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Syme reveals to Claire that the treatment Jackman is undergoing will stabilize into one persona: If it is Hyde, he will be kept for research in order to synthesize the potion that turned the original Jekyll into Hyde; If it is Jackman, she is free to take him home. When the box is opened, Hyde is dominant.
Moffat explicitly describes the series as a sequel, rather than an adaptation, stating the Jekyll of the original story really existed, and Jackman is his "modern-day descendant dealing with the same problems". As Jekyll and Hyde is such a well-known phrase, Moffat labored over what to call the series, eventually deciding upon Jekyll because that word "carries the name Hyde". The final episode replaces the title "Jekyll" with "Hyde". Producer Elaine Cameron says the one word title gives the series a "very modern feel". Moffat initially named the character Jekyll rather than Jackman, but found it cumbersome to constantly explain that the book had not been written in this alternate universe. Instead he chose a version where the book exists, but changed the name to Jackman. Otherwise, Cameron felt, the character would appear stupid by not realising what was happening when turning into Hyde.
Meera Syal was attracted to her role because Miranda was not a clichéd private detective and she thought the humour was "fresh". During the second filming block, Mark Gatiss briefly joined the cast, playing the small but important role of Robert Louis Stevenson in flashback scenes in episode five.
The music was composed by Debbie Wiseman. The orchestra featured approximately 18 pieces. Some cues featured the vocals of Hayley Westenra to foreshadow the importance of a female voice.
== Home release ==
Szabó is the most internationally famous Hungarian filmmaker since the late 1960s. Working in the tradition of European auteurism, he has made films that represent many of the political and psychological conflicts of Central Europe ’ s recent history, as well as of his own personal history. He made his first short film in 1959 as a student at the Hungarian Academy of Theatrical and Cinematic Arts, and his first feature film in 1964.
After the article was published, over one hundred prominent intellectuals, including some of the people Szabó had denounced, published a letter of support for him. Szabó ’ s initial response to the article was that informing had been an act of bravery intended to save the life of former classmate Pál Gábor. When this claim turned out not to be true, Szabó admitted that his true motive had been to prevent his own expulsion from the Academy.
The beginning of Szabó ’ s career coincided with the beginning of a “ new wave ” in Hungarian cinema, one of several new wave cinemas that occurred around this time throughout Western and Eastern Europe. The Eastern European new waves were caused by political liberalization, the decentralization of film industries, and the emergence of films as valuable commodities for export to Western European markets. The resulting films were more formally experimental, politically anti-establishment, and, especially in the case of Szabó, psychologically probing than the films of the previous generation. Hungarian filmmakers in particular experienced a significant increase in freedom of expression due to the reforms of the Kádár government.
Szabó's first four full-length films featured the actor András Bálint in roles based on Szabó himself. While Bálint also appeared in Budapest Tales, this was Szabó's first feature film that did not contain a significant amount of autobiographical material. He did not make another autobiographical film until Meeting Venus, eighteen years later.
=== 1991 – present ===
In Taking Sides (2001), Szabó returned to thematic territory he had explored in Mephisto. Stellan Skarsgård plays real life German conductor Wilhelm Furtwängler, and Harvey Keitel a U.S. Army investigator interrogating Furtwängler about his collaboration with the Nazis. The film won several awards at the Mar del Plata Film Festival in Argentina, including Best Director.
Szabó emphasizes iconography in his films, insofar as he tends to invest certain objects and places with symbolic meaning. Tram cars play this role in many of his films, and one becomes the central image in Budapest Tales. Budapest itself plays an important role in many of his films, including scenes of the Danube and of buildings Szabó lived in when he was a child.
== Filmography ==
== McCartney and Mohin ==
Jim was born at 8 Fishguard Street, Everton, Liverpool and was the third eldest of seven children. The McCartney children were John (Jack), Edith, James (Jim), Ann, Millie, Jane (Jin) and Joe (who was named after a brother who died in infancy). Joe and Florrie McCartney moved shortly after Jim's birth to 3 Solva Street in Everton, which was a run-down terraced house about three-quarters of a mile from the Liverpool city centre, where Jim attended the Steers Street Primary School off Everton Road. After leaving school at 14, Jim found work for six shillings a week as a cotton "sample boy", at A. Hanney & Co .; a cotton broker in Chapel Street, Liverpool. Jim's job entailed running up and down Old Hall Street with large bundles of cotton that had to be delivered to cotton brokers or merchants in various salesrooms. He worked ten-hour days, five days a week, although he received a bonus at Christmas that was almost double his annual salary.
Mary Patricia Mohan was born at 2 Third Avenue, Fazakerley, Liverpool. After two years Mary's father met and married his second wife, Rose, while on a trip to Monaghan, in Ireland. Rose arrived in Liverpool with two children from a previous marriage, but Mary, who had until then been looking after the Mohan family, realised that Rose did not care much for domesticity or her new husband's children. After a year she chose to live with her aunts. In 1923, at the age of 14 years, Mary started work as a nurse trainee at the Smithdown Road Hospital, and then took a three-year training course at Walton Road Hospital in Rice Lane, Liverpool; eventually becoming a state registered nurse.
Money was a problem in the McCartney house, as Jim only earned up to £ 6.00 a week, which was less than his wife. Because of their financial situation, the McCartney family could not afford to buy a television set until the coronation of Queen Elizabeth II in 1953, and never owned a car. His two sons were the first in the McCartney family line to buy cars. When The Beatles became successful, Jim had to leave Forthlin Road because fans used to stand outside and stare through the windows, which made him feel uncomfortable and nervous. Eight years after Mary's death, Jim married Angela Williams, on 24 November 1964. Williams had a daughter from a previous marriage, Ruth, whom Jim legally adopted.
== Music ==
The current highway is the third to carry the M-99 designation. The others were located near Lake Michigan near Muskegon in the Lower Peninsula and Gulliver in the Upper Peninsula in the 1920s and 1930s. The current highway was first designated as parts of M-34 and M-64 in 1919. These numbers were later dropped in favor of an M-9 designation in 1929. For part of 1934, a loop route was designated M-158 in Hillsdale County that was used for a rerouted M-9 in the area. The M-99 designation was applied to the highway in 1940. Since then, the state has completed paving twice; one segment was returned to gravel surface for two years in the 1950s. The southern section in Hillsdale County was rerouted in the 1960s, and sections were converted into divided highways in the late 1970s.
M-99 is maintained by the Michigan Department of Transportation (MDOT) like other state highways in Michigan. As a part of these maintenance responsibilities, the department tracks the volume of traffic that uses the roadways under its jurisdiction. These volumes are expressed using a metric called annual average daily traffic, which is a statistical calculation of the average daily number of vehicles on a segment of roadway. MDOT's surveys in 2010 showed that the highest traffic levels along M-99 were the 32,262 vehicles daily north of Mount Hope Avenue in Lansing; the lowest counts were the 2,300 vehicles per day between the state line and the M-34 junction. No section of M-99 has been listed on the National Highway System, a network of roads important to the country's economy, defense, and mobility.
== Major intersections ==
=== Hurricane Six ===
Following his graduation, Mayer volunteered for military service in the Luftwaffe on 1 November 1937. His military training began at the 2nd Air Warfare School (Luftkriegsschule 2) at Gatow, on the southwestern outskirts of Berlin. He was then trained as a fighter pilot and promoted to Leutnant (second lieutenant) on 1 August 1939.
=== Wing commander and death ===
Wound Badge in Silver
Knight's Cross on 1 August 1941 as Leutnant of the Reserves and pilot in Jagdgeschwader 2 "Richthofen"
The scandal split the Liberal Party: Rutherford's Minister of Public Works, William Henry Cushing, resigned from his government and publicly attacked its railway policy, and a large portion of the Liberal caucus voted to defeat the government in the Legislative Assembly of Alberta. Although the government survived all of these votes, and Rutherford largely placated the legislature by appointing a royal commission to investigate the affair, pressure from Lieutenant-Governor George Bulyea forced Rutherford's resignation and his replacement by Arthur Sifton.
On February 21, Boyle gave notice of a resolution to expropriate the rights of the A & GW and build the line directly. He asserted that the government had guaranteed to the A & GW more than was necessary, as a line of 230 miles (370 km), barely two thirds what had been guaranteed, was sufficient. The next day, Boyle further alleged that Deputy Attorney-General S. B. Woods had tampered with the government's files on the A & GW before Boyle and Bennett had viewed them. Attorney-General Charles Wilson Cross strongly disputed this allegation.
=== Cabinet confusion ===
Following the passage of the Woolf-McDougall motion, the government took the offensive. On March 9, Rutherford gave notice of a resolution to strike a provincial railway board, with a membership of Rutherford, Deputy Public Works Minister John Stocks, and provincial railway engineer R. W. Jones. The board would have the power to discharge any government responsibility under the Alberta Railway Act. Stocks, however, publicly repudiated the resolution, and announced that he would have nothing to do with it.
=== The commission's inquiry ===
The obvious choice was Cushing, but Bulyea felt little enthusiasm for him, doubting his political acumen (in this opinion he was supported by other Liberal Party luminaries, including Frank Oliver, federal Minister of the Interior and proprietor of the Bulletin). He continued to prefer Talbot, but found that the insurgent Liberals, who favoured Cushing, would not accept him. Oliver was also a possibility, but he had no interest in leaving Ottawa.
At the end of 1906, syndicate members visited Alberta, where Cornwall introduced them to members of the cabinet. Negotiations between the syndicate and the government continued for several years. During this time, new construction estimates prepared by the syndicate placed the cost of the railway at between eighteen and twenty thousand dollars per mile. February 2, 1907, Cornwall entered into an agreement with the syndicate whereby he would receive $ 544,000 in stock in the resulting railway company if he could secure the necessary loan guarantees; this amount was later changed to $ 100,000.
Sifton was selected Premier in an effort to restore party unity, and his first cabinet reflected that. There were three ministers in addition to Sifton. Charles R. Mitchell had been, like Sifton, a judge during the scandal, and was therefore unattached to either side. Duncan Marshall had been a Rutherford cabinet minister, but not one identified strongly with its railway policy. Archibald J. McLean had voted with the rebels, but not been a leader among them. The cabinet thus included members of both factions, but none of those who inspired such strong opinions as to be overly divisive.
A Short Walk in the Hindu Kush is a 1958 book by the English travel writer Eric Newby. It is an autobiographical account of his adventures in the Hindu Kush, around the Nuristan mountains of Afghanistan, ostensibly to make the first mountaineering ascent of Mir Samir. It has been described as a comic masterpiece, intensely English, and understated. Publications including The Guardian and The Telegraph list it among the greatest travel books of all time. It has sold over 500,000 copies in paperback.
He sent a telegraph to his friend the diplomat Hugh Carless, then due to take up his position as First Secretary in Tehran later that year, requesting he accompany him on an expedition to Northern Afghanistan. They were poorly prepared and inexperienced, but Newby and Carless vowed to attempt Mir Samir, a glacial and then unclimbed 20,000 foot peak in the Hindu Kush.
Translations include:
The book was illustrated with 14 monochrome photographs taken by Newby or Carless; one depicts the explorer Wilfred Thesiger in his sleeping-bag.
Newby leaves the rag trade.
==== Journey ====
Chapter 10 Finding our Feet
Chapter 14 Round 2
Chapter 18 A Room with a View
== Reception ==
Michael Shapiro, interviewing Newby for Travelers' Tales, calls the book "a classic piece of old-school British exploration, and established Newby ’ s trademark self-deprecating wry humor."
=== Edition ===
Humber earned three Texas Little League state championships. He subsequently attended Carthage High School in Carthage, Texas, where he led the baseball team to the state championship game in 2001, his senior season, winning state Player of the Year honors. He then attended Rice University, where he played college baseball for the Rice Owls baseball team. Humber was the winning pitcher in the clinching game of the 2003 College World Series. He has also represented the United States at the World University Baseball Championship.
== Amateur career ==
Following the early exit in the Houston Regional due to the upset by the Aggies, Humber looked forward to the Major League Baseball Draft. Niemann, and Townsend were all selected along with Humber in the first eight picks of the 2004 MLB Draft — the first time three teammates had ever gone so early in the same draft. Only twice had three teammates been taken in the first round, most recently when Steve Hosey, Tom Goodwin and Eddie Zosky of the Fresno State Bulldogs were selected in the first round of the 1989 Major League Baseball draft. Teammate David Aardsma, a relief pitcher, was also selected in the first round.
On January 11, 2005, Humber and the Mets agreed to a five-year contract, ending a long holdout the day before the Mets began their two-day minicamp in Port St. Lucie, Florida. Humber and the Mets were motivated to complete a deal due to a change in federal tax law that made signing bonuses subject to Federal Insurance Contributions Act and Social Security taxes. There is some discrepancy about the value of the contract. According to MLB.com, Humber received a combined $ 3.7 million signing bonus and contract from the Mets. The Houston Chronicle reported the contract to be a $ 4.2 million deal with a $ 3 million signing bonus and that Humber would fly to minicamp. Six months later, Lee Jenkins of The New York Times also reported the signing bonus to be $ 3 million, but he claimed the contract was for $ 5 million in total. John Manuel of Baseball America reported the contract was worth a maximum of $ 5.116 million, with $ 4.2 million guaranteed.
Humber debuted with the White Sox in their third game in relief. He made two pitches, both of which resulted in hits and base runners that came around to score. With Jake Peavy injured at the start of the 2011 season, the White Sox gave Humber the opportunity to pitch in their starting rotation. On April 9, 2011, Humber won his first start with the White Sox, pitching 6 2 ⁄ 3 innings and only allowing one run. Humber surprised the White Sox with his strong performance. On April 25, in the sixth start of his career, he took a no-hitter into the seventh inning against the New York Yankees at Yankee Stadium, but with one out Alex Rodriguez singled up the middle. He finished with seven scoreless innings. He took a no-hitter into the sixth inning against the Washington Nationals on June 26, but ended up earning a 2 – 1 loss when he surrendered a seventh inning home run to Danny Espinosa. In early July, when he led the major leagues with 103 2 ⁄ 3 innings pitched and held an 8 – 4 record with a 2.69 ERA, he seemed like a probable selection for the 2011 Major League Baseball All-Star Game. In mid-July, the White Sox switched to a six-man rotation. By early August, Humber was in a slump. Humber denies the extra rest affected his pitch command. He spent time on the disabled list with a facial bruise after Kosuke Fukudome lined a baseball into his face above the right eye on August 18. After he was hit, he was very concerned for his wife: "I thought, 'I've got to get up because she's in the stands,'" Humber said. "As soon as I went in [the clubhouse], I asked one of the guys to call her to make sure she knew I was OK.", adding "My main concern was cheering up my wife." He appeared in one rehabilitation start for the Charlotte Knights of the Class-AAA International League. Humber pitched seven scoreless innings in his major league return. Humber completed his first full season as an MLB starting pitcher with a 9 – 9 win – loss record with a 3.75 ERA in 163 innings.
The Houston Astros claimed Humber off waivers on November 30, 2012. Humber made the Astros' starting rotation at the start of the 2013 season. Humber lost his spot in the starting rotation to Érik Bédard after opening the season with an 0 – 7 record and an ERA of 8.82. Humber was designated for assignment on May 12, after his record fell to 0 – 8 with a 9.59 ERA. After pitching in relief for the Oklahoma City RedHawks of the PCL, the Astros selected his contract on August 12, when they traded Wesley Wright to the Tampa Bay Rays. On October 3, the Astros declined a $ 3 million option for 2014, instead paying him his guaranteed $ 500,000 and releasing him.
On December 8, 2014, Humber signed a contract with the Kia Tigers of the Korea Baseball Organization. After pitching to a 6.75 ERA in 50 2 / 3 innings, Humber was released by the Tigers on July 20, 2015.
Humber relied on five pitches. He had a four-seam fastball ranging from 89 to 92 miles per hour (143 – 148 km / h), a two-seam fastball (89 to 92 miles per hour ( 143 – 148 km / h) ), a slider (mid 80s), a changeup (mid 80s), and a 12-6 curveball (78 to 81 miles per hour ( 126 – 130 km / h) ). He used his slider against right-handed hitters but preferred to use his changeup and curveball as off-speed pitches against left-handed hitters. Humber favored his curveball in two-strike situations. He used a conventional "three-quarters" arm slot to deliver his pitches.
Lethem was born in Brooklyn, New York, to Judith Frank Lethem, a political activist, and Richard Brown Lethem, an avant-garde painter. He was the eldest of three children. His father was Protestant (with Scottish and English ancestry) and his mother was Jewish, from a family with roots in Germany, Poland, and Russia. His brother Blake became an artist, and his sister Mara became a photographer, writer, and translator. The family lived in a commune in the pre-gentrified Brooklyn neighborhood of North Gowanus (now called Boerum Hill). Despite the racial tensions and conflicts, he later described his bohemian childhood as "thrilling" and culturally wide-reaching. He gained an encyclopedic knowledge of the music of Bob Dylan, saw Star Wars twenty-one times during its original theatrical release, and read the complete works of the science fiction writer Philip K. Dick. Lethem later said Dick ’ s work was "as formative an influence as marijuana or punk rock — as equally responsible for beautifully fucking up my life, for bending it irreversibly along a course I still travel."
In November 2000, Lethem said that he was working on an uncharacteristically "big sprawling" novel, about a child who grows up to be a rock journalist. The novel was published in 2003 as The Fortress of Solitude. The semi-autobiographical bildungsroman features dozens of characters in a variety of milieus, but features a tale of racial tensions and boyhood in Brooklyn during the late 1970s. The main characters are two friends of different backgrounds who grew up on the same block in Boerum Hill. It was named one of nine "Editor's Choice" books of the year by The New York Times and has been published in fifteen languages.
After Motherless Brooklyn and The Fortress of Solitude, Lethem decided that "[i] t was time to leave Brooklyn in a literary sense anyway ... I really needed to defy all that stuff about place and memory." In 2007, he returned as a novelist to California, where some of his earlier fiction had been set, with You Don 't Love Me Yet, a novel about an upstart rock band. The novel revolves around a woman in the band, Lucinda, who answers phones for her friend's complaint line and uses some of a caller's words as lyrics. According to Lethem, the book was inspired by the years he spent as the lead singer in an upstart California band in the late 1980s and early 1990s, during what he called "the unformed posturing phase of life". The novel received mixed reviews.
"set in Queens and Greenwich Village, another New York neighborhood book, very much about the life of the city ... writing about Greenwich Village in 1958 was really a jump for me, it was as much of an imaginative leap as any of the more fantastical things I 've done. But really exciting, too."
== Works ==
Peacock, James. Jonathan Lethem. Contemporary American and Canadian Writers. Manchester University Press, 2012.
=== Fauna ===
Players called for the two leg 2016 Africa Women Cup of Nations qualification matches against Botswana in March 2016.
Although music critics and Harrison biographers have generally viewed the album track in an unfavourable light, several concert reviewers identified it as an effective opener for the shows. "Hari's on Tour" is one of only two songs from the 1974 tour to have been released officially, after a live version was included on the limited-edition Songs by George Harrison 2 EP in 1992. This live recording was taken from the Washington, DC stop on the tour, during which Harrison met with President Gerald Ford at the White House.
== North American tour and album release ==
Harrison recorded and filmed several of the 1974 concerts for a planned release, but only live versions of this instrumental and "For You Blue" have ever been issued officially. In 1992, "Hari's on Tour" appeared on the four-song EP accompanying Songs by George Harrison 2, a limited-edition, hand-bound book produced by Genesis Publications. Text accompanying this disc gives the recording information as simply "live in Washington DC in 1974", referring to Harrison's 13 December show at the Capital Centre in Landover, Maryland, a suburb of Washington. The book was limited to a print run of 2500 and published on 22 June 1992.
Tom Scott – saxophones, horn arrangement, organ
= Vine Street, London =
On 2 September 1791, composer Frantisek Kotzwara died at prostitute Susannah Hill's house at No. 5 Vine Street from erotic asphyxiation following a sexual act that involved tying his neck to a doorknob. Hill was charged with Kotzwara's murder but later acquitted.
Following the release of her tenth studio album, Confessions on a Dance Floor (2005), Madonna wanted to record more dance music. When asked by producer Stuart Price what kind of music appealed to her, Madonna replied that she loved the records of singer Justin Timberlake and producer Timbaland, so she collaborated with them. "4 Minutes" was written by all three artists, along with Nate "Danja" Hills, and produced by Timbaland, Timberlake and Danja. The song, initially named "4 Minutes to Save the World", was one of the last to be produced for Madonna's album Hard Candy. In an interview with MTV News, Madonna said that the concept of the song was developed through discussions with Timberlake. She further explained the meaning of the song:
Castellon said that he did not want the SSL's internal automation to interfere with his blending of the music, instead used Pro Tools, with automatic levels. According to him, he "then ran everything through the SSL, on which [he] did EQ, compression and panning." The mixing of the track was made at The Hit Factory studio, in Miami on a 96-channel SSL J-series desk. Considering the quantity of recorded backing tracks, Castellon's challenge was to make sure that the music did not overpower the vocals. He accomplished this by first mixing the vocals, then adding the music and the drums, which was an unusual method for him. Minimal digital plug-ins were employed for the mix as Castellon preferred the sound of outboard gear.
== Critical reception ==
In the United States, "4 Minutes" debuted at number 68 on the Billboard Hot 100 chart for the issue dated April 5, 2008, based solely on airplay. Within a week, the song had jumped 65 places, reaching number three on the chart. This leap was spurred by first-week digital sales of 217,000, enabling the song to enter Billboard's Digital chart at number two, behind Mariah Carey's single "Touch My Body". The song became Madonna's first top-ten single since "Hung Up" (2005), and was her 37th Hot 100 top-ten hit, breaking the record previously held by Elvis Presley. "4 Minutes" was also her highest-charting single on the Hot 100 since "Music" reached the top of the chart in 2000. For Timberlake, "4 Minutes" became his ninth top-ten hit. On the Pop 100 chart, the song reached a peak of two. "4 Minutes" was a success on Billboard's dance charts, topping both the Hot Dance Club Play and the Hot Dance Airplay charts. Almost five months after its release, "4 Minutes" was certified double platinum by the Recording Industry Association of America (RIAA) for sales of two million paid digital downloads. "4 Minutes" was the tenth most downloaded song in the United States in 2008 with sales of 2.37 million, according to Nielsen SoundScan, and has sold over three million copies as of July 2012.
None of us did [understand the concept of the black screen]. It was just, you know, it's very conceptual. We basically gave the song to the two French directors [Jonas & François] and they came up with the only concept that I thought was interesting, with this black sort of amorphous graphic line slowly eating up the world. I just liked that as a concept.
"4 Minutes" was used in the film Get Smart (2008), in a scene and its film credits. It was one of the songs covered by the cast of Glee during the April 20, 2010 episode "The Power of Madonna". The fictional character Kurt Hummel, portrayed by Chris Colfer, sang Madonna's parts while Mercedes Jones (Amber Riley) sang Timberlake's. In the episode, the song is performed during a routine by the high-school cheering squad, accompanied by the school band. The version was released both as a digital downloadable single and on the EP, Glee: The Music, The Power of Madonna. "4 Minutes" cover charted on the Hot Digital Songs of Billboard at number 55 on May 8, 2010, while reaching number 89 and number 70 on the Billboard Hot 100 and Canadian Hot 100, respectively.
Justin Timberlake – writer, vocals, producer
== Charts ==
The oppressive heat slows McTeague's progress. Schouler's progress is also beginning to wane when he spies McTeague and moves in to arrest him. After a confrontation, McTeague's horse bolts and Schouler shoots it, puncturing the water container. The water spills onto the desert floor. The pair fight one last time, with McTeague proving the victor; however, Schouler has handcuffed himself to McTeague. The film ends with McTeague left in the desert with no horse, no water, handcuffed to a corpse and unable to reach the remaining money.
Erich von Ritzau as Dr. 'Painless' Potter, a travelling dentist
Max Tyron as Uncle Rudolph Oelbermann, Trina's uncle
E. 'Tiny' Jones as Mrs. Heise
Lon Poff as the man from the lottery company
Stroheim was known for his meticulous perfectionism and attention to detail, as well as his insolence towards studio executives. Working on Greed, Stroheim set out to make a realistic film about everyday people and rejected the Hollywood tropes of glamor, happy endings and upper-class characters. Before shooting began, Stroheim told a reporter:
With the exception of Jean Hersholt, all of the main actors in Greed were regulars of Stroheim's earlier films, a group dubbed the "Stroheim Stock Company." Gibson Gowland had previously appeared in Blind Husbands and returned to the U.S. from Scotland for the role of John McTeague. Cesare Gravina, who played the junkman Zerkow, and Dale Fuller, the lottery-ticket seller Maria, had both appeared in Foolish Wives and would later appear in The Merry Widow. Other actors in Stroheim's Stock Company included Sidney Bracey, Mae Busch, George Fawcett, Maude George, Hughie Mack and George Nichols.
After filming in San Francisco wrapped in late June, the production traveled to Death Valley. Most Hollywood films that required desert scenes settled for the local Oxnard dunes north of Los Angeles, but von Stroheim insisted on authenticity. Death Valley had no roads, hotels, gas stations, or running water and was occupied by tarantulas, scorpions and poisonous snakes. The nearest populated area to the shoot was 100 miles (160 km) away and insurance coverage was denied. Filming in Death Valley lasted for two months during midsummer, allowing actors Gowland and Hersholt time to grow the beards necessary for the sequence. Some members of the production reported temperatures between 91 and 161°F (33 and 72°C), but the highest temperature officially recorded in Death Valley during the period was 123°F (51°C). Of the 43 members of the cast and crew who worked on the Death Valley sequence, 14 became ill and were sent back to Los Angeles.
Stroheim favored "Soviet-style" montage editing. Greed often uses dramatic close-ups and cuts instead of long takes. One exception to this is the scene in which Schouler becomes angry with McTeague and breaks his pipe, which was shot in one long, unbroken take. Stroheim also used symbolic cross-cutting for dramatic effect, such as his use of animals in the film and a shot of a train when McTeague and Trina first kiss. In 1932 film theorist Andrew Buchanan called Stroheim a montage director, stating that "each observation would be captured in a 'close-up' and at leisure, he would assemble his'shots' in just the order which would most forcibly illustrate the fact." In the 1950s film critic André Bazin praised Stroheim's use of mise en scène and noted his "one simple rule for directing. Take a close look at the world, keep on doing so and in the end it will lay bare for you all its cruelty and ugliness."
Throughout his career von Stroheim used grotesque imagery and characters. This is most apparent in the wedding-banquet scene, which includes a midget, a hunchback, a woman with buck teeth and a boy on crutches. The wedding guests violently and crudely devour their meal like animals. This scene was unlike any other in films of that period, which treated meals with dignity and a sense of communion. Other instances of grotesque imagery include Trina's fingers becoming infected and amputated. Von Stroheim contrasted love scenes between McTeague and Trina with their ugly, lower-class environment, such as the sewer with the dead rat and a garbage truck driving by as they kiss.
Editing Greed took almost a year and von Stroheim's contract did not include payment for his post-production work. He and his chief film cutter Frank Hull worked on the film for several months before completing a rough cut. Von Stroheim was indecisive during editing. He felt restricted by his contract's limitation on the length of the film. Von Stroheim colored certain scenes with gold tinting by using the Handschiegl Color Process, in which individual frames are hand colored with stencils. Von Stroheim credited himself in the beginning titles with "Personally directed by Erich von Stroheim."
MGM executives screened Greed at full length once to meet contractual obligations. Idwal Jones, a San Francisco critic, attended the all-day screening and wrote that while some of the scenes were compelling, Stroheim's desire that "every comma of the book [be] put in" was ultimately negative. MGM then took control and re-edited it. The studio ordered June Mathis to cut it down further; she assigned the job to an editor named Joseph Farnham. Farnham was a well-known "titles editor," who patched scenes together using title cards to keep continuity. His contributions to Greed include the notorious title cards "Such was McTeague" and "Let's go over and sit on the sewer," which were snickered at for years. Eventually Farnham reduced Greed to 10 reels, totaling 10,607 feet (3,233 m). Von Stroheim said that the film "was cut by a hack with nothing on his mind but his hat." He later bitterly lamented that Greed was made before the financial success of Eugene O 'Neill's four-hour play Strange Interlude in 1928. Von Stroheim angrily disowned the final version, blaming Mathis for destroying his masterpiece.
Individual scenes or sequences that were cut include McTeague and Trina's early, happy years of marriage, the sequence showing McTeague and Trina eventually moving into their shack, the family life of the Sieppe family before Trina's marriage, the prologue depicting McTeague's mother and father at the Big Dipper mine and McTeague's apprenticeship. Other cuts included the more suggestive and sexual close-up shots depicting McTeague and Trina's physical attraction to each other, the scenes after McTeague has murdered Trina and roams around San Francisco and Placer County, additional footage of Death Valley, additional footage of Trina with her money, and a more gradual version of Trina's descent into greed and miserly obsession.
Greed received mostly negative reviews. The trade paper Harrison's Report said that "[i] f a contest were to be held to determine which has been the filthiest, vilest, most putrid picture in the history of the motion picture business, I am sure that Greed would win." Variety Weekly called it "an out-and-out box office flop" only six days after its premiere and claimed that the film had taken two years to shoot, cost $ 700,000 and was originally 130 reels long. The review went on say that "nothing more morbid and senseless, from a commercial picture standpoint, has been seen on the screen for a long, long time" and that despite its "excellent acting, fine direction and the undoubted power of its story ... it does not entertain." In its December 1924 – January 1925 issue, Exceptional Photoplays called it "one of the most uncompromising films ever shown on the screen. There have already been many criticisms of its brutality, its stark realism, its sordidness. But the point is that it was never intended to be a pleasant picture." In the February 1925 issue of Theatre Magazine, Aileen St. John-Brenon wrote that "the persons in the photoplay are not characters, but types — they are well selected, weighed and completely drilled. But they did not act; they do not come to life. They perform their mission like so many uncouth images of miserliness and repugnant animalism." Mordaunt Hall of the New York Times gave the film a mostly positive review in regards to the acting and directing while criticizing how it was edited, writing that MGM "clipped this production as much as they dared ... and are to be congratulated on their efforts and the only pity is that they did not use the scissors more generously in the beginning." In a Life Magazine article, Robert E. Sherwood also defended MGM's cutting of the film and called von Stroheim "a genius ... badly in need of a stopwatch." Iris Barry of the Museum of Modern Art (MoMA) disliked the tinting, saying "a not very pleasing yellow tinge is smudged in." A March 1925 review in Pictureplay magazine stated, "perhaps an American director would not have seen greed as a vice."
== Legacy ==
There were also reports that MGM had retained a copy of the original version. Iris Barry of the Museum of Modern Art claimed that a copy was locked in the MGM vaults, although Thalberg denied it. It was also reported that John Houseman had a private screening at MGM and that MGM owned two copies stored in a vault in a Utah salt mine. Lotte Eisner once claimed that in the 1950s and 1960s, several cans of films labeled "McTeague" were found in MGM's vaults and destroyed by executives who did not know that it was footage from Greed. MGM executive Al Lewin said that several years after the film's release Stroheim asked him for the cut footage. Lewin and editor Margaret Booth searched MGM's vault but could not find any missing footage.
== History ==
John Michael Wright, who at the height of his career would interchangeably sign himself "Anglus" or "Scotus", is of uncertain origin. The diarist John Evelyn called him a Scotsman, an epithet repeated by Horace Walpole and tentatively accepted by his later biographer, Verne. However, writing in 1700, the English antiquarian Thomas Hearne claims Wright was born in Shoe Lane, London and, after an adolescent conversion to Roman Catholicism, was taken to Scotland by a priest. A London birth certainly seems supported by a baptismal record, dated 25 May 1617, for a "Mighell Wryghtt", son of James Wright, described as a tailor and a citizen of London, in St Bride's Church, Fleet Street, London.
Perhaps tactfully, the record glosses Wright's employment in Flanders, (euphemistically referred to as "other parts") as England and the Habsburgs were now at open war, and it fails to mention his membership of the Accademia di San Luca, which would have identified him as a Roman Catholic.
=== Royal patronage ===
In 1685, when the openly Roman Catholic James II ascended the throne, Wright was able to return to royal service. However, significantly, James did not employ Wright as an artist, but gave him the "time consuming and futile post" of steward on a diplomatic embassy. He was appointed as steward to Roger Palmer, 1st Earl of Castlemaine husband of Barbara Villiers, the late King's mistress. Wright's knowledge of Rome and of the Italian language may have played a part in this, as Castlemaine was dispatched, in 1686, on an embassy to Pope Innocent XI to demonstrate that England could become a player on the Roman Catholic side in impending European conflicts. Wright's role in the embassy was to oversee the production of elaborate coaches, costumes and decorations for the procession, which secured a papal audience in January 1687. He also arranged a stupendous banquet for a thousand guests in the Palazzo Doria Pamphilj, complete with sugar sculptures and a large state portrait of James II. While in Rome, Wright published an illustrated Italian account of the embassy, dedicated to the Duchess of Modena and, on his return, an English version was published in October 1687, dedicated to her daughter Queen Mary.
Much of the scholarly appreciation of Wright's work is fairly recent. In 1982, an exhibition of his work: ‘ John Michael Wright – The King ’ s Painter ’ – in the Scottish National Portrait Gallery – led to a renewed interest in his contributions, and the catalogue (edited by Sara Stevenson and Duncan Thomson) re-wrote and uncovered much of the known biographical details. New works continue to be discovered and previously known ones re-attributed to him. Wright is now viewed as amongst the most successful of seventeenth-century Britain's indigenous artists, and is rated alongside contemporaries such as Robert Walker and William Dobson. One modern exhibition catalogue described him as "the finest seventeenth century British-born painter". Certainly, he was one of the few who painted the elite aristocracy of his day, and was responsible for some of the most magnificent royal portraiture surviving. This achievement is particularly significant in an age where even British patrons had tended to favour foreign artists like Holbein and Van Dyck, and would continue to favour immigrants such as Lely and Kneller. Indeed, part of the reason for Wright's success is recognised as being his unusually cosmopolitan training: no prior British artist had so much exposure to European influence. During his Italian sojourn, and his participation in the Accademia di San Luca, not only had Wright collected works attributed to continental giants like Michelangelo, Raphael and Titian, he had also been influenced by, and even copied, much of their tone and style.
The cartoon marks a notable moment in the history of the Internet. Once the exclusive domain of government engineers and academics, the Internet had by then become a subject of discussion in general interest magazines like The New Yorker. Lotus Software founder and early Internet activist Mitch Kapor commented in a Time magazine article in 1993 that "the true sign that popular interest has reached critical mass came this summer when the New Yorker printed a cartoon showing two computer-savvy canines".
The Apple Internet suite Cyberdog was named after this cartoon.

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