who believe that society has an objective reality

Berger looks at the social-psychological processes of people to understand the sociology of knowledge. He calls this the sociology of psychology. He shows how an individual's subjective reality is socially constructed into the individual’s consciousness. He states that this "construction" can either be about the "objective reality" or subjective correlates. For Berger, objective reality is knowledge generally accepted by society as a whole. The fact that the Earth is round is an example of an objective reality. Subjective correlates are the ways the objective world becomes “real” to the individual. The fact that I personally believe the world round is an example of a subjective correlate.

Wikipedia:Sociology of Wikipedia via Rorty and Berger

There are four main traditions in sociology: the post-modern tradition, the conflict tradition, the structural-functionalist tradition, and the symbolic-interactionist tradition. In a simplistic overview, post-modernists look at the world by comparing and contrasting different realities, often removing any centre. Conflict theorists look at how macro society organises its power relations via conflict. Structural-functionalists look at how macro society organises itself into a structure that creates functional interactions; it is about learning how society members work together, not against each other. Finally, symbolic-interactionists look at micro sociology; they analyse how individuals are socialised by society and how these individuals affect society.

This paper analyses the media of Wikipedia – an online free-content encyclopaedia that anyone can edit – via two sociological theorists. The Wikipedia encyclopaedia works by allowing the general public to edit and add to the encyclopaedia. Each individual can have an effect on Wikipedia, but Wikipedia is itself beyond anything an individual has contributed to it. It can be seen, therefore, that Wikipedia has distinct micro attributes common to symbolic interactionist theory. Furthermore, Wikipedia is created via the constant comparison and contrasting of the editors. Thus, Wikipedia can be seen to have attributes common to post-modern theory. Therefore, this paper will analyse Wikipedia from both symbolic-interactionist and post-modern perspectives via Peter L. Berger and Richard Rorty, respectively.

When Berger talks about social-psychology he is talking about how an individual is socialised in a society. He believes socialisation creates a psychological reality for the individual to gain “self,” have a conscious way to process her surroundings, and learn proper ways to interact with other individuals. Furthermore, A person’s psychological reality is in a continual “dialectic relationship” with society. Therefore, an individual can influence the society that has socialised her. For, society is comprised of multiple selves continually affecting and being affected by it. Dialectics is “the process, especially associated with Hegel, of arriving at the truth by stating a thesis, developing a contradictory antithesis, and combining and resolving them into a coherent synthesis.”

Berger states socialisation is the synthesis of the objective reality and subjective correlates. A successfully socialised individual is one that verifies and coincides with the “objective” reality – reality society has decided is real. Furthermore, the individual is socialised to such an extent that she can act completely spontaneously. In other words, the individual’s self, or consciousness, is unable to think outside of the objective reality she has subjectively apprehended. The individual creates identity via terms created by society and these terms become her reality, or “world”. Therefore, society is not only the definition of, but also a creator of, psychological reality.

Berger takes this dialectic concept, which he says is psychological, and extends it in order to understand the sociology of knowledge. He first states that society is the objectification of the almost infinite number of subjective realities, or “worlds,” held by each individual. Society, therefore, is the creation of an objective world above and beyond any individual’s subjective and preferential concept of the universe. Furthermore, society objectifies subjective individual experiences so other individuals can “subjectify” those experiences themselves. Berger believes the psychologically objective world is where “knowledge” is created and where that “knowledge” is reinforced because individuals have been psychologically socialised to believe the objective world is reality. The individual can use “common sense” to explain an experience instead of discerning the meaning from anew.

To give an example, say you believed your wife’s infidelity will bring on the wrath of the Gods because you have been socialised by your society to believe that when men become cuckolds the family is punished by the Gods. That year, there is an early frost and you lose half of your crops. This situation, in your mind, verifies the social knowledge that a wife’s infidelity brings on the wrath of the Gods. Via language and other social structures, you explain to your neighbours what happened. By using linguistics you have objectified your reality and your neighbours, in turn, internalise and personally “subjectify” your reality. They might accept your reality or they might come to the conclusion that their crops were frosted too but they were not cuckolded so that might not be the reason for the frost. If so, they might tell this disagreement to others. Through this dialectic process, society – as a whole with many parts – will decide if it considers the early frost was punishment from the Gods, if that reality is balderdash and it was the climate doing its non-anthropomorphic whim, or create some other psychological model (“models” will be explained later).

As the example shows, linguistics is a fundamental tool to objectify and explain a social reality to individuals. Furthermore, “language focalizes, patterns, and objectivates individual experience.”

Berger further extrapolates the importance society has for an individual, stating the effects of anomie – “the personal state of isolation and anxiety resulting from a lack of social control and regulation” – but this will not be addressed because it does not pertain to Wikipedia.

Berger believes that there is not only a dialectic relationship between individual and society, but a dialectic relationship between society and its “world” – a sociologically dialectic relationship. The world, in becoming an objective reality for society creating it, is partially autonomous from society and is itself able to influence society. To return to linguistics, linguistics, created by society, imposes its logic on society. To synthesise his psychologically dialectic relationship and his sociologically dialectic relationship he states that society theoretically creates the sociology of knowledge to create a dialectic where society can generate its psychological reality and the dialectic of “world” creation. He also states that both psychological and sociological dialectics are concerned with an objective social reality and the subjective individualisation of that reality. “In both instances, the individual internalizes them to become given contents of his own consciousness, externalizes them again as he continues to live and act in society.”

Berger talks about a third dialectic, the dialectic of the theoretical level of consciousness. This dialectic is about the relationship between psychological reality and psychological models. He believes this dialectic is created because of the human desire to explain experiences. To return to the cuckold example, humans desire to explain the experience of an early frost. The cuckold in our example uses a psychological model to explain the frost as the wrath of the Gods. However, another psychological model might explain the frost as caused by a profane climate. Therefore, “the model is part of the society’s general ‘knowledge about the world,’ raised to the level of theoretical thought.” Berger states that “psychological ‘knowledge’ is always part of a general ‘knowledge about the world’ –in this proposition lies the foundation of what, a little earlier, was called the sociology of psychology.

Psychological theoretic models must be empirically reinforced by the psychological objective reality of a society. The example that the Gods punish cuckolding is reinforced by the frost brought on by the Gods. Therefore, theoretical models can be empirically tested in relation to the objective reality of society, proving that the model is part of the same socially constructed reality as that society. The dialectics of the model created by society and the word – theoretical dialectics – is reinforced by the dialectics between society and the world – sociological dialectics. Finally, the theoretical model can act upon psychological reality, itself creating reality.

Berger maintains a concept of an objective reality, albeit a psychological reality. Rorty removes any centre, any objectivity, and focuses on how an individual can work with subjective realities by becoming ironic. He states that “human beings are [not] something more than center-less webs of beliefs and desires.” Rorty seeks knowledge that corresponds with human need rather than reality itself.

Ultimately, Rorty believes people describe their reality via a vocabulary. This vocabulary explains one’s actions, beliefs, and life. He calls this vocabulary a “final vocabulary.” Rorty then defines an “ironist” as someone who fulfills three conditions. First, an ironist is someone doubtful of her own final vocabulary because she has empirically discovered other final vocabularies from other individuals. Second, she is aware she cannot remove her doubt about her vocabulary via her vocabulary only. Finally, she knows there is no reason her reality, or final vocabulary, is any closer to reality or a metaphysical reality than other vocabularies. Indeed, there is no actual Reality, only comparison between different realities. The implications of someone becoming an ironist are that she never believes in “Platonic” terms, Platonic world views, or Platonic metaphysics and is aware that her final reality, and therefore her self, is able to change.

An ironist distrusts “common sense” because common sense is acceptance that one’s own final vocabulary can define other final vocabularies. Instead, an ironist will try to interpret her own reality via the final vocabularies of others. The ironist will then compare the results of different final vocabularies and re-describe her final vocabulary, creating the best self for herself she can. Rorty calls this comparison “literary criticism.” He talks about how literary critics are defining books by how they relate to other books, consequently creating revised opinions about the book being defined and the defining book. He even posits that “literary criticism does for ironists what the search for universal moral principles is supposed to do for metaphysicians.”

An ironist compares without ever creating an “original” to compare all else against. Furthermore, the best critic of a person is another person; the best critique of a culture is another culture, etc. Doubts can be assuaged by creating as many acquaintances as possible. Rorty also believes that societies are bound together by common realities and common vocabularies, not philosophical beliefs.

Rorty does state that an ideal society would have an ironist elite with nominalist – “the doctrine that the various objects labelled by the same term have nothing in common but their name” – and historicist plebeians. These plebeians would not try to explain and fix social doubts by semantics and ethics, but by concrete alternatives. Furthermore, Rorty desires a public rhetoric to be nominalist and historicist, but not ironist because he does not believe an individual can be initially socialised when that individual has doubts about her socialisation. Furthermore, an ironist needs a society she can compare and contrast herself against.

Wikipedia was created in 2001 and is an internet encyclopaedia that anyone can contribute to. Whenever an individual contributes to an article, their edit is clearly identified. Therefore, their postings can create respectability and social standing. Since new versions can be continually created, vandalism is easily fixed. All articles have a separate page where authors can discuss edits and differing opinions. Wikipedia is incredibly successful, with 1.3 million articles in 200 languages and more traffic than any other online encyclopaedia. Furthermore, Wikipedia is run completely by volunteers. Wikipedians say that although articles vary greatly in quality, they improve over time as contributors hone, polish and edit. Also, incorrect information can be corrected immediately.

In the Internet Age, you research a topic not by getting the final word from a single source but by using a multitude of sources. You do this because the Net makes it easy. Googling takes just seconds. But anyone who's tried googling a broad topic quickly runs into a frustrating problem: You end up with an overwhelming number of links, some of questionable relevance. This is where Wikipedia comes in. Wikipedia complements Google by providing a framework of understanding, a quick overview of the subject. Its articles often provide a list of relevant links to Web sites for further reference. If a date in a Wikipedia article is off by a few years, it is not an issue. The researcher knows that Wikipedia has no guarantee of accuracy, so she will cross-check any critical pieces of information with other sources. Wikipedia is an essential because it provides a starting point, an explorer's map to new territory rather than a faultless gazetteer.

Critics of Wikipedia say there is no minimum standard of grammar, readability and fact-checking.

Berger would say that the dialectic relationship between Wikipedia and its constituents is much like the dialectics between individual and psychological reality, psychological reality and the psychological world, and the psychological world and psychological theory. He would also enjoy the centre and structure Wikipedia provides, allowing individuals to have dialectics between each other but eventually creating an objective structure. Also, individuals can still have dialectics between their subjective realities and Wikipedia, either editing the encyclopaedia or objectifying their realities. Berger would state that Wikipedia, via its dialectics, will become closer to the psychologically objective reality and world it is describing.

Berger would enjoy Wikipedia’s ability to elucidate the “framework” of a subject to individuals. He would say that the objective reality of Wikipedia is socialising the individual about a subject. Once the individual internalises, or subjectively correlates, the subject’s reality she can then have a dialectic relationship with Wikipedia about that subject, editing it if she so desires. Though Wikipedia is completely linguistic, Berger would say it still has drastic import because “language focalizes, patterns, and objectifies individual experiences.”

Furthermore, Berger would believe that reality is a psychological construction. Therefore, it does not really matter if Wikipedia adheres to “reality” in any “Platonic” metaphysical manner, only that Wikipedia adheres to the psychologically defined reality of the world. If Wikipedia says there are Martians, all that matters to Berger is that our socially constructed world believes there are Martians; whether there are Martians meta-psychologically or not is irrelevant to Berger. Also, Wikipedia is a good place for a model of psychological theory to be posited and empirically researched to see if it fits the psychological world.

Though Rorty is a post-modernist who disagrees with an actual Centre, his plebeian nominalists and historicists require a Centre. Therefore, he would enjoy Wikipedia’s centre and structure. Furthermore, the fact that problematic Wikipedia articles can be immediately changed is great for his plebeians’ requirement of concrete alternatives.

Rorty would not mind the “inaccuracy” or lack of minimum grammar standards because, to him, there is no such thing as inaccuracy or minimum standards; there are simply different final vocabularies and it is an ironist’s job to decide which she prefers. Just as an ironist compares different final vocabularies to create the best self for herself she can, Wikipedia compares differing final vocabularies to create a more “comprehensive” and “accurate” encyclopaedia.

Rorty would also like the dialog and constant comparing and contrasting between different article editors. Though he would state a true ironist would be able to accept two dissenting ideas as equally valid, Rorty would still be fine with Wikipedia creating a single article for his plebeian society.

This paper has striven to explain structural functionalist and post modern views about the politics of knowledge. It has then applied these views to a media type. The theorists chosen were Peter L. Berger and Richard Rorty. The media type chosen was Wikipedia. Wikipedia was a perfect fit for Berger because it is a media type where individuals interact to create a specific reality. Furthermore, these individuals interact via dialectics and, through subjective internalisation and externalisation, create an objective reality. Wikipedia was also a perfect fit for Rorty because it shows how multiple subjective individuals can interact to create better final vocabularies for themselves. Though Rorty’s ironists would not truly believe the objective reality created by Wikipedia, nor like the centrism of Wikipedia, Rorty’s nominalists and historicists, necessary for a liberal society utopia, would require this objectivity and centrism.


who sang what goes on behind closed doors

In the later part of his life, Rich acquired the nickname the Silver Fox. He is perhaps best remembered for a pair of 1973 hits, "Behind Closed Doors" and "The Most Beautiful Girl". "The Most Beautiful Girl" topped the U.S. country singles charts, as well as the Billboard Hot 100 pop singles charts and earned him two Grammy Awards. Rich was inducted into the Memphis Music Hall of Fame in 2015.

Charlie Rich

Charles Allan Rich (December 14, 1932 – July 25, 1995) was an American country music singer, songwriter, and musician. His eclectic style of music was often difficult to classify, encompassing the rockabilly, jazz, blues, country, soul, and gospel genres.[1]

Rich was born in Colt, Arkansas, to rural cotton farmers. He graduated from Consolidated High School in Forrest City, where he played saxophone in the band. He was strongly influenced by his parents, members of the Landmark Missionary Baptist Church in Forrest City, as his mother, Helen Rich, played piano and his father sang in gospel quartets. A black sharecropper on the family land named C. J. Allen taught Rich blues piano. He enrolled at Arkansas State College on a football scholarship and then transferred to the University of Arkansas as a music major after a football injury. He left after one semester to join the United States Air Force in 1953.

While stationed in Enid, Oklahoma, he formed "the Velvetones," playing jazz and blues and featuring his wife, Margaret Ann, on vocals.[1] He and Margaret Ann Greene had married in 1952. Upon leaving the military in 1956, they returned to the West Memphis area to farm 500 acres. He also began performing in clubs around the Memphis area, playing both jazz and R&B. During these times, he began writing his own material.

After recording some demonstration songs for Sam Phillips at Sun Records that Phillips considered not commercial enough and "too jazzy", he was given a stack of Jerry Lee Lewis records and told: "Come back when you get that bad." In a September 6, 2010, NPR airing of a 1992 interview with Fresh Air host Terry Gross, Charlie Rich tells the story, himself, of Bill Justis telling Rich's wife those words.[2] In 1958, Rich became a regular session musician for Sun Records, playing on a variety of records by Lewis, Johnny Cash, Bill Justis, Warren Smith, Billy Lee Riley, Carl Mann, and Ray Smith. He also wrote several songs for Lewis, Cash, and others.

His third single for the Sun subsidiary, Phillips International Records, was the 1960 Top 30 hit, "Lonely Weekends", which was notable for its Presley-like vocals. It sold more than one million copies and was awarded a gold disc by the Recording Industry Association of America.[1] None of his seven follow-up singles was a success, however, though several of the songs became staples in his live set, including "Who Will the Next Fool Be", "Sittin' and Thinkin'", and "No Headstone on My Grave". These songs were often recorded by others to varying degrees of success, such as the Bobby Bland version of "Who Will the Next Fool Be".

Rich's career then stalled and he left the struggling Sun label in 1963, signing with a subsidiary of RCA Victor, Groove. His first single for Groove, "Big Boss Man", was a minor hit, but again, his Chet Atkins-produced follow-ups all stiffed. Rich moved to Smash Records early in 1965. Rich's new producer, Jerry Kennedy, encouraged the pianist to emphasize his country and rock n' roll leanings, although Rich considered himself a jazz pianist and had not paid much attention to country music since his childhood. The first single for Smash was "Mohair Sam", an R&B-inflected novelty-rock number written by Dallas Frazier, and it became a top 30 pop hit. Unfortunately again for Rich, none of his follow-up singles was successful. Rich was forced to change labels, moving to Hi Records, where he recorded blue-eyed soul music and straight country, but none of his singles made a dent on the country or pop charts. One Hi Records track, "Love Is After Me", from 1966, belatedly became a white soul favorite in the early-1970s.

Despite his lack of consistent commercial success, Epic Records signed Rich in 1967, mainly on the recommendation of producer Billy Sherrill. Sherrill helped Rich refashion himself as a Nashville Sound balladeer during an era when old rock 'n' roll artists like Jerry Lee Lewis and Conway Twitty were finding a new musical home in the country and western format. This new "countrypolitan" Rich sound paid off in the summer of 1972, when "I Take It on Home" went to number six on the country charts. The title track from his 1973 album Behind Closed Doors became a number-one country hit early in that year, then crossing over into the top 20 on the pop charts. This time, his follow-up single did not disappoint, as "The Most Beautiful Girl" spent three weeks at the top of the country charts and two weeks at the top of the pop charts. Now that he was established as a country music star, Behind Closed Doors won three awards from the Country Music Association that year: Best Male Vocalist, Album of the Year, and Single of the Year. The album was also certified gold. Rich won a Grammy Award for Best Male Country Vocal Performance, and he took home four Academy of Country Music awards. One of RCA's several resident songwriters, Marvin Walters, co-wrote for three years with Charlie, producing four recordings including a very popular "Set Me Free".

After "The Most Beautiful Girl," number-one hits came quickly, as five songs topped the country charts in 1974 and crossed over to the pop charts. The songs were "There Won't Be Anymore" (pop number 18), "A Very Special Love Song" (pop number 11), "I Don't See Me In Your Eyes Anymore" (pop number 47), "I Love My Friend" (pop number 24), and "She Called Me Baby" (pop number 47). Both RCA and Mercury (Smash was a subsidiary of Mercury which was absorbed into the main company in 1970) re-released his previously recorded material from the mid-1960s, as well. All of this success led the CMA to name him Entertainer of the Year in 1974. In the same year he performed the Academy Award-nominated theme song "I Feel Love (Benji's Theme)" from the film Benji. Rich had three more top-five hits in 1975, but though he was at the peak of his popularity, Rich began to drink heavily, causing considerable problems off-stage.

Rich's destructive personal behavior famously culminated at the CMA awards ceremony for 1975, when he presented the award for Entertainer of the Year, while visibly intoxicated.[3] After stumbling through the names of the nominees, Rich clumsily tore open the envelope, took out a cigarette lighter, and lit the paper on fire with the winner's name. While the paper burned, he announced that the winner of the award was "My friend Mr. John Denver."[4] Some considered it an act of rebellion against the Music Row-controlled Nashville Sound. But many speculated that Rich's behavior was a protest against the award going to Denver, whose music Rich had considered too "pop" and not enough "country".[3] Others, including industry insiders, were outraged, and Rich had trouble having hits throughout 1976, and only had one top-ten with "Since I Fell For You". In a 2016 interview, former CMA Executive Director Jo Walker-Meador speculated that Rich's drunkenness may have been in part due to resentment over his being shut out of the nominations that year, after his success at the 1974 awards. His son Charlie, Jr., says on his website: "...why did he do it? I'll tell you why I thought he did it. #1 He thought it would be funny. He set it up by talking about how the potential winners were probably nervous, as he had been the previous year. #2 Bad judgement. He had recently broken his foot in a freak accident at his home in Memphis. It sounds funny, but he got his foot caught in an awkward position while getting out of a reclining chair. He cracked several bones in his foot. So...Due to the pain, he took pain medication the night of the show: Bad idea! Secondly, he and another country star got to drinking gin and tonics while waiting in the dressing room. The show was long, so by the time Dad was supposed to go on, the drinks on top of the medication got him buzzed. So, there ya' go. That's why I think he did it. Primarily he thought it would be funny. I know the last thing my father would have wanted to do was set himself up as judge of another musician. He felt badly that people thought it was a statement against John Denver."[3]

The slump in his career was exacerbated by the fact that his records began to sound increasingly similar: pop-inflected country ballads with overdubbed strings and little of the jazz or blues Rich had performed his entire life. He did not have a top-10 hit again until "Rollin' With the Flow" went to number one on the country charts (as well as number 32 on the easy listening charts) in 1977. Early the following year, in 1978, he signed with United Artists Records, and throughout that year, he had hits on both Epic and UA. His hits in 1978 included the top-10 hits "Beautiful Woman", "Puttin' In Overtime At Home", and his last number one with "On My Knees", a duet with Janie Fricke.

Rich struggled throughout 1979 having hits with United Artists and Epic. His singles were moderate hits that year, the biggest of them on either UA or Epic was a version of "Spanish Eyes", which became a top-20 country hit. Rich appeared as himself in the 1978 Clint Eastwood movie, Every Which Way but Loose, in which he performed the song "I'll Wake You Up When I Get Home". This song hit number three on the charts in 1979 and was the last top-10 single of his career. In 1980, he switched labels again to Elektra Records, and released a number-12 single, "A Man Just Don't Know What a Woman Goes Through" in the fall of that year. One more top-40 hit followed, the Gary Stewart song "Are We Dreamin' the Same Dream" early in 1981, but Rich decided to remove himself from the spotlight. For over a decade, Rich was silent, living off his investments in semiretirement and only playing occasional concerts. He also played a bit part in the 1981 movie Take This Job and Shove It which yielded his last charted single, "You Made It Beautiful".

In 1992, Rich released Pictures and Paintings, a jazzy album that was produced by journalist Peter Guralnick. This album was released via Sire Records. Pictures and Paintings received positive critical reviews and restored Rich's reputation as a musician, but it was his last album. In 2016, a tribute album entitled Feel Like Going Home: The Songs of Charlie Rich was released by Memphis International Records. Tom Waits, who was an opening act for Rich in the 1970s, mentions him in the song "Putnam County" from his album Nighthawks at the Diner with the lyric: "The radio's spitting out Charlie Rich... He sure can sing, that son of a bitch."

Charlie Rich and his wife were driving to Florida for a vacation after seeing their son Allan perform with Freddy Fender at Lady Luck Casino in Natchez, Mississippi when he experienced a bout of severe coughing.[5] After visiting a doctor in St. Francisville, Louisiana and receiving antibiotics, he continued traveling until he stopped to rest for the night. Rich died in his sleep on July 25, 1995, in a Hammond, Louisiana motel; he was 62 years old. The cause of death was a pulmonary embolism. He was buried in the Memorial Park Cemetery in Memphis, Tennessee.

At the time of his death, Rich was survived by his wife of 43 years, Margaret; two sons, Allan and Jack; two daughters, Renee and Laurie; and grandchildren Maggie Karber Yelverton, Wesley Karber, and Christian Cole Lee. Margaret Rich died in Germantown, Tennessee, on July 22, 2010, and was buried alongside her husband.

Academy of Country Music

American Music Awards

Country Music Association


who plays the twins in the matrix reloaded

The Twins (played by Neil and Adrian Rayment) are fictional characters in the 2003 film The Matrix Reloaded. They are the henchmen of the Merovingian who are believed to be an old version of Agents in a previous iteration of the Matrix before becoming "Exiles", or rogue programs. [3]

Twins (The Matrix)

The Twins have the power of intangibility: they can take on a translucent state in which they pass through physical objects such as floors or gunfire, float through the air, and instantly reset any physical damage to their bodies or clothing. They are also the 'ghosts' the Oracle explains while talking to Neo before the 'Burly Brawl'. In other words, their abilities as programs were still usable in exile.

The Twins are first seen with the Merovingian smoking a hookah in his restaurant in The Matrix Reloaded. They smirk at the fact that neither Trinity, nor Morpheus, nor Neo appear to have the same intellect as does the Merovingian. The Twins rarely speak, but when they do so, it is with a slow paced English accent, and when one speaks to the other, they usually say "we", as opposed to "I".

Later, when Morpheus and crew free the Keymaker, the Merovingian sends the Twins to kill the 'Redpills' and recapture the Keymaker. They encounter Morpheus and Trinity in a parking garage and quickly demonstrate both their skill in hand-to-hand combat (using a straight razor) and their ability to become incorporeal, passing through bullets and walls harmlessly and healing injuries that they sustain while in corporeal form. Morpheus, Trinity, and the Keymaker flee in a car, but they are pursued first by the Twins, then by police and by agents.

Eventually, after a long chase along the freeway and firing upon Morpheus and company with an HK UMP, the Twins are dispatched by Morpheus when he causes their vehicle to overturn and explode. The explosion sends them into the air and they are last seen turning intangible. They are not seen in The Matrix Revolutions.

In the Enter the Matrix video game, which chronicles the events leading up to The Matrix Reloaded, the twins are shown attempting to stop Niobe and Ghost from escaping the Merovingian's mansion via a car chase in the multi-leveled garage. In this incarnation of the characters they do not wear their trademark glasses. Their smoking, overturned vehicle can be briefly seen on an overpass at one point during the highway chase level.

In The Matrix Online, synthesised cheat codes based on those drunk by the Unlimit officer Beirn allowed the Merovingian to retrieve and reforge the fragmented and heavily dissipated RSIs of the Twins. His operatives were tasked with finding the partially reconstructed pieces, which were successfully secured and combined, returning the Twins to fully functional states.

At the time of the release of The Matrix Reloaded, there was some controversy from people who saw the Twins as emblematic of Hollywood's negative portrayal of characters with albinism.[4][5] Several major media outlets (e.g. USA Today, MSNBC) reported on the story, and it was mentioned in a joke by late-night talk show host Jay Leno: "When is the establishment going to give the really white man a break?"[5] Film studio Warner Bros. responded to the controversy, with a spokesperson saying, "It's not our intention to single out any group of people as villains", and "It was never our intention to position these characters as albinos", noting that the Twins have black eyebrows.[6]


who is the leader of the federal ndp party

The 2017 New Democratic Party leadership election will take place between September 18 and October 15, 2017 due to incumbent Tom Mulcair having lost a vote on a leadership review at the New Democratic Party (NDP)'s federal convention held in Edmonton, Alberta on April 10, 2016.[1] 52% of delegates voted in favour of holding a new leadership election, compared to 48% who voted for Mulcair's leadership to continue. Under the party's constitution, the leadership election was to be held by April 10, 2017; however, the delegates present passed a motion to give the party up to 24 months to organize a leadership election.[2][3] Mulcair is expected to remain leader until his successor is elected.[1]

New Democratic Party leadership election, 2017

New Democratic Party leadership elections

The result at the 2016 convention was the first time a leader of any Canadian federal political party has failed to receive at least 50% in a leadership review vote.[3] In the months since the 2015 federal election, Mulcair's leadership had been a point of conflict within the party because of the election campaign, in which the NDP fell to third place from the Official Opposition status it gained in the 2011 election. The New Democrats had led public opinion polls since May 2015 and appeared to be poised to win their first federal election in history. However, they fell back behind the Liberals and Conservatives in the last month. The election thus resulted in a Liberal majority government. The party lost more than half of its seats and fell to third place. Mulcair's leadership faced criticism following the election, particularly due to his moderate platform that the party was running on. In contrast, Liberal leader Justin Trudeau had promised to run a budget deficit in order to fund stimulus programs and higher social spending, a position which was perceived as allowing the Liberals to outflank the NDP.[4][5]

Under rules set out in the party's constitution, every member is entitled to cast a secret ballot for the selection of the Leader.[6] The new leader will be chosen some time between October 1 and October 15, 2017, with rounds of voting through a preferential, ranked choice ballot taking place once a week until a candidate hits the 50 per cent plus one mark to be declared leader (with eligible voters choosing to vote with an internet ballot being allowed to change their vote at any time before the closure of the polls, including between each round of balloting).[7][8][9] Candidates are required to pay an entry fee of $30,000 and may spend no more than $1.5 million. 25% of all donations to candidates will be paid to the party.[1] To be nominated, candidates require at least 500 signatures from party members, at least half of which must be from female-identified members and at least 100 from "other equity-seeking groups" including indigenous people, LGBT people, persons with disabilities and visible minorities. At least 50 signatures will be required from each of five regions: "Atlantic", "Quebec", "Ontario", "the Prairies" and "B.C. and the North".

Charlie Angus, 54, has been the MP for Timmins—James Bay since 2004 and was elected NDP Caucus Chair in January 2016. He is the author of seven books and worked as a journalist, a roofer and a dishwasher earlier in life. Prior to entering politics, Angus was a member of the Toronto punk band L'Étranger with Andrew Cash and Peter Duffin, from 1980 to circa 1984, and subsequently formed the country band Grievous Angels in 1986. From 1985 to 1990, Angus and his partner Brit Griffin lived in Angelus House, a Catholic Worker house they founded, where they invited the homeless to live with them.[25] They also established a separate homeless shelter in 1986. In 1990, they moved to northern Ontario, where Angus owned and ran a magazine and eventually entered politics. Angus stepped down as Caucus Chair and Indigenous Affairs Critic on November 23, 2016 in order to consider a leadership bid.[26] He formally registered his campaign with Elections Canada on February 20, 2017 and publicly launched it on February 26.[27][28][10][29]

Niki Ashton, 35, is the MP for Churchill—Keewatinook Aski (2015–present) and was previously the MP for Churchill (2008–2015). She served as NDP Critic for Jobs, Employment & Workforce Development Critic (2015–2017), Shadow Minister for Status of Women (2012–2015) and Aboriginal Affairs (2015). She placed seventh in the 2012 leadership race.[73][74][75][76] She is the daughter of former Manitoba NDP MLA Steve Ashton, who served as a minister in the cabinets of Gary Doer and Greg Selinger.

Guy Caron, 49, has been the MP for Rimouski-Neigette—Témiscouata—Les Basques since 2011, NDP Finance Critic (2015–2017), Quebec caucus chair (2011–2017), Shadow Minister for Natural Resources, and Shadow Minister for Industry (2011–2012). Caron resigned as NDP Finance Critic and Quebec caucus chair on February 12, 2017, in order to prepare to enter the leadership contest.[109] He announced his candidacy on February 27, 2017.[110]

Jagmeet Singh, 38, is the Ontario MPP for Bramalea—Gore—Malton (2011–present) and was Deputy Leader of the Ontario New Democratic Party from 2015 until entering the federal leadership contest on May 15, 2017. He was previously the federal NDP candidate in Bramalea—Gore—Malton in 2011.[75][76][134]

Cheri DiNovo, 65, is the Ontario MPP for Parkdale—High Park (2006–present) and since 2014 has served as the Ontario NDP critic for Urban Transportation, Greater Toronto Area Issues, and LGBTQ Issues.

Peter Julian, 55, is the MP for New Westminster—Burnaby (2015–present) and was previously the MP for Burnaby—New Westminster (2004–2015). From 2014 to 2016, Julian was the NDP's house leader.[168] He is the NDP's former Shadow Minister for Natural Resources and Energy (2012–2014), Finance (2011–2012) and Industry (2011) and has also served as NDP Caucus Chair (2011–2014). Before entering politics he was the Executive Director of the Council of Canadians.[74][75][168] He resigned as NDP House Leader on October 19, 2016 in order to consider his candidacy.[168] He officially registered his candidacy on December 21, 2016 and formally launched his campaign on February 12, 2017.[169]

Pat Stogran, 59, is the former Veteran's Ombudsman (2007-2010) and a retired Colonel of the Canadian Forces (Princess Patricia's Canadian Light Infantry).[178] Stogran studied engineering at Royal Roads Military College in Colwood, British Columbia, and holds a masters degree in strategic studies from the United States Army War College. He served with the military in both Bosnia and Afghanistan.[179]

Candidates who declared their candidacies but were unable to complete the process of submitting their nomination forms and deposits to the party by the deadline of July 3, 2017:

David Berlin, 66, is the former editor and owner of the Literary Review of Canada and was the co-founder of the general interest magazine, The Walrus, as well as its editor from 2003 to 2004. He was the federal NDP's candidate in Toronto Centre in the 2000 federal election and was founder and leader of The Bridge Party of Canada, running as its candidate in University—Rosedale in the 2015 federal election.[182] Declared candidacy and passed vetting by party but failed to submit deposit and/or sufficient nomination signatures by deadline.

El-Khoury was born in Beirut, Lebanon but moved to Kingston, Ontario in 1991. [183] He is a former Montreal municipal candidate (2013) who is the founder of a consulting firm in Montreal.[146] He ran for the NDP nomination in Papineau in the 2015 election, losing to Anne Lagacé Dowson, and was a city council candidate for centrist municipal party Vrai changement pour Montréal in 2013.[184] Registered with Elections Canada but failed to submit deposit and/or sufficient nomination signatures by deadline.

Graff is a 58-year-old former Toronto municipal candidate (2014), community activist,[180] and semi-retired financial analyst. Graff's application to run has been rejected twice by NDP officials. He claimed it was because of his policy to cut immigration, while the party says it was on the grounds that he does not support party policy as well as due to a 1993 charge for watching and besetting which resulted in a conditional discharge. Graff took the NDP to court in March through a "judicial review" on the grounds that the party had violated natural justice, and this resulted in a settlement allowing him to apply a second time. After the party's second rejection, Graff returned to court with a second judicial review in an attempt to require the NDP to permit him to run. The party argued it was not subject to judicial review. On June 9, 2017, the court ruled that the NDP and other political parties are subject to judicial review, but that the party's actions were not unreasonable in rejecting Graff's application to stand for leader.[185][186][187][188]

Some earlier polls include candidates who ultimately did not enter the race.


what type of poem is love among the ruins

Browning here employs an unusual structure of rhyming couplets in which long trochaic lines are paired with short lines of three syllables. This may be related to the theme of the poem, a comparison between love and material glory. The speaker, overlooking a pasture where sheep graze, recalls that once a great ancient city, his country's capital, stood there. After spending four stanzas describing the beauty and grandeur of the ancient city, the speaker says that "a girl with eager eyes and yellow hair/Waits me there", and that "she looks now, breathless, dumb/Till I come." The speaker, after musing further on the glory of the city and thinking of how he will greet his lover, closes by rejecting the majesty of the old capital and preferring instead his love:

Love Among the Ruins (poem)

"Love Among the Ruins" is an 1855 poem by Robert Browning. It is the first poem in the collection Men and Women.

The poem begins:

Where the quiet-coloured end of evening smiles, Miles and miles On the solitary pastures where our sheep Half-asleep Tinkle homeward thro' the twilight, stray or stop As they crop--- Was the site once of a city great and gay, (So they say) Of our country's very capital, its prince Ages since Held his court in, gathered councils, wielding far Peace or war.

Oh heart! oh blood that freezes, blood that burns! Earth's returns For whole centuries of folly, noise and sin! Shut them in, With their triumphs and their glories and the rest! Love is best.

Browning's poem inspired or gave its title to many subsequent works, including a painting by Edward Burne-Jones, a 1975 TV-movie with Katharine Hepburn and Laurence Olivier, an episode of the American TV series Mad Men, and an album and song by the band 10,000 Maniacs.

The poem is quoted by the character Rupert Birkin in Women in Love, a novel by D. H. Lawrence.

The title of the poem is also made the title of a novella by the British satirist Evelyn Waugh.


the passage that leads to the internal female reproductive organs

The vagina is a fibromuscular (made up of fibrous and muscular tissue) canal leading from the outside of the body to the cervix of the uterus or womb. It is also referred to as the birth canal in the context of pregnancy. The vagina accommodates the male penis during sexual intercourse. Semen containing spermatazoa is ejaculated from the male at orgasm, into the vagina potentially enabling fertilization of the egg cell (ovum) to take place.

Female reproductive system

The female reproductive system (or female genital system) is made up of the internal and external sex organs that function in human reproduction. The female reproductive system is immature at birth and develops to maturity at puberty to be able to produce gametes, and to carry a fetus to full term. The internal sex organs are the uterus and Fallopian tubes, and the ovaries. The uterus or womb accommodates the embryo which develops into the fetus. The uterus also produces vaginal and uterine secretions which help the transit of sperm to the Fallopian tubes. The ovaries produce the ova (egg cells). The external sex organs are also known as the genitals and these are the organs of the vulva including the labia, clitoris and vaginal opening. The vagina is connected to the uterus at the cervix.[1]

At certain intervals, the ovaries release an ovum, which passes through the Fallopian tube into the uterus. If, in this transit, it meets with sperm, a single sperm can enter and merge with the egg, fertilizing it. The corresponding equivalent among males is the male reproductive system.

Fertilization usually occurs in the Fallopian tubes and marks the beginning of embryogenesis. The zygote will then divide over enough generations of cells to form a blastocyst, which implants itself in the wall of the uterus. This begins the period of gestation and the embryo will continue to develop until full-term. When the fetus has developed enough to survive outside the uterus, the cervix dilates and contractions of the uterus propel the newborn through the birth canal (the vagina).

The female internal reproductive organs are the vagina, uterus, Fallopian tubes, and ovaries.

The cervix is the neck of the uterus, the lower, narrow portion where it joins with the upper part of the vagina. It is cylindrical or conical in shape and protrudes through the upper anterior vaginal wall. Approximately half its length is visible, the remainder lies above the vagina beyond view. The vagina has a thick layer outside and it is the opening where the fetus emerges during delivery.

The uterus or womb is the major female reproductive organ. The uterus provides mechanical protection, nutritional support, and waste removal for the developing embryo (weeks 1 to 8) and fetus (from week 9 until the delivery). In addition, contractions in the muscular wall of the uterus are important in pushing out the fetus at the time of birth.

The uterus contains three suspensory ligaments that help stabilize the position of the uterus and limits its range of movement. The uterosacral ligaments keep the body from moving inferiorly and anteriorly. The round ligaments restrict posterior movement of the uterus. The cardinal ligaments also prevent the inferior movement of the uterus.

The uterus is a pear-shaped muscular organ. Its major function is to accept a fertilized ovum which becomes implanted into the endometrium, and derives nourishment from blood vessels which develop exclusively for this purpose. The fertilized ovum becomes an embryo, develops into a fetus and gestates until childbirth. If the egg does not embed in the wall of the uterus, a female begins menstruation.

The Fallopian tubes are two tubes leading from the ovaries into the uterus. On maturity of an ovum, the follicle and the ovary's wall rupture, allowing the ovum to escape and enter the Fallopian tube. There it travels toward the uterus, pushed along by movements of cilia on the inner lining of the tubes. This trip takes hours or days. If the ovum is fertilized while in the Fallopian tube, then it normally implants in the endometrium when it reaches the uterus, which signals the beginning of pregnancy.

The ovaries are small, paired organs located near the lateral walls of the pelvic cavity. These organs are responsible for the production of the egg cells (ova) and the secretion of hormones. The process by which the egg cell (ovum) is released is called ovulation. The speed of ovulation is periodic and impacts directly to the length of a menstrual cycle.

After ovulation, the egg cell is captured by the Fallopian tube, after traveling down the Fallopian tube to the uterus, occasionally being fertilized on its way by an incoming sperm. During fertilization the egg cell plays a role; it releases certain molecules that are essential to guiding the sperm and allows the surface of the egg to attach to the sperm's surface. The egg can then absorb the sperm and fertilization can then begin.[citation needed] The Fallopian tubes are lined with small hairs (cilia) to help the egg cell travel.

The vulva consists of all of the external parts and tissues and includes the mons pubis, pudendal cleft, labia majora, labia minora, Bartholin's glands, clitoris and vaginal opening.

Chromosome characteristics determine the genetic sex of a fetus at conception. This is specifically based on the 23rd pair of chromosomes that is inherited. Since the mother's egg contains an X chromosome and the father's sperm contains either an X or Y chromosome, it is the male who determines the fetus's sex. If the fetus inherits the X chromosome from the father, the fetus will be a female. In this case, testosterone is not made and the Wolffian duct will degrade thus, the Müllerian duct will develop into female sex organs. The clitoris is the remnants of the Wolffian duct. On the other hand, if the fetus inherits the Y chromosome from the father, the fetus will be a male. The presence of testosterone will stimulate the Wolffian duct which will bring about the development of the male sex organs and the Müllerian duct will degrade.[2]

The reproductive tract (or genital tract) is the lumen that starts as a single pathway through the vagina, splitting up into two lumens in the uterus, both of which continue through the Fallopian tubes, and ending at the distal ostia that open into the abdominal cavity.

In the absence of fertilization, the ovum will eventually traverse the entire reproductive tract from the fallopian tube until exiting the vagina through menstruation.

The reproductive tract can be used for various transluminal procedures such as fertiloscopy, intrauterine insemination and transluminal sterilization.

Vaginitis is inflammation of the vagina and largely caused by an infection. It is the most common gynaecological condition presented. It is difficult to determine any one organism most responsible for vaginitis because it varies from range of age, sexual activity, and method of microbial identification. Vaginitis is not necessarily caused by a sexually transmitted infection as there are many infectious agents that make use of the close proximity to mucous membranes and secretions. Vaginitis is usually diagnosed based on the presence of vaginal discharge, which can have a certain color, odor, or quality.[3]

This is a vaginal infection in women. It is differs from vaginitis in that there is no inflammation. Bacterial vaginosis is polymicrobial, consisting many bacteria species. The diagnosis for bacterial vaginosis is made if three of the following four criteria are present: (1) Homogenous, thin discharge, (2) a pH of 4.5 in the vagina, (3) epithelial cells in the vagina with bacteria attached to them, or (4) a fishy odor. It has been associated with an increased risk of other genital tract infections such as endometritis.[3]

This is a common cause of vaginal irritation and according to the Centers for Disease Control and Prevention at least 75% of adult women have experienced one at least once in their lifetime. Yeast infections are caused by an overgrowth of fungus in the vagina known as Candida. Yeast infections are usually caused by an imbalance of the pH in the vagina, which is usually acidic. Other factors such as pregnancy, diabetes, weakened immune systems, tight fitting clothing, or douching can also be a cause. Symptoms of yeast infections include itching, burning, irritation, and a white cottage-cheese-like discharge from the vagina. Women have also reported that they experience painful intercourse and urination as well. Taking a sample of the vaginal secretions and placing them under a microscope for evidence of yeast can diagnose a yeast infection. Treatment varies from creams that can be applied in or around the vaginal area to oral tablets that stop the growth of fungus.[3]

There are many practices of mutilating female genitalia in different cultures. The most common two types of genital mutilation practiced are clitoridectomy, the circumcision of the clitoris and the excision of the prepuce the skin around the clitoris. They can all involve a range of adverse health consequences such as bleeding, irreparable tissue damage, and sepsis which can sometimes prove fatal.

Genitoplasty refers to surgery that is carried out to repair damaged sex organs particularly following cancer and its treatment. There are also elective surgical procedures which change the appearance of the external genitals.

The International Federation of Gynaecology and Obstetrics was founded in 1954 to promote the well-being of women particularly in raising the standards of gynaecological practice and care. As of 2010 there were 124 countries involved.

Reproductive rights are legal rights related to reproduction and reproductive health. Women have the right to control matters involving their sexuality including their sexual and reproductive health. Violation of these rights include forced pregnancy, forced sterilization, forced abortion and genital mutilation. Female genital mutilation is the complete or partial removal of a female's external genitals.

It is claimed in the Hippocratic writings that both males and females contribute their seed to conception; otherwise, children would not resemble either or both of their parents. Four-hundred years later, Galen "identified" the source of 'female semen' as the ovaries in female reproductive organs.[4]


who does chef's voice in south park

Jerome "Chef" McElroy is a cartoon character on the Comedy Central series South Park who was voiced by Isaac Hayes. A cafeteria worker at the local elementary school in the town of South Park, Colorado, Chef is generally portrayed as more level-headed than the other adult residents of the town, and sympathetic to the children. His guidance is often sought by the show's core group of child protagonists — Eric Cartman, Stan Marsh, Kyle Broflovski, and Kenny McCormick — as he is usually the only adult whom they consistently trusted. To an inadvertent fault, he frequently gives inappropriate advice, usually in the non sequitur form of a lascivious soul song.

Chef (South Park)

Chef was inspired by Hayes and other popular soul singers of the 1970s, as well as an actual dining hall worker encountered by series co-creator Trey Parker while he attended the University of Colorado.[1] Chef played a less prominent role as the series progressed beyond its earlier seasons, and the character was made retired at the beginning of the tenth season in "The Return of Chef" following the controversial departure of Hayes.

In tradition with the show's animation style, Chef is composed of simple geometrical shapes, and is animated with use of a computer, though he is given the impression of being a construction paper cutout composition animated through the use of stop motion, which was the technique used to animate the "Spirit of Christmas" shorts and the show's first episode.[2] Chef is an overweight African American with a beard who usually wore blue pants and a red shirt. He frequently dons a traditional chef's hat and white apron on which the word "CHEF" is printed in black, even when he is not at work.

Until Token Black and his family were given a more notable role starting in the show's fourth season, Chef was portrayed as the only black resident in all of South Park. Parker and co-creator Matt Stone initially planned to have one of themselves voice the character, fearing that their ideal candidates of Hayes, Lou Rawls, and Barry White would never agree to voice the character because the duo had admittedly and purposefully created him as a "stereotype" to reflect what they felt was the perception most inhabitants of less-diverse mountainous Colorado towns had of black people.[3][4][5] However, Hayes agreed to voice the character due in part to the audacity of some of the show's early scripts.[3][6] Chef (usually kindheartedly, though not always) referred to most people in town with the pejorative "crackers", including the children.

Chef, after abandoning his musical aspirations, moved to South Park with plans to open his own restaurant.[7] Before this, he had befriended several famous recording artists in the music industry, including Elton John and Meat Loaf, helping them to launch their successful careers.[8] Despite failing at yet another dream, Chef made his way onto the South Park City Council, representing Public Safety. In addition to dispensing advice to the children and a few of the adult townsfolk, Chef speaks out against what he feels are outrageous ideas. For example, he opposes the rampant prescription of Ritalin in the episode "Timmy 2000",[9] and he objects to the town's acceptance of Mr. Garrison committing purposefully flamboyant sadomasochistic acts in front of schoolchildren in "The Death Camp of Tolerance".[10] In "Chef Goes Nanners", he briefly converts to Islam and adopted the name "Abdul Mohammed Jabar Rauf Kareem Ali" when he demanded that South Park change its official flag because it depicted the town's racist past.[11] On several other occasions, Chef helped save South Park (and in a few other instances, the entire world) from potential disasters.[12][13][14][15][16][17]

Chef is also known for frequently engaging in casual sex, a habit he often expresses through song. He drives a 1980s woodie station wagon with a vanity plate that reads "LUV CHEF". He is often seen accompanied by numerous young women when at home or on vacation, and is even revealed to have had a one-night stand with Kathie Lee Gifford.[18] He once resorted to male prostitution in an effort to raise money to pay legal fees, and had sex with nearly every woman in South Park before having to stop due to exhaustion.[8] In "The Succubus", Chef briefly becomes an office worker and took up monogamy after meeting a woman named Veronica. The two were engaged to be married until it was revealed that Veronica was actually a succubus.[19] In the South Park video game, the children can seek Chef's advice at one of the many buildings labelled "Chef's Shack O' Love", which is implied to be a brothel, complete with a naked woman in Chef's bed.

Chef's parents, Nellie and Thomas McElroy, live in Scotland. The couple have made two major appearances in the episodes "The Succubus" and "The Biggest Douche in the Universe", and made a brief cameo in a town Christmas celebration in "Red Sleigh Down". They were not seen at Chef's funeral in "The Return of Chef".

Chef is known to have run a quiz show called Chef's Luv Shack, as is apparent in the video game of the same name.

Chef endearingly calls the boys "the children" or just "children" (even when addressing one individually), and, unless he is preoccupied with a female companion, is usually willing to assist them with whatever help they need. He is consistently the only adult in town who the boys held in high regard, and they view him as their friend.[20] They are also visibly saddened his presence in their lives is threatened.[19][20] In addition to being fans of his food (especially his trademark Salisbury steak), the boys often heartily anticipate encountering Chef when waiting in the school lunch line, so that they can explain whatever dilemma is affecting them, usually after their traditional greeting:

Chef: Hello there, children!
The boys [in unison]: Hey Chef!
Chef: How's it goin'?
The boys [one or in unison]: Bad.
Chef: Why "bad"?

The boys sometimes take it upon themselves to travel to Chef's house individually to seek his advice on all manners of their problems, specifically relationships. He usually gives advice in the form of a soul song, which usually winds up being about sex, whether or not sex was relevant to the topic at hand. Hearing the songs would often leave the boys even more confused and with no further understanding of what they initially inquire about. In earlier seasons, Chef is often approached by the children when they are unfamiliar with a term that pertains to adult matters, such as "lesbian" or "prostitute". This happens so often that it eventually aggravates Chef, who pleads with them to stop asking questions he feels are not appropriate for him to answer. Despite this, the children continue asking these questions, much to his chagrin. An absent-minded Chef sometimes answers anyway, not realizing his lapse until the damage had been done. Chef acknowledges that doing this had repeatedly gotten him in trouble with his boss, Principal Victoria.[21]

In addition to singing in an effort to explain something to the children, Chef also sings about things relevant to what has transpired in the plot. These songs were original compositions written by Parker, and performed by Hayes in the same sexually suggestive R&B style he had utilized during his own music career. Within the show, Chef is the original composer of these songs, including "Stinky Britches", which was depicted as having been covered by Alanis Morissette without proper credit to Chef. When Chef is left with legal debt after losing a court case to have himself credited as the song's original writer, several bands and artists (guest starring as themselves) hold a concert dubbed "Chef Aid", a parody of Live Aid, to raise the funds.[8] The episode inspired a real-life album, Chef Aid: The South Park Album, released in 1998, which featured guest stars from the episode such as Elton John and Ozzy Osbourne. The album includes many of the full-length versions of the songs Chef had performed in the show's first two seasons; "Chocolate Salty Balls" was released as a single, and reached #1 in both the record charts of Ireland and the United Kingdom.[22] As the series progressed and Chef's role became more intermittent, his spontaneous outbursts into song became less of a show standard.

Parker and Stone originally planned to have Chef sing a song in every single episode but abandoned the idea after finding it too challenging and fearing writing too many songs would make them less funny, similar to their rationale for dispensing with Kenny's episodic deaths.[23]

On January 4, 2006, Hayes defended South Park's style of controversial humor to The A.V. Club and XM's Opie and Anthony show, going so far as to note that although he was not pleased with the show's depiction of the Church of Scientology, of which he was a member, he "understood what Matt and Trey are doing." However, on March 13, 2006, nearly two months after suffering a stroke,[24] Hayes was reported to have quit South Park over objections to the show's attitudes toward and depiction of various religions, claiming that the show had crossed the line from satire into intolerance.

Despite the content of the official press release, there remains considerable speculation about the motivations behind his departure. Parker and Stone assert that he quit due to the controversial episode "Trapped in the Closet", and its treatment of Scientology. Stone commented in a manner that suggested that Hayes practiced a double standard regarding the treatment of religion on South Park: "[We] never heard a peep out of Isaac in any way until we [lampooned] Scientology. He wants a different standard for religions other than his own, and to me, that is where intolerance and bigotry begin."[25] Fox News reporter Roger Friedman suggested that, because he was still suffering from the effects of his stroke, Hayes was hospitalized and not in a position to make a rational decision to leave the show. Friedman also reported that Hayes left the show because of the external pressure forced by his fellow Scientologists, the decision was not voluntary, and the original press release announcing his departure was put out by someone who was not authorized to represent him.[26] In a 2016 oral history of South Park in The Hollywood Reporter, Isaac Hayes III confirmed that the decision to leave the show was made by Hayes' entourage while Hayes was unable to make such decisions on his own.[27]

Nine days after Hayes's departure from production, the controversy was satirized in the show's Season 10 premiere "The Return of Chef". For the episode, voice clips of Chef were taken from previous episodes and linked together to form new dialogue to support the plot,[28] which involves Chef's leaving South Park to join the "Super Adventure Club", which eventually brainwashes Chef until he had the mindset of a child molester. The organization combines outdoor activities with child molestation, an act they perceive as justified because of their beliefs.

After the boys are unable to convince Chef to come back to South Park, a rope bridge Chef is walking across is struck by lightning. He falls to a violent death, culminating with his mutilation at the hands of a grizzly bear and a mountain lion and finally discharged fecal matter (a reference to the episode "Something Wall-Mart This Way Comes", in which Cartman claims that the relaxation of the bowel muscles confirms that a person is really dead).[29]

South Park holds a memorial service for him (Canadian comedians Terrance and Phillip even attend, despite having never met the man themselves), in which Kyle gives a eulogy stating, "We shouldn't be mad at Chef for leaving us, we should be mad at that fruity little club for scrambling his brains", a deliberate parallel with Hayes' departure from the show in favor of Scientology.[20]

Mimicking a scene from the finale of Star Wars: Episode III – Revenge of the Sith, Chef's body is secretly collected by the Super Adventure Club, who managed to revive him as a cyborg — identified on the show's official website as "Darth Chef" (a parody of Star Wars' Darth Vader). He is fitted with a suit and mask like those of Vader, except with the helmet taking on the appearance of Chef's trademark hat, and wields a red, glowing spatula, parodying Vader's red lightsaber. Darth Chef's voice was provided by British comedian and filmmaker Peter Serafinowicz, who voiced Darth Maul in Star Wars: Episode I – The Phantom Menace. Darth Chef has not made an appearance in subsequent episodes, but has appeared with other characters in the background of the South Park opening sequence, and is mentioned in the episode "Stunning and Brave", when PC Principal says the kids drove him to kill himself, which is not true.[20]

Chef is alluded to after his death in the season 10 episode "Hell on Earth 2006" where, during Satan's party, there are multiple scenes in which a Caucasian male dressed as Chef can be seen in the background. He is also referenced in the season 14 episode "Crème Fraiche" when Randy becomes the new chef at school and greets the kids with Chef's trademark lines. Isaac Hayes himself died on August 10, 2008, two years after his departure from South Park.

Chef makes an appearance in the 2014 video game South Park: The Stick of Truth as the reanimated Nazi Zombie penultimate boss later in the game. Once again, voice clips of Isaac Hayes as Chef are recycled from past episodes with the exception of recorded speech clips from Adolf Hitler. During his battle with the player and the other boys, Chef will express remorse by saying things like "I'm sorry, boys" and "what have I done?" While there were vague references to the Super Adventure Club and his death, there were no references to the Darth Chef suit.[citation needed]


who sang take me on a sea cruise

"Sea Cruise" is a song written and sung by Huey "Piano" Smith and His Clowns.

Sea Cruise

The recording was included on the 1971 Ace Records compilation Huey "Piano" Smith's Rock & Roll Revival![1]

The song was initially covered by Frankie Ford in 1959, with a top-20 hit, using Smith's original backing track.[2] Released on Ace Records, it sold over one million copies, gaining gold disc status.[3] The single included ship's bell and horn sound-effects, as well as boogie piano, a driving horn section and a beat that anticipated ska music. The song has been included in several motion picture soundtracks, including Ski Patrol in 1990 and Out to Sea in 1997.[4]

It was later also covered by:


the smallest flowering plant on the earth is

Wolffia is a genus of nine to 11 species which include the smallest flowering plants on Earth. Commonly called watermeal or duckweed, these aquatic plants resemble specks of cornmeal floating on the water. Wolffia species are free-floating thalli, green or yellow-green, and without roots. The flower is produced in a depression on the top surface of the plant body. It has one stamen and one pistil. Individuals often float together in pairs or form floating mats with related plants, such as Lemna and Spirodela species. Most species have a very wide distribution across several continents. Wolffia species are composed of about 40% protein on a dry-matter basis, about the same as the soybean, making them a potential high-protein human food source. They have historically been collected from the water and eaten as a vegetable in much of Asia. The genus was first recorded in New Zealand by Ruth Mason.[1]

Wolffia

9-11, see text


who played penny in inspector gadget the movie

Inspector Gadget is a 1999 American action-comedy film directed by David Kellogg, written by Kerry Ehrin and Zak Penn from a story by Ehrin and Dana Olsen. It is loosely based on the 1983 animated cartoon series of the same name. It stars Matthew Broderick as the title character, along with Rupert Everett as Dr. Claw, Michelle Trachtenberg as Penny, and Dabney Coleman as Chief Quimby. Three new characters were introduced, Dr. Brenda Bradford (played by Joely Fisher), Mayor Wilson (played by Cheri Oteri) and the Gadgetmobile (voiced by D. L. Hughley). The film tells the story of how Inspector Gadget and Dr. Claw came to be in the cartoon.

Inspector Gadget (film)

The film was produced by Caravan Pictures and DiC Entertainment (which was owned by The Walt Disney Company at the time of production) and distributed by Walt Disney Pictures on July 23, 1999. It was filmed in Pittsburgh, Pennsylvania, Baton Rouge, Louisiana, and Los Angeles, California, with the ice castle-like main tower of Pittsburgh's PPG Place playing a central role. This was the last film produced by Caravan Pictures before it merged into Spyglass Entertainment. This film was dedicated to the memory of production designer Michael White who died on January 19, 1999 in Los Angeles during production of the film at the age of 36. The film was a moderate box office success with a worldwide gross of $134.4 million against a $90 million budget despite receiving negative reviews from critics. It was followed by the 2003 direct-to-video stand-alone sequel Inspector Gadget 2.

Jonathan "John" Brown is a security guard working at the Bradford robotics laboratory in Riverton, Ohio, run by Artemus Bradford and his daughter Brenda, to whom John is attracted. Brenda and Artemus create a lifelike robotic foot as part of the Gadget Program, an organization for manufacturing computerized law enforcement officers. Sadistic tycoon Sanford Scolex attacks the lab, steals the foot, and has Artemus murdered before escaping in his limo. Brown chases him down in his Chevette and in the ensuing chase Scolex blows up the upside down wreck and leaves John for dead. A bowling ball coming from the blast of the Chevette crushes Scolex's hand, forcing him to replace it with a mechanical claw and taking the alias "Claw."

John barely survives the explosion, and due to his devotion to pursuing her father's killer, Brenda chooses him to be the first test subject for the Gadget Program. Under Brenda's guidance, John becomes Inspector Gadget, equipped with a variety of crimefighting and investigating tools, as well as a car named the Gadgetmobile run by an AI program. Claw, with the help of scientist Kramer and minion Sykes, plots to use the technology he stole to make robotic mercenaries to sell to the world. However he is unable to get the foot to function due to a control chip left in the lab. Police chief Quimby, seeing Gadget as merely a publicity stunt and not a true police officer, refuses to let him help on the Bradford case, causing Gadget to procure evidence on his own. With help from Penny, Gadget suspects Claw, who Brenda now works for. Claw uses Brenda's robotics research to manufacture a new control chip for his android, a robotic version of Gadget, "Robo-Gadget," and sets it loose to cause chaos in Riverton. Gadget infiltrates Claw's lab but is caught and deactivated, Claw crushing his control chip.

Brenda, Penny, her dog Brain, and the Gadgetmobile track Gadget to the junkyard but find him unresponsive. Brenda kisses him, and the power of Gadget's heart reanimates his body without the need for the control chip. After dropping Penny and Brain off at home, Gadget, Brenda and the Gadgetmobile give chase to Claw's limo. Gadget and Robo-Gadget are thrown off and do battle, ending with Gadget detaching Robo-Gadget's head. Gadget uses his helicopter hat to fly to Claw's headquarters, where he is planning to escape with Brenda via a helicopter. In the confrontation, Gadget uses an improvised weapon to forcibly activate Claw's claw, breaking the helicopter's control stick and causing it to go out of control. Gadget and Brenda use a parasol to escape safely, and Claw lands via parachute but is arrested by the police. Penny arrives with a guilt-stricken Sykes who surrenders the technology Claw stole from Brenda and has told Penny everything about Claw's plans. Saluted by Quimby, Gadget departs with Brenda and Penny as Claw vows revenge.

During the end credits, several afterscene clips play, including Sykes going to a minion-recovery group, and the Gadgetmobile addresses the audience till the end of the credits.

During the "Minions Anonymous" scene in the credits, the henchmen include Mr. T and Richard Kiel (who is credited as the "Famous Bad Guy with Silver Teeth", in reference to his role of James Bond's enemy Jaws), as well as Richard Lee-Sung as the "Famous Villain with Deadly Hat", Bobby Bell as the "Famous Identifier of Sea Planes", Hank Barrera as the "Famous Native American Sidekick", and Keith Morrison as the "Famous Assistant to Dr. Frankensomething". Broderick and Coleman previously worked together in the film WarGames.

Universal Pictures at one point had an option on the film rights to the animated television series in 1993. Ivan Reitman signed on to produce with a script by Jeph Loeb and Matthew Weisman.[3] Inspector Gadget moved to Disney when the film studio bought out DIC Entertainment. Disney hired David Kellogg to direct, best known for "The Adventures of Seinfeld & Superman" TV commercials and the Vanilla Ice film, Cool as Ice (1991).

Cameron Diaz declined the role of Dr. Brenda Bradford in favor of Any Given Sunday.[4]

Brendan Fraser was considered for the role of Inspector Gadget, but turned it down on account of working on George of the Jungle, another live-action Disney film based on an animated cartoon. Kevin Kline was also considered for the role.

Steven Spielberg, a fan of the 1980s cartoon, considered being the film's executive producer. His two choices for the role of Inspector Gadget were Chevy Chase and Steve Martin, but he was too busy with other films such as Saving Private Ryan.[citation needed]

Lindsay Lohan turned down the role of Penny, due to her working on her first film, The Parent Trap.[citation needed]

Tim Curry was considered for the role of Doctor Claw.[citation needed]

Louis C.K. auditioned for a role as a police officer.[citation needed]

After a test screening, the film was cut to 78 minutes from the original 110-minute version.[5][not in citation given]

The Gadgetmobile, designed by Brenda Bradford, is a white & chrome 1964 Lincoln Continental convertible instead of a Matra Murena/Toyota Celica hybrid from the cartoon and can't transform from a minivan to a police vehicle and often drives by itself. It has an artificial intelligence with a male persona. Like most anthropomorphic cars, "his" front bumper is his mouth and he has eyes in his headlights. However, unlike those cars, who have two eyes, he has four. He also has a face on a computer screen on the dashboard and a license plate that reads "GADGET". Among other things, he can camouflage himself, has a radar system to track Gadget's location (and other people's as well), can extend his tires upwards, has retractable jail bars in his back seat (for transporting criminals), a vending machine (options on this include Skittles, M&M's, Surge, Sprite, Coca-Cola and McDonald's), sirens in the hood that attach to the windshield, and a jet engine he keeps in his trunk. His artificial intelligence has a laid-back personality. The Gadgetmobile openly breaks the law constantly (he is a particular fan of backturns), but claims it is okay: "Speed limits are for cars, not the Gadgetmobile." Comedian D. L. Hughley provides his voice.

The soundtrack of the film, composed by John Debney, contains the singles "All Star" by Smash Mouth and "I'll Be Your Everything" by the boy band Youngstown.[6]

Inspector Gadget was released on VHS and DVD December 7, 1999, and re-released on DVD May 27, 2003 by Buena Vista Home Entertainment.

On Rotten Tomatoes, the film has a rating of 21%, based on 62 reviews, with the consensus reading: "Despite an abundance of eyecandy, the film doesn't amount to much."[7] Metacritic reports a rating of 36 out of 100, based on 22 critics, indicating "generally unfavorable reviews".[8]

Lawrence Van Gelder of The New York Times stated that it "wastes a lot of good talent".[9] In his review for the Chicago Sun-Times, Roger Ebert mentioned that fans were angered when Dr. Claw reveals himself in the movie.[10]

The film was a moderate box office success with a worldwide gross of $134.4 million worldwide, against a budget of $90 million.[2] In its opening weekend, the film grossed $21.9 million, finishing in second at the box office behind The Haunting ($33.4 million). In the United Kingdom, it grossed just over Â£7 million.

In May 2015, it was announced that a new film with a rebooted version of the character is currently in development.[11]