Who was the first president of the United States to declare a national day of Thanksgiving?

Who was the first president of the United States to declare a national day of Thanksgiving?

– Thomas Jefferson
– John Adams
– Abraham Lincoln
– George Washington

George Washington was an American statesman and soldier who served as the first President of the United States from 1789 to 1797 and was one of the Founding Fathers of the United States. Wikipedia
Born: 22 February 1732, Westmoreland County, Virginia, United States
Died: 14 December 1799, Mount Vernon, Virginia, United States
Spouse: Martha Washington (m. 1759–1799)
Presidential term: 30 April 1789 – 4 March 1797
If the freedom of speech is taken away then dumb and silent we may be led, like sheep to the slaughter.
Associate with men of good quality if you esteem your own reputation; for it is better to be alone than in bad company.
Government is not reason; it is not eloquence; it is force! Like fire, it is a dangerous servant, and a fearful master.

George Washington

Although not adopted by a unanimous vote of the House, the call for a day of thanksgiving prevailed, and a committee selected to pitch the idea to President George Washington. The Senate readily agreed to the resolution and appointed its own members to the House committee. The proposal went to President Washington on Sept. 28, 1789. Washington easily agreed to the resolution and issued the first Thanksgiving Proclamation Oct. 3, 1789. Source: GWpapers.Virginia.Edu

What yearly event sees a 10 percent increase in the risk of suffering a heart attack?

What yearly event sees a 10 percent increase in the risk of suffering a heart attack?

– Eating a large meal for Christmas dinner
– Celebrations for the Day of the Dead
– Switching to daylight saving time in spring
– Watching horror movies on Halloween

Switching to daylight saving time in spring


Monday and Tuesday mornings after the switch to daylight saving time, when clocks move ahead one hour in spring, may see a 10 percent increase in the incidence of heart attacks.
The opposite trend occurs in the fall when clocks switch back to standard time. According to the study, the Monday morning after the switch is the most dangerous time, with heart attack risks peaking when people are getting up earlier to go to work. Source -ScienceDaily.com

Who built the first film studio in the United States?

Who built the first film studio in the United States?

Film History Before 1920

Tuesday, November 7, 2017

6:42 PM

Clipped from:

East and West Coast Film Studio Development:

As a result of the MPPC’s corporate efforts, independent film makers fought back. For example, Laemmle encouraged the US government to bring anti-trust action against the Patents Company, and also signed deals with the Lumieres in France to provide a supply of film stock. The independents had sought places free from oppressive, strong-armed interference by the powerful trust, from 1908-1912. That led them away from East Coast urban centers (New York and New Jersey) and lawsuits from the Edison Trust’s lawyers to Southern California (near the Mexican border), where sunlight, cheap property, inexpensive non-union labor, cooperative business and real estate interests, and exotic varying locales (ocean, desert, and mountain landscapes) were plentiful.

In 1903, Hollywood was officially incorporated as a municipality. In 1910, the population of Hollywood was only 5,000. In about ten years, it would grow to 35,000. The rapid growth of film production in the Los Angeles/Hollywood area accounted for over 60% of all US film-making by 1915. Independent producers also formed their own production companies in Europe.

The Move to Los Angeles / Hollywood:
Budding filmmakers were lured to the West Coast by incentives from the Los Angeles Chamber of Commerce, with promises of sunshine – an essential before the dawn of indoor studios and artificial lighting, a potentially-cheap labor force, inexpensive land for studio construction, and varied landscapes for all the genres of films. Soon, West Coast production was challenging other studios in New York City and Ft. Lee, New Jersey.

With the one-reel The Count of Monte Cristo (1908), the Selig Polyscope Company claimed it was the first studio to shoot a narrative film in Los Angeles, although Biograph was first. It was also made partly in Chicago and other areas on the coast around LA. Selig was probably the first U.S. company to shoot a two-reel film, Damon and Pythias (1908). [The first dramatic film made solely in LA was Selig’s director Francis Boggs’ In the Sultan’s Power (1909).]

In 1909, the Selig Polyscope Company established the first permanent film studio in the Los Angeles area, at 1845 Allesandro Street (now Glendale Blvd.) in Edendale [present day Echo Park]. This is where Tom Mix and G.M. "Broncho Billy" Anderson gained fame before going on to other studios. In 1913, Selig purchased 32 acres of adjoining land, where he established the Selig Zoo at 3800 Mission Rd. in Eastlake Park. The company became well known for animal and jungle pictures, having at hand the resources of the zoo – the largest privately owned zoo in the country at the time. In 1916, Selig sold the Edendale property to William Fox and moved his studio onto the zoo property. Selig Polyscope made the first true serial, The Adventures of Kathlyn (1913-1914), but closed down its operations in 1918 when it went bankrupt, and the Selig facilities then became Louis B. Mayer Pictures.

By 1911, New Jersey film producer David Horsley established/opened Hollywood’s first motion picture studio, the Christie-Nestor Studio, also called the Christie Film Company or Nestor Motion Picture Company, in an old tavern at the corner of Sunset Blvd. and Gower Street (later an area dubbed "Poverty Row"). The area around the corner became known as "Gower Gulch". [Many years later, the site of the Nestor Studio was occupied by the West Coast headquarters of CBS.] The city of Hollywood was developing a ‘movie colony’ and distinctive carefree lifestyle for its film-makers and actors. "Hollywood" was soon on its way to becoming the film capital of the world.


The primitive natural color film system dubbed Kinemacolor, commercially-developed around 1906 by expatriot American Charles Urban and his inventive British partner George Albert Smith, was one of the primary rivals to early Technicolor. Kinemacolor was a very early, simple two-color additive process (although not the first), which used only red and green. The 8-minute UK short film A Visit to the Seaside (aka A Visit to the Seaside at Brighton Beach, England), directed by Smith himself, was the first commercially-produced film in natural color – using the revolutionary process. It was first exhibited in 1908, then shown publically in 1909 in London, and later released in the US in late 1910.

In 1909, it established itself as the Kinemacolor Company of America, and built a film studio in Los Feliz (near Hollywood where Sunset and Hollywood Blvds. meet). It became most notable for its Hollywood studio being taken over by D. W. Griffith in 1913 and renamed Griffith Fine Arts Studio. Griffith also took over Kinemacolor’s failed plans to film Thomas Dixon’s The Clansman, which eventually became The Birth of a Nation (1915).

Although this two-color system was quite successful in Europe, and quite a few films were made using the process in the teens – including two of the world’s very first color feature films: the documentary The Durbar at Delhi (1912), and the first feature-length color film The World, the Flesh, and the Devil (1914) that premiered in London, the onset of the Great War and damaging patent lawsuits brought about its demise.

Anti-Trust Action Against the Trust:

By 1912, 15 film companies were operating in Hollywood, and large studios were becoming the norm. Nickelodeons were on the decline and were being replaced by larger movie palaces, and audiences demanded longer films beyond one or two reels. Movie production was becoming divided between the East and West Coast studios.

Eventually, a successful anti-trust suit, instigated by William Fox (founder of the Fox Film Corporation), was first heard by the US government in 1913 (on behalf of independent film companies including Paramount, Fox, and Universal) against the MPPC. In October, 1915, the MPPC and its General Film subsidiary were declared an illegal monopoly. The trust was ordered to pay over $20 million in damages. Following litigation for anti-trust activities and its ‘restraint of trade,’ the MPPC was finally ordered to disband by the US Supreme Court in 1917 and officially dissolved by 1918. But the independents had already outmaneuvered the ineffectual trust. The dominance of East Coast studios was over, as Hollywood became the center of film production, and many of the independents on the West Coast combined into bigger companies.


During the early 1900s, Vitagraph (founded in 1896 by two British vaudevillians) was a major competitor to Edison’s Company. It became known for its filming of historical events, including Teddy Roosevelt’s charge up San Juan Hill in the Spanish-American War, the Boer War in S. Africa, the Galveston flood of 1900, President McKinley’s assassination in 1901, Roosevelt’s inauguration in 1904, and the aftermath of the San Francisco Earthquake in 1906.

In 1905, they built their first studio in the Flatbush area of Brooklyn, New York for their base, and expanded into California in 1910, where they opened a film-production studio in downtown Santa Monica on 2nd St., but were forced to move slightly eastward by 1915 due to Santa Monica’s fog – not conducive to natural-light filming conditions. [Vitagraph’s West Coast studio lot in Hollywood is now the location of ABC Television Center Studios.] And it was the first studio to become a film exhibitor.

Some of its earliest stars were ‘Broncho Billy’ Anderson, Annette Kellerman, Florence E. Turner (the "Vitagraph Girl"), Norma Talmadge, Alice Calhoun, and Clara Kimball Young. Vitagraph was the only MPPC company that survived the break-up of the trust in 1917. It was eventually absorbed into Warner Bros. in 1925.

Early Film Stars and Firsts:

Carl Laemmle was responsible for creating the ‘star system.’ In the earliest productions, actors’ identities were kept anonymous and unknown in order to give preference to the pictures themselves, to prevent performers from overvaluing themselves, and because the profession of movie acting was considered inferior to stage acting. The MMPC also was requiring that actors remained nameless to prevent them from demanding higher salaries and becoming more powerful. At first, the popularity of uncredited film stars was determined by the weight of their post-bags. The first US production company to start the ‘star system’ trend was Kalem, when it issued star portraits and posters in 1910.

In 1909, Laemmle lured Florence Lawrence (the first "Biograph Girl," named after the company she worked for), a child star and one of the unknown ‘players’ at D. W. Griffith’s Biograph studios, away from the rival studio to IMP – his own studio. He catapulted her to fame in 1910 by originating the ‘publicity stunt.’ He cultivated her stardom with a large personal, publicity campaign – Florence Lawrence was literally the very ‘first American movie star.’

He generated a massive publicity campaign for Lawrence by reacting to a false story (created by "enemies of the IMP" – Biograph or the MPPC?) about how she had been killed in a NYC streetcar accident (the story was allegedly found in a St. Louis Post Dispatch newspaper, yet there was no evidence of its existence). When enough sympathy had been produced from the presumably self-fabricated story, he revealed the "cowardly…silly lie" in a promotional ad on March 12th, 1910 in Moving Picture World titled "We Nail A Lie," denouncing the original report of her death. The ad announced that Lawrence (known as "The Imp Girl") was never in a streetcar accident and was in "the best of health." This was the first major movie-industry publicity stunt to receive widespread press coverage. He combined this with Lawrence’s reassuring in-person public appearance in St. Louis in April, 1910 at the train station and theatre with her leading man King Baggot at the St. Louis premiere of her next IMP film, director Harry Solter’s The Broken Oath (1910) (aka The Broken Bath), released March 14th.

Laemmle increased "Flo Lo"’s salary to a phenomenal $1,000 a week and she became the first player to receive a screen credit and to have her name revealed in her first film for IMP, The Broken Oath (1910) (aka The Broken Bath). And she was interviewed in 1911 in Motion Picture Story – often considered the first movie star interview. Other studios followed suit and created their own stars, such as "the Vitagraph Girl," and film advertisements and lobby posters at theaters displayed photos of the star players for theatre audiences.

Another Biograph actress with long, cork-screw blonde curly locks, (nicknamed "Little Mary") Mary Pickford (soon to be known as "the Girl with the Golden Hair") also moved over to IMP from Biograph. She took over for the departed Florence Lawrence and became the first major star of movie-making. In 1912, she returned to Biograph for awhile, and then moved onto Adolph Zukor’s Famous Players. She was soon dubbed "America’s Sweetheart", became universally popular and commanded high salaries. She was paid $175/week at first and then $1,000/week for a five year period. Capitalizing on the intense bidding for actresses, Mary Pickford in 1916 she became an independent producer, and became the highest-paid star in the business after accepting a two-year, million-dollar contract (that included a percentage of the profits) with Adolph Zukor’s Paramount Pictures. It was the first "million-dollar contract" in Hollywood.

Then in 1918, Pickford defected from Adolph Zukor’s Famous Players and joined First National Pictures with a production deal worth millions of dollars. Around the same time in 1917, actor Charlie Chaplin signed up with First National in a nine-picture deal, becoming the first actor with a million-dollar deal. First National Pictures had already opened up a large studio facility in Burbank in 1917, and was fast becoming one of the largest film companies.

The most highly-paid performers at the end of the 1910s and in the early 20s were Roscoe "Fatty" Arbuckle (who was lured in 1918 by the first multi-year, multi-million dollar a year deal to make six-feature films within three years with Paramount), Mary Pickford, Charlie Chaplin, Alla Nazimova, and Tom Mix.

Fan Magazines:

The phenomenon of fan magazine publishing and movie trade papers was also created. The first US fan magazine Motion Picture Story Magazine debuted in February, 1911. The Moving Picture World and The Motion Picture News also offered interviews and gossipy columns about the personal lives and careers of the stars. Photoplay, the first true movie fan magazine, debuted in 1912, and gave rise to the whole idea of a celebrity culture.


Serials (films released in episodic installments) became extremely popular in the short period before The Great War. They included death-defying stunts, speedy plots, sensationalism, and nice-girl female leads in distress. The first American serial was the Edison Company’s What Happened to Mary? (1912) (12 episodes), starring actress Mary Fuller. "Cliffhangers" were added as a standard serial feature in Selig’s first true serial, The Adventures of Kathlyn (1913-14) (13 episodes), with Kathlyn Williams.

And then Pearl White had her first starring role in another episodic serial (of 20 episodes), The Perils of Pauline (1914) for Pathe in 1914. White’s success led to further serials: The Exploits of Elaine (1914) (14 episodes), The New Exploits of Elaine (1915) (10 episodes), and The Romance of Elaine (1915) (12 episodes). For more on the development of serial films from the pre-talkie era to the 1950s, see serial films.

Beginning in 1914, the feature film, the cartoon (the first prominent animated cartoon character was Gertie, from Gertie the Dinosaur (1914) by Winsor McCay), the war film, the costume epic, the western, the slapstick comedy, and the adventure serial appeared in substantial form.

The first publicity-fabricated, studio-created character was also popularized on Hollywood movie screens as "the vamp." In 1915, the Fox Film Corporation (founded by early film producer William Fox who owned a number of movie houses on the East Coast and then moved westward to Hollywood) renamed one of its main box-office stars Theda Bara (her given name was Theodosia Goodman), and she quickly became Hollywood’s first tempting ‘sex symbol’ and vamp archetype after an appearance in A Fool There Was (1916), Fox’s first feature release. Publicists intrigued moviegoers by claiming that Theda Bara’s name was an anagram of ‘Arab Death’ and that she shared an astrological sign with Cleopatra – in actuality, the actress was a Jewish girl from Cincinnati, Ohio.

Thomas Harper Ince: Early Film Innovator

One of the earliest trail-blazing industry’s innovators was producer/director Thomas Harper Ince (1882-1924), whose major claims to fame were the making of crude westerns and the development of the "factory-studio system" to mass produce films. After a short stint at Biograph as an actor and director, he joined Carl Laemmle’s Independent Moving Picture (IMP) Company in 1910, and moved west to California in 1911, when he left IMP and joined the New York Motion Picture Company (NYMP) in their Los Angeles studio, called Bison Pictures, located in Glendale. [Note: NYMP and the Selig Polyscope Film Company of Chicago had set up studios near Los Angeles in Edendale (present-day Echo Park), initiating the establishment of West Coast studio production.]

Ince supervised the New York Motion Picture Company-owned subsidiary Bison Company, or Bison Life Motion Pictures. In 1912, his Bison Company production studios purchased the Miller Brothers 101 Ranch and the Wild West Show to use their props and performers for his assembly-line, mass-produced films. The company was renamed Bison 101 Company. It became a studio/ranch that specialized in westerns. [Note: The Miller Brothers 101 Ranch owned the land (about 18,000 acres of seacoast land in Santa Ynez Canyon and the surrounding hills) where Universal was eventually established and it was the Millers who dubbed it "Inceville."] His studio reinvigorated the Western film genre. Ince’s authentic-looking pictures were due to the fact that he used actual props and hired real-life cowboys and Indians from the Miller Brothers’ 101 Ranch and Wild West Show as extras in his films. Carl Laemmle moved production units into Inceville and produced his own westerns, carrying the 101-Bison brand name.

Thomas Ince developed a system of advanced planning and budgeting, and shot his films from detailed "shooting scripts" (that broke down each scene into individual shots). It became a prototype for departmentalized and specialized Hollywood film studios of the future, with a studio head (or boss), directors, managers, production staff, and writers all working together under one organization (the unit system). This pattern or system was best typified by the organizations formed by David O. Selznick and Samuel Goldwyn. Ince’s best known film production was the anti-war film Civilization (1916) with frequent director-collaborator Reginald Barker. In the early 1910s, famed director John Ford’s older brother Francis was directing and starring in westerns in California for producer Ince, before joining Universal and Carl Laemmle in 1913.

Thomas Ince decentralized and economized the process of movie production by enabling more than one film to be made at a time (on a standardized assembly-line) to meet the increased demand from theaters, but his approach led to the studio’s decline due to his formulaic, unfresh, mechanized, and systematized approach to production. [However, his methods continue into the present day within Hollywood’s major studios.]

In 1914, he was responsible for launching the career of William S. Hart, an actor who starred in dozens of westerns until 1925. In 1915, he joined D. W. Griffith (of Griffith Fine Arts Studio) and Mack Sennett (of Keystone Pictures, see below) to co-found the Triangle Motion Picture Company (aka the Triangle Film Corporation) (with a studio on Sunset Boulevard). [Note: Earlier, this studio was the home of the Kinemacolor Company, located at the intersection of Sunset and Hollywood Boulevards.] During construction of a new Triangle studio in Culver City on Washington Boulevard [the present-day site of Sony Studios], directly next to Thomas Ince Pictures, Triangle moved onto the Griffith Fine Arts Studio lot.

After the Great War in 1918, Ince broke off from Triangle and joined competitor Adolph Zukor to form Paramount/Artcraft, and Ince also built another studio (his own production company named Thomas H. Ince Pictures) in Culver City. [Note: This studio eventually became the physical plant for MGM.] When his association with Zukor ended in 1919, he joined an independent film alliance or releasing company named Associated Producers, Inc., which later merged in 1922 with First National. Ince found that his productions were being surpassed by grander-scaled, star-studded film studios of early Hollywood. Filming ceased at the Inceville property around 1922 and the buildings burned to the ground in 1924.

Ince mysteriously died one night in November, 1924, aboard William Randolph Hearst’s yacht in the harbor of San Pedro while celebrating his 42nd birthday. [Note: The murder was recreated in Peter Bogdanovich’s The Cat’s Meow (2002), which speculated that he was shot when a drunken Hearst caught his mistress, Marion Davies, in amorous circumstances with Charlie Chaplin and shot at him, accidentally hitting and fatally wounding Ince instead.]

Very few of Ince’s films from his prolific days of film production survive to this day, with one notable exception being The Italian (1915), preserved by the National Film Registry.)

Keystone and Mack Sennett ("The King of Comedy"):

Besides westerns and melodramas, one-reel slapstick comedies were also very popular. One of the other most influential figures in film at this time, famous for a brand of physical comedy called slapstick, was Canadian vaudevillian Mack Sennett, originally a writer, director, and apprentice actor for D. W. Griffith at Biograph in New Jersey. The studio’s early "slapstick" comedy, The Curtain Pole (1909), director D. W. Griffith’s only ‘slapstick’ comedy, with Mack Sennett in the lead role, boosted the career of the aspiring comic showman.

After three years on the East Coast, Sennett left in 1912 with financial backing to co-found the New York Motion Picture Company-owned Keystone Film Company or Keystone Pictures Studio (with Cecil B. DeMille and D. W. Griffith) in Los Angeles (Glendale). Sennett became known as the self-dubbed ‘King of Comedy’ – well-known for his unsophisticated, humorous Keystone Comedies, first released in 1913 and assembly-line produced for many years – in a period dubbed the "Golden Age of Comedy." He was the film industry’s first real producer. The first Mack Sennett Keystone production was Cohen Collects a Debt (1912). Sennett’s first Keystone Kops short film was Hoffmeyer’s Legacy (1912). The hapless characters in the Keystone Kop films were particularly hilarious, enduring automobile collisions, near-misses, mishaps, and other physical comedy.

He made the first American feature-length comedy – Tillie’s Punctured Romance (1914), was responsible for almost a thousand, mostly crude, low-budget films – usually one and two-reel comedies, and he popularized bathing beauties with skimpy outfits. Most of the earliest, action-based, zany films were filled with improvised action, manic slapstick, physical farce, stereotyped characters, exaggerated madcap chases, pie-throwing, pranks and romances.

Comedians such as Roscoe "Fatty" Arbuckle, Charlie Chaplin, Marie Dressler, Gloria Swanson, the Keystone Kops, Mabel Normand, cross-eyed Ben Turpin, Harry Langdon, Harold Lloyd, and Chester Conklin trace their roots to the Keystone Studio.

In 1915 Keystone was merged as an autonomous unit into the new Triangle Film Corporation, which united the talents of Sennett, D. W. Griffith, and American producer Thomas Ince. The Keystone Studio did not do well after the departure of Sennett in 1917, when he formed a new company, Mack Sennett Comedies, featuring his main stars Normand and Turpin.

Charles Chaplin and The Tramp:

The first truly great film star was British vaudevillian actor Charlie Chaplin – he began working as an apprentice for Sennett in 1913, playing small parts as a Keystone Kop. In 1914, he debuted his trademark mustached, baggy-pants "Tramp" character (in Kid Auto Races At Venice (1914)) and appeared in his first Mack Sennett short comedy Making a Living. In the same year, Chaplin appeared in the six-reel Tillie’s Punctured Romance (1914) , Sennett’s first feature-length picture (and the first US multi-reel comedy feature). Charlie Chaplin also added his famous walk to his familiar tramp character in The Tramp (1915), created under the Essanay Company. He soon began directing, writing, producing, and starring in his own films.

Having perfected his Little Tramp character by mid-decade, Chaplin left Sennett in 1916 and began working for the Mutual Film Corporation for $10,000/week, making short films such as The Rink (1916), The Pawnshop (1916), The Immigrant (1917) and Easy Street (1917). He also built his own studio, Charlie Chaplin Studio, in Hollywood in 1917. Soon afterwards, Chaplin signed the first million-dollar film contract in 1918 with First National Pictures and made The Kid (1921).

Film History of the Pre-1920s
Part 1, Part 2, Part 3, Part 4, Part 5

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Question: Though it later became associated with Christie Brinkley, Billy Joel’s hit “Uptown Girl” was originally about whom?

Though it later became associated with Christie Brinkley, Billy Joel’s hit “Uptown Girl” was originally about whom?

– Cindy Crawford
– Brooke Shields
– Elle Macpherson
– Claudia Schiffer

Answer: While everyone assumes this song was written about Billy Joel’s wife Christie Brinkley (especially since she appears in the video), it was model Elle Macpherson that served as the inspiration for the song. According to numerous interviews with Joel, although the song was initially written about his relationship with his then-girlfriend Elle Macpherson, it ended up also becoming about his soon-to-be wife, Christie Brinkley.The title character in the music video was played by Christie Brinkley, whom Joel married two years later.

Elle Macpherson

Elle Macpherson is an Australian model, businesswoman, television host and actress. She is well known for her record five cover appearances for the Sports Illustrated Swimsuit Issue beginning in the 1980s, leading to her nickname The Body.
Born: 29 March 1964 (age 53), Killara, Sydney, Australia
Height: 1.82 m
Eye colour: Brown
Spouse: Jeffrey Soffer (m. 2013), Gilles Bensimon (m. 1986–1989)
Children: Arpad Flynn Alexander Busson, Aurelius Cy Andrea Busson

Which county in Great Britain is the only one that can claim two coasts as its boundaries?

Which county in Great Britain is the only one that can claim two coasts as its boundaries?

– Devon
– Cornwall
– Caithness
– Dumfriesshire


18.5% correct
The geographic county of Devon includes unitary authorities and the administrative county of Torbay and Plymouth. The geographic county covers the entire geographic area. Devon boasts the Bristol Channel as its boundary on the north and the English Channel as its southern border. It forms a part of the Southwest Peninsula of the island nation. Cornwall county bounds it on the west, with Dorset and Somerset the boundaries in the East. Source: Britannica.com
Devon, also known as Devonshire, which was formerly its common and official name, is a county of England, reaching from the Bristol Channel in the north to the English Channel in the south. It is part of South West England, bounded by Cornwall to the west, Somerset to the northeast, and Dorset to the east. The City of Exeter is the county town; seven other districts of East Devon, Mid Devon, North Devon, South Hams, Teignbridge, Torridge, and West Devon are under the jurisdiction of Devon County Council; Plymouth and Torbay are each a part of Devon but administered as unitary authorities. Combined as a ceremonial county, Devon’s area is 6,707 km2 (2,590 square miles) and its population is about 1.1 million.

Which word in the English language has the most definitions?

Which word in the English language has the most definitions?

– set
– put
– run
– take


25.5% correct

Gilliver, diligently working on the new edition of the O.E.D., worked for nine months to complete the 645 definitions of the word “run.” The record was previously held by the word “set,” but the modern era displaced it to a second-place rating. “Put” comes in a respectable third. The use of the word “run” exploded in the 20th and 21st centuries with the increase in use of machines and computers. Source: NYTimes.com

move at a speed faster than a walk, never having both or all the feet on the ground at the same time.
“the dog ran across the road”
synonyms: sprint, race, dart, rush, dash, hasten, hurry, scurry, scuttle, scamper, hare, bolt, bound, fly, gallop, career, charge, pound, shoot, hurtle, speed, streak, whizz, zoom, sweep, go like lightning, go hell for leather, go like the wind, flash, double; More
pass or cause to pass quickly in a particular direction.
“the rumour ran through the pack of photographers”
synonyms: go, pass, move, travel; More
an act or spell of running.
“I usually go for a run in the morning”
synonyms: sprint, race, dash, gallop, rush, spurt; More
a journey accomplished or route taken by a vehicle, aircraft, or boat, especially on a regular basis.
“the London–Liverpool run”
synonyms: route, way, course, journey; circuit, round, beat
“she volunteered to do the school run”

[Trivia]: Whose face was used to make the mask in the movie “Halloween”?

Whose face was used to make the mask in the movie “Halloween”?

  • Norman Bates
  • Jack Nicholson
  • Vincent Price
  • William Shatner

Tuesday, October 31, 2017

5:20 PM

Clipped from:

Answer: Because the movie Halloween was made on such a tight budget, they had to use the cheapest mask they could find for the character Michael Meyers, which turned out to be a William Shatner Star Trek mask. The production crew removed the eyebrows and sideburns, the face was painted flat white, the hair was teased out, and the eyes were opened up and reshaped with scissors. It became one of the most iconic masks of all time. Shatner initially didn’t know the mask was in his likeness, but when he found out years later, he said he was honored.

People also ask
Why does Michael Myers wear a William Shatner mask?
Case in point: it’s been rumored for decades that the mask the murderous Mike Myers wore in the Halloween films was in fact based on William Shatner’s face. And not just Shatner’s face, but a Captain Kirk death mask created for Star Trek. Well, it’s true.May 10, 2014
Star Trek Was Michael Myers’ Halloween Mask William Shatner’s Face?

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Ans: In what year is the United States predicted to reach a population over 389,000,000?

In what year is the United States predicted to reach a population over 389,000,000?

  • 2035
  • 2040
  • 2045
  • 2050

Monday, October 30, 2017

4:51 PM

Clipped from:

· 2035 32.6%

· 2040 31.2%

· 2045 15.8%

· 2050 20.4%

Using data from the United Nations’ Department of Economic and Social Affairs, Population Division, the population of the United States will reach 389,591,663 people by 2050. The median age of the population will be slowly increasing, moving from a predicted median of 38.3 years in 2020 to the predicted median age of 42.0 years in 2050. This population forecast sees the U.S. falling from No. 3 in population in the world to a ranking of No. 4 by 2050. Source: WorldOMeters.info

The current population of the United States of America is 325,221,644 as of Monday, October 30, 2017, based on the latest United Nations estimates.

The United States population is equivalent to 4.3% of the total world population.

The U.S.A. ranks number 3 in the list of countries (and dependencies) by population.

The population density in the United States is 35 per Km2 (92 people per mi2).

The total land area is 9,147,420 Km2 (3,531,837 sq. miles)

83.4 % of the population is urban (270,683,202 people in 2017)

The median age in the United States is 37.8 years.

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Which iconic movie detective gave the number “2211” when asked for his badge number? | Quizlet Flashcards

Ans: Which iconic movie detective gave the number “2211” when asked for his badge number? | Quizlet Flashcards

Clipped from: http://quizlet.fyi/live/quiz/ans-which-iconic-movie-detective-gave-the-number-2211-when-asked-for-his-badge-number/

Sunday, October 29, 2017

5:37 PM

· Frank Bullitt 17.6%

· Harry Callahan 57.4%

San Francisco Police Inspector Harry Callahan, known as "Dirty Harry," first appeared on the big screen in 1971. Clint Eastwood’s portrayal of the tough-as-nails Callahan is one of the most iconic police roles found in movies. Not one to necessarily play by the rules, Callahan would give his badge number, 2211, when demanded. The movie was originally panned by the critics but it has developed a cult-like following over the years. Source: IMDb.com

· Alex Cross 18.6%

· Samuel Gerard6.38%

The Final Badge-Tossing Scene
In the final scene when Harry executes Scorpio, he hurls his police badge (Inspector 2211, SF Police) into the pond with the body then walks away. This scene is an homage to the final scene of High Noon (1952) when the lone Marshal (Gary Cooper) discards his badge in the dust after being betrayed by an entire town. Nowadays more people know Dirty Harry than High Noon.

Inspector Harold Francis “Dirty Harry” Callahan is a fictional character in the Dirty Harry film series, encompassing Dirty Harry (1971), Magnum Force (1973), The Enforcer (1976), Sudden Impact (1983) and The Dead Pool (1988). Callahan is portrayed by Clint Eastwood in each film.

Callahan is an Inspector with the San Francisco Police Department, usually with the Homicide department, although for disciplinary or political reasons he is occasionally transferred to other less prominent units, such as Personnel (in The Enforcer) or Stakeout (in Magnum Force) or just sent out of town on mundane research assignments (in Sudden Impact). Callahan’s primary concern is protecting and avenging the victims of violent crime. Though proficient at apprehending criminals, his methods are often unconventional; while some claim that he is prepared to ignore the law and professional and ethical boundaries, regarding them as needless red tape hampering justice, his methods are usually within the law – he takes advantage of situations that justify his use of deadly force, sometimes almost creating those situations. When a group of men holding hostages in a liquor store in The Enforcer demand a getaway car, Callahan delivers one by driving the car through the store’s plate glass window and then shooting the robbers. Rather than following the rules of the police department, Callahan inserts himself into the scene of the event at a time when the imminent use of deadly force by the criminals justifies his use of deadly force against the criminals. Conversely, in Sudden Impact when he finds out that Jennifer Spencer (Sondra Locke), the person responsible for a series of murders in San Francisco and San Paulo, was a rape victim killing her unpunished rapists, he lets her go free, indicating that he feels her retribution was justified. In The Dead Pool Callahan shoots a fleeing and unarmed Mafia assassin in the back and kills the villain in the end with a harpoon knowing that the man’s pistol is out of ammunition.

Callahan goes a step further in Dirty Harry, in which he shoots serial killer Charles “Scorpio” Davis after Davis surrenders and put his hands in the air. Determined to know the location of a 14-year-old girl that Davis has kidnapped and buried alive, Callahan then presses his foot onto Davis’ leg wound, ignoring Davis’s pleas for a doctor and a lawyer until Davis gives up the location of the kidnapped girl. Callahan is later informed by the District Attorney that because Callahan kicked in the door of Davis’s residence without a warrant, and because Davis’s confession of the girl’s location was made under the duress of torture, the evidence against him is inadmissible, and Davis has been released without charges filed against him. Callahan explains his outlook to the Mayor of San Francisco, who asks how Callahan ascertains that a man he had shot was intending to commit rape; the inspector responds, “When a naked man is chasing a woman through an alley with a butcher knife and a hard-on, I figure he isn’t out collecting for the Red Cross.”

While his partners and many other officers respect and admire Callahan, others see him as unfit to serve on the police force. He often clashes with superiors who dislike Callahan’s methods, and judges and prosecutors are wary of handling his cases because of frequent violations of the Fourth Amendment and other irregularities. A police commissioner admits that Callahan’s “unconventional methods … get results”, but adds that his successes are “more costly to the city and this department in terms of publicity and physical destruction than most other men’s failures”. (The publicity makes him well known; in Sudden Impact, the police chief of another city calls him “the famous Harry Callahan”, and by The Dead Pool he is so well known that the department wants to transfer him to Public Relations, even while he destroys three police cars in one month and causes a TV station to sue the department.) Callahan is often reprimanded, suspended, and demoted to minor departments. At the start of Magnum Force Lt. Briggs transfers him to stakeout. In The Enforcer Captain McKay assigns him to personnel. In Sudden Impact he is threatened with a transfer to traffic and being fired, in The Enforcer he begins a 180-day suspension imposed by McKay, and in The Dead Pool he is only allowed to stay off desk duty with a new partner. According to film critic Roger Ebert, “it would take an hour in each of these movies to explain why he’s not in jail”.[3]

The films routinely depict Callahan as being a skilled marksman and strong hand-to-hand combatant, killing at least one man with his bare hands. He is a multiple winner of the SFPD’s pistol championship. In the five films, Callahan is shown killing a combined total of 43 criminals, mostly with his trademark revolver, a Smith & Wesson Model 29 .44 Magnum, which he describes as “the most powerful handgun in the world”. He refuses to join the secret police death squad in Magnum Force, as he prefers the present system, despite its flaws, to the vigilante alternative. In his fight against criminals, however, including the fellow officers on the death squad, Callahan is merciless and shows no hesitation or remorse at killing them.

In Dirty Harry, several explanations are suggested for his nickname. When his partner Chico Gonzalez asks of its origins, Frank DiGiorgio says that “that’s one thing about our Harry; [he] doesn’t play any favorites. Harry hates everybody: Limeys, Micks, Hebes, Fat Dagos, Niggers, Honkies, Chinks, you name it,” even though DiGiorgio was joking; Callahan is not a racist. After being called to talk down a jumper, Callahan states he is known as Dirty Harry because he is assigned to “every dirty job that comes along”. When Harry is ordered to deliver ransom money to Scorpio, Gonzalez opines “no wonder they call him Dirty Harry; [he] always gets the shit end of the stick”. In Dirty Harry, Gonzalez humorously suggests that Callahan’s nickname may have an alternate origin given that he twice ends up peeking through a naked woman’s window and later follows a suspect into a strip club.

The films reveal little about Callahan’s personal background. In the first film, Callahan tells Chico Gonzalez’s wife that his wife was killed by a drunk driver. She appears in Magnum Force in an old photograph which Harry turns around. The doctor tending to him after the first film’s bank robbery intimates that “us Potrero Hill boys gotta stick together”. The first film’s novelization explains that Callahan grew up in this neighborhood and describes a hostile relationship between the police and the residents. Callahan recalls once throwing a brick at a cop, who picked it up and threw it back at him. The following sequels show that Harry lives within the city limits in a small studio apartment on Jackson St. in the Nob Hill area, so unfamiliar with his neighbors that they refer to him only as “the cop who lives upstairs”. In Magnum Force Harry’s friend Charlie McCoy says “We should have done our 20 in the Marines”, indicating that they served (or could/should have served) together in the armed forces. In The Dead Pool, a coffee mug on Harry’s desk at the police station bears the United States Marine Corps seal and in The Enforcer he is already checked out on the LAWS rocket, a USMC weapon. His hobbies appear to consist of target shooting and playing pool (which we see him doing in The Enforcer). He appears to subsist on a diet of only hot dogs, hamburgers and strong black coffee which he takes without sugar and is so unchanging that he simply orders ‘The usual’ from the staff of his regular eateries (in The Dead Pool he samples his girlfriend’s unknown dessert but doesn’t have one himself). He drinks beer (and on one occasion apple juice) and both runs and weightlifts in the gym. In Sudden Impact he acquires a pet bulldog called ‘Meathead’ but there is no sign of him in The Dead Pool.

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Who did Johnny Carson replace as host of “The Tonight Show”?

Question: Who did Johnny Carson replace as host of "The Tonight Show"?

Clipped from:

Johnny Carson

American host

John William Carson was an American talk show host and comedian, best known for his 30 years as host of The Tonight Show Starring Johnny Carson. Wikipedia

Born: 23 October 1925, Corning, Iowa, United States

Died: 23 January 2005, Los Angeles, California, United States

Spouse: Alexis Maas (m. 1987–2005), MORE

Children: Cory Carson, Christopher Carson, Richard Carson


I know a man who gave up smoking, drinking, sex, and rich food. He was healthy right up to the day he killed himself.

If life was fair, Elvis would be alive and all the impersonators would be dead.

Mail your packages early so the post office can lose them in time for Christmas.

Answer: Johnny Carson was on born on this day in 1925 in Corning, Iowa, but was raised in Nebraska. Carson walked out from behind the curtain to host The Tonight Show for the first time on October 1, 1962, replacing Jack Paar, who had earlier replaced Steve Allen. For 30 years Carson took his place behind the desk and wowed audiences with his monologues, humorous skits, and memorable characters. Jack Paar’s death at age 85 came just a year before his Tonight Show successor Johnny Carson died from emphysema.

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