history of game shows dates back to the invention of television as a medium. On most game shows, contestants either have to answer questions or solve puzzles, typically to win either money or prizes. Game shows often reward players with prizes such as cash, trips and goods and services provided by the show's sponsor.


title: Game show

text: Game shows began to appear on radio and television in the late 1930s. The first television game show, "Spelling Bee", as well as the first radio game show, "Information Please", were both broadcast in 1938; the first major success in the game show genre was "Dr. I.Q.", a radio quiz show that began in 1939. "Truth or Consequences" was the first game show to air on commercially licensed television; the "CBS Television Quiz" followed shortly thereafter as the first to be regularly scheduled. The first episode of each aired in 1941 as an experimental broadcast. Over the course of the 1950s, as television began to pervade the popular culture, game shows quickly became a fixture. Daytime game shows would be played for lower stakes to target stay-at-home housewives. Higher-stakes programs would air in prime time. (One particular exception in this era was "You Bet Your Life", ostensibly a game show, but the game show conceit was largely a framework for a talk show moderated by its host, Groucho Marx.) During the late 1950s, high-stakes games such as "Twenty-One" and "The $64,000 Question" began a rapid rise in popularity. However, the rise of quiz shows proved to be short-lived. In 1959, many of the higher stakes game shows were exposed as being either biased or outright scripted in the 1950s quiz show scandals and ratings declines led to most of the primetime games being canceled.


title: Game show

text: An early variant of the game show, the panel show, survived the quiz show scandals. On shows like "What's My Line?", "I've Got A Secret", and "To Tell the Truth", panels of celebrities would interview a guest in an effort to determine some fact about them; in others, celebrities would answer questions. Panel games had success in primetime until the late 1960s, when they were collectively dropped from television because of their perceived low budget nature. Panel games made a comeback in American daytime television (where the lower budgets were tolerated) in the 1970s through comedy-driven shows such as "Match Game" and "Hollywood Squares". In the UK, commercial demographic pressures were not as prominent, and restrictions on game shows made in the wake of the scandals limited the style of games that could be played and the amount of money that could be awarded. Panel shows there were kept in primetime and have continued to thrive; they have transformed into showcases for the nation's top stand-up comedians on shows such as "Have I Got News for You", "Would I Lie to You?", "Mock the Week", "QI", and "8 Out of 10 Cats", all of which put a heavy emphasis on comedy, leaving the points as mere formalities. The focus on quick-witted comedians has resulted in strong ratings, which, combined with low costs of production, have only spurred growth in the UK panel show phenomenon.


title: Game show

text: Game shows remained a fixture of US daytime television through the 1960s after the quiz show scandals. Lower-stakes games made a slight comeback in daytime in the early 1960s; examples include "Jeopardy!" which began in 1964 and the original version of "The Match Game" first aired in 1962. "Let's Make a Deal" began in 1963 and the 1960s also marked the debut of "Hollywood Squares", "Password", "The Dating Game", and "The Newlywed Game".


title: Game show

text: Though CBS gave up on daytime game shows in 1968, the other networks did not follow suit. Color television was introduced to the game show genre in the late 1960s on all three networks. The 1970s saw a renaissance of the game show as new games and massive upgrades to existing games made debuts on the major networks. "The New Price Is Right", an update of the 1950s-era game show "The Price Is Right", debuted in 1972 and marked CBS's return to the game show format in its rural purge. "The Match Game" became "Big Money" "Match Game 73", which proved popular enough to prompt a spin-off, "Family Feud", on ABC in 1976. "The $10,000 Pyramid" and its numerous higher-stakes derivatives also debuted in 1973, while the 1970s also saw the return of formerly disgraced producer and game show host Jack Barry, who debuted "The Joker's Wild" and a clean version of the previously rigged "Tic-Tac-Dough" in the 1970s. "Wheel of Fortune" debuted on NBC in 1975. The Prime Time Access Rule, which took effect in 1971, barred networks from broadcasting in the 7–8 p.m. time slot immediately preceding prime time, opening up time slots for syndicated programming. Most of the syndicated programs were "nighttime" adaptations of network daytime game shows. These game shows originally aired once a week, but by the late 1970s and early 1980s most of the games had transitioned to five days a week.


title: Game show

text: Game shows were the lowest priority of television networks and were rotated out every thirteen weeks if unsuccessful. Most tapes were wiped until the early 1980s. Over the course of the 1980s and early 1990s, as fewer new hits (e.g. "Press Your Luck", "Sale of the Century", and "Card Sharks") were produced, game shows lost their permanent place in the daytime lineup. ABC transitioned out of the daytime game show format in the mid-1980s (briefly returning to the format for one season in 1990 with a "Match Game" revival). NBC's game block also lasted until 1991, but the network attempted to bring them back in 1993 before cancelling its game show block again in 1994. CBS phased out most of its game shows, except for "The Price Is Right", by 1993. To the benefit of the genre, the moves of "Wheel of Fortune" and a modernized revival of "Jeopardy!" to syndication in 1983 and 1984, respectively, was and remains highly successful; the two are, to this day, fixtures in the prime time "access period".


title: Game show

text: Cable television also allowed for the debut of game shows such as "Supermarket Sweep" and "Debt" (Lifetime), "Trivial Pursuit" and "Family Challenge" (Family Channel), and "Double Dare" (Nickelodeon). It also opened up a previously underdeveloped market for game show reruns. General interest networks such as CBN Cable Network (forerunner to Freeform) and USA Network had popular blocks for game show reruns from the mid-1980s to the mid-'90s before that niche market was overtaken by Game Show Network in 1994.


title: Game show

text: In the United Kingdom, game shows have had a more steady and permanent place in the television lineup and never lost popularity in the 1990s as they did in the United States, due in part to the fact that game shows were highly regulated by the Independent Broadcasting Authority in the 1980s and that those restrictions were lifted in the 1990s, allowing for higher-stakes games to be played.


title: Game show

text: After the popularity of game shows hit a nadir in the mid-1990s United States (at which point "The Price Is Right" was the only game show still on daytime network television and numerous game shows designed for cable television were canceled), the British game show "Who Wants to Be a Millionaire?" began distribution around the globe. Upon the show's American debut in 1999, it was a hit and became a regular part of ABC's primetime lineup until 2002; that show would eventually air in syndication for seventeen years afterward. Several shorter-lived high-stakes games were attempted around the time of the millennium, both in the United States and the United Kingdom, such as "Winning Lines", "The Chair", "Greed", "Paranoia", and "Shafted", leading to some dubbing this period as "The Million-Dollar Game Show Craze". The boom quickly went bust, as by July 2000, almost all of the imitator million-dollar shows were canceled (one of those exceptions was "Winning Lines", which continued to air in the United Kingdom until 2004 even though it was canceled in the United States in early 2000); these higher stakes contests nevertheless opened the door to reality television contests such as "Survivor" and "Big Brother", in which contestants win large sums of money for outlasting their peers in a given environment. Several game shows returned to daytime in syndication during this time as well, such as "Family Feud", "Hollywood Squares", and "Millionaire".


title: Game show

text: "Wheel of Fortune", "Jeopardy!" and "Family Feud" have continued in syndication. To keep pace with the prime-time quiz shows, "Jeopardy!" doubled its question values in 2001 and lifted its winnings limit in 2003, which one year later allowed Ken Jennings to become the show's first multi-million dollar winner; it has also increased the stakes of its tournaments and put a larger focus on contestants with strong personalities. The show has since produced four more millionaires: tournament winner Brad Rutter and recent champions James Holzhauer, Matt Amodio, and Amy Schneider. "Family Feud" revived in popularity with a change in tone under host Steve Harvey to include more ribaldry.


title: Game show

text: In 2009, actress and comedienne Kim Coles became the first black woman to host a prime time game show, "Pay It Off".


title: Game show

text: The rise of digital television in the United States opened up a large market for rerun programs. Buzzr was established by Fremantle, owners of numerous classic U.S. game shows, as a broadcast outlet for its archived holdings in June 2015. There was also a rise of live game shows at festivals and public venues, where the general audience could participate in the show, such as the science-inspired "Geek Out Game Show" or the "Yuck Show".


title: Game show

text: Since the early 2000s, several game shows were conducted in a tournament format; examples included "History IQ", "Grand Slam", "PokerFace" (which never aired in North America), "Duel", "The Million Second Quiz", "500 Questions", "The American Bible Challenge", and "Mental Samurai". Most game shows conducted in this manner only lasted for one season.


title: Game show

text: A boom in prime time revivals of classic daytime game shows began to emerge in the mid-2010s. In 2016, ABC packaged the existing "Celebrity Family Feud", which had returned in 2015, with new versions of "To Tell the Truth," "The $100,000 Pyramid", and "Match Game" in 2016; new versions of "Press Your Luck" and "Card Sharks" would follow in 2019. TBS launched a cannabis-themed revival of "The Joker's Wild", hosted by Snoop Dogg, in October 2017. This is in addition to a number of original game concepts that appeared near the same time, including "Awake", "Deal or No Deal" (which originally aired in 2005), "Child Support", "Hollywood Game Night", "1 vs. 100", "Minute to Win It" (which originally aired in 2010), "The Wall", and a string of music-themed games such as "Don't Forget the Lyrics!", "The Singing Bee", and "Beat Shazam".


title: Game show

text: The popularity of game shows in the United States was closely paralleled around the world. Reg Grundy Organisation, for instance, would buy the international rights for American game shows and reproduce them in other countries, especially in Grundy's native Australia. Dutch producer Endemol (later purchased by American companies Disney and Apollo Global Management, then resold to French company Banijay) has created and released numerous game shows and reality television formats popular around the world. Most game show formats that are popular in one country are franchised to others.


title: Game show

text: Game shows have had an inconsistent place in television in Canada, with most homegrown game shows there being made for the French-speaking Quebec market and the majority of English-language game shows in the country being rebroadcast from, or made with the express intent of export to, the United States. There have been exceptions to this (see, for instance, the long-running "Definition"). Unlike reality television franchises, international game show franchises generally only see Canadian adaptations in a series of specials, based heavily on the American versions but usually with a Canadian host to allow for Canadian content credits (one of those exceptions was "Le Banquier", a Quebec French-language version of "Deal or No Deal" which aired on TVA from 2008 to 2015). The smaller markets and lower revenue opportunities for Canadian shows in general also affect game shows there, with Canadian games (especially Quebecois ones) often having very low budgets for prizes, unless the series is made for export. Canadian contestants are generally allowed to participate on American game shows, and there have been at least three Canadian game show hosts – Howie Mandel, Monty Hall and Alex Trebek – who have gone on to long careers hosting American series, while Jim Perry, an American host, was prominent as a host of Canadian shows.


title: Game show

text: American game shows have a tendency to hire stronger contestants than their British or Australian counterparts. Many of the most successful game show contestants in America would likely never be cast in a British or Australian game show for fear of having them dominate the game, according to Mark Labbett, who appeared in all three countries on the game show "The Chase".


title: Game show

text: The Japanese game show is a distinct format, borrowing heavily from variety formats, physical stunts and athletic competitions. The Japanese style has been adapted overseas (and at one point was parodied with an American reality competition, "I Survived a Japanese Game Show", which used a fake Japanese game show as its central conceit).


title: Game show

text: Many of the prizes awarded on game shows are provided through product placement, but in some cases they are provided by private organizations or purchased at either the full price or at a discount by the show. There is the widespread use of "promotional consideration", in which a game show receives a subsidy from an advertiser in return for awarding that manufacturer's product as a prize or consolation prize. Some products supplied by manufacturers may not be intended to be awarded and are instead just used as part of the gameplay such as the low-priced items used in several "The Price is Right" pricing games. Although in this show the smaller items (sometimes even in the single digits of dollars) are awarded as well when the price is correctly guessed,even when a contestant loses the major prize they were playing for.


title: Game show

text: For high-stakes games, a network may purchase prize indemnity insurance to avoid paying the cost of a rare but expensive prize out of pocket. If the said prize is won too often, the insurance company may refuse to insure a show; this was a factor in the discontinuation of "The Price Is Right $1,000,000 Spectacular" series of prime-time specials. In April 2008, three of the contestants on "The Price Is Right $1,000,000 Spectacular" won the top prize in a five-episode span after fifteen episodes without a winner, due in large part to a change in the rules. The insurance companies had made it extremely difficult to get further insurance for the remaining episodes. A network or syndicator may also opt to distribute large cash prizes in the form of an annuity, spreading the cost of the prize out over several years or decades.


title: Game show

text: From about 1960 through the rest of the 20th century, American networks placed restrictions on the amount of money that could be given away on a game show, in an effort to avoid a repeat of the scandals of the 1950s. This usually took the form of an earnings cap that forced a player to retire once they had won a certain amount of money or a limit on how many episodes, usually five, on which a player could appear on a show. The introduction of syndicated games, particularly in the 1980s, eventually allowed for more valuable prizes and extended runs on a particular show. British television was under even stricter regulations on prizes until the 1990s, seriously restricting the value of prizes that could be given and disallowing games of chance to have an influence on the results of the game. (Thus, the British version of "The Price Is Right" at first did not include the American version's "Showcase Showdown", in which contestants spun a large wheel to determine who would advance to the Showcase bonus round.) In Canada, prizes were limited not by bureaucracy but necessity, as the much smaller population limited the audience of shows marketed toward that country. The lifting of these restrictions in the 1990s was a major factor in the explosion of high-stakes game shows in the later part of that decade in both the U.S. and Britain and, subsequently, around the world.


title: Game show

text: A bonus round (also known as a bonus game or an end game) usually follows a main game as a bonus to the winner of that game. In the bonus round, the stakes are higher and the game is considered to be tougher.


title: Game show

text: The game play of a bonus round usually varies from the standard game play of the front game, and there are often borrowed or related elements of the main game in the bonus round to ensure the entire show has a unified premise. Though some end games are referred to as "bonus rounds", many are not specifically referred to as such in games but fit the same general role.


title: Game show

text: There is no one formula for the format of a bonus round. There are differences in almost every bonus round, though there are many recurring elements from show to show. The bonus round is often played for the show's top prize. It is almost always played without an opponent; two notable exceptions to this are "Jeopardy!" and the current version of "The Price Is Right". On "Jeopardy!", the final round involves all remaining contestants with a positive score wagering strategically to win the game and be invited back the next day; "Jeopardy!" attempted to replace this round with a traditional solo bonus round in 1978, but this version was not a success and the round was replaced by the original Final Jeopardy! when the show returned in 1984. "The Price Is Right" uses a knockout tournament format, in which the six contestants to make it onstage are narrowed to two in a "Showcase Showdown;" these two winners then move on to the final Showcase round to determine the day's winner.


title: Game show

text: Until the 1960s, most game shows did not offer a bonus round. In traditional two-player formats, the winner – if a game show's rules provided for this – became the champion and simply played a new challenger either on the next show or after the commercial break.


title: Game show

text: One of the earliest forms of bonus rounds was the Jackpot Round of the original series "Beat the Clock". After two rounds of performing stunts, the wife of the contestant couple would perform at a jackpot board for a prize. The contestant was shown a famous quotation or common phrase, and the words were scrambled. To win the announced bonus, the contestant had to unscramble the words within 20 seconds. The contestant received a consolation gift worth over $200 if she was unsuccessful.


title: Game show

text: Another early bonus round ended each episode of "You Bet Your Life" with the team who won the most money answering one final question for a jackpot which started at $1,000 and increased $500 each week until won.


title: Game show

text: Another early example was the Lightning Round on the word game "Password", starting in 1961. The contestant who won the front game played a quick-fire series of passwords within 60 seconds, netting $50 per correctly guessed word, for a maximum bonus prize of $250.


title: Game show

text: The bonus round came about after game show producer Mark Goodson was first presented "Password", contending that it was not enough to merely guess passwords during the show. "We needed something more, and that's how the Lightning Round was invited," said Howard Felsher, who produced "Password" and "Family Feud". "From that point on every game show had to have an end round. You'd bring a show to a network and they'd say, 'What's the endgame?' as if they had thought of it themselves."


title: Game show

text: The end game of "Match Game", hosted for most of its run by Gene Rayburn, served as the impetus for a completely new game show. The first part of "Match Game"s "Super-Match" bonus round, called the "Audience Match", asked contestants to guess how a studio audience responded to a question. In 1975, with then regular panelist Richard Dawson becoming restless and progressively less cooperative, Goodson decided that this line of questioning would make a good game show of its own, and the concept eventually became "Family Feud", as whose inaugural host Dawson was hired.


title: Theodore J. Forstmann

text: Theodore Joseph Forstmann (February 13, 1940 – November 20, 2011) was one of the founding partners of Forstmann Little & Company, a private equity firm, and chairman and CEO of IMG, a global sports and media company. A billionaire, Forstmann was a Republican and a philanthropist. He supported school choice and funded scholarship programs for the disadvantaged. He led a tour of refugee camps in the former Yugoslavia.


title: Theodore J. Forstmann

text: Forstmann was born and raised in Greenwich, Connecticut, the second of six children. He was the son of Dorothy (née Mercadante) and Julius Forstmann, who ran a wool business that went bankrupt in 1958. Julius had inherited Forstmann Woolen Co. from his own father, one of the richest American businessmen. Forstmann had German and Italian ancestry. He was a graduate of Greenwich Country Day School and Phillips Academy. He then played goalie on the ice hockey team at Yale University where he was a member of Delta Kappa Epsilon fraternity. Forstmann later attended Columbia Law School where he earned a Juris Doctor, which he financed through gambling proceeds.


title: Theodore J. Forstmann

text: Forstmann, an attorney, founded Forstmann Little in 1978 with his younger brother Nicholas, and Brian Little. Forstmann's second brother, J. Anthony Forstmann, founded ForstmannLeff.


title: Theodore J. Forstmann

text: Under Forstmann's leadership, Forstmann Little & Company made 31 acquisitions and significant investments and returned more than $15 billion of profits to investors. In addition to IMG, some of the firm's investments included Gulfstream Aerospace, Dr. Pepper, Topps, Stanadyne Corp., Community Health Systems, Ziff Davis, Yankee Candle, General Instrument Corporation, and most recently, Citadel Broadcasting and 24 Hour Fitness.


title: Theodore J. Forstmann

text: While playing golf in the late 1980s, Ted Forstmann inadvertently coined the term for which he became best known. His golf partner asked Forstmann what it meant for a company to be taken over by a buyout firm. "It means the barbarians are at the gates," replied Forstmann. The term became part of Wall Street lore and was connected inseparably to the private equity industry that Forstmann pioneered and flourished in.


title: Theodore J. Forstmann

text: Forstmann was featured prominently in the book "", as he and his company attempted to acquire RJR Nabisco. In the subsequent film adaptation, he was portrayed by actor David Rasche. The book portrayed Forstmann as a critic of KKR's Henry Kravis and his investment methods.


title: Theodore J. Forstmann

text: Forstmann's criticism of Kravis (and much of the rest of the financial industry during the 1980s) centered on the issuance of high yield "junk" bonds to finance mergers and acquisitions. (Forstmann referred to junk bonds as "wampum") When the junk bond market later fell into disfavor as a result of scandal, Forstmann's criticism was seen as prescient, as his more conventional investment strategy had been able to maintain nearly the same level of profitability as companies such as KKR and Revlon that built their strategy around high-yield debt.


title: Theodore J. Forstmann

text: Forstmann accurately predicted the worsening of the credit crisis in July 2008, when most pundits believed the crisis had reached its peak. Forstmann argued that the excess of money pumped into the economy after the September 11 attacks in 2001 distorted the decision-making abilities of nearly everyone in finance. With an oversupply of money, bankers and other financiers took on more risk with less return. While this allowed many to make money for a time, eventually this risk accumulated, and the consequences led to the credit crisis.


title: Theodore J. Forstmann

text: In 1995, Forstmann was given the "Patron of the Arts Award" by the National Academy of Popular Music at the Songwriters Hall of Fame induction ceremonies.


title: Theodore J. Forstmann

text: Forstmann dedicated significant personal resources to the cause of education reform. He was a prominent supporter of school choice. In 1998, he and friend John T. Walton established the Children's Scholarship Fund to provide tuition assistance for low-income families wanting to send their children to private school.


title: Theodore J. Forstmann

text: He was an active member of the Republican Party. He served as co-chairman of George H. W. Bush's re-election campaign in the 1992 US presidential election.


title: Theodore J. Forstmann

text: Forstmann never married. He adopted two boys in the 1990s after meeting them at an orphanage in South Africa.


title: Theodore J. Forstmann

text: Forstmann dated Padma Lakshmi, the host and judge of "Top Chef". During a break in their relationship, Lakshmi gave birth to a daughter. Lakshmi was initially unclear as to the father's identity, and it was later revealed by DNA testing to be Adam Dell.


title: Theodore J. Forstmann

text: In December 2006, newspaper reports on the inquiry into the death of Diana, Princess of Wales alleged that U.S. intelligence agencies had bugged Forstmann's phone or plane and monitored his relationship with Diana. She and her sons were said to have planned to visit him in summer 1997, but British security reportedly blocked the visit over security concerns related to the bugging.


title: Theodore J. Forstmann

text: In May 2011, Forstmann was diagnosed with brain cancer and received treatment at the Mayo Clinic. He died on November 20, 2011, of complications from brain cancer. He had a net worth of US$ 1.6 billion as of 2011.


title: Medieval art

text: The medieval art of the Western world covers a vast scope of time and place, over 1000 years of art in Europe, and at certain periods in Western Asia and Northern Africa. It includes major art movements and periods, national and regional art, genres, revivals, the artists' crafts, and the artists themselves.


title: Medieval art

text: Art historians attempt to classify medieval art into major periods and styles, often with some difficulty. A generally accepted scheme includes the later phases of Early Christian art, Migration Period art, Byzantine art, Insular art, Pre-Romanesque, Romanesque art, and Gothic art, as well as many other periods within these central styles. In addition, each region, mostly during the period in the process of becoming nations or cultures, had its own distinct artistic style, such as Anglo-Saxon art or Viking art.


title: Medieval art

text: Medieval art was produced in many media, and works survive in large numbers in sculpture, illuminated manuscripts, stained glass, metalwork and mosaics, all of which have had a higher survival rate than other media such as fresco wall-paintings, work in precious metals or textiles, including tapestry. Especially in the early part of the period, works in the so-called "minor arts" or decorative arts, such as metalwork, ivory carving, vitreous enamel and embroidery using precious metals, were probably more highly valued than paintings or monumental sculpture.


title: Medieval art

text: Medieval art in Europe grew out of the artistic heritage of the Roman Empire and the iconographic traditions of the early Christian church. These sources were mixed with the vigorous "barbarian" artistic culture of Northern Europe to produce a remarkable artistic legacy. Indeed, the history of medieval art can be seen as the history of the interplay between the elements of classical, early Christian and "barbarian" art. Apart from the formal aspects of classicism, there was a continuous tradition of realistic depiction of objects that survived in Byzantine art throughout the period, while in the West it appears intermittently, combining and sometimes competing with new expressionist possibilities developed in Western Europe and the Northern legacy of energetic decorative elements. The period ended with the self-perceived Renaissance recovery of the skills and values of classical art, and the artistic legacy of the Middle Ages was then disparaged for some centuries. Since a revival of interest and understanding in the 19th century it has been seen as a period of enormous achievement that underlies the development of later Western art.


title: Medieval art

text: The first several centuries of the Middle Ages in Europe — up to about 800 AD - saw a decrease in prosperity, stability, and population, followed by a fairly steady and general increase until the massive setback of the Black Death around 1350, which is estimated to have killed at least a third of the overall population in Europe, with generally higher rates in the south and lower in the north. Many regions did not regain their former population levels until the 17th century. The population of Europe is estimated to have reached a low point of about 18 million in 650, to have doubled around the year 1000, and to have reached over 70 million by 1340, just before the Black Death. In 1450 it was still only 50 million. To these figures, Northern Europe, especially Britain, contributed a lower proportion than today, and Southern Europe, including France, a higher one. The increase in prosperity, for those who survived, was much less affected by the Black Death. Until about the 11th century most of Europe was short of agricultural labour, with large amounts of unused land, and the Medieval Warm Period benefited agriculture until about 1315.


title: Medieval art

text: The medieval period eventually saw the falling away of the invasions and incursions from outside the area that characterized the first millennium. The Islamic conquests of the 7th and 8th centuries suddenly and permanently removed all of North Africa from the Western world, and over the rest of the period Islamic peoples gradually took over the Byzantine Empire, until the end of the Middle Ages when Catholic Europe, having regained the Iberian peninsula in the southwest, was once again under Muslim threat from the southeast.


title: Medieval art

text: At the start of the medieval period most significant works of art were very rare and costly objects associated with secular elites, monasteries or major churches and, if religious, largely produced by monks. By the end of the Middle Ages works of considerable artistic interest could be found in small villages and significant numbers of bourgeois homes in towns, and their production was in many places an important local industry, with artists from the clergy now the exception. However the Rule of St Benedict permitted the sale of works of art by monasteries, and it is clear that throughout the period monks might produce art, including secular works, commercially for a lay market, and monasteries would equally hire lay specialists where necessary.


title: Medieval art

text: The impression may be left by the surviving works that almost all medieval art was religious. This is far from the case; though the church became very wealthy over the Middle Ages and was prepared at times to spend lavishly on art, there was also much secular art of equivalent quality which has suffered from a far higher rate of wear and tear, loss and destruction. The Middle Ages generally lacked the concept of preserving older works for their artistic merit, as opposed to their association with a saint or founder figure, and the following periods of the Renaissance and Baroque tended to disparage medieval art. Most luxury illuminated manuscripts of the Early Middle Ages had lavish treasure binding book-covers in precious metal, ivory and jewels; the re-bound pages and ivory reliefs for the covers have survived in far greater numbers than complete covers, which have mostly been stripped off for their valuable materials at some point.


title: Medieval art

text: Most churches have been rebuilt, often several times, but medieval palaces and large houses have been lost at a far greater rate, which is also true of their fittings and decoration. In England, churches survive largely intact from every century since the 7th, and in considerable numbers for the later ones—the city of Norwich alone has 40 medieval churches—but of the dozens of royal palaces none survive from earlier than the 11th century, and only a handful of remnants from the rest of the period. The situation is similar in most of Europe, though the 14th century Palais des Papes in Avignon survives largely intact. Many of the longest running scholarly disputes over the date and origin of individual works relate to secular pieces, because they are so much rarer - the Anglo-Saxon Fuller Brooch was refused by the British Museum as an implausible fake, and small free-standing secular bronze sculptures are so rare that the date, origin and even authenticity of both of the two best examples has been argued over for decades.


title: Medieval art

text: The use of valuable materials is a constant in medieval art; until the end of the period, far more was typically spent on buying them than on paying the artists, even if these were not monks performing their duties. Gold was used for objects for churches and palaces, personal jewellery and the fittings of clothes, and—fixed to the back of glass tesserae—as a solid background for mosaics, or applied as gold leaf to miniatures in manuscripts and panel paintings. Many objects using precious metals were made in the knowledge that their bullion value might be realized at a future point—only near the end of the period could money be invested other than in real estate, except at great risk or by committing usury.


title: Medieval art

text: The even more expensive pigment ultramarine, made from ground lapis lazuli obtainable only from Afghanistan, was used lavishly in the Gothic period, more often for the traditional blue outer mantle of the Virgin Mary than for skies. Ivory, often painted, was an important material until the very end of the period, well illustrating the shift in luxury art to secular works; at the beginning of the period most uses were shifting from consular diptychs to religious objects such as book-covers, reliquaries and croziers, but in the Gothic period secular mirror-cases, caskets and decorated combs become common among the well-off. As thin ivory panels carved in relief could rarely be recycled for another work, the number of survivals is relatively high—the same is true of manuscript pages, although these were often re-cycled by scraping, whereupon they become palimpsests.


title: Medieval art

text: Even these basic materials were costly: when the Anglo-Saxon Monkwearmouth-Jarrow Abbey planned to create three copies of the bible in 692—of which one survives as the Codex Amiatinus—the first step necessary was to plan to breed the cattle to supply the 1,600 calves to give the skin for the vellum required.


title: Medieval art

text: Paper became available in the last centuries of the period, but was also extremely expensive by today's standards; woodcuts sold to ordinary pilgrims at shrines were often matchbook size or smaller. Modern dendrochronology has revealed that most of the oak for panels used in Early Netherlandish painting of the 15th century was felled in the Vistula basin in Poland, from where it was shipped down the river and across the Baltic and North Seas to Flemish ports, before being seasoned for several years.


title: Medieval art

text: Art in the Middle Ages is a broad subject and art historians traditionally divide it in several large-scale phases, styles or periods. The period of the Middle Ages neither begins nor ends neatly at any particular date, nor at the same time in all regions, and the same is true for the major phases of art within the period. The major phases are covered in the following sections.


title: Medieval art

text: Early Christian art, more generally described as Late Antique art, covers the period from about 200 (before which no distinct Christian art survives), until the onset of a fully Byzantine style in about 500. There continue to be different views as to when the medieval period begins during this time, both in terms of general history and specifically art history, but it is most often placed late in the period. In the course of the 4th century Christianity went from being a persecuted popular sect to the official religion of the Empire, adapting existing Roman styles and often iconography, from both popular and Imperial art. From the start of the period the main survivals of Christian art are the tomb-paintings in popular styles of the catacombs of Rome, but by the end there were a number of lavish mosaics in churches built under Imperial patronage.


title: Medieval art

text: Over this period imperial Late Roman art went through a strikingly "baroque" phase, and then largely abandoned classical style and Greek realism in favour of a more mystical and hieratic style—a process that was well underway before Christianity became a major influence on imperial art. Influences from Eastern parts of the Empire—Egypt, Syria and beyond, and also a robust "Italic" vernacular tradition, contributed to this process.


title: Medieval art

text: Figures are mostly seen frontally staring out at the viewer, where classical art tended to show a profile view - the change was eventually seen even on coins. The individuality of portraits, a great strength of Roman art, declines sharply, and the anatomy and drapery of figures is shown with much less realism. The models from which medieval Northern Europe in particular formed its idea of "Roman" style were nearly all portable Late Antique works, and the Late Antique carved sarcophagi found all over the former Roman Empire; the determination to find earlier "purer" classical models, was a key element in the art "all'antica" of the Renaissance.


title: Medieval art

text: Byzantine art is the art of the Greek-speaking Byzantine Empire formed after the division of the Roman Empire between Eastern and Western halves, and sometimes of parts of Italy under Byzantine rule. It emerges from Late Antiquity in about 500 CE and soon formed a tradition distinct from that of Catholic Europe but with great influence over it. In the early medieval period the best Byzantine art, often from the large Imperial workshops, represented an ideal of sophistication and technique which European patrons tried to emulate. During the period of Byzantine iconoclasm in 730-843 the vast majority of icons (sacred images usually painted on wood) were destroyed; so little remains that today any discovery sheds new understanding, and most remaining works are in Italy (Rome and Ravenna etc.), or Egypt at Saint Catherine's Monastery.


title: Medieval art

text: Byzantine art was extremely conservative, for religious and cultural reasons, but retained a continuous tradition of Greek realism, which contended with a strong anti-realist and hieratic impulse. After the resumption of icon production in 843 until 1453 the Byzantine art tradition continued with relatively few changes, despite, or because of, the slow decline of the Empire. There was a notable revival of classical style in works of 10th century court art like the Paris Psalter, and throughout the period manuscript illumination shows parallel styles, often used by the same artist, for iconic figures in framed miniatures and more informal small scenes or figures added unframed in the margins of the text in a much more realist style.


title: Medieval art

text: Monumental sculpture with figures remained a taboo in Byzantine art; hardly any exceptions are known. But small ivory reliefs, almost all in the iconic mode (the Harbaville Triptych is of similar date to the Paris Psalter, but very different in style), were a speciality, as was relief decoration on bowls and other metal objects.


title: Medieval art

text: The Byzantine Empire produced much of the finest art of the Middle Ages in terms of quality of material and workmanship, with court production centred on Constantinople, although some art historians have questioned the assumption, still commonly made, that all work of the best quality with no indication as to origin was produced in the capital. Byzantine art's crowning achievement were the monumental frescos and mosaics inside domed churches, most of which have not survived due to natural disasters and the appropriation of churches to mosques.


title: Medieval art

text: Byzantine art exercised a continuous trickle of influence on Western European art, and the splendours of the Byzantine court and monasteries, even at the end of the Empire, provided a model for Western rulers and secular and clerical patrons. For example, Byzantine silk textiles, often woven or embroidered with designs of both animal and human figures, the former often reflecting traditions originating much further east, were unexcelled in the Christian world until almost the end of the Empire. These were produced, but probably not entirely so, in Imperial workshops in Constantinople, about whose operations we know next to nothing—similar workshops are often conjectured for other arts, with even less evidence. The gold ground style in mosaics, icons and manuscript miniatures was common across europe by the Gothic period. Some other decorative arts were less developed; Byzantine ceramics rarely rise above the level of attractive folk art, despite the Ancient Greek heritage and the impressive future in the Ottoman period of İznik wares and other types of pottery.


title: Medieval art

text: The Coptic art of Egypt took a different path; after the Coptic Church separated in the mid-5th century it was never again supported by the state, and native Egyptian influences dominated to produce a completely non-realist and somewhat naive style of large-eyed figures floating in blank space. This was capable of great expressiveness, and took the "Eastern" component of Byzantine art to its logical conclusions. Coptic decoration used intricate geometric designs, often anticipating Islamic art. Because of the exceptionally good preservation of Egyptian burials, we know more about the textiles used by the less well-off in Egypt than anywhere else. These were often elaborately decorated with figurative and patterned designs. Other local traditions in Armenia, Syria, Georgia and elsewhere showed generally less sophistication, but often more vigour than the art of Constantinople, and sometimes, especially in architecture, seem to have had influence even in Western Europe. For example, figurative monumental sculpture on the outside of churches appears here some centuries before it is seen in the West.


title: Medieval art

text: Migration Period art describes the art of the "barbarian" Germanic and Eastern-European peoples who were on the move, and then settling within the former Roman Empire, during the Migration Period from about 300-700; the blanket term covers a wide range of ethnic or regional styles including early Anglo-Saxon art, Visigothic art, Viking art, and Merovingian art, all of which made use of the animal style as well as geometric motifs derived from classical art. By this period the animal style had reached a much more abstracted form than in earlier Scythian art or La Tène style. Most artworks were small and portable and those surviving are mostly jewellery and metalwork, with the art expressed in geometric or schematic designs, often beautifully conceived and made, with few human figures and no attempt at realism. The early Anglo-Saxon grave goods from Sutton Hoo are among the best examples.


title: Medieval art

text: As the "barbarian" peoples were Christianized, these influences interacted with the post-classical Mediterranean Christian artistic tradition, and new forms like the illuminated manuscript, and indeed coins, which attempted to emulate Roman provincial coins and Byzantine types. Early coinage like the sceat shows designers completely unused to depicting a head in profile grappling with the problem in a variety of different ways.


title: Medieval art

text: As for larger works, there are references to Anglo-Saxon wooden pagan statues, all now lost, and in Norse art the tradition of carved runestones was maintained after their conversion to Christianity. The Celtic Picts of Scotland also carved stones before and after conversion, and the distinctive Anglo-Saxon and Irish tradition of large outdoor carved crosses may reflect earlier pagan works. Viking art from later centuries in Scandinavia and parts of the British Isles includes work from both pagan and Christian backgrounds, and was one of the last flowerings of this broad group of styles.


title: Medieval art

text: Insular art refers to the distinct style found in Ireland and Britain from about the 7th century, to about the 10th century, lasting later in Ireland, and parts of Scotland. The style saw a fusion between the traditions of Celtic art, the Germanic Migration period art of the Anglo-Saxons and the Christian forms of the book, high crosses and liturgical metalwork.


title: Medieval art

text: Extremely detailed geometric, interlace, and stylised animal decoration, with forms derived from secular metalwork like brooches, spread boldly across manuscripts, usually gospel books like the Book of Kells, with whole carpet pages devoted to such designs, and the development of the large decorated and historiated initial. There were very few human figures—most often these were Evangelist portraits—and these were crude, even when closely following Late Antique models.


title: Medieval art

text: The insular manuscript style was transmitted to the continent by the Hiberno-Scottish mission, and its anti-classical energy was extremely important in the formation of later medieval styles. In most Late Antique manuscripts text and decoration were kept clearly apart, though some initials began to be enlarged and elaborated, but major insular manuscripts sometimes take a whole page for a single initial or the first few words (see illustration) at beginnings of gospels or other sections in a book. Allowing decoration a "right to roam" was to be very influential on Romanesque and Gothic art in all media.


title: Medieval art

text: The buildings of the monasteries for which the insular gospel books were made were then small and could fairly be called primitive, especially in Ireland. There increasingly were other decorations to churches, where possible in precious metals, and a handful of these survive, like the Ardagh Chalice, together with a larger number of extremely ornate and finely made pieces of secular high-status jewellery, the Celtic brooches probably worn mainly by men, of which the Tara Brooch is the most spectacular.


title: Medieval art

text: "Franco-Saxon" is a term for a school of late Carolingian illumination in north-eastern France that used insular-style decoration, including super-large initials, sometimes in combination with figurative images typical of contemporary French styles. The "most tenacious of all the Carolingian styles", it continued until as late as the 11th century.


title: Medieval art

text: Islamic art during the Middle Ages falls outside the scope of this article, but it was widely imported and admired by European elites, and its influence needs mention. Islamic art covers a wide variety of media including calligraphy, illustrated manuscripts, textiles, ceramics, metalwork and glass, and refers to the art of Muslim countries in the Near East, Islamic Spain, and Northern Africa, though by no means always Muslim artists or craftsmen. Glass production, for example, remained a Jewish speciality throughout the period, and Christian art, as in Coptic Egypt continued, especially during the earlier centuries, keeping some contacts with Europe. There was an early formative stage from 600-900 and the development of regional styles from 900 onwards. Early Islamic art used mosaic artists and sculptors trained in the Byzantine and Coptic traditions. Instead of wall-paintings, Islamic art used painted tiles, from as early as 862-3 (at the Great Mosque of Kairouan in modern Tunisia), which also spread to Europe. According to John Ruskin, the Doge's Palace in Venice contains "three elements in exactly equal proportions — the Roman, the Lombard, and Arab. It is the central building of the world. ... the history of Gothic architecture is the history of the refinement and spiritualisation of Northern work under its influence".


title: Medieval art

text: Islamic rulers controlled at various points parts of Southern Italy and most of modern Spain and Portugal, as well as the Balkans, all of which retained large Christian populations. The Christian Crusaders equally ruled Islamic populations. Crusader art is mainly a hybrid of Catholic and Byzantine styles, with little Islamic influence, but the Mozarabic art of Christians in Al Andaluz seems to show considerable influence from Islamic art, though the results are little like contemporary Islamic works. Islamic influence can also be traced in the mainstream of Western medieval art, for example in the Romanesque portal at Moissac in southern France, where it shows in both decorative elements, like the scalloped edges to the doorway, the circular decorations on the lintel above, and also in having "Christ in Majesty" surrounded by musicians, which was to become a common feature of Western heavenly scenes, and probably derives from images of Islamic kings on their diwan. Calligraphy, ornament and the decorative arts generally were more important than in the West.


title: Medieval art

text: The Hispano-Moresque pottery wares of Spain were first produced in Al-Andaluz, but Muslim potters then seem to have emigrated to the area of Christian Valencia, where they produced work that was exported to Christian elites across Europe; other types of Islamic luxury goods, notably silk textiles and carpets, came from the generally wealthier eastern Islamic world itself (the Islamic conduits to Europe west of the Nile were, however, not wealthier), with many passing through Venice. However, for the most part luxury products of the court culture such as silks, ivory, precious stones and jewels were imported to Europe only in an unfinished form and manufactured into the end product labelled as "eastern" by local medieval artisans. They were free from depictions of religious scenes and normally decorated with ornament, which made them easy to accept in the West, indeed by the late Middle Ages there was a fashion for pseudo-Kufic imitations of Arabic script used decoratively in Western art.


title: Medieval art

text: "Pre-Romanesque" is a term for architecture and to some extent pictorial and portable art found initially in Southern Europe (Spain, Italy and Southern France) between the Late Antique period to the start of the Romanesque period in the 11th century. Northern European art gradually forms part of the movement after Christianization as it assimilates post-classical styles. The Carolingian art of the Frankish Empire, especially modern France and Germany, from roughly 780-900 takes its name from Charlemagne and is an art of the court circle and a few monastic centres under Imperial patronage, that consciously sought to revive "Roman" styles and standards as befitted the new Empire of the West. Some centres of Carolingian production also pioneered expressive styles in works like the Utrecht Psalter and Ebbo Gospels. Christian monumental sculpture is recorded for the first time, and depiction of the human figure in narrative scenes became confident for the first time in Northern art. Carolingian architecture produced larger buildings than had been seen since Roman times, and the westwork and other innovations.


title: Medieval art

text: After the collapse of the dynasty there was a hiatus before a new dynasty brought a revival in Germany with Ottonian art, again centred on the court and monasteries, with art that moved towards great expressiveness through simple forms that achieve monumentality even in small works like ivory reliefs and manuscript miniatures, above all those of the Reichenau School, such as the Pericopes of Henry II (1002–1012). Later Anglo-Saxon art in England, from about 900, was expressive in a very different way, with agitated figures and even drapery perhaps best shown in the many pen drawings in manuscripts. The Mozarabic art of Christian Spain had strong Islamic influence, and a complete lack of interest in realism in its brilliantly coloured miniatures, where figures are presented as entirely flat patterns. Both of these were to influence the formation in France of the Romanesque style.


title: Medieval art

text: Romanesque art developed in the period between about 1000 to the rise of Gothic art in the 12th century, in conjunction with the rise of monasticism in Western Europe. The style developed initially in France, but spread to Christian Spain, England, Flanders, Germany, Italy, and elsewhere to become the first medieval style found all over Europe, though with regional differences. The arrival of the style coincided with a great increase in church-building, and in the size of cathedrals and larger churches; many of these were rebuilt in subsequent periods, but often reached roughly their present size in the Romanesque period. Romanesque architecture is dominated by thick walls, massive structures conceived as a single organic form, with vaulted roofs and round-headed windows and arches.


title: Medieval art

text: Figurative sculpture, originally colourfully painted, plays an integral and important part in these buildings, in the capitals of columns, as well as around impressive portals, usually centred on a tympanum above the main doors, as at Vézelay Abbey and Autun Cathedral. Reliefs are much more common than free-standing statues in stone, but Romanesque relief became much higher, with some elements fully detached from the wall behind. Large carvings also became important, especially painted wooden crucifixes like the Gero Cross from the very start of the period, and figures of the Virgin Mary like the Golden Madonna of Essen. Royalty and the higher clergy began to commission life-size effigies for tomb monuments. Some churches had massive pairs of bronze doors decorated with narrative relief panels, like the Gniezno Doors or those at Hildesheim, "the first decorated bronze doors cast in one piece in the West since Roman times", and arguably the finest before the Renaissance.


title: Medieval art

text: Most churches were extensively frescoed; a typical scheme had "Christ in Majesty" at the east (altar) end, a "Last Judgement" at the west end over the doors, and scenes from the "Life of Christ" facing typologically matching Old Testament scenes on the nave walls. The "greatest surviving monument of Romanesque wall painting", much reduced from what was originally there, is in the Abbey Church of Saint-Savin-sur-Gartempe near Poitiers, where the rounded barrel vault of the nave, the crypt, portico and other areas retain most of their paintings. An equivalent cycle in Sant'Angelo in Formis at Capua in southern Italy by Italian painters trained by Greeks illustrates the continuing predominance of Byzantine style in much of Italy.


title: Medieval art

text: Romanesque sculpture and painting is often vigorous and expressive, and inventive in terms of iconography—the subjects chosen and their treatment. Though many features absorbed from classical art form part of the Romanesque style, Romanesque artists rarely intended to achieve any sort of classical effect, except perhaps in Mosan art. As art became seen by a wider section of the population, and because of challenges from new heresies, art became more didactic, and the local church the "Poor Man's Bible". At the same time grotesque beasts and monsters, and fights with or between them, were popular themes, to which religious meanings might be loosely attached, although this did not impress St Bernard of Clairvaux, who famously denounced such distractions in monasteries:But in the cloister, in the sight of the reading monks, what is the point of such ridiculous monstrosity, the strange kind of shapely shapelessness? Why these unsightly monkeys, why these fierce lions, why the monstrous centaurs, why semi-humans, why spotted tigers, why fighting soldiers, why trumpeting huntsmen? ... In short there is such a variety and such a diversity of strange shapes everywhere that we may prefer to read the marbles rather than the books. He might well have known the miniature at left, which was produced at Cîteaux Abbey before the young Bernard was transferred from there in 1115.


title: Medieval art

text: During the period typology became the dominant approach in theological literature and art to interpreting the bible, with Old Testament incidents seen as pre-figurations of aspects of the life of Christ, and shown paired with their corresponding New Testament episode. Often the iconography of the New Testament scene was based on traditions and models originating in Late Antiquity, but the iconography of the Old Testament episode had to be invented in this period, for lack of precedents. New themes such as the Tree of Jesse were devised, and representations of God the Father became more acceptable. The vast majority of surviving art is religious. Mosan art was an especially refined regional style, with much superb metalwork surviving, often combined with enamel, and elements of classicism rare in Romanesque art, as in the Baptismal font at St Bartholomew's Church, Liège, or the Shrine of the Three Kings at Cologne, one of a number of surviving works by Nicholas of Verdun, whose services were sought across north-western Europe.


title: Medieval art

text: Stained glass became a significant art-form in the period, though little Romanesque glass survives. In illuminated manuscripts the bible became a new focus of intensive decoration, with the psalter also remaining important. The strong emphasis on the suffering of Christ and other sacred figures entered Western art in this period, a feature that strongly distinguishes it from both Byzantine and classical art for the remainder of the Middle Ages and beyond. The Gero Cross of 965-970, at the cusp of Ottonian and Romanesque art, has been called the first work to exhibit this. The end of the Romanesque period saw the start of the greatly increased emphasis on the Virgin Mary in theology, literature and so also art that was to reach its full extent in the Gothic period.


title: Medieval art

text: Gothic art is a variable term depending on the craft, place and time. The term originated with the Gothic architecture which developed in France from about 1137 with the rebuilding of the Abbey Church of St Denis. As with Romanesque architecture, this included sculpture as an integral part of the style, with even larger portals and other figures on the facades of churches the location of the most important sculpture, until the late period, when large carved altarpieces and reredos, usually in painted and gilded wood, became an important focus in many churches. Gothic painting did not appear until around 1200 (this date has many qualifications), when it diverged from Romanesque style. A Gothic style in sculpture originates in France around 1144 and spread throughout Europe, becoming by the 13th century the international style, replacing Romanesque, though in sculpture and painting the transition was not as sharp as in architecture.


title: Medieval art

text: The majority of Romanesque cathedrals and large churches were replaced by Gothic buildings, at least in those places benefiting from the economic growth of the period—Romanesque architecture is now best seen in areas that were subsequently relatively depressed, like many southern regions of France and Italy, or northern Spain. The new architecture allowed for much larger windows, and stained glass of a quality never excelled is perhaps the type of art most associated in the popular mind with the Gothic, although churches with nearly all their original glass, like the Sainte-Chapelle in Paris, are extremely rare anywhere, and unknown in Britain.


title: Medieval art

text: Most Gothic wall-paintings have also disappeared; these remained very common, though in parish churches often rather crudely executed. Secular buildings also often had wall-paintings, although royalty preferred the much more expensive tapestries, which were carried along as they travelled between their many palaces and castles, or taken with them on military campaigns—the finest collection of late-medieval textile art comes from the Swiss booty at the Battle of Nancy, when they defeated and killed Charles the Bold, Duke of Burgundy, and captured all his baggage train.


title: Medieval art

text: As mentioned in the previous section, the Gothic period coincided with a greatly increased emphasis on the Virgin Mary, and it was in this period that the Virgin and Child became such a hallmark of Catholic art. Saints were also portrayed far more often, and many of the range of attributes developed to identify them visually for a still largely illiterate public first appeared.


title: Medieval art

text: During this period panel painting for altarpieces, often polyptyches and smaller works became newly important. Previously icons on panels had been much more common in Byzantine art than in the West, although many now lost panel paintings made in the West are documented from much earlier periods, and initially Western painters on panel were very largely under the sway of Byzantine models, especially in Italy, from where most early Western panel paintings come. The process of establishing a distinct Western style was begun by Cimabue and Duccio, and completed by Giotto, who is traditionally regarded as the starting point for the development of Renaissance painting. Most panel painting remained more conservative than miniature painting however, partly because it was seen by a wide public.


title: Medieval art

text: International Gothic describes courtly Gothic art from about 1360 to 1430, after which Gothic art begins to merge into the Renaissance art that had begun to form itself in Italy during the Trecento, with a return to classical principles of composition and realism, with the sculptor Nicola Pisano and the painter Giotto as especially formative figures. The Très Riches Heures du Duc de Berry is one of the best known works of International Gothic. The transition to the Renaissance occurred at different times in different places - Early Netherlandish painting is poised between the two, as is the Italian painter Pisanello. Outside Italy Renaissance styles appeared in some works in courts and some wealthy cities while other works, and all work beyond these centres of innovation, continued late Gothic styles for a period of some decades. The Protestant Reformation often provided an end point for the Gothic tradition in areas that went Protestant, as it was associated with Catholicism.


title: Medieval art

text: The invention of a comprehensive mathematically based system of linear perspective is a defining achievement of the early-15th-century Italian Renaissance in Florence, but Gothic painting had already made great progress in the naturalistic depiction of distance and volume, though it did not usually regard them as essential features of a work if other aims conflicted with them, and late Gothic sculpture was increasingly naturalistic. In the mid-15th century Burgundian miniature (right) the artist seems keen to show his skill at representing buildings and blocks of stone obliquely, and managing scenes at different distances. But his general attempt to reduce the size of more distant elements is unsystematic. Sections of the composition are at a similar scale, with relative distance shown by overlapping, foreshortening, and further objects being higher than nearer ones, though the workmen at left do show finer adjustment of size. But this is abandoned on the right where the most important figure is much larger than the mason.


title: Medieval art

text: The end of the period includes new media such as prints; along with small panel paintings these were frequently used for the emotive andachtsbilder ("devotional images") influenced by new religious trends of the period. These were images of moments detached from the narrative of the Passion of Christ designed for meditation on his sufferings, or those of the Virgin: the Man of Sorrows, Pietà, Veil of Veronica or Arma Christi. The trauma of the Black Death in the mid-14th century was at least partly responsible for the popularity of themes such as the "Dance of Death" and "Memento mori". In the cheap blockbooks with text (often in the vernacular) and images cut in a single woodcut, works such as that illustrated (left), the "Ars Moriendi" ("Art of Dying") and typological verse summaries of the bible like the "Speculum Humanae Salvationis" ("Mirror of Human Salvation") were the most popular.


title: Medieval art

text: Renaissance Humanism and the rise of a wealthy urban middle class, led by merchants, began to transform the old social context of art, with the revival of realistic portraiture and the appearance of printmaking and the self-portrait, together with the decline of forms like stained glass and the illuminated manuscript. Donor portraits, in the Early Medieval period largely the preserve of popes, kings and abbots, now showed businessmen and their families, and churches were becoming crowded with the tomb monuments of the well-off.


title: Medieval art

text: The book of hours, a type of manuscript normally owned by laymen, or even more often, laywomen, became the type of manuscript most often heavily illustrated from the 14th century onwards, and also by this period, the lead in producing miniatures had passed to lay artists, also very often women. In the most important centres of illumination, Paris and in the 15th century the cities of Flanders, there were large workshops, exporting to other parts of Europe. Other forms of art, such as small ivory reliefs, stained glass, tapestries and Nottingham alabasters (cheap carved panels for altarpieces) were produced in similar conditions, and artists and craftsmen in cities were usually covered by the guild system—the goldsmith's guild was typically among the richest in a city, and painters were members of a special Guild of St Luke in many places.


title: Medieval art

text: Secular works, often using subjects concerned with courtly love or knightly heroism, were produced as illuminated manuscripts, carved ivory mirror-cases, tapestries and elaborate gold table centrepieces like nefs. It begins to be possible to distinguish much greater numbers of individual artists, some of whom had international reputations. Art collectors begin to appear, of manuscripts among the great nobles, like John, Duke of Berry (1340–1416) and of prints and other works among those with moderate wealth. In the wealthier areas tiny cheap religious woodcuts brought art in an approximation of the latest style even into the homes of peasants by the late 15th century.


title: Medieval art

text: Medieval art had little sense of its own art history, and this disinterest was continued in later periods. The Renaissance generally dismissed it as a "barbarous" product of the "Dark Ages", and the term "Gothic" was invented as a deliberately pejorative one, first used by the painter Raphael in a letter of 1519 to characterise all that had come between the demise of Classical art and its supposed 'rebirth' in the Renaissance. The term was subsequently adopted and popularised in the mid 16th century by the Florentine artist and historian, Giorgio Vasari, who used it to denigrate northern European architecture generally. Illuminated manuscripts continued to be collected by antiquarians, or sit unregarded in monastic or royal libraries, but paintings were mostly of interest if they had historical associations with royalty or others. The long period of mistreatment of the Westminster Retable by Westminster Abbey is an example; until the 19th century it was only regarded as a useful piece of timber. But their large portrait of Richard II of England was well looked after, like another portrait of Richard, the Wilton Diptych (illustrated above). As in the Middle Ages themselves, other objects have often survived mainly because they were considered to be relics.


title: Medieval art

text: There was no equivalent for pictorial art of the "Gothic survival" found in architecture, once the style had finally died off in Germany, England and Scandinavia, and the Gothic Revival long focused on Gothic Architecture rather than art. The understanding of the succession of styles was still very weak, as suggested by the title of Thomas Rickman's pioneering book on English architecture: "An Attempt to discriminate the Styles of English Architecture from the Conquest to the Reformation" (1817). This began to change with a vengeance by the mid-19th century, as appreciation of medieval sculpture and its painting, known as Italian or Flemish "Primitives", became fashionable under the influence of writers including John Ruskin, Eugène Viollet-le-Duc, and Pugin, as well as the romantic medievalism of literary works like Sir Walter Scott's "Ivanhoe" (1819) and Victor Hugo's "The Hunchback of Notre Dame" (1831). Early collectors of the "Primitives", then still relatively cheap, included Prince Albert.


title: Medieval art

text: Among artists the German Nazarene movement from 1809 and English Pre-Raphaelite Brotherhood from 1848 both rejected the values of at least the later Renaissance, but in practice, and despite sometimes depicting medieval scenes, their work draws its influences mostly from the Early Renaissance rather than the Gothic or earlier periods - the early graphic work of John Millais being something of an exception. William Morris, also a discriminating collector of medieval art, absorbed medieval style more thoroughly into his work, as did William Burges.By the later 19th century many book-illustrators and producers of decorative art of various kinds had learned to use medieval styles successfully from the new museums like the Victoria & Albert Museum set up for this purpose. At the same time the new academic field of art history, dominated by Germany and France, concentrated heavily on medieval art and was soon very productive in cataloguing and dating the surviving works, and analysing the development of medieval styles and iconography; though the Late Antique and pre-Carolingian period remained a less explored "no-man's land" until the 20th century.


title: Medieval art

text: Franz Theodor Kugler was the first to name and describe Carolingian art in 1837; like many art historians of the period he sought to find and promote the national spirit of his own nation in art history, a search begun by Johann Gottfried Herder in the 18th century. Kugler's pupil, the great Swiss art historian Jacob Burckhardt, though he could not be called a specialist in medieval art, was an important figure in developing the understanding of it. Medieval art was now heavily collected, both by museums and private collectors like George Salting, the Rothschild family and John Pierpont Morgan.


title: Medieval art

text: After the decline of the Gothic Revival, and the Celtic Revival use of Insular styles, the anti-realist and expressive elements of medieval art have still proved an inspiration for many modern artists.


title: Medieval art

text: German-speaking art historians continued to dominate medieval art history, despite figures like Émile Mâle (1862–1954) and Henri Focillon (1881–1943), until the Nazi period, when a large number of important figures emigrated, mostly to Britain or America, where the academic study of art history was still developing. These included the elderly Adolph Goldschmidt and younger figures including Nikolaus Pevsner, Ernst Kitzinger, Erwin Panofsky, Kurt Weitzmann, Richard Krautheimer and many others. Meyer Schapiro had immigrated as a child in 1907.


title: Medieval art

text: The great majority of narrative religious medieval art depicted events from the Bible, where the majority of persons shown had been Jewish. But the extent to which this was emphasized in their depictions varied greatly. During the Middle Ages some Christian art was used as a way to express prejudices and commonly held negative views.


title: Medieval art

text: In Medieval Europe between the 5th and 15th century many Christians viewed Jews as enemies and outsiders due to a variety of factors. They also tended to hate them for being both culturally and religiously different as well as because of religious teachings that held negative views of Jewish people such as portrayals of the Antichrist as Jewish. The Jewish people's economic position as moneylenders, coupled with royal protections that were given to them, created a strained relationship between Jews and Christians. This strain manifested itself in several ways, one of which was through the creation of antisemitic and anti-Judaism art and propaganda that served the purpose of discrediting both Jews and their religious beliefs as well as spreading these beliefs even further into society. Late medieval images of Ecclesia and Synagoga represented the Christian doctrine of supersessionism, whereby the Christian New Covenant had replaced the Jewish Mosaic covenant Sara Lipton has argued that some portrayals, such as depictions of Jewish blindness in the presence of Jesus, were meant to serve as a form of self-reflection rather than be explicitly anti-Semitic.


title: Medieval art

text: In her 2013 book "Saracens, Demons, and Jews", Debra Higgs Strickland argues that negative portrayals of Jews in medieval art can be divided into three categories: art that focused on physical descriptions, art that featured signs of damnation, and images that depicted Jews as monsters. Physical depictions of Jewish people in medieval Christian art were often men with pointed Jewish hats and long beards, which was done as a derogatory symbol and to separate Jews from Christians in a clear manner. This portrayal would grow more virulent over time, however Jewish women lacked similar distinctive physical descriptions in high medieval Christian art. Art that depicted Jewish people in scenes that featured signs of damnation is believed to have stemmed from the Christian belief that Jews were responsible for the murder of Christ, which has led to some artistic representations featured Jews crucifying Christ. Jewish people were sometimes seen as outsiders in Christian dominated societies, which Strickland states developed into the belief that Jews were barbarians, which eventually expanded into the idea that Jewish people were monsters that rejected the "True Faith". Some art from this time period combined these concepts and morphed the stereotypical Jewish beard and pointed hat imagery with that of monsters, creating art that made the Jew synonymous with a monster.


title: Medieval art

text: The reasons for these negative depictions of Jews can be traced back to many sources, but mainly stem from the Jews being charged with deicide, their religious and cultural differences from their cultural neighbors, and how the antichrist was often depicted as Jewish in medieval writings and texts. The Jews were recently blamed for the death of Christ and were thus negatively depicted by the Christians in both art and scripture alike. The tensions between Jews and Christians were incredibly high and this caused various stereotypes about Jews to form and become commonplace in their artistic depiction. Some of the attributes seen distinguishing Jews from their Christian counterparts in pieces of art are pointed hats, hooked and crooked noses, and long beards. By including these attributes in the portrayal of Jews in art, Christians succeeded in ‘othering’ Jews more than they already were and made them seem even more ostracized and segregated from the general population than they already were. Not only were these attributes added into depictions of Jewish People, they were generally portrayed as villainous and monstrous because of their supposed murder of Christ as well their rejection of Christ as the messiah. This, coupled with the fact that they lived in largely insular groups separated them greatly from their Christian neighbors and caused a lasting rift between the groups that are reflected in the medieval art.


title: We Own the Night (film)

text: We Own the Night is a 2007 American crime thriller film written and directed by James Gray and starring Joaquin Phoenix, Mark Wahlberg, Eva Mendes and Robert Duvall. It is the third film directed by Gray, and the second to feature Phoenix and Wahlberg together, the first being 2000's "The Yards". The title comes from the motto of the NYPD's Street Crimes Unit, which disbanded in 2002.


title: We Own the Night (film)

text: The film premiered May 25, at the 2007 Cannes Film Festival. It was released in the United States on October 12, 2007. The film received mixed reviews from critics and grossed $55 million.


title: We Own the Night (film)

text: In 1988 Brooklyn, New York, Bobby Green is the manager of the El Caribe nightclub in Brighton Beach, which is frequented by Russian mobster and drug lord Vadim Nezhinski and owned by Vadim's uncle Marat Buzhayev.


title: We Own the Night (film)

text: Bobby has distanced himself from his father, NYPD Deputy Chief Burt Grusinsky, and his brother, Captain Joseph Grusinsky. Bobby uses his mother's maiden name, Green, as his last name and stays on the sidelines enjoying a hedonistic life with his girlfriend Amada Juarez and best friend Louis "Jumbo" Falsetti.


title: We Own the Night (film)

text: When Joseph leads a police raid on El Caribe in hope of arresting Vadim, Bobby refuses to cooperate. The incident strains Bobby's relationship with his father and brother even more, and Bobby and Joseph come to blows.


title: We Own the Night (film)

text: The police are unsuccessful in making a case against Vadim, who decides to retaliate. The next evening, Joseph is shot by a masked assailant and his unmarked police cruiser is firebombed. Joseph survives the ambush and is hospitalized for four months. Vadim, unaware of Bobby's family ties, confides that the Chief will be the next victim. Bobby resolves to help the police and, without his father's knowledge, goes undercover inside Vadim's cocaine-smuggling operation with a police listening device hidden in a cigarette lighter. The device is discovered and Bobby narrowly escapes being murdered as the police raid the operation and arrest Vadim.


title: We Own the Night (film)

text: Bobby and Amada are placed in protective police custody and their relationship begins to deteriorate. When Vadim escapes custody while being transported to a hospital, Burt and the police prepare to move Bobby and Amada to a new location. During a torrential rainstorm the police convoy is intercepted by Vadim's men, and during a chaotic car chase Burt is fatally shot. When he sees his father's body, Bobby blacks out in the rain.


title: We Own the Night (film)

text: The police take Bobby and Amada back to their motel near Kennedy Airport. Bobby wakes up a few hours later and finds Joseph in the motel room. Joseph tells him that their father has been shot and killed. At the funeral, a colleague of Joseph's, Captain Jack Shapiro, gives him Burt's Korean War medal. Bobby is told that a Russian shipment of cocaine is arriving sometime in the coming week.


title: We Own the Night (film)

text: To avenge his father, Bobby decides to officially join the police force without the consent of Amada, who leaves him. After he is sworn into the NYPD, Bobby learns the true involvement of Jumbo and Marat. He and Joseph organize a final sting operation, set for April 4, 1989. During the raid, Joseph is emotionally incapacitated by the memory of his shooting and cannot continue. Vadim flees into the reed beds, and the police toss in flares to smoke him out. As the beds are engulfed in flame and smoke, Bobby runs in to find Vadim himself, ignoring the other officers' pleas that he wait. Bobby shoots Vadim in the chest, mortally wounding him.


title: We Own the Night (film)

text: Nearly a year after the raid on El Caribe, Bobby, now in uniform, graduates from the NYPD Police Academy to become a full-time police officer. Before the ceremony, Joseph reveals to Bobby that he has decided to switch to a job in the administration sector, since the shooting led him to realize that he needs to spend more time with his children. As the chaplain announces that Bobby is to give the valedictorian address, Bobby thinks he sees Amada in the audience, but it turns out to be an illusion. Bobby and Joseph express their brotherly love.


title: We Own the Night (film)

text: On Rotten Tomatoes, 57% of 153 critics gave the film positive reviews, with an average rating of 5.8/10. The website's critical consensus reads, "Bland characters, clichéd dialogue and rickety plotting ensure "We Own The Night" never lives up to its potential." On Metacritic, the film has a weighted average score of 59 out of 100, based on 33 critics, indicating "mixed or average reviews". Audiences surveyed by CinemaScore gave the film a grade "B−" on an A+ to F scale.


title: We Own the Night (film)

text: Roger Ebert of the "Chicago Sun-Times" wrote: "This is an atmospheric, intense film, well acted, and when it's working it has a real urgency." Peter Travers of Rolling Stone called it "defiantly, refreshingly unhip" and gave it 3 out of 4.


title: We Own the Night (film)

text: In its opening weekend in the United States and Canada, the film grossed $10.8 million in 2,362 theaters, ranking #3 at the box office. The film grossed a total of $54.5 million worldwide — $28.6 million in the United States and Canada and $26.5 million in other territories.


title: We Own the Night (film)

text: Sony Pictures paid $11 million for the rights to distribute the film domestically. The studio released it through its Columbia Pictures division.


title: Quicksilver Messenger Service

text: Quicksilver Messenger Service is an American psychedelic rock band formed in 1965 in San Francisco. The band achieved wide popularity in the San Francisco Bay Area and, through their recordings, with psychedelic rock enthusiasts around the globe, and several of their albums ranked in the Top 30 of the Billboard Pop charts. They were part of the new wave of album-oriented bands, achieving renown and popularity despite a lack of success with their singles (only one, "Fresh Air" charted, reaching number 49 in 1970). Though not as commercially successful as contemporaries Jefferson Airplane and the Grateful Dead, Quicksilver was integral to the beginnings of their genre. With their jazz and classical influences and a strong folk background, the band attempted to create an individual, innovative sound. Music historian Colin Larkin wrote: "Of all the bands that came out of the San Francisco area during the late '60s, Quicksilver typified most of the style, attitude and sound of that era."


title: Quicksilver Messenger Service

text: Member Dino Valenti drew heavily on musical influences he picked up during the folk revival of his formative musical years. The style he developed from these sources is evident in Quicksilver Messenger Service's swing rhythms and twanging guitar sounds. After many years, the band has attempted to re-form despite the deaths of several members. In 2009, original members Gary Duncan and David Freiberg toured as the Quicksilver Messenger Service, using various backing musicians.


title: Quicksilver Messenger Service

text: The next day, Valenti was arrested for possession of marijuana and spent the better part of the next two years in jail. However, Gary Duncan has stated:


title: Quicksilver Messenger Service

text: Whether or not Quicksilver Messenger Service was what Valenti had in mind, it appears from Duncan's recollections that he had at least talked with Cipollina about forming a band; Cipollina remembered that:


title: Quicksilver Messenger Service

text: David Freiberg, a folk-guitarist friend of Valenti, was recruited to the group. He had previously been in a band with Paul Kantner and David Crosby but like Cipollina he had been arrested and briefly jailed for marijuana possession and had just been released. "We were to take care of this guy Freiberg," Cipollina recalled, and though they had never met before, Freiberg was integrated into the group. The band also added Skip Spence on guitar and began to rehearse at Marty Balin's club, the Matrix. Balin, in search of a drummer for the band he was organizing (which became Jefferson Airplane), convinced Spence to switch instruments and groups.


title: Quicksilver Messenger Service

text: To make up for poaching Spence, Balin suggested that they contact drummer Greg Elmore and guitarist–singer Gary Duncan, who had played together in a group called The Brogues. This new version of the group played its first concert performance in December 1965, playing for the Christmas party of the Committee (improv group). Drummer Greg Elmore and guitarist Jim Murray were added to fill out the original band.


title: Quicksilver Messenger Service

text: The group's early management was by Ambrose Hollingworth, who became a paraplegic as a result of an automobile crash near Muir Beach, California in 1967. Hollingworth's stewardship, which also included the all-female Ace of Cups, transferred to Ron Polte. Polte was known for going to great lengths to accommodate the needs of his musicians. When perennial studio musician Nicky Hopkins joined the band in 1969, it was the first and only band that officially included him in its performing and recording revenues. Hollingsworth died in 1996, and Polte in 2016.


title: Quicksilver Messenger Service

text: Jim Murray left the group not long after they performed at the Monterey International Pop Festival in June 1967. The band began a period of heavy touring on the West Coast of the United States where they built up a solid following and featured on many star-studded bills at the Avalon Ballroom and the Fillmore West. Sound system pioneer, inventor, and engineer (and famous LSD chemist) Owsley Stanley regularly recorded concerts at major San Francisco venues during this period, and his archive includes many Quicksilver Messenger Service live performances from 1966 and 1967, which were released on his Bear Recordings label in 2008 and 2009.