title: Genetic history of Italy

text: A close genetic similarity between Ashkenazim and Italians has been noted in genetic studies, possibly due to the fact that Ashkenazi Jews have a significant European admixture (30–60%), much of it Southern European, a lot of which came from Italy when Jewish diaspora males of Middle Eastern origin migrated to Rome and found wives among local women who then converted to Judaism. More specifically, Ashkenazi Jews could be modeled as being 50% Levantine and 50% European, with an estimated mean South European admixture of 37.5%. Most of it (30.5%) seems to derive from an Italian source.


title: Genetic history of Italy

text: A 2010 study of Jewish genealogy found that with respect to non-Jewish European groups, the populations which are most closely related to Ashkenazi Jews are modern-day Italians followed by the French and Sardinians.


title: Genetic history of Italy

text: Recent studies have shown that Italy played an important role in the recovery of "Western Europe" at the end of the Last glacial period. The study which was focused on the mitochondrial U5b3 haplogroup discovered that this female lineage had in fact originated in Italy and around 10,000 years ago it expanded from the Peninsula towards Provence and the Balkans. In Provence, probably between 9,000 and 7,000 years ago, it gave rise to the haplogroup subclade U5b3a1. This subclade U5b3a1 later came from Provence to the island of Sardinia by way of obsidian merchants, because it is estimated that 80% of the obsidian which is found in France comes from Monte Arci in Sardinia, reflecting the close relationship which once existed between these two regions. Still about 4% of the female population of Sardinia belongs to this haplotype.


title: Genetic history of Italy

text: A mtDNA study, published in 2018 in the journal American Journal of Physical Anthropology, compared both ancient and modern samples from Tuscany, from the Prehistory, Etruscan age, Roman age, Renaissance, and Present-day, and concluded that the Etruscans appear as a local population, intermediate between the prehistoric and the other samples, placing in the temporal network between the Eneolithic Age and the Roman Age.


title: Genetic history of Italy

text: A 2020 analysis of maternal haplogroups from ancient and modern samples in the central Italian region of Umbria finds a substantial genetic similarity among modern Umbrians and the area's pre-Roman inhabitants, and evidence of substantial genetic continuity in the region from pre-Roman times to the present. Both modern and ancient Umbrians were found to have high rates of mtDNA haplogroups U4 and U5a, and an overrepresentation of J (at roughly 30%). The study also found that, "local genetic continuities are further attested to by six terminal branches (H1e1, J1c3, J2b1, U2e2a, U8b1b1 and K1a4a)" also shared by ancient and modern Umbrians.


title: Genetic history of Italy

text: In 2008, Dutch geneticists determined that Italy is one of the last two remaining genetic islands in Europe, the other being Finland. This is due in part to the presence of the Alpine mountain chain which, over the centuries, has prevented large migration flows aimed at colonizing the Italian lands.


title: Genetic history of Italy

text: Recent genome-wide studies have been able to detect and quantify admixture like never before. Li et al. (2008), using more than 600,000 autosomal SNPs, identify seven global population clusters, including European, Middle Eastern and Central/South Asian. All the Italian samples belong to Central-Western group with minor influences dating to Neolithic period.


title: Genetic history of Italy

text: López Herráez et al. (2009) typed the same samples at close to 1 million SNPs and analyzed them in a Western Eurasian context, identifying a number of subclusters. This time, all of the European samples show some minor admixture. Among the Italians, Tuscany still has the most, and Sardinia has a bit too, but so does Lombardy (Bergamo), which is even farther north.


title: Genetic history of Italy

text: A 2011 study by Moorjani et al. found that many southern Europeans have inherited 1–3% Sub-Saharan ancestry, although the percentages were lower (0.2–2.1%) when reanalyzed with the 'STRUCTURE' statistical model. An average admixture date of around 55 generations/1100 years ago was also calculated, "consistent with North African gene flow at the end of the Roman Empire and subsequent Arab migrations"


title: Genetic history of Italy

text: A 2012 study by Di Gaetano et al. used 1,014 Italians with wide geographical coverage. It showed that the current population of Sardinia can be clearly differentiated genetically from mainland Italy and Sicily, and that a certain degree of genetic differentiation is detectable within the current Italian peninsula population.


title: Genetic history of Italy

text: By using the ADMIXTURE software, the authors obtained at K = 4 the lowest cross-validation error. The HapMap CEU individuals showed an average Northern Europe (NE) ancestry of 83%. A similar pattern is observed in French, Northern Italian and Central Italian populations with a NE ancestry of 70%, 56% and 52% respectively. According to the PCA plot, also in the ADMIXTURE analysis there are relatively small differences in ancestry between Northern Italians and Central Italians while Southern Italians showed a lower average admixture NE proportion (44%) than Northern and Central Italy, and a higher Caucasian ancestry of 28%. The Sardinian samples display a pattern of crimson common to the others European populations but at a higher frequency (70%).


title: Genetic history of Italy

text: The average admixture proportions for Northern European ancestry within current Sardinian population is 14.3% with some individuals exhibiting very low Northern European ancestry (less than 5% in 36 individuals on 268 accounting the 13% of the sample).


title: Genetic history of Italy

text: A 2013 study by Peristera Paschou et al. confirms that the Mediterranean Sea has acted as a strong barrier to gene flow through geographic isolation following initial settlements. Samples from (Northern) Italy, Tuscany, Sicily and Sardinia are closest to other Southern Europeans from Iberia, the Balkans and Greece, who are in turn closest to the Neolithic migrants that spread farming throughout Europe, represented here by the Cappadocian sample from Anatolia. But there hasn't been any significant admixture from the Middle East or North Africa into Italy and the rest of Southern Europe since then.


title: Genetic history of Italy

text: Ancient DNA analysis reveals that Ötzi the Iceman clusters with modern Southern Europeans and closest to Italians (the orange "Europe S" dots in the plots below), especially those from the island of Sardinia. Other Italians pull away toward Southeastern and Central Europe consistent with geography and some post-Neolithic gene flow from those areas (e.g. Italics, Greeks, Etruscans, Celts), but despite that and centuries of history, they're still very similar to their prehistoric ancestor.


title: Genetic history of Italy

text: A 2013 study by Botigué et al. 2013 applied an unsupervised clustering algorithm, ADMIXTURE, to estimate allele-based sharing between Africans and Europeans. Regarding Italians, the North African ancestry does not exceed 2% of their genomes. On average, 1% of Jewish ancestry is found in Tuscan HapMap population and Italian Swiss, as well as Greeks and Cypriots. Contrary to past observations, Sub-Saharan ancestry is detected at <1% in Europe, with the exception of the Canary Islands.


title: Genetic history of Italy

text: Haak et al. (2015) conducted a genome wide study of 94 ancient skeletons from Europe and Russia. The study argues that Bronze Age steppe pastoralists from the Yamna culture spread Indo-European languages in Europe. Autosomic tests indicate that the Yamnaya-people were the result of admixture between two different hunter-gatherer populations: Eastern Hunter-Gatherers from the Russian Steppe and either Caucasus Hunter-Gatherers or Chalcolithic Iranians (who are very similar). Wolfgang Haak estimated a 27% ancestral contribution of the Yamnaya in the DNA of modern Tuscans, a 25% ancestral contribution of the Yamnaya in the DNA of modern Northern Italians from Bergamo, excluding Sardinians (7%), and to a lesser extent Sicilians (12%).


title: Genetic history of Italy

text: A 2016 study Sazzini et al., confirms the results of previous studies by Di Gaetano et al. (2012) and Fiorito et al. (2015) but has much better geographical coverage of samples, with 737 individuals from 20 locations in 15 different regions being tested. The study also for the first time includes a formal admixture test that models the ancestry of Italians by inferring admixture events using all of the Western Eurasian samples. The results are very interesting in light of the ancient DNA evidence that has come out in the last couple years:In addition to the pattern described in the main text, the SARD sample seemed to have played a major role as source of admixture for most of the examined populations, especially Italian ones, rather than as recipient of migratory processes. In fact, the most significant f3 scores for trios including SARD indicated peninsular Italians as plausible results of admixture between SARD and populations from Iran, Caucasus and Russia. This scenario could be interpreted as further evidence that Sardinians retain high proportions of a putative ancestral genomic background that was considerably widespread across Europe at least until the Neolithic and that has been subsequently erased or masked in most of present-day European populations.


title: Genetic history of Italy

text: A 2017 paper, concentrating on the genetic impact brought by the historical migrations around the Mediterranean on Southern Italy and Sicily, concludes that the "results demonstrate that the genetic variability of present-day Southern Italian populations is characterized by a shared genetic continuity, extending to large portions of central and eastern Mediterranean shores", while showing that "Southern Italy appear more similar to the Greek-speaking islands of the Mediterranean Sea, reaching as far east as Cyprus, than to samples from continental Greece, suggesting a possible ancestral link which might have survived in a less admixed form in the islands", also precises how "besides a predominant Neolithic-like component, our analyses reveal significant impacts of Post-Neolithic Caucasus- and Levantine-related ancestries." A news article associated with the Max Planck Society, reviewing the results, while beginning by stating that "populations along the eastern Mediterranean coast share a genetic heritage that transcends nationality", also points out how this study is interesting on the debates concerning the diffusion of the Indo-European languages family in Europe, as, while showcasing the influence from the Caucasus, there's no genetic marker associated with the Pontic–Caspian steppe, "a very characteristic genetic signal well represented in North-Central and Eastern Europe, which previous studies associated with the introduction of Indo-European languages to the continent."


title: Genetic history of Italy

text: A large 2019 genome-wide study on the population structure of modern-day Italian regions discovered ancient signatures which included a non–steppe contribution that originally came from the Caucasus (Caucasus Hunter-Gatherer) during the Anatolian Bronze Age, and is predominantly found in the ancestry of modern populations in Southern Italy, where it is a substantial component. Furthermore, patterns of regional variation detected across Italy showed geographical structure in three main regions of Southern Italy, Northern Italy, and Sardinia, in line with previous studies. However, further structure was also observed between subregional clusters within these three main regions, caused mostly by geography and isolation by distance, but also in part from historical admixture possibly associated with events at the end of the Roman Empire and during subsequent periods.


title: Genetic history of Italy

text: A 2019 study on historical populations from various time periods in the region of Latium and city of Rome found that, despite the linguistic differences, the Latins and the Etruscans of the area had no significant genetic differences. Their autosomal DNA was a mixture in similar proportions of Western Hunter-Gatherers (Mesolithic), Early European Farmers (Neolithic), Caucasian-related (Chalcolithic) and Western Steppe Herders (Bronze Age).


title: Genetic history of Italy

text: A 2022 genome-wide study of more than 700 individuals from the South Mediterranean area (102 from Southern Italy), combined with ancient DNA from neighbouring areas, found high affinities of South-Eastern Italians with modern Eastern Peloponnesians, and a closer affinity of ancient Greek genomes with those from specific regions of South Italy than modern Greek genomes.


title: A Song for You

text: "A Song for You" is a song written and originally recorded by rock singer and pianist Leon Russell for his first solo album "Leon Russell", which was released in 1970 on Shelter Records. A slow, pained plea for forgiveness and understanding from an estranged lover, the tune is one of Russell's best-known compositions. Russell not only sings and plays piano on the recording, but also plays the tenor horn that is accompanying. It has been performed and recorded by over 200 artists, spanning many musical genres. Elton John has called the song an American classic.


title: A Song for You

text: One of the first versions of the song that brought it broader attention was by Andy Williams, whose single peaked at number 29 on the adult contemporary chart and number 82 on the "Billboard" Hot 100 in 1971. Ray Charles recorded a version that earned him the 1994 Grammy Award for Best Male R&B Vocal Performance. Other notable versions were recorded by the Carpenters in 1972 and Herbie Hancock in 2005.


title: A Song for You

text: "A Song for You" has been covered many times since its release. The most notable versions include the following:


title: Wilhelmina Cooper

text: Wilhelmina Gertrud Frieda Cooper (née Behmenburg; 1 May 1939 – 1 March 1980) was a Dutch-American model who began with Ford Models, and at the peak of her success, founded her own agency, Wilhelmina Models, in New York City in 1967.


title: Wilhelmina Cooper

text: Wilhelmina Gertrud Frieda Behmenburg was born on 1 May 1939 in Culemborg, the daughter of Wilhelm Robert Karl Behmenburg (1901–1977), who was a German butcher, and Klasina van der Straten (1909–1992). Some sources list her name as being Gertrude Wilhelmina Behmenburg or Willy Gertruida Frieda Behmenburg.


title: Wilhelmina Cooper

text: She had a younger brother, Walter Günther Behmenburg (1941–1945), who died at three years old after being hit by a car. The family moved to Utrecht in 1942, where they lived until 1944. After World War II, they moved to Oldenburg, Germany.


title: Wilhelmina Cooper

text: The family immigrated to Chicago, Illinois, in 1954. There, she became obsessed with fashion magazines, later saying, I even went to second-hand stores to buy all the old issues … I read them cover to cover, devouring every word and every picture of my new idols, the beautiful models who reached so glamorously from the pages out to me.


title: Wilhelmina Cooper

text: In 1956, she borrowed money from her father to go to modeling school. She took on the stage name Winnie Hart, and in 1958, she graduated from high school and joined the Models Bureau.


title: Wilhelmina Cooper

text: Patricia Stevens, a booker at another agency, approached Wilhelmina at the 1959 International Trade Show in Chicago and instructed her to lose 20 pounds if she wanted to become a successful model, as well as get rid of the stage name Winnie Hart. After losing the weight, she traveled to New York, where Eileen Ford of the Ford Modeling Agency told her that she needed to lose 20 more pounds and then she could go to Paris.


title: Wilhelmina Cooper

text: In Paris a colleague introduced Wilhelmina to diet pills. She reflected, I was on continuous diets. I’m not fat as far as real life is concerned, but I certainly was when it came to modeling. I ate twice a week. In between, it was cigarettes and black coffee. On Wednesday, I had a little bowl of soup so I wouldn’t get too sick, or a little piece of cheese on a cracker. On Sunday, I’d have a small filet mignon without salt or any sauce. I was running on nervous energy as well as determination.


title: Wilhelmina Cooper

text: She spent a year in Paris and was featured on the cover of the December 1960 issue of "L'Officiel" before returning to the U.S. and becoming one of the most famous models of the 1960s. During her career, she appeared on the cover of 255 magazines, and also modeled in South America, India, Hong Kong, and Europe. In France, she worked for both Coco Chanel and Christian Dior. She also holds the record for most covers on American "Vogue", appearing 27 or 28 times. At the height of her career, Wilhelmina made $100,000 a year.


title: Wilhelmina Cooper

text: In 1964, in a series called Private Lives of High Fashion Models, the "New York Journal American" said that Wilhelmina was a top model out of the 405 other models who were under contract at New York's top five agencies. Her career was also discussed in a "Chicago Sun-Times" article called "Wilhelmina: From Waller High To Haute Couture".


title: Wilhelmina Cooper

text: During her cover-girl days, Wilhelmina boasted that she was "one of the few high-fashion models built like a woman." And she was. With her 5 ft. 11 in., 38-24-36 frame, doe eyes, delicate cheekbones, and mane of high-piled dark hair, she epitomized the classical, aristocratic look that she helped to make the style standard of the 1950s and '60s...


title: Wilhelmina Cooper

text: On 5 February 1965, she married Victor Bruce Cooper, former executive producer of "The Tonight Show Starring Johnny Carson". They had two children together; Melissa Wilhelmina Cooper and Jason S. Cooper.


title: Wilhelmina Cooper

text: In 1967, they founded Wilhelmina Models, which became the other leading model agency alongside Ford Models, years before Elite Model Management and other agencies began.


title: Wilhelmina Cooper

text: On 1 March 1980, Cooper died of lung cancer at the age of 40 in Greenwich Hospital, Greenwich, Connecticut.


title: Wilhelmina Cooper

text: Cooper was portrayed by Faye Dunaway in the 1998 movie "Gia", which tells the story of Gia Carangi, a model who was discovered by Cooper and later died of AIDS.


title: J.Lo (album)

text: J.Lo is the second studio album by American singer Jennifer Lopez. It was released on January 16, 2001, by Epic Records. Lopez began recording the album in April 2000, enlisting producers such as Cory Rooney, Troy Oliver, Dan Shea and Sean Combs, all of whom she had worked with on her debut album "On the 6" (1999). The album's title refers to the nickname given to her by fans, with Lopez describing it as an homage to her supporters. Drawing from her own experiences, Lopez included more personal songs on this album, which deals with themes of relationships, empowerment and sex. "J.Lo" is a primarily dance-pop, Latin and R&B album which encompasses Latin pop, retro and contemporary pop.


title: J.Lo (album)

text: Upon its release, the album received generally mixed reviews from music critics, who criticized its manufactured sound, while praising its Spanish and dance material. Commercially, "J.Lo" debuted atop the US "Billboard" 200 the same week as her film "The Wedding Planner" opened at number one at the domestic box office. The album was certified quadruple platinum in the United States, making it her highest-selling to date, and became the sixth most successful album of the year worldwide.


title: J.Lo (album)

text: "Love Don't Cost a Thing" was released as the album's lead single on November 20, 2000, reaching number 3 on the US "Billboard" Hot 100 and number one on the UK Singles Chart. The album's second single, "Play", reached the top twenty in most countries, including the United Kingdom where it reached number three. "I'm Real" was serviced to radio as the album's third on June 19, 2001. To further its success, record executives at Epic recruited Ja Rule of Murder Inc Records to create a remix of the song, "I'm Real (Murder Remix)". The remix, which featured Ja Rule, shifted Lopez's musical style from pop to a more hip hop and urban-oriented sound. It was the number one song in the United States at the time of the September 11 attacks for five non-consecutive weeks. "Ain't It Funny" was released as the album's fourth and final single on June 20, 2001. The album has sold over 8 million copies worldwide.


title: J.Lo (album)

text: Prior to the release of "J.Lo", Lopez had joined an elite group of limited actors to crossover successfully into the music industry. Inspired to pursue a music career after playing Selena in a musical biopic about the late singer of the same time, Lopez was signed to The Work Group and released her debut album "On the 6" (1999). Initially, the entertainer planned to release music in Spanish, although Tommy Mottola, the head of Sony Music Entertainment at the time, suggested that she sing in English. Subsequently, Lopez along with Ricky Martin led a large group of Hispanics who had crossed over into mainstream music with English material, including Enrique Iglesias, Marc Anthony and Christina Aguilera. At the time, this was referred to by the media as a Latin pop crossover "explosion" and "ethnic boom". Musically, "On the 6" explored a Latin soul genre, and featured Lopez singing about love. It produced the number-one hit "If You Had My Love", as well as "Waiting for Tonight", which reached the top ten in the United States, among other singles. The album itself was a success, reaching number eight in the United States and selling eight million copies by 2003.


title: J.Lo (album)

text: In April 2000, MTV News reported that Lopez, who had just finished filming a romantic comedy entitled "The Wedding Planner", would begin recording her second studio album after wrapping up filming for another film, "Angel Eyes" (2001). That August, Lopez told LaunchCast that the album would be titled "My Passionate Journey". "I'm halfway done right now. Hopefully I'll have it out by October," she said. It was reported that Lopez's boyfriend at the time, Sean Combs, who co-produced some of the tracks on "On the 6", would contribute to the album. Additionally, it was reported that Rodney Jerkins, who produced "If You Had My Love", was working with Lopez. She said "I've grown musically, vocally, and everything" and wanted her second album to "... be more of a reflection of who I am, my own experiences".


title: J.Lo (album)

text: The album was tentatively titled "The Passionate Journey" and set for release in November 2000, with the first single scheduled for release in late September. Lopez revealed in August 2000: "I had a deadline, but then I went and did three movies. So I'd been writing it during the movies and getting it together. And now I'm in there recording it." Lopez eventually decided to name the album "J.Lo", which was a nickname her fans called her on the streets since the beginning of her career. She titled the album this as a homage to her fans, "My fans call me J.Lo. Giving the album this title is my way of telling them that this is for them in appreciation of their support."


title: J.Lo (album)

text: Prior to releasing the album, Lopez knew how important it was to "stay fresh", wanting to innovate the music industry. She made the decision to tweak her public image, dying her hair and changing her stage name to J.Lo. The album was released on January 23, 2001. Lopez had more "creative control" on "J.Lo" than "On the 6", explaining: "I really felt like this time it was even more mine." Previously, she had been vocal in living her life while acknowledging her responsibility as a role model to youth. The entertainer stated, "I mean, I feel like you can't take on the responsibility of the world, you know? I think it's destructive [...] You start thinking, Oh God, I have to do this or do that. You have to live your life. I don't do drugs, I don't drink or smoke or do anything like that. So, those are the type of things that people like [in] role models: 'Oh, you can't be human.' You are human."


title: J.Lo (album)

text: "J.Lo" is a pop album with Latin, dance-pop and R&B influences. Lopez revealed, "I don't think what I make is real Latin pop. I make pop music that has some Latin influence." The album is more personal and romantic than her previous, with Lopez referring to the songs as a reflection on "what I've observed and witnessed my sisters and my girlfriends going through. The songs are about having a good time and not having a good time, or partying a lot and partying too much."


title: J.Lo (album)

text: The album's opening track, "Love Don't Cost a Thing", is a Ric Wake-produced pop song, which lyrically centers around a materialistic relationship. "I'm Real", which was composed by Lopez with Cory Rooney and Troy Oliver, has a retro vibe, and was likened to music from Janet Jackson's album "Control" by "Slant Magazine". "Play" is a dance-pop track that received production from Swedish producers Arnthor Birgisson and Anders Bagge, and features back-up vocals from recording artist Christina Milian. In the track, Lopez pleads with a nightclub DJ to "play her favorite song" over a shuffling electric guitar and dance beat. "Telegram & Gazette" compared its sound to Madonna. "Walking on Sunshine" was considered a "techno-disco anthem", while "Ain't it Funny" is a Latin pop song that returns Lopez to her Latin roots. Written by Lopez and Rooney, it contains lyrics about "creating the perfect romance in your mind, then facing reality when Mr. Right is less than ideal". "We Gotta Talk" has double-time beats and, lyrically, "prescribes communication and compromise to heal a romantic relationship".


title: J.Lo (album)

text: "J.Lo" includes the Spanish songs "Cariño", "Si Ya Se Acabo" and "Dame (Touch Me)". "Cariño" is described by Lopez as a "cha-cha" inspired composition, with lyrics that refer to love and affection. "That's Not Me" is a dramatic song about self-empowerment with an arrangement consisting of an acoustic guitar and piano, as well as "skittering syncopations, layering half-speed vocal lines over double-speed runs". The album also features romantic ballads, which "Rolling Stone" and "Slant Magazine" drew comparisons with Jackson. "Come Over" is a song about "forbidden lust", whilst "Secretly" features Lopez singing about a "guy whom she can smell across the room".


title: J.Lo (album)

text: Both the original and remix versions of "I'm Real" generated controversy. The original version of "I'm Real" is based around a sample of the Yellow Magic Orchestra's song "Firecracker", using an interpolation throughout introduction and chorus. Tommy Mottola, in addition to being the head of Sony, was the head of Columbia Records, which recording artist Mariah Carey had left at the time. Mottola, Carey's ex-husband, heard the sampling of "Firecracker" in a trailer for Carey's musical film "Glitter" (2001). According to The Inc.'s Irv Gotti, Mottola knew of Carey's usage of the "Firecracker" sample, and attempted to have Lopez use the same sample before her. When the music publishers for "Firecracker" were questioned, they admitted Carey had licensed usage of the sample first, and Lopez had signed for it over one month later, under Mottola's arrangement.


title: J.Lo (album)

text: Following the scandal, Carey was unable to use the sample. Also according to Gotti, Mottola contacted him with instructions to create an additional song that sounded exactly like another "Glitter" track he produced, titled "If We", featuring rappers Ja Rule and Nate Dogg. The result of this was the remixed version of "I'm Real", which received backlash for Lopez's use of the term nigga. In response, Lopez stated, "For anyone to think or suggest that I'm racist is really absurd and hateful to me. The use of the word in the song, it was actually written by Ja Rule, it was not meant to be hurtful to anybody." Later, Rule was confused as to why Lopez "received flack" for using the word. The rapper stated, "I think the whole thing, like everything else, is being blown out of proportion. She's not the first Latino to use that word on a record, and it's never been an issue before. I think it's just that she's a very high-profile star and it's something to let people get a chance to poke at her." Despite the controversy, "J.Lo" was reissued with the remix as a bonus track on July 24, 2001. The inclusion of the remix resulted in the reissue carrying a Parental Advisory warning—coupled with the fact that another song on the album, "Play", contains profanity—and a clean version of the album was also issued.


title: J.Lo (album)

text: The audio CD of "J.Lo" was "equipped" with special technology, which allowed buyers to access exclusive bonus features via Lopez's official website. Fans could place their CD in their CD-ROM drive of a computer and go to the entertainer's website where they would "unlock" a "secret" area of the site, which would contain the features. Lopez appeared on various television shows and performed live on several occasions to promote the album. On January 12, 2001, the entertainer appeared on "Top of the Pops", performing the singles "Love Don't Cost a Thing" and "Play". On January 24, Lopez appeared at the Virgin Megastore on Sunset Boulevard, Los Angeles. Fans who purchased the album at 12 a.m. only would exclusively be given the chance to get Lopez's autograph. Lopez traveled to Australia briefly to promote "J.Lo". According to the "Sydney Morning Herald" who wrote about her visit years later, she arrived in "true superstar style", "Her press conference at the Boomerang mansion in Elizabeth Bay was an absolute circus of beefy security guards (watching over J.Lo's arrival by boat), gushing publicists and one of the largest entertainment media packs I've ever seen."


title: J.Lo (album)

text: On February 10, 2001, Lopez was the musical guest and host of "Saturday Night Live". She appeared in comedy sketches as well as performing songs from the album, in her second appearance on the television series. Elsewhere, she appeared on "Live! With Regis", "The Tonight Show With Jay Leno", "The Late Show With David Letterman", "Today" and the 43rd Grammy Awards, among other television appearances. That February, Lopez performed "Love Don't Cost a Thing" and "Play" at a special "Total Request Live" event, CBS Sports Presents: MTV's TRL The Super Bowl Sunday, which occurred in Tampa, Florida at The NFL Experience theme park. At the 2001 MTV Video Music Awards, held days before 9/11 on September 6, Lopez performed "Love Don't Cost a Thing" as well as "I'm Real (Murder Remix)", where she was joined by Ja Rule.


title: J.Lo (album)

text: During September 22–23, 2001, Lopez performed a set of two concerts in Puerto Rico, entitled Let's Get Loud. These served as the first concerts of her career, in which she was, "flanked by a 10-piece orchestra, a five-person choir and 11 dancers". It would later air as a special on NBC. Later, a DVD of the concert entitled "" was released on February 11, 2003, and was certified Gold by the Recording Industry Association of America for sales of 50,000.


title: J.Lo (album)

text: On November 16, 2000, Lopez globally premiered "Love Don't Cost a Thing" as the album's first single at the MTV Europe Video Music Awards. It was released as a single that December. The song received mixed feedback from critics. "Entertainment Weekly" noted its bold female empowerment message, while "Slant Magazine" called it a "cheap". "Love Don't Cost a Thing" was a wide commercial success, reaching the top ten of most music markets internationally; most notably reaching number one in the United Kingdom. It peaked at number three in the United States, making it her third top-ten hit at the time. The song's music video was directed by Paul Hunter. It featured Lopez frolicking on the beach after her wealthy lover stands her up once again. Cris Judd, who later became her second husband, appeared as a back-up dancer. Lopez and Judd became close during the video's production, and soon began a relationship after she split from Sean Combs.


title: J.Lo (album)

text: "Play" was released on March 27, 2001, as the second single from "J.Lo". Although not as much of a success as "Love Don't Cost a Thing", "Play" was a commercial success internationally, while peaking at number 18 in the United States and number 3 in the United Kingdom. It performed strongly on the Hot 100 Airplay chart, reaching number seven. A Francis Lawrence-directed "futuristic" themed music video for "Play" was released. It similarly featured Judd as a back-up dancer. Eventually, a few months after, Judd would become her next husband.


title: J.Lo (album)

text: On June 20, 2001, the Latin pop inspired "Ain't it Funny" was released as the third single from "J.Lo". It was originally written for the soundtrack of "The Wedding Planner", a film Lopez starred in. However, Adam Shankman, the director, chose not to include it in the film because it had too much Latin influence, and "Love Don't Cost a Thing" was used instead. Although "Ain't it Funny" did not chart on the Hot 100, it was a success worldwide, reaching the top ten in multiple countries, including the United Kingdom where it peaked at number three. It was her second consecutive single to reach number three there, after "Play". The song was used as background music in three television advertisements in Japan to promote the 2001 Subaru Legacy for a special campaign which was known as "Three Keys Legacy". Lopez herself was also featured in all three ads.


title: J.Lo (album)

text: That July, following the album's re-release with the addition of "I'm Real (Murder Remix)", the new track along with the original version of "I'm Real" were simultaneously released as one single. Two music videos produced. "I'm Real (Murder Remix)", however, had more of an impact on the charts. This allowed the single reached number one in the United States.


title: J.Lo (album)

text: "J.Lo" received mixed reviews from contemporary music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 52 based on 11 reviews. Michael Padletta was positive in his review for "Billboard", praising Lopez for "assembling a sophomore set that's brimming with irresistibly hip-hop spiked songs [...] The result is a set with hip, decidedly time-sensitive feel, which goes a long way toward giving Lopez the credibility she'll need to develop a long-term music career." He also praised Lopez's voice, writing that it "sounds more confident, as she takes more chances with a voice that is technically limited but well-suited to the material she handles". Amy Linden of "Sonic.net" particularly praised the album for being "a feisty, damn-I-know-I'm-all-that attitude, combined with pulsating, insistent beats that leap out of the speakers and make you wanna move". AllMusic's Stephen Thomas Erlewine gave the album a rating of three-out-of-five-stars, describing it as "essentially the same album" as "On the 6" and was unfavorable of its running length. However, he noted, "it has just about the same number of strong songs, all of which sounding of a piece with 'On the [6]', which makes it a success on a certain level."


title: J.Lo (album)

text: Sal Cinquemani of "Slant Magazine" named it "a mixed bag: part retro dance-pop, part prescription R&B, and part Latin", noting that her voice "seems best suited for dance-pop rather than R&B and, judging from this album, it's where her heart is too." In a more mixed review, "Entertainment Weekly"s Tom Sinclair wrote that Lopez "seems lost amid the cluttered, high-gloss arrangements", but stated that she "deserved props" for the album's Spanish language songs. Jon Pareles of "Rolling Stone" was also mixed, stating, "most of the music sounds like jigsaw puzzles: showers of tiny bits and pieces that interlock as complex, coherent songs." Jake Barnes of Yahoo! Music noted that Lopez "mostly sticks to a successful formula - R&B lite with a Latin touch, but said, "[n]one are great tunes in the way of, say, TLC's 'Waterfalls' but the Bronx born Lopez's enormous fanbase is sure to propel them into the top of the charts." "NME" Christian Ward, on the other hand, was negative, calling it "a calculated assault on our post-Destiny's Child sensibilities, an hysterical but fatally flawed attempt to prove that this Lopez puppet can do anything her producers ask of her". Josh Freedom du Lac of "Wall of Sound" criticized it for sounding to identical to her debut album, claiming that it "stick[s] to the same set of sonic templates throughout the 15-track album, never making much effort to shift up the tempos, melodies, and structures", while Mike Ross of Canoe.ca was highly critical, comparing the music to cotton candy, "made from air, sugar and artificial color".


title: J.Lo (album)

text: The album was nominated for Album of the Year at the ALMA Awards, and Foreign Pop Album of the Year at the Hungarian Music Awards.


title: J.Lo (album)

text: "J.Lo" entered the US "Billboard" 200 and the "Billboard" Top R&B/Hip-Hop Albums chart at number one for the week ending January 31, 2001. It sold 272,300 copies in its opening week, which was described by "Rolling Stone" as "somewhat modest", given the "publicity machinery behind the album". Lopez ended The Beatles' eight-week run at number one with their greatest hits album "1" (2000). Lopez became the first female solo artist under Epic Records to reach the number one spot of the "Billboard" 200, joining other Epic artists such as Michael Jackson, Pearl Jam and Sly & the Family Stone among others. Additionally, "J.Lo" was the first number one album of the year 2001. During its second week, the album slipped to number two on the "Billboard" 200. In its third week, "J.Lo" sold 134,000 copies and fell to number four. MTV News reported its sales after three weeks of availability to have exceeded 586,000 copies. The following week, the album sold 130,000 copies, remaining in the chart's top five. For the "Billboard" issue of March 17, 2001, "J.Lo" dropped out of the chart's top ten, falling to number 17. For the week of April 7, 2001, "J.Lo" fell out of the "Billboard" 200's top 40.


title: J.Lo (album)

text: After being re-released with the addition of the number one single "I'm Real (Murder Remix)", "J.Lo" experienced a boost in sales. It was certified triple platinum by the Recording Industry Association of America for shipments of three million copies. For the week of September 1, 2001, the album had re-entered the top ten at number ten, where it remained for two weeks. Overall, "J.Lo" was the eleventh best-selling record of the year in the United States, with sales of 3.03 million copies. On October 31, 2003, the album was certified quadruple platinum for shipments of four million copies in the United States. By February 2002, "J.Lo" had sold a total of 3.18 million units in the United States. In June 2013, Gary Trust of "Billboard" reported that "J.Lo" had sold a total of 3.8 million copies in the United States, making it her best-selling album.


title: J.Lo (album)

text: "J.Lo" also experienced commercial success internationally. In Canada, the album sold 22,984 copies in its first week, and was certified platinum by the Canadian Recording Industry Association for shipments of 100,000. Additionally, it debuted and peaked atop the Canadian Albums Chart. In total, it sold 200,000 copies in Canada, certified double platinum. The album peaked at number two on the UK Albums Chart, and remains her most successful album there, remaining on the chart for 48 weeks. The album sold 27,000 copies in its first week in the United Kingdom, and sold 45,000 copies in the week preceding Christmas 2001. By December 7, 2002, "J.Lo" had sold 510,000 copies in the United Kingdom, and has been certified double platinum by the British Phonographic Industry for shipments of over 600,000 units. It has since sold over 606,500 units in the UK.


title: J.Lo (album)

text: For the week commencing February 5, 2001, "J.Lo" was the highest-selling album throughout Europe. It also peaked at number one in Poland, Switzerland and Greece. The album had its longest European chart run in France. After entering and peaking at number six on the French Albums Chart, it spent a total of 70 weeks charting, last appearing on September 28, 2002, after two re-entries. "J.Lo" entered the Australian Albums Chart at number two on February 4, 2001. It remained in the top ten for six weeks, and in the top forty for 26 weeks including re-entries. It was certified double platinum by the Australian Recording Industry Association for sales of 140,000. "J.Lo" was certified double platinum in other countries including New Zealand and Switzerland. By May 2001, the album had sold five million copies worldwide. Globally, it was the sixth biggest album of 2001, with shipments of 6.8 million units according to "Billboard" magazine. By 2011, the album had sold a reported 8 million copies worldwide.


title: J.Lo (album)

text: "J.Lo" remains the most commercially successful album of Lopez's career, and has been described as helping establish her as a pop icon. Having adopted J.Lo as her stage name at the time, it served as a "reminder that the mainstream success had not affected her connection with her roots". Several artists followed this trend, such as Janet Jackson with her album "Damita Jo" (2004) and Mariah Carey with "The Emancipation of Mimi" (2005). The album's title established Lopez's nickname as J.Lo, a portmanteau which was noted to have started a trend in celebrity nicknames. With the album's release, Lopez continued to transition into a sex symbol. "J.Lo" has also been described as the "springboard that took Lopez from performer to mogul", allowing her to launch her lifestyle brand J.Lo by Jennifer Lopez and first fragrance Glow by JLo.


title: J.Lo (album)

text: The same week the album opened atop the "Billboard" 200, Lopez's feature film "The Wedding Planner" debuted at number one at the United States box office after grossing $13.5 million during its opening weekend. This made Lopez the first entertainer in history to have a number one film and album simultaneously in the same weekend. Writing for MTV News on the twentieth anniversary of the album's release, Yasmine Shemesh stated: "She's an icon — an important one. And "J.Lo", with the reverberating impact it made, was a vital stepping stone in that path: Because of that album, those three letters are forever embedded in the vernacular of contemporary pop culture." Cole Delbyck, writing for "HuffPost", also regards the album as "cementing her as a musical force to be reckoned with", describing it as a turning point in her career and personal life.


title: J.Lo (album)

text: The release of "I'm Real (Murder Remix)" shifted Lopez toward a more pure R&B sound, with "Complex" writing that "J.Lo" led to her "embracing hip-hop adjacent vibes, an aesthetic she’d stick with for the early part of the decade." Speaking of the remix, Ja Rule stated, "It's J. Lo now because of 'I'm Real'. It's gonna put her in another zone. After this one, they gonna be expecting hot crossover R&B joints from J. Lo. They ain't gonna want the pop version of J. Lo no more, they gonna want the 'I'm Real' version." Shemesh stated that the success of Lopez's collaboration with Ja Rule "helped cement the lasting power of the pop/hip-hop composite", and regarded "J.Lo" as "contributing to the trajectory of early 2000s music". Writing for "Entertainment Tonight", Chris Azzopardi also noted that the song "would influence future rap-pop collaborations" and laid "the foundation for Lopez's R&B-influenced music career." The accompanying music videos for "I'm Real (Murder Remix)" and "Love Don't Cost a Thing" are considered iconic, while the latter song inspired the title of the 2003 film of the same name.


title: J.Lo (album)

text: In December 2001, it was announced that Lopez would release a remix album of "J.Lo". According to Cory Rooney, "We had changed the sound of Jennifer Lopez [with "I'm Real"] and we didn't have anything else on the ["J.Lo"] album we could release as a single. We had to do another remix to keep the momentum going." After the success of "I'm Real (Murder Remix)", Lopez once again recruited Ja Rule for a remix version of "Ain't it Funny". Prior to the release of "J to tha L–O! The Remixes", "Ain't it Funny (Murder Remix)" was released and peaked at number one on the "Billboard" Hot 100 for six weeks, one of the most successful singles of Lopez's career. The remix album debuted atop the "Billboard" 200 with first-week sales of 156,000 copies. It became the first number one remix album in the United States.


title: The Beatles' Second Album

text: The Beatles' Second Album is the second Capitol Records album by the English rock band the Beatles, and their third album released in the United States including "Introducing... The Beatles", which was issued three months earlier by Vee-Jay Records. Following its release in April 1964, "The Beatles' Second Album" replaced "Meet the Beatles!" at number 1 on the "Billboard" Top LPs chart in the US. The album was compiled mostly from leftover tracks from the UK album "With the Beatles" and "Long Tall Sally" EP, which are predominantly rock and roll and R&B covers, and rounded out with several Lennon-McCartney-penned non-album b-sides and the hit single "She Loves You". Among critics, it is considered the band's purest rock and roll album and praised for its soulful takes on both contemporary black music hits and original material.


title: The Beatles' Second Album

text: In 2004 "The Beatles' Second Album" was issued for the first time on compact disc (catalogue number CDP 7243 8 66877 2 2), (CDP 7243 8 66878 2 1) as part of "The Capitol Albums, Volume 1" boxed set and was issued in a miniature cardboard replica of the original album sleeve containing the US mono and stereo mixes. In 2014, the album was released on CD again, individually and included in the Beatles boxed set "The U.S. Albums", which contained the album's running order but with UK mixes as remastered in 2009.


title: The Beatles' Second Album

text: The album was also issued on the EMI subsidiary label Odeon in 1964 for the Japanese market. That version had the same title and similar cover art but contained different songs than the US release.


title: The Beatles' Second Album

text: With the massive popularity of "Meet the Beatles!" through the early part of 1964 and a desire for additional Beatles product, Capitol Records decided to compile a follow-up album as soon as possible. For this, a backlog of some 25 songs, issued by EMI in Britain and many other territories across the world from 1962 onwards, had yet to be issued by Capitol. "The Beatles' Second Album" was the first album of the group's work to be assembled by the company exclusively for the US market, "Meet the Beatles!" having been a reconfigured and shorter version of the band's second EMI LP, "With the Beatles". Despite its title, however, "Second Album" was in fact the third Beatles LP in the United States, since Vee-Jay Records had released "Introducing... The Beatles" in January 1964. Vee-Jay had been able to issue the latter LP – which comprised most of the Beatles' EMI debut, "Please Please Me" – due to Capitol's initial lack of interest in marketing the Beatles' music.


title: The Beatles' Second Album

text: "Second Album" was a collection of material from various UK releases and recording sessions dating back to March 1963. Included were the five remaining tracks, all cover versions, from "With the Beatles": "Roll Over Beethoven", "You Really Got a Hold on Me", "Devil in Her Heart", "Money (That's What I Want)" and "Please Mr. Postman". Added to these were "Thank You Girl", the B-side to the single "From Me to You"; "She Loves You" and its B-side, "I'll Get You"; "You Can't Do That" (the B-side of "Can't Buy Me Love"), from the upcoming "A Hard Day's Night" UK soundtrack; and two new songs, "Long Tall Sally" and "I Call Your Name". The latter tracks would be released in June 1964 in the UK on the "Long Tall Sally" EP.


title: The Beatles' Second Album

text: Capitol's engineers, headed by record executive Dave Dexter, Jr., added considerable echo and reverb to the songs in order to give the album the atmosphere of a live performance. The inclusion of "Thank You Girl" marked the only stereo version of the song released on any album in the US or UK for over 40 years, until another stereo version was released on the 2009 remastered edition of the "Past Masters" compilation. The same stereo mix of "Thank You Girl" on "The Beatles' Second Album" was included on "The Beatles Beat", released in West Germany and the Netherlands, as well as the original 2004 CD issue of "The Beatles Second Album" as included in "The Capitol Albums, Volume 1" box set. The Capitol album mix of "Thank You Girl" is also unique in that it contains three additional harmonica riffs by John Lennon – two during the bridge and one at the end. For its US album debut, Capitol took this stereo version and transferred it into a two-to-one stereo-to-mono mixdown for the mono LP release, thus creating an alternative mono mix of the song. The stereo version of "Money" also underwent the same two-to-one stereo-to-mono mixdown, thereby creating another alternative mono mix.


title: The Beatles' Second Album

text: For the mono version of "I Call Your Name", the cowbell comes in at the very beginning of the song; the stereo version features the cowbell after the beginning of the vocal. George Harrison's opening 12-string guitar phrase is also different between the mono and stereo versions. On "Long Tall Sally", reverb was added to the stereo version. The "dry" mono mix of "Long Tall Sally" is noticeably different from the mono mix with slight echo that was issued in the UK, and is unique to the "Second Album". The mono version of "You Can't Do That" is also different from the version on UK "A Hard Day's Night" LP.


title: The Beatles' Second Album

text: Because "I'll Get You" and "She Loves You" were never mixed in stereo, Duophonic/fake stereo versions were made for this album.


title: The Beatles' Second Album

text: Capitol Records issued "The Beatles' Second Album" on 10 April 1964 with the catalogue number Capitol ST 2080. The tagline in the advertising for the release read: "It's Here! It's on Capitol!! and It's ALL Beatles!!!" In Canada, this record could not be called "The Beatles' Second Album", since "Beatlemania! With the Beatles" and "Twist and Shout" had preceded it. A slightly different track listing was released for the Canadian market with similar cover art, under the title "The Beatles' Long Tall Sally". In 1968, "The Beatles' Second Album", "The Early Beatles" and "Meet the Beatles!" were issued in Canada, although the earlier Canadian LPs remained in print (eventually with stereo mixes) until the late 1980s, when the CD era precipitated their deletion.


title: The Beatles' Second Album

text: In the US, the album debuted at number 16 on the "Billboard" Top LPs for the week ending April 25, 1964. It peaked at number one the following week, replacing "Meet the Beatles!", which had held the top spot for eleven weeks (for the last nine of which Vee-Jay's "Introducing..." had placed at number two). "The Beatles' Second Album" remained atop the chart for five consecutive weeks and stayed in the top 200 until May 1965. It reached 1,668,435 copies sold by 31 December 1964, and 2,051,486 copies by the end of the decade. It was certified Gold by the RIAA on 13 April 1964, and 2× Platinum on 10 January 1997.


title: The Beatles' Second Album

text: "Second Album" was one of the first four rock albums purchased by future music critic Robert Christgau. Writing of the album in 1969, he said it disproves the fallacy among new rock scholars and listeners that the Beatles had not succeeded artistically until the more melodic period of "Rubber Soul" (1965) and "Revolver" (1966). Instead, he argued it was their ebullient performing style, as on the "Second Album"s covers of African-American rock and roll songs, which "were touched with soul (compare their Money to the Beach Boys' Barbara Ann) but avoided the sodden seriousness of other white imitators." He included the album in his basic rock "library" of 25 albums for "Stereo Review" that year, and later in a more comprehensive library of essential 1950s and 1960s recordings for "" (1981). In 2020, Christgau voted for the album in his ballot for "Rolling Stone" magazine's third edition of the "500 Greatest Albums of All Time".


title: The Beatles' Second Album

text: According to Bruce Eder of AllMusic, "The Beatles' Second Album" "stands as probably the best pure rock & roll album ever issued of the group's music" because it "avoid[s] any trace of the pop ballads favored by Paul McCartney that usually slowed down the group's other early albums, and the result was the longest uninterrupted body of hard rock & roll and R&B in their entire output." In his 2014 review of the Beatles' Capitol albums, for "Guitar World", Jeff Slate commented that "the oomph of the over-compressed Dexter tracks" had since been removed, but the album was arguably their "first great rock and roll record". Referring to the assortment of tracks assembled by Capitol, Darryl Sterdan of the "Toronto Sun" wrote: "The hodge-podgery begins [here] ... Surprisingly enough, it holds together OK, thanks to a strong string of rockers like Money, Roll Over Beethoven and Long Tall Sally."


title: The Beatles' Second Album

text: All songs were written by Lennon–McCartney, except where noted. Composer, track length and lead vocal credits are taken from Beatles scholars Mark Lewisohn, John C. Winn and Ian MacDonald.


title: Tim Paine

text: Timothy David Paine (born 8 December 1984) is an Australian cricketer and a former captain of the Australia national cricket team in Test cricket. A right-handed batsman and a wicket-keeper, he plays for the Tasmanian Tigers in Australian domestic cricket and was the captain of the Hobart Hurricanes before his selection for Australia in the 2017–18 Ashes series.


title: Tim Paine

text: A product of the Australian Cricket Academy, Paine became the youngest-ever contracted player in Australia, when he received a rookie contract with Tasmania at 16 years of age. He made both his first-class and one-day debuts for Tasmania in 2005; scoring a one-day century later in the 2005–06 season, and a double-century, 215, in his next innings. He was a part of the state's maiden Sheffield Shield victory that season and also their 2007–08 one-day winning side. Paine made his ODI debut for Australia as a replacement for regular wicket-keeper Brad Haddin in 2009 against Scotland. A further injury to Haddin in 2010 paved the way for Paine's Test debut against Pakistan in England. Soon after, he played in another two Tests against India, before Haddin's recovery for the 2010–11 Ashes series. From that time – including almost two full seasons lost to injury – he was not a regular in the Australian cricket side from April 2011 until his recall for the 2017/2018 Ashes series when both Peter Nevill and Matthew Wade failed to impress selectors. This was a significant comeback for Paine, who was not a regular in Tasmania's state side and prior to the season had to be convinced not to retire by coach Adam Griffith.


title: Tim Paine

text: After former Australian captain Steve Smith admitted to involvement in a ball-tampering incident during the Third Test against South Africa in March 2018, Smith and vice-captain David Warner were stood down from their leadership positions mid-match. Paine was announced as the interim captain for the final two days, although only one was required to complete the match. He was confirmed as the 46th captain of the Australian Test team on 28 March 2018 by Cricket Australia CEO James Sutherland when Smith and Warner were suspended and sent back to Australia with Cameron Bancroft.


title: Tim Paine

text: On 19 November 2021, Paine announced that he had stepped down as Australia's Test captain, due to an occasion of improper conduct off the field during 2017 in which he sent explicit messages to a female co-worker. On 26 November 2021, Paine said he would take a break from the game "for the foreseeable future".


title: Tim Paine

text: Paine captained Tasmania at Under-15 and Under-17 level, along with being a member of its Under-19 team at the age of just fifteen. He was vice-captain of the Australian Under-17, before scoring a first-class century for his University at Hobart. "He was always the smallest one playing cricket," his father, John said. "We lived in a fairly quiet street and we lived right next to the beach [in the suburb of Lauderdale] so they used to play a fair bit of beach cricket. We used to have a cricket pitch in our backyard which was the driveway and the next-door neighbours had a turf wicket which the boys used to roll and mow and do all that sort of stuff. So he had to learn from an early age I suppose to be a bit stronger and a bit more competitive." As a junior, Paine was a talented Australian rules player—considered good enough to make the Australian Football League (AFL)—and his brother Nick, one of four siblings, plays in the Tasmanian Football League with the Clarence Football Club. Paine's uncle, Robert Shaw, was an AFL player and coach. He attended secondary school at Bayview Secondary College and Rosny College.


title: Tim Paine

text: At 16, Paine became Australian domestic cricket's youngest-ever contracted player when he received a basic A$10,000 rookie contract with Tasmania—an innovation in Australian cricket. After Cricket Australia allowed rookie contracts Paine said, "These new contracts are a great idea; I'm pretty happy about them anyway! It's good to give young players something [along these lines] to show them that they're in the back of the minds of the administrators and the coaches."


title: Tim Paine

text: In December 2003, he was announced captain of the Australian Under-19 team for the 2004 U-19 World Cup in Bangladesh, played in February and March 2004. Relieved of wicket-keeping duties, Paine scored 142 runs at an average of 23.66 and took two catches, along with taking seven wickets at an average of 22.28 in eight matches. However, Australia lost the Under-19 Plate Championship final to Bangladesh.


title: Tim Paine

text: Paine made his Tasmanian debut as solely an opening batsman in November 2005, during an ING Cup one-day match against Western Australia in Perth, scoring 28 from 44 balls. His first-class debut came shortly after as an opener when Tasmania played South Australia in Hobart during December. Opening the batting, Paine scored a duck (zero) in the first innings and 17 in the second as the match was drawn. He made his maiden List A century in his first season, scoring 111 in the ING Cup. The following season his made his maiden first-class century with 215 against Western Australia in a Pura Cup match at Perth in October 2006.


title: Tim Paine

text: For the first part of his career he was Tasmania's second wicket-keeper, behind Sean Clingeleffer, particularly at first-class level, before taking Clingeleffer's place permanently in late 2007. Paine played as an opening batsman in Tasmania's maiden Sheffield Shield season triumph in 2006–07, scoring zero and five. Despite his low scores in the final, Paine was Tasmania's highest run scorer in the one-day competition that season. He continued with one-day performances in the following season in which Tasmania won the Ford Ranger Cup, aggregating 261 runs and collecting 21 dismissals. 2008–09 saw Paine score 445 Sheffield Shield runs at 29.66 along with 42 dismissals.


title: Tim Paine

text: In early 2009, Paine was selected to play for Australia 'A' against Pakistan 'A' in a series of one-day and first-class matches. Playing at the Allan Border Field in Brisbane, Paine scored 134 off 136 balls in the third one-day match to secure a series win for the Australian 'A' side.


title: Tim Paine

text: In 2009, Paine was selected for the national squad for the One Day International series against England, shortly after the conclusion of the Ashes Test series, when incumbent wicketkeeper Brad Haddin returned home for surgery on a broken finger. Paine made his ODI debut in a one-off match against Scotland, scoring 29 not out from 38 balls in Australia's total of 345 all out. He then took a single catch, as they were eventual victors by 189 runs. Paine made his International Twenty20 (T20) debut against England on 30 August 2009 at Old Trafford, ahead of the upcoming seven match ODI series between the two teams. England were in trouble at 2/4 (two wickets for four runs), in reply to Australia's 145, before rain caused the match to be abandoned. Paine was not required to bat, as he was listed to come in at the traditional wicket-keepers' position of seven. The second and final T20 match of the short series was also abandoned without a ball being bowled.


title: Tim Paine

text: Paine played his second ODI in the first match of the following ODI series. Australia batted first, with Paine run out in the third over for a duck, scored from six balls; however, he collected two dismissals and a run-out, in England's four-run defeat. His performances steadily improved, with 26, 29, 51 and 16 respectively, before scoring his maiden ODI century in the sixth match of the series at Trent Bridge . Paine was eventually dismissed for 111 from 148 balls, as Australia took a 6–0 series lead.


title: Tim Paine

text: After losing the final ODI in England, Australia won the 2009 ICC Champions Trophy in South Africa. In their second group match against India, Paine scored his second half-century (56). However, he struggled for consistency in Australia's remaining matches and finished with 123 runs at an average of 24.60.<ref name="ICC Champions Trophy, 2009/10 / Records / Most runs"></ref> Touring India for a seven match ODI series in late October and early November, Paine broke his finger while attempting to catch a ball in India's innings of the second ODI in Nagpur. He was subsequently sent home and replaced by Graham Manou after the match.


title: Tim Paine

text: On return from injury, Paine was Tasmania's leading run-scorer for the 2009–10 domestic Twenty20 tournament, hitting 166 runs at 33.20 while opening the batting. However, Tasmania struggled and finished last. When Haddin was rested from national duties for two ODIs against the West Indies in February 2010, Paine was again his replacement, scoring 16 and 24. Tasmanian came off the bottom of the ladder after winning their last three one-day matches to qualify for the 2009–10 Ford Ranger Cup Final against Victoria. There, Paine scored his fifth List A century, 100 from 118 balls, as Tasmania completed a comfortable victory—their fourth one-day title. Victoria's loss was their fourth successive one-day final loss.


title: Tim Paine

text: Although Paine was in the Australia squad for the 2010 World Twenty20 in the West Indies, he was not called upon, as Australia made the final where they were defeated by England. Nevertheless, this was the team's best performance out of their three World Twenty20 campaigns. Australia proceeded to tour the United Kingdom for a single one-dayer against Ireland, five one-day games against England, before two Twenty20 Internationals and two Tests against Pakistan in England. Pakistan played Australia in England because of safety concerns in the Asian country. The Test series were the first time England hosted a neutral Test since 1912, when Australia, England and South Africa took part in a triangular tournament. Haddin was unable to overcome an elbow injury and missed the series'. Paine started the tour well, compiling 81 in Australia's victory over Ireland. However, he struggled to capitalise on good starts in the series against England, scoring 26, 16, 44, 8 and 54. Despite winning the final two games, Australia lost the series 3–2.<ref name="Statistics / Statsguru / TD Paine / One-Day Internationals"></ref> The team also lost the Twenty20 series 2–0 against Pakistan, and Paine struggled, scoring one and zero. He batted at eight in the batting order for the first match and three in the second.


title: Tim Paine

text: He made his debut in the First Test at Lord's, London, and scored 7 and 47 with the bat; later admitting that the first 30 balls he faced in the first innings were a blur. Paine also took five catches, along with a leg-side stumping in Australia's comfortable victory. The match was the first occasion where three Tasmanians played in the same Test side—Ricky Ponting, Ben Hilfenhaus and Paine—marking significant improvement in the quality of cricket in the state. In the Second Test at Headingley Stadium, Leeds, Paine's first innings score of 17 was his team's highest in their lowly total of 88. He managed a further 33 runs in Australia's second innings, and made five catches in the match. However, the team lost the match by four wickets, thus drawing the series 1–1. After the series—where he captured 12 dismissals and scored 104 runs—Paine noted that the primary difference from Sheffield Shield to Test cricket was "the intensity that Test cricket is played at and how much it means," and how "It's hard work, really hard work; I've never had that sort of pressure for four or five days before." Paine was nominated for the International Cricket Council's emerging player of the year award in August and was named Tasmanian Sports Personality of the Year in September.


title: Tim Paine

text: After close to a month without international cricket, Australia toured India for two Tests and three one-day games in October, in what would be the team's last Test series ahead of the summer's Ashes in Australia. Haddin again failed to recover sufficiently for the series and Paine was named wicket-keeper. In a drawn three-day first-class match before the Test series, Paine scored a slow 45 and zero; failing to capitalise on his promotion to four in the batting order for the second innings. Returning to the traditional wicket-keepers spot of seven for the Test series, Paine battled to his highest Test score, 92 from 196 balls, in the first innings of the First Test in Mohali. In hot conditions, he displayed good shot selection and concentration, despite suffering from cramp in the latter stages of his innings. Still, when Australia was bowled out soon after his dismissal, Paine assumed wicket-keeper duties for India's innings, where he took two catches. In his team's second innings, however, Paine scored only nine, as Australia collapsed to set India a target of 216 runs. They achieved the score with just one wicket remaining; Paine taking one catch. After the Test, Melbourne newspaper "The Herald Sun", wrote an article saying that Paine could become Australia's future Test captain. The Second Test saw him continue his good form with the bat, scoring 59 and 9, but Australia lost the match and the series 2–0. Afterwards, former Australian wicket-keeper Rodney Marsh suggested it would be hard for Haddin to regain his spot in the Australian team for The Ashes. India won the opening one-dayer and therefore took the series 1–0 when rain washed out the remaining two matches. Paine struggled in the match, compiling 9 from 24 balls.


title: Tim Paine

text: Paine resumed his commitments with an in-form Tasmanian outfit in late-October, after Haddin—returning from injury—replaced him in the Australian side for three one-day games against Sri Lanka where they lost 2–1. Nonetheless, Paine was selected as Australia A wicket-keeper for a pre-Ashes tour match against England in Hobart in November.


title: Tim Paine

text: Paine sustained a finger injury in a match in November 2010, but was then named captain of the Prime Minister's XI for a match against the touring England side on 10 January 2011 in which he scored 50. On 7 January 2011, Paine was named Vice Captain of Australia's Twenty20 team. However he played his last T20 game for Australia on 14 January 2011. He then captained Australia A in Zimbabwe, but in August 2011 re-injured his finger at state training This paved the way for Matthew Wade to become Australian wicketkeeper.


title: Tim Paine

text: In the 2011 Indian Premier League (IPL) auction, Paine was sold for $270,000 to Sahara Pune Warriors, one of the two new teams in the IPL.


title: Tim Paine

text: He toured England with Australia A in the northern summer of 2012, and returned to Tasmanian state cricket and the Hobart Hurricanes for the 2012–13 season.


title: Tim Paine

text: Paine has concentrated more on his batting than on wicket-keeping over the last couple of years, and with the return of Wade to Tasmania, is more often than not playing as a batsman.


title: Tim Paine

text: In August 2017, he was named in a World XI side to play three Twenty20 International matches against Pakistan in the 2017 Independence Cup in Lahore.


title: Tim Paine

text: At the start of the 2017–18 season, Paine was considering retirement, however was talked out of it by Adam Griffith. On 17 November 2017, Paine was granted an international recall for the first 2 Ashes Tests after a 7-year absence from the national Tests squad after Tasmanian teammate Matthew Wade struggled with batting form domestically and equalled Brad Hogg's record for most tests between successive appearances for an Australian player. This was seen as a shocking decision, as Paine was not regularly playing, nor wicket-keeping, for Tasmania at the time. He was later retained for the entire Ashes series, and also replaced Matthew Wade as the ODI keeper against England.


title: Tim Paine

text: During the Ashes series, he scored 192 runs in six innings with one Not Out and one 50, at an average of 48. As wicketkeeper, he took 25 catches and made one stumping. He played in 4 of the 5 associated One Day international Series matches against England, scoring 144 runs and taking 6 catches behind the stumps. He did not play in the T20 Tri-series between Australia, England and New Zealand.


title: Tim Paine

text: On 22 January 2018, he was selected in the fifteen man squad for the four test Australian tour of South Africa.


title: Tim Paine

text: During the Third Test Match of the tour in Cape Town, Paine was appointed as the interim captain of the Australian team for the final two days after captain Steve Smith and vice-captain David Warner agreed to stand down during the match in the wake of a ball tampering scandal.


title: Tim Paine

text: As a result of an urgent Cricket Australia investigation into the incident, Smith, Warner and Cameron Bancroft were suspended and sent home. On 28 March 2018, Cricket Australia CEO James Sutherland announced that Paine would continue as captain for the Fourth Test, confirming him as the 46th Captain of the Australian test team. This completed a remarkable comeback for Paine, who at the start of the season had to be convinced by Tasmania coach Adam Griffith not to retire, and had not been a regular member of Tasmania's side when selected in the Australian Ashes squad.


title: Tim Paine

text: In May 2018, Paine was named ODI captain for the series in England. However, following Australia's 5-0 ODI whitewash defeat to England, Aaron Finch replaced Paine as ODI Captain prior to a series against South Africa in November 2018, highly likely ending Paine's ODI career. In October 2018, Paine captained Australia during a Test series against Pakistan in the UAE, but lost the series 1–0. Despite captaining Australia for the first time on home soil against India in a four match Test series, Paine's team lost the series 2–1, with India retaining the Border–Gavaskar Trophy and winning its first Test series in Australia.


title: Tim Paine

text: In January and February 2019, Paine captained Australia in a two Test match series against Sri Lanka. Australia won the series 2–0, with Paine winning his first Test series as captain. In June and July 2019, as preparation for the Ashes series in England, Paine captained the Australia A four-day squad, in first-class matches against Sussex and the England Lions.


title: Tim Paine

text: In July 2019, he was named as captain in Australia's squad for the 2019 Ashes series in England. Australia retained the Ashes after winning the fourth Test, with England levelling the series 2–2 in the final test, resulting in the first drawn Ashes series since 1972. Paine became the first Australian Test captain since Steve Waugh in 2001 to retain the Ashes in a series in England.


title: Tim Paine

text: Paine then captained his second home summer with a two test series against Pakistan and a three test series against New Zealand, where Australia won all five tests.


title: Tim Paine

text: On 27 December 2020, Paine effected his 150th dismissal in his 33rd test, making him the fastest to reach this figure. The previous record was held by Quinton de Kock, who reached 150 dismissals in 35 tests.


title: Tim Paine

text: On 19 November 2021, Paine announced that he had stepped down as Australia's Test captain, due to an occasion of improper conduct off the field during 2017 in which he sent explicit messages, and an image of his genitals to a female co-worker. On 26 November 2021, Tim Paine said he would take a break from the game "for the foreseeable future". His wife Bonnie commented that she had felt "betrayed" and "hurt" after learning about the incident but had since forgiven him and that they had "put the matter to bed". The woman involved in the case lost her bid, in October 2022, to seek compensation for alleged sexual harassment due to not filing her case in time.


title: Tim Paine

text: In August 2022, it was confirmed that Paine would be making a return to first-class cricket in the 2022-23 season with Tasmania.


title: Tim Paine

text: Paine is an orthodox, 'traditional' right-handed batsman who usually plays with a straight bat. He had occasionally opened the batting in one-day matches but bats at number six or seven in the Australian Test team. Paine uses his wrists and prefers to bat from the crease against spin, though he can play a wide range of shots against all forms of bowling. Paine proved his big-hitting and fast-scoring ability in the 2009–10 Australian domestic T20 tournament, where he had the second-highest scoring rate of players who scored more than 42 runs. He admitted attempting to change his batting style to something similar to former Australian wicketkeepers Adam Gilchrist and Brad Haddin before his international debut. However, he has since reverted to his former more patient game.


title: La Grande Illusion

text: La Grande Illusion (also known as The Grand Illusion) is a 1937 French war film directed by Jean Renoir, who co-wrote the screenplay with Charles Spaak. The story concerns class relationships among a small group of French officers who are prisoners of war during World War I and are plotting an escape. The title of the film comes from the 1909 book "The Great Illusion" by British journalist Norman Angell, which argued that war is futile because of the common economic interests of all European nations. The perspective of the film is generously humanistic to its characters of various nationalities.


title: La Grande Illusion

text: "La Grande Illusion" is regarded by critics and film historians as one of the masterpieces of French cinema and among the greatest films ever made. Orson Welles named "La Grande Illusion" as one of the two movies he would take with him "on the ark." In 1958, the film was voted number 5 on the prestigious Brussels 12 list at the 1958 World Expo. In 1995, the Vatican included "La Grande Illusion" in its list of 45 "great films" under the category of "Art." "Empire" magazine ranked it #35 in "The 100 Best Films Of World Cinema" in 2010.


title: La Grande Illusion

text: During the First World War, two French aviators, the aristocratic Captain de Boëldieu and the working-class Lieutenant Maréchal, set out to investigate a blurred spot found on reconnaissance photographs. They are shot down by German flying ace and aristocrat, "Rittmeister" von Rauffenstein, and both are taken prisoner by the Imperial German Army. Upon returning to the aerodrome, von Rauffenstein sends a subordinate to find out if the aviators are officers and, if so, to invite them to lunch. During the meal, Rauffenstein and Boëldieu discover they have mutual acquaintances—a depiction of the familiarity, if not solidarity, within the upper classes that crosses national boundaries.


title: La Grande Illusion

text: Boëldieu and Maréchal are then taken to a prisoner-of-war camp, where they meet a colorful group of French prisoners and stage a vaudeville-type performance just after the Germans have taken Fort Douaumont in the epic Battle of Verdun. During the performance, word arrives that the French have recaptured the fort. Maréchal interrupts the show, and the French prisoners spontaneously burst into "La Marseillaise". As a result of the disruption, Maréchal is placed in solitary confinement, where he suffers badly from lack of human contact and hunger; the fort changes hands once more while he is imprisoned. Boëldieu and Maréchal also help their fellow prisoners to finish digging an escape tunnel. However, just before it is completed, everyone is transferred to other camps. Because of the language barrier, Maréchal is unable to pass word of the tunnel to an incoming British prisoner.


title: La Grande Illusion

text: Boëldieu and Maréchal are moved from camp to camp, finally arriving in Wintersborn, a mountain fortress prison commanded by Rauffenstein, who has been so badly injured in battle that he has been given a posting away from the front, much to his regret. Rauffenstein tells them that Wintersborn is escape-proof.


title: La Grande Illusion

text: At Wintersborn, the pair are reunited with a fellow prisoner, Rosenthal, from the original camp. Rosenthal is a wealthy French Jew, a naturalized French citizen who generously shares the food parcels he receives. Boëldieu comes up with an idea, after carefully observing how the German guards respond to an emergency. He volunteers to distract the guards for the few minutes needed for Maréchal and Rosenthal to escape. After a commotion staged by the prisoners, the guards are ordered to assemble them in the fortress courtyard. During the roll call, it is discovered that Boëldieu is missing. He makes his presence known high up in the fortress, drawing the German guards away in pursuit. Maréchal and Rosenthal take the opportunity to lower themselves from a window by a homemade rope and flee.


title: La Grande Illusion

text: Rauffenstein stops the guards from firing at Boëldieu and pleads with his friend to give himself up. Boëldieu refuses, and Rauffenstein reluctantly shoots him with his pistol, aiming for his legs but fatally hitting him in the stomach. Nursed in his final moments by a grieving Rauffenstein, Boëldieu laments that the whole purpose of the nobility and their usefulness to both French and German culture is being destroyed by the war. He expresses pity for von Rauffenstein, who will have to find a new purpose in the postwar world.


title: La Grande Illusion

text: Maréchal and Rosenthal journey across the German countryside, trying to reach neutral Switzerland. Rosenthal injures his foot, slowing Maréchal down. They quarrel and part, but then Maréchal returns to help his comrade. They take refuge in the modest farmhouse of a German woman, Elsa, who lost her husband at Verdun, along with three brothers, at battles which, with quiet irony, she describes as "our greatest victories." She takes them in and does not betray them to a passing army patrol. She and Maréchal fall in love, despite not speaking each other's language, but he and Rosenthal eventually leave from a sense of duty after Rosenthal recovers from his injury. Maréchal declares he will come back to Elsa and her young daughter, Lotte, if he survives the war.


title: La Grande Illusion

text: A German patrol sights the two fugitives crossing a snow-covered valley. They fire a few rounds, but then their commanding officer orders them to stop, saying the pair have crossed into Switzerland.


title: La Grande Illusion

text: According to Renoir's memoirs, Erich von Stroheim, despite having been born in Vienna, Austria (then the Austro-Hungarian Empire) did not speak much German and struggled with learning the language along with his lines in between filming scenes.


title: La Grande Illusion

text: The exteriors of "Wintersborn" were filmed at the Upper Koenigsbourg Castle in Alsace. Other exteriors were filmed at the artillery barracks at Colmar (built by Wilhelm II) and at Neuf-Brisach on the Upper Rhine.


title: La Grande Illusion

text: An early script version of "La Grande Illusion" had Rosenthal and Maréchal agreeing to meet in a restaurant at the end of the war. In the final scene, everyone there would be celebrating the armistice, but instead of these men, there would be two empty chairs at a table.


title: La Grande Illusion

text: Renoir used the First World War (1914–1918) as a lens through which to examine Europe as it faced the rising spectre of fascism (especially in Nazi Germany) and the impending approach of the Second World War (1939–1945). Renoir's critique of contemporary politics and ideology celebrates the universal humanity that transcends national and racial boundaries and radical nationalism, suggesting that mankind's common experiences should prevail above political division, and its extension: war.


title: La Grande Illusion

text: On the message of "La Grande Illusion", Renoir himself said, in a film trailer, dating from the re-release of the film in 1958: "["La Grande Illusion" is] a story about human relationships. I am confident that such a question is so important today that if we don’t solve it, we will just have to say ‘goodbye’ to our beautiful world." Despite widespread interest in the subject, Renoir found it difficult to find a producer and distributor, having to "shop around" the project for years.


title: La Grande Illusion

text: "La Grande Illusion" examines the relationships between different social classes in Europe. Two of the main characters, Boëldieu and Rauffenstein, are aristocrats. They are represented as cosmopolitan men, educated in many cultures and conversant in several languages. Their level of education and their devotion to social conventions and rituals makes them feel closer to each other than to the lower class of their own nation. They share similar social experiences: dining at Maxim's in Paris, courting dalliances with the same woman, and even know of each other through acquaintances. They converse with each other in heavily formal French and German, and in moments of intimate personal conversation, escape into English as if to hide these comments from their lower class counterparts.


title: La Grande Illusion

text: Renoir depicts the rule of the aristocracy in "La Grande Illusion" as in decline, to be replaced by a new, emerging social order, led by men who were not born to privilege. He emphasizes that their class is no longer an essential component to their respective nation's politics. Both Rauffenstein and Boëldieu view their military service as a duty, and see the war as having a purpose; as such, Renoir depicts them as laudable but tragic figures whose world is disappearing and who are trapped in a code of life that is rapidly becoming meaningless. Both are aware that their time is past, but their reaction to this reality diverges: Boëldieu accepts the fate of the aristocracy as a positive improvement, but Rauffenstein does not, lamenting what he sarcastically calls the "charming legacy of the French Revolution".


title: La Grande Illusion

text: In "La Grande Illusion", Renoir contrasts the aristocrats with characters such as Maréchal (Gabin), a mechanic from Paris. The lower class characters have little in common with each other; they have different interests and are not worldly in their views or education. Nonetheless, they have a kinship too, through common sentiment and experience.


title: La Grande Illusion

text: Renoir's message is made clear when the aristocratic Boëldieu sacrifices himself by distracting the prison guards by dancing around, singing, and playing a flute, to allow Maréchal and Rosenthal, members of the lower class, to escape. Reluctantly and strictly out of duty, Rauffenstein is forced to shoot Boëldieu, an act that Boëldieu admits he would have been compelled to do were the circumstances reversed. However, in accepting his inevitable death, Boëldieu takes comfort in the idea that "For a commoner, dying in a war is a tragedy. But for you and me, it's a good way out", and states that he has pity for Rauffenstein who will struggle to find a purpose in the new social order of the world where his traditions, experiences, and background are obsolete.


title: La Grande Illusion

text: The critique of the romantic idealization of duty in "La Grande Illusion" is comparable to that in the earlier film "All Quiet on the Western Front" (1930), based on the novel by Erich Maria Remarque.


title: La Grande Illusion

text: In "La Grande Illusion", Renoir briefly touches on the question of antisemitism through the character of Rosenthal, a son from a "nouveau riche" Jewish banking family (a parallel to the Rothschild banking family of France). His biographers believed that Renoir created this character to counter the rising anti-Jewish campaign enacted by Adolf Hitler's government in Nazi Germany. Further, Rosenthal is shown as a symbol of humanity across class lines: though he may be financially wealthy, he shares his food parcels with everyone so that he and his fellow prisoners are well fed — when compared with their German captors. Through the character of Rosenthal, Renoir rebuffs Jewish stereotypes.


title: La Grande Illusion

text: There is also a black French officer among the prisoners at Wintersborn who appears to be ignored by the other prisoners, and not accepted as an equal by them. When he speaks to them he is not responded to. For instance, when he shows his artwork, he is shrugged off.


title: La Grande Illusion

text: In "La Grande Illusion" Renoir seeks to refute the notion that war accomplishes anything, or that it can be used as a political tool to solve problems and create a better world. "That's all an illusion", says Rosenthal, speaking of the belief that this is the war that will end war forever.


title: La Grande Illusion

text: "La Grande Illusion" is a war film without any depiction of battle. Instead, the prisoner of war camp setting is used as a space in which soldiers of many nations have a common experience. Renoir portrays war as a futile exercise. For instance, Elsa, the German widow, shows photos to Maréchal and Rosenthal of her husband and her brothers who were killed, respectively, at the battles of Verdun, Liège, Charleroi, and Tannenberg. The last three of these battles were amongst Germany's most celebrated victories in World War I. Through this device, Renoir refutes the notion that one common man's bravery, honor, or duty can make an impact on a great event. This undermines the idealistic intention of Maréchal and Rosenthal to return to the front, so that by returning to the fight they can help end this war.


title: La Grande Illusion

text: The score was written by the Hungarian composer Joseph Kosma, who also wrote the famous song "Autumn Leaves." The soundtrack also includes many well-known songs of the day from French, English, and German cultures. The uncredited musical director was the film and music critic Émile Vuillermoz, who had been a composer in his early career.


title: La Grande Illusion

text: After the film won a prize at the Venice Film Festival for "Best Artistic Ensemble" in 1937, and was nominated for the International Jury Cup, the Nazi Propaganda Minister Joseph Goebbels declared "La Grande Illusion" "Cinematic Public Enemy No. 1" and ordered the prints to be confiscated and destroyed. Fearing a decline in fighting morale, French authorities banned the film in 1940 "pour la durée des hostilités" (for the duration of hostilities). This ban was renewed by the German Propaganda-Abteilung in October of the same year. When the German Army marched into France in 1940 during World War II, the Nazis seized the prints and negative of the film, chiefly because of its anti-war message, and what were perceived as ideological criticisms pointed towards Germany on the eve of the Second World War.


title: La Grande Illusion

text: "La Grande Illusion", released by World Pictures Corporation in the U.S. premiered on 12 September 1938 in New York City; Frank S. Nugent in his review for "The New York Times" called "La Grande Illusion" a "strange and interesting film" that "owes much to his cast",


title: La Grande Illusion

text: "La Grande Illusion" won the awards for Best Foreign Film at the 1938 New York Film Critics Circle Awards and at the 1938 National Board of Review Awards it was named the Best Foreign Language Film for that year. At the 11th Academy Awards held on 23 February 1939, "La Grande Illusion" became the first foreign language film nominated for the Academy Award for Best Picture.


title: La Grande Illusion

text: Orson Welles, in an interview with Dick Cavett on 27 July 1970, expressed that if he only could save a handful of films that were not his own for future posterity, this would be one of those films.


title: La Grande Illusion

text: Sixty years after its release, Janet Maslin called it "one of the most haunting of all war films" and an "oasis of subtlety, moral intelligence and deep emotion on the cinematic landscape"; according to Maslin:


title: La Grande Illusion

text: Film critic Roger Ebert also reviewed the film after its 1999 re-release, and added it to his list of The Great Movies:


title: La Grande Illusion

text: Filmmakers such as Akira Kurosawa and Billy Wilder cited "La Grande Illusion" as one of their favorite films.


title: La Grande Illusion

text: For many years, the original nitrate film negative of "La Grande Illusion" was thought to have been lost in an Allied air raid in 1942 that destroyed a leading laboratory outside Paris. Prints of the film were rediscovered in 1958 and restored and re-released during the early 1960s. Then, it was revealed that the original negative had been shipped back to Berlin (probably due to the efforts of Frank Hensel) to be stored in the Reichsfilmarchiv vaults. In the Allied occupation of Berlin in 1945, the Reichsfilmarchiv by chance was in the Russian zone and consequently shipped along with many other films back to be the basis of the Soviet Gosfilmofond film archive in Moscow. The negative was returned to France in the 1960s, but sat unidentified in storage in Toulouse Cinémathèque for over 30 years, as no one suspected it had survived. It was rediscovered in the early 1990s as the Cinémathèque's nitrate collection was slowly being transferred to the French Film Archives at Bois d'Arcy.


title: La Grande Illusion

text: In August 1999, Rialto Pictures re-released the film in the United States, based on the Cinémathèque negative found in Toulouse; after watching the new print at Lincoln Plaza Cinemas, Janet Maslin called it "beautifully refurbished" and "especially lucid." A transfer of this restored print was released on DVD by the Criterion Collection in 1999, but has been out of print since 2005. "Grand Illusion" was intended to be Criterion's first release on the DVD format in 1998, but the discovery of the new negative delayed its release.


title: La Grande Illusion

text: In 2012, StudioCanal and Lionsgate released a 1080p Blu-ray version based on a new high-definition scan of the original negative. According to Lee Kline, Technical Director of the Criterion Collection, this release was "night and day of what we didbecause they had better film."


title: The Blue Film

text: "The Blue Film" (1954) is a short story by the English novelist Graham Greene. The story is set in Thailand.


title: The Blue Film

text: It was adapted for television as part of the 1970s series "Shades of Greene", and starred Betsy Blair, Baron Casanov, Koo Stark, and Brian Cox.


title: Cheung Wing-sing

text: Little is known about Cheung's birth and childhood life except that she was a relative of the Qing Dynasty official Zhang Yinhuan () (1837–1900), who was involved in the Hundred Days' Reform movement in 1898, and that she was born to educated parents in Foshan.


title: Cheung Wing-sing

text: In 1916 she was married to Yip Man in Foshan and they had four children: sons Yip Chun () and Yip Ching () and daughters Yip Nga-sum () and Yip Nga-wun ().


title: Cheung Wing-sing

text: According to her son Yip Chun, she and Yip had never quarreled. Cheung herself was a traditional Chinese woman who was solemn, supportive, and tolerant of her husband.


title: Cheung Wing-sing

text: After the Communist victory in the civil war, Cheung, her husband Yip, and their elder daughter Nga-sum left Foshan for Hong Kong in 1950. Soon after they arrived at Hong Kong through Macau, Cheung and her son returned to Foshan to retrieve their identity cards. However the closure of borders between China and Hong Kong was established in 1951, and Cheung was separated from her husband for good. Unable to go to Hong Kong, she remained in Foshan where she died of cancer in 1960, while her children would eventually be reunited with their father in Hong Kong in the 1960s.


title: Cheung Wing-sing

text: Her daughters would eventually marry; one to a husband with the surname of Ng (), another to a husband with the surname of Ng (), but with a different pronunciation.


title: Cheung Wing-sing

text: She was first portrayed in the first three installments of the "Ip Man" film series "Ip Man" (2008), "Ip Man 2" (2010) and "Ip Man 3" (2015) by Lynn Hung.


title: Darjeeling Himalayan Railway

text: The Darjeeling Himalayan Railway, also known as the DHR or the Toy Train, is a gauge railway that runs between New Jalpaiguri and Darjeeling in the Indian state of West Bengal. Built between 1879 and 1881, it is about long. It climbs from about above sea level at New Jalpaiguri to about at Darjeeling, using six zig zags and five loops to gain altitude. Six diesel locomotives handle most of the scheduled service, with daily tourist trains from Darjeeling to Ghum – India's highest railway station – and the steam-hauled "Red Panda" service from Darjeeling to Kurseong. Steam-enthusiast specials are hauled by vintage British-built B-Class steam locomotives. The railway's headquarters are at Kurseong.


title: Darjeeling Himalayan Railway

text: On 5 December 1999, UNESCO declared the DHR a World Heritage Site. Two more railway lines were later added, and the site became known as one of the mountain railways of India.


title: Darjeeling Himalayan Railway

text: Siliguri, at the base of the Himalayas, was connected with Calcutta (now Kolkata) by a metre gauge railway in 1878. Between Siliguri and Darjeeling, Tonga services ran on a cart road – the present-day Hill Cart Road. Franklin Prestage, an agent of the Eastern Bengal Railway, approached the government with a proposal to lay a steam tramway from Siliguri to Darjeeling. Ashley Eden, lieutenant governor of Bengal, formed a committee to assess the project's feasibility. The proposal was accepted in 1879 after a positive report by the committee, and construction began that year.


title: Darjeeling Himalayan Railway

text: Gillanders, Arbuthnot and Company was hired to construct the line, and by March 1880 track was laid as far as Tindharia, and Lord Lytton, the first viceroy to visit Darjeeling, rode to Tindharia on the train. The stretch from Siliguri to Kurseong opened on 23 August 1880, and from Siliguri to Darjeeling on 4 July 1881. The company's name was changed to Darjeeling Himalayan Railway Company.


title: Darjeeling Himalayan Railway

text: Although the railway originally followed Hill Cart Road, the steepness of the road was more than the locomotives could handle in some areas. In 1882, four loops and four zig-zags were built between Sukna and Gayabari to ease the gradient. The line was extended by a quarter-mile to Darjeeling Bazar in 1886. The Darjeeling station was renovated in 1891 and Kurseong got a new station building and storage shed in 1896, but the railway was affected by an 1897 earthquake and a major cyclone in 1899.


title: Darjeeling Himalayan Railway

text: In 1910, the DHR carried 174,000 passengers and 47,000 tons of goods. The first bogie carriages entered service, replacing basic four-wheel carriages. DHR extension lines were built to Kishanganj in 1914 and Gielkhola in 1915. At Tindharia, the railway works were relocated from behind the locomotive shed to a larger site.


title: Darjeeling Himalayan Railway

text: The Batasia Loop was constructed in 1919, creating easier gradients on the ascent from Darjeeling. The DHR began facing competition from buses operating on the Hill Cart Road which took less time than the railway to reach Darjeeling. In 1934, a major earthquake in Bihar shook all of Northeast India. Many buildings in Darjeeling were heavily damaged and the railway was also affected, although it soon recovered and played a vital role in transporting repair materials. During World War II, the DHR transported military personnel and supplies to the camps around Ghum and Darjeeling.


title: Darjeeling Himalayan Railway

text: In 1951, the railway was purchased by the Indian government and was absorbed into the government railway organisation before it was managed by the Assam Railway. Assam Railway (including the DHR) became part of the North Eastern Railway zone in 1952, and part of Indian Railways' Northeast Frontier Railway zone six years later. In 1962, the railway was realigned at Siliguri and extended by nearly to New Jalpaiguri (NJP) to meet the new broad-gauge line there. The extension began freight service that year, and passenger service in 1964. The locomotive shed and carriage depot at Siliguri Junction were moved to NJP.


title: Darjeeling Himalayan Railway

text: The railway was closed for 18 months during the Gorkhaland hostilities in 1988 and 1989. It was declared a World Heritage Site by UNESCO in 1999.


title: Darjeeling Himalayan Railway

text: Following the COVID-19 pandemic in the country, the service was stopped for 18 months from March 2020 to August 2021. On 25 August 2021, the service was restarted from New Jalpaiguri to Darjeeling with the new vistadome coaches for the tourists.