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Neal Caffrey
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Neal Caffrey
White Collar character
A promotional photograph of Neal Caffrey as portrayed by Matt Bomer
First appearance
"Pilot"
(episode 1.01)
Last appearance
"Au Revoir"
(episode 6.06)
Created by
Jeff Eastin
Portrayed by
Matt Bomer
Owen Elkin (young)
Information
Aliases
Danny Brooks (in WITSEC), George Devore, George Danvery, George Donnelly, Nicholas "Nick" Halden, Dr. Leonard Parker, Steve Tabernacle, Benjamin Cooper, Gary Rydell, Victor Moreau, Chris Gates, James Maine, Neal Armstrong, Neal Craig, Neal Mcalli William Grey
Occupation
FBI Consultant, Con Artist, Art Thief, Forger
Wikiquote has quotations related to: Neal Caffrey
Neal Caffrey (born Neal George Bennett on March 21, 1977, later changed his name to Neal George Caffrey) is the main character of the USA Network original series White Collar. Neal currently works as a criminal consultant for the White Collar Crime Division of the FBI in New York City. He is a world-class forger and conman, with a fondness for art, fine wine, Sy Devore suits, fedoras, and beautiful women. Neal speaks eight languages, including conversational Swahili, and has 27 known aliases.[1]
Caffrey was suspected of hundreds of thefts before Agent Peter Burke of the FBI apprehended him. Neal received a four-year sentence for bond forgery. After escaping from prison — and getting caught once again by Agent Burke when he is found in his ex-girlfriend Kate's apartment with an empty bottle of wine — Neal struck a bargain in exchange for his release from prison after he identifies a bomb material from Peter Burke's suit, Neal helps the FBI catch the most cunning white collar criminals in the country. Now, Neal must walk the line between his new job as a top FBI consultant, and his old life as a white collar criminal.
Matt Bomer portrays Neal Caffrey on White Collar.[2] Bomer describes the character as having "the veneer of the charming, hyper-intelligent, eloquent, sly mastermind, but underneath, he was really a kind of die hard romantic who would go to any lengths to find the love of his life".[3]
Contents
[hide]
1 Personality
2 History
2.1 Early life and background
2.2 Life as a con artist
3 Relationships
3.1 Peter Burke
3.1.1 Season 1
3.1.2 Season 2
3.1.3 Season 3
3.1.4 Season 4
3.1.5 Season 5
3.2 Mozzie
3.3 Alexandra "Alex" Hunter
3.4 Kate Moreau
3.5 Sara Ellis
3.5.1 Season 2
3.5.2 Season 3
4 Criminal career
4.1 Known and implied crimes
5 References
Personality[edit]
Neal is presented as a charming, sophisticated gentleman with a wide range of knowledge, from art to foreign languages, most of which seems to be self-taught; he reveals early in Season 2 that he did not graduate high school. He is described as a romantic, which is shown when he breaks out of prison to track down Kate Moreau, his girlfriend and true love, after she breaks up with him. Neal is also highly secretive, and does not trust anyone completely. In the Season 1 episode "Threads", he tells Mozzie that he lied to both Mozzie and Kate about the location of his stash of stolen goods, telling Mozzie it was in Portland and Kate in San Diego, in order to test their loyalty to him. Neal rarely makes himself vulnerable, hiding behind a facade of indifference or cheerfulness when he is upset, even after a major personal tragedy in the Season 1 finale. He does not enjoy talking about his past, preferring the mystery.
Neal is a people person. His confidence makes it easy for him to con people (particularly women), and he frequently draws attention to himself wherever he goes. Jeff Eastin says of casting Neal: "I wanted a guy who walked into a room and every head turned. Because this guy is elegant, and he’s sophisticated, and he’s smart and he loves the attention."[4]
History[edit]
Early life and background[edit]
Born Neal George Bennett (Compromising Positions | Season 4: episode 7), Neal grew up in United States Federal Witness Protection Program under the name Danny Brooks in St. Louis, Missouri. His mother told him that his father, James Bennett, a police detective in the Washington, D.C. Metro Police Department, died when he was two years old, while taking out a bunch of bad guys. Neal grew up wanting to be just like him: intending to be a police officer and training with guns. However, when he was 18, Ellen Parker, his father's former partner, told him the truth: His father is still alive, but is not a hero. James had been arrested for the murder of a fellow police officer when Neal was three years old. (Diminishing Returns | Season 4: episode 3) After finding out this information, Neal left WITSEC and took his mother's maiden name, Caffrey. Now, he can still use guns, but prefers not to, and shows strong distaste towards firearms in general. Neal did not graduate from high school; he also did not attend college, although he has, (most likely) fictitiously acquired three MBAs and two doctorate degrees (Copycat Caffrey | Season 2: episode 3).
He learns more about his father only years later, when he asks Ellen for more information: After he was arrested, James told Ellen that their department was filled with dirty cops who had set him up. But then, his father confessed to the murder, and turned state’s evidence on the Flynn organization, a crime family with some of the police department on the payroll, including Neal’s father. His testimony brought down most of the organization. Neal, his mother, and Ellen were placed in witness protection. (Gloves Off | Season 4: episode 9)
Life as a con artist[edit]
Neal came to New York City in his early twenties. Mozzie saw Neal con a man out of $500 and later approached him about pulling a long con on a CEO named Vincent Adler. For about approximately six months, Neal worked for Adler at Adler Financial Management under the alias Nicholas Halden. It is through Adler that Neal met fellow thief Alexandra "Alex" Hunter when she attempted to steal information from Adler. The two ended up spending the night together after their first encounter. He fell in love with Adler's assistant, Kate Moreau, who eventually became his girlfriend. Before Neal could complete the con, Adler figured out Neal's true identity and his con and ran off with a billion dollars, leaving all of his employees—including Neal and Kate—jobless and broke. Adler left only one dollar in the account Neal was after and a password that was an anagram for "Nice Try Neal". After this, Neal, Kate, and Mozzie began running cons together. Neal refers to Vincent Adler as "the man who made me who I am today." He follows Adler's advice to "assault the commonplace every chance we get, from the clothes we wear to the art we collect, to the women in our lives." (Forging Bonds | Season 2: episode 11)
Neal tried to persuade Kate to leave for Europe with him. Kate got upset when he mentioned Copenhagen, because she knew that Alex Hunter had contacted him about a job there. She accused Neal of trying to con her, instead of simply telling her that. She stayed in New York while Neal left for Copenhagen. Upon his return, Neal found that Kate was hiding from him and started doing bigger cons and forgeries, trying to catch her attention. The FBI tracked Kate down and, realizing that Neal had no idea where Kate was, they set a trap for Neal by leaking her whereabouts and waiting for him to go to her. (Forging Bonds | Season 2: episode 11)
Relationships[edit]
Peter Burke[edit]
Agent Peter Burke was the case agent assigned to catch Neal Caffrey. He spent three years chasing Neal before finally arresting him. Neal sent Peter birthday cards each year while he was in prison. Burke is considered the only man capable of catching Caffrey. (Pilot | Season 1: episode 1) The relationship between the two of them is characterized by mutual respect and mistrust. With Neal, Peter follows the motto "Trust but Verify," which means he checks Neal's tracking information every day to see where he’s gone when he’s not at work (The Portrait | Season 1: episode 5). However, Peter does consider Neal a partner, a friend, and one of the cleverest people he knows (Pilot | Season 1: episode 1, All In | Season 1: episode 6, Hard Sell | Season 1: episode 8). Neal trusts Peter more than anyone else in his life, including Mozzie (Vital Signs | Season 1: episode 10). Together they form a remarkable partnership. Neal Caffrey uses his criminal background to go undercover while Peter Burke keeps the investigation focused and on-track.
Season 1[edit]
During White Collar’s first season, the duo is assigned cases ranging from art theft to jewelry heists to recovering stolen jade elephants. Despite reservations on Burke’s part regarding the sincerity of Caffrey’s aims, as well as Caffrey’s occasional mistrust of Burke, the two build a sincere friendship in addition to their effective partnership. However, on several occasions Burke is convinced that Caffrey was behind the crimes that they are investigating. Neal, meanwhile, keeps secrets from Peter, especially when it comes to tracking down Kate Moreau. However, Neal’s private investigation eventually requires Peter’s help. When Neal is set to run away with Kate in finale, Peter intercepts him at the airport and asks: "You said goodbye to everyone but me. Why?" To which Neal eventually replies, "Cause you're the only one who could change my mind." (Out of the Box | Season 1: episode 14)
Season 2[edit]
The cases in season two lead to a growing understanding between Neal and Peter. A manhunt for a fugitive FBI agent causes Peter Burke to go on the run with Caffrey’s aid (Prisoner's Dilemma | Season 2: episode 7). When Burke is suspected of planting evidence, Neal assists him in an intricate con to prove his innocence (Burke's Seven | Season 2: episode 10). Neal Caffrey becomes torn between the need for revenge for Kate’s death and the justice Burke insists on within the legal system. When Caffrey corners Kate Moreau’s suspected killer, he is ‘talked down’ by Peter Burke (Point Blank | Season 2: episode 9). When Neal Caffrey goes undercover with a thief looking for that one last score, he wonders if he’s seeing an older image of himself. "If ever you do decide to grow up, you should realize this one thing," Peter Burke tells Neal. "You can either be a con or a man—you can’t be both." (Countermeasures | Season 2: episode 13) Later, the duo switch identities, with Peter Burke pretending to be Neal Caffrey and vice versa, giving them both a first-hand look at what it is like to be in the other’s shoes (Power Play | Season 2: episode 15). At the end of the season, Mozzie swipes a lost cache of art amassed by the Nazis (known variously as the U-boat, music box, Nazi, or Nazi sub treasure). Unfortunately, Peter Burke suspects Neal as the true perpetrator of the theft when he spies a piece of Neal's painting among the debris. The scene shatters the relationship between Neal and Peter. (Under the Radar | Season 2: episode 16)
Season 3[edit]
The trust that has slowly been accumulating between FBI Agent Peter Burke and Neal Caffrey dissolves in the explosion at the warehouse. Their differences, however, must be set aside when Burke is kidnapped by Caffrey’s nemesis Matthew Keller. "You," Neal Caffrey tells Peter Burke when asked why he did not simply take the Nazi treasure and run. "Elizabeth, Sara. The view out that window, stepping off the elevator Monday morning. All of it. I have a life here." (Checkmate | Season 3: episode 11)
Season 4[edit]
The Plot continues after Neal and Mozzie run off to Cape Verde and are brought back by Burke.
Season 5[edit]
Peter is about to be prosecuted for murder, which could end his FBI career even if he were acquitted. Elizabeth urges Neal to save him at any cost. Neal is contacted by the Dutchman, Curtis Hagan (Mark Sheppard), the man he helped Peter convict of forgery in their first case together.
Disillusioned, Peter tells Elizabeth he wants to stay in his current position closer to field work; she agrees but wants to keep the job in DC. A bitter Neal asks Mozzie to circumvent the new anklet. After Mozzie leaves, Neal recognizes and confronts a man who has been following him. He is then grabbed from behind and thrown in a van, without his anklet.
Mozzie[edit]
Mozzie, often called Moz short for Mozart, is Neal's partner in crime and a close friend. Mozzie was orphaned as a baby and raised in an orphanage in Detroit. His love of literature came from the man who found him and ran the orphanage, Mr. Jeffries. Mozzie started his criminal career by running cons on bullies, then running numbers for book makers until he became the brains behind the most successful and notorious book maker, "The Dentist of Detroit." Only years later was it revealed that Mozzie was the Dentist and that he had conned a Detroit crime boss out of $500,000 when he was barely a teenager. Mozzie is a conspiracy nut and at one time believed that his parents may have been spies and that was why they could not raise him.
Mozzie first met Neal after Neal got the better of him when Mozzie was pulling the "Find the Lady" con in the park not long after Neal moved to New York. Mozzie later approached Neal about pulling a long con on a CEO named Vincent Adler. Though the plan eventually failed, their friendship has flourished. Mozzie is the one who beckons Neal to a life of indulgence, wealth and pleasure, at the same time as FBI agent Peter Burke is pushing Neal toward respectability. "This is a guy who never liked other people," says Willie Garson, the actor who plays Mozzie. "He has never thought he needed people around. But Neal brought him out of his shell and now he’s not so sure."[5] During the first season, Mozzie uses his various connections to the criminal world to help Neal with both his investigations with Peter and his private investigations into Kate's disappearance. During the second season, Mozzie becomes much more involved with the investigation into Kate's murder, discovering the identity of the last person Kate spoke to (Fowler) and breaking the code of the music box. In the season finale, unbeknownst to Neal, Mozzie steals the treasure linked to the music box and plans to share it with Neal. This causes Neal a great deal of trouble during season three, as Peter suspects him of the theft. He is not the only one: Neal's old competitor, Matthew Keller, comes to claim the treasure as well. Mozzie wants Neal to leave the country with him, but Neal is unwilling to throw away his life in New York. They are finally forced to flee, because of a D.C. Art Crimes agent with a yearning to make Neal his asset. Neal and Mozzie take refuge on the non-extraditing island of Cape Verde, living a lavish lifestyle in a seaside villa, until brought back to New York by Agent Burke. Mozzie goes back to the basics of street cons after Neal is allegedly declared dead.
Alexandra "Alex" Hunter[edit]
Alex is an old accomplice of Neal's. He first met her when he worked for Vincent Adler under the alias of Nick Halden, and she was attempting to steal information on Adler. Alex can tell Neal is not really who he says he is, and the two end up spending the night together the first day they meet, even though Neal is currently pining for Kate. Afterwards, Alex tells him about the music box for the first time. They work together again to steal it in Copenhagen, but the con goes wrong and Alex ends up in the hospital, where Neal leaves her. The next time they see each other, he is out of prison and needs her help tracking down the music box again, which he plans on giving to Fowler in exchange for Kate. Though at first wary of his connections to the FBI, Alex agrees to help him, and they concoct an elaborate theft to steal the box. However, she double crosses him at the last minute and runs off with the box for herself. She later changes her mind and returns it to Neal, admitting that she doesn't want this to be goodbye, implying that she still has feelings for him. After Kate's plane blows up, Alex goes underground for a while to avoid the mysterious people who are searching for the music box, later resurfacing to assist Neal in an FBI investigation. He helps her get out of the country (along with a valuable Matisse that she stole), and before she leaves for Italy, Alex gives him a piece of the music box and kisses him.
They later see each other again in the Season 2 mid-season finale "Point Blank". Alex has snuck back into the country, still hiding from the people searching for her and the music box. Neal offers to help get this target off her back, sending her to steal the box again, this time from FBI Agent Diana Barrigan's apartment, and donate it to the Russian Heritage Museum, finally ending her involvement with the box. This time, she gives Neal her number before she leaves.
In the season finale "Under The Radar", Alex has been kidnapped by Vincent Adler, followed shortly by Peter and Neal. This is directly after the realization that she is the granddaughter of the man who received the final transmission from the Nazi submarine that Adler is looking for, and that the fractal in the music box leads to. She explains that her grandfather encoded the fractal into the box with hopes of someday finding the treasure for himself, but died before he could. He did manage to indirectly give Alex the code to open the submarine hatch, and she uses this knowledge to help Peter and Neal get in. After a near-death experience at the hands of Adler, Neal and Alex, relieved at being alive, share a kiss, which is seen by Neal's current girlfriend Sara Ellis. Alex and Sara later meet, and Alex quickly realizes that she and Neal are involved. Alex gives Neal her blessing and one final kiss goodbye, as well as likening him to the Nazi treasure: some wonderful fantasy that's just out of reach.
Kate Moreau[edit]
Kate is the driving force behind the majority of Neal's actions throughout the series. When she breaks up with him while he is in prison, he quickly escapes in order to find her, only to be two days late. Neal is convinced that she is in trouble, a belief further enforced when he sees a picture of her at an ATM with a mysterious hand on her shoulder. Neal calls the man "The Man With The Ring" because of the strange ring he is wearing on his pinky finger. Using cryut she tells Mozzie (still over the phone) that this is the only way, before disappearing again.
Over time, it is revealed that Kate may or may not be being controlled by corrupt FBI Agent Garrett Fowler, who is working for Vincent Adler, a former employer of Neal and Kate's. Neal manages to make a deal with Fowler, giving him a mysterious music box in exchange for life with Kate. Neal is about to board the private jet that contains Kate, but is slowed down by Peter. Before Neal can make a decision of staying or going, the jet explodes, killing Kate.
Season 2 follows Neal's search for Kate's killer, eventually leading him to Adler. It is never fully explained whether Kate was willingly working for Adler or not, and if she ever truly loved Neal. In a flashback episode, it is revealed that Kate was originally Adler's assistant, and Neal met her while under the alias of Nicolas Halden, trying to con Adler out of his money. They fell in love, and when Adler vanished with all of their savings, Neal finally tells her his true identity, and they become partners in crime together. Kate leaves Neal, however, when he tries to con her into going to Copenhagen to work with Alex. He pulls off several of the biggest cons and thefts of his career (including stealing a Raphael that he and Kate admired when they first met) in order to get her attention again. The FBI realizes this, and leaks Kate's location to him in order to have him walk into a sting, which he does, despite knowing the risks. He is reunited with Kate just long enough for them to confess their love for one another, and is arrested by Peter quickly afterwards. Kate visits him in prison every week for almost four years before breaking up with him, leaving him heartbroken, and her eventual death haunts him throughout Season 2. He also reveals to Mozzie that he planned for a marriage and family with Kate, and had hidden a 2.5 million dollar ring in the park where they used to go. By the end of the season, he has moved on from her death and found closure and peace.
Sara Ellis[edit]
Sara is an insurance investigator for Sterling Bosch, which insured a Raphael painting stolen by Neal. She testified against him at his trial, but he was not found guilty of the crime. In the trial it is revealed that Sara thought Neal was a sociopath. When Neal is working as a consultant for the FBI he works closely with Sara as she is helping with a case at the FBI. Although she is initially hesitant towards Neal they soon grow closer and share a few intimate encounters. However Neal and Sara's relationship officially ended after she found out that Neal was in possession of some stolen treasure. Whilst not romantically involved Neal and Sara work on a case which forces Sara to pretend to date an Ex. This causes some jealousy on Neal's part indicating he still has feelings for her. Neal and Sara start a 'friends who have fun' relationship until Sara announces that she has accepted a job in London. While working one final case Neal fake proposes to Sara but it is clear that he meant every word of it. Sara then moved away leaving Neal and ultimately ending their relationship.
Season 2[edit]
They share a slightly antagonistic relationship at first when they are forced to work in "Unfinished Business" together on a case, which isn't helped when Neal, working undercover, unknowingly breaks into her house with a gun, only to have her pull one on him. He explains the situation, and they agree to fake her death to fool the man who put the hit out on her in the first place. They are able to forge a slightly closer relationship, even though Neal is only being nice to her because he had Kate's flight recorder data mailed to her house and needs to get to it. He finds his opportunity when offering to give Sara a lift home after she is "brought back to life," but is not able to retrieve the recording. Mozzie breaks in instead and successfully steals it, which is found out by Sara, returning her and Neal's relationship to its original level. She later learns the whole story about Kate, and agrees to help him with the investigation into her death.
Gradually, they begin to respect each other more, and eventually begin a romantic relationship in the finale lead-in "Power Play", when they make out during a blackout in a library. They make tentative plans in the next episode, but things are temporarily halted when she sees him kissing Alex after a near-death experience. They work past this, however, and she forgives him. At one point, Sara tells Neal her younger sister ran away when she was 13 and she never found out what happened to her.
Season 3[edit]
They start a relationship and while they maintain that they are just having fun, seem to genuinely be falling for each other. This is complicated by Neal and Mozzie's plan to run away with their hidden stash of treasure. in the episode "Taking Account", Neal and Sara temporarily move in together while her apartment is under construction, and Neal finds himself enjoying the idyllic lifestyle he has with her. At one point, he comes extremely close to asking her to come with him and Mozzie when they leave, but backs out when she says she could never be happy leading a life that she didn't deserve. Later, she breaks into his laptop and sees the stolen treasure on it, quickly ending their relationship. When Neal confronts her, she confesses to knowing about the treasure, but in the end chooses to not turn him in.
In "Pulling Strings", Sara and Neal are forced to work together to recover a missing violin, and there is romantic tension between them. Neal seems consistently jealous when she talks about a former boyfriend, the primary suspect in their case. Neal asks Sara to tell him everything, in the interest of the case. Sara tells Neal that she was engaged to the man at one point, and then claims that disclosing secrets feels good and encourages Neal to try it some time. At a concert Neal "runs into" the suspect, who Sara is on a date with, undercover. The two men get into a tense back and forth over Sara in which the suspect compares Neal to fireworks that although bright, don't generate enough heat to last. Neal returns that "The nice thing about fireworks is, they always have a second show." Neal doesn't hear, but Sara's ex-boyfriend says he can tell that she is lying to him because she can't kiss him "as passionately as she looks at Caffrey." After the case closes, Neal asks Sara where they stand. She tells him that they should be friends, but when Neal points out that "friends do occasionally go out," she agrees that he should call her sometime. During the season finale, Sara kisses Neal after he tells her that he did indeed steal the Raphael.
Criminal career[edit]
Known and implied crimes[edit]
Neal forged Atlantic Incorporated bonds. (Forging Bonds | Season 2: episode 11)
Neal, Kate & Mozzie ran a con and stole a Faulkner Manuscript ("Forging Bonds" | Season 2: episode 11)
He stole Raphael's "St. George and the Dragon" in April 2005 worth $15 million. (In the Red | Season 2: episode 6, Judgment Day | Season 3: episode 16)
He may have forged the Vinland map. (Book of Hours | Season 1: episode 3)
He may have forged the Papyrus Seven Scrolls. (On the Fence | Season 3: episode 9)
He once melted down stolen gold. (Flip of the Coin | Season 1: episode 4)
He stole the McNally Solitaire worth $2.5 million which had been missing for 100 years or so and told Peter to contact the Scotland Royal Museum. It appears Neal stole the ring from another thief not the museum. (Payback | Season 2: episode 14)
He may have stolen a Fiorentino from the Smithsonian 8 years earlier and replaced it with a chocolate one wrapped in foil. (Countdown | Season 3: episode 10)
Neal stole Poe's Tamerlane book, a Tamayo Painting, and Washington's love letters. (All In | Season 1: episode 6)
Neal stole the Antioch manuscripts using carrier pigeons to carry the vault combinations. (Vital Signs | Season 1: episode 10)
Neal stole Catherine the Great's amber music box from the Italian Embassy which had also stolen it, with Mozzie and Alex's help. (Out of the Box | Season 1: episode 14)
Neal ran a money laundering scam in Canary Islands in 2004 under the name of Nicholas Halden. (All In | Season 1: episode 6)
References[edit]
Jump up ^ Season 4, episode 1: "Wanted".
Jump up ^ Krakow, Jonah (October 22, 2009). "White Collar: "Pilot" Review: Another charismatic crime-solver joins USA Network". IGN TV. IGN. Retrieved June 6, 2011.
Jump up ^ Clarke, Kristyn. "Matt Bomer and Tim DeKay PCM Interview". PCM. Retrieved June 6, 2011.
Jump up ^ "Transcripts of White Collar DVD Extra "Pro and Con"". LiveJournal. October 11, 2010. Retrieved June 6, 2011.
Jump up ^ Hinckley, David (July 17, 2012). "Willie Garson: The pros and cons of playing Mozzie on 'White Collar'", New York Daily News. Retrieved May 4, 2013.
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text:
Cynthia Rhodes
From Wikipedia, the free encyclopedia
Jump to: navigation, search
Cynthia Rhodes
Born
(1956-11-21) November 21, 1956 (age 60)
Nashville, Tennessee,
United States
Occupation
Actress, singer, dancer
Years active
1970–1991
Spouse(s)
Richard Marx (1989–2014; divorced)
Children
3
Cynthia Rhodes (born November 21, 1956) is an American retired actress, singer and dancer. Her film roles include Tina Tech in Flashdance (1983), Jackie in Staying Alive (1983) and Penny in Dirty Dancing (1987).
Contents
[hide]
1 Career
2 Personal life
3 Filmography
4 Songs
5 References
6 External links
Career[edit]
Born in Nashville, Tennessee, Rhodes began her brief show business career working at Opryland USA as a singer and dancer while attending Glencliff High School in Nashville during the 1970s.[1] Raised in a Baptist family, Rhodes tried to maintain a clean-cut image in her acting roles and in the media, turning down scripts that required nudity and refusing offers to pose for pictorials in Playboy magazine. Sylvester Stallone, the director of Staying Alive, reinforced these facts by stating that Rhodes "would sooner quit the business before doing anything to embarrass her parents."[2]
Rhodes played a small role in the fantasy musical Xanadu (1980).[3] Following a minor part as Tina Tech in the musical film Flashdance, Rhodes played the role of Jackie, an ensemble dancer, bar band singer, and character Tony Manero's (John Travolta) love interest in Sylvester Stallone's film Staying Alive, the poorly reviewed, but commercially successful, sequel to the hit film Saturday Night Fever.[4]
Rhodes garnered her first non-dance related role in Michael Crichton's science fiction thriller Runaway with Tom Selleck, Kirstie Alley and Gene Simmons. Her most notable role was as dance instructor Penny Johnson in the hit 1987 motion picture Dirty Dancing with Jennifer Grey and Patrick Swayze. Rhodes' final motion picture role was the character of Vickie Phillips opposite actor Jameson Parker in the sleeper action-adventure movie Curse of the Crystal Eye.
Rhodes also appeared as a dancer in music videos, such as "Rosanna" by the band Toto, "The Woman in You" by the Bee Gees, and "Don't Mean Nothing" by Richard Marx. She was a dancer for the glam rock band The Tubes when they toured in the early 1980s. Rhodes later joined the 1980s pop group Animotion, replacing the group's singer Astrid Plane for the recording of its third and final album of original material. Though the group's single "Room to Move" rose to No. 9 on the Billboard charts, the album failed to match the group's earlier success, peaking at only No. 110 on the pop charts; shortly thereafter, the group disbanded. In 2002, Rhodes co-wrote the smooth jazz track "Perfect Day" with then-husband Richard Marx for December, trumpeter Chris Botti's holiday album.[5]
Personal life[edit]
Rhodes was married to singer-songwriter Richard Marx. They met in 1983, while Marx was working on the motion picture soundtrack for Staying Alive. Rhodes, seven years his senior, thought Marx was much too young for her to date at the time.[6] Marx and Rhodes did not start their relationship until two years later, when they were reacquainted at a party. After a four-year courtship, the couple married on January 8, 1989.[7] After marrying Marx and giving birth to three boys, Rhodes retired from her performing career to raise her family. In an Us Weekly article dated April 4, 2014, Marx's representative confirmed that he and Rhodes were divorcing after 25 years of marriage.[8]
Filmography[edit]
Xanadu (1980) – Ensemble dancer
Flashdance (1983) – Tina Tech
Staying Alive (1983) – Jackie
Runaway (1984) – Officer Karen Thompson
Dirty Dancing (1987) – Penny Johnson
Curse of the Crystal Eye (1991) – Vickie Phillips
Songs[edit]
"Room To Move" – Animotion (1989)
"Calling It Love" – Animotion (1989)
"I'm Never Gonna Give You Up" with Frank Stallone – Staying Alive Soundtrack (1983)
"Finding Out The Hard Way" – Staying Alive Soundtrack (1983)
References[edit]
Jump up ^ "Cynthia Rhodes Actor Biography". Yahoo.com. Retrieved 2008-01-05.
Jump up ^ "Two for Travolta". People Magazine/AOL Time Warner. Retrieved 2007-07-30.
Jump up ^ "Cynthia Rhodes Bio". Hollywood.com. Retrieved 2007-07-30.
Jump up ^ "25 Worst Sequels Ever Made". EW.com. Retrieved 2009-02-11.
Jump up ^ "December 2002". SmoothJazzNow.com. Archived from the original on 2007-10-31. Retrieved 2007-11-26.
Jump up ^ "Life After L.A". People Magazine/AOL Time Warner. Retrieved 2008-11-30.
Jump up ^ "Richard Marx trades stardom for producing, parenthood". CNN/AOL/Time Warner. 2002-09-24. Retrieved 2007-08-05.
Jump up ^ "Richard Marx and Cynthia Rhodes Divorcing After 25 Years of Marriage". Wenner Media. 2014-04-04. Retrieved 2014-04-04.
External links[edit]
Cynthia Rhodes on IMDb
Cynthia Rhodes at AllMovie
Cynthia Rhodes: Actress, Dancer, & Singer
Authority control
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ISNI: 0000 0000 5516 0045
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MusicBrainz: eb240c6e-6e61-4446-b1a8-5d950a235793
Retrieved from "https://en.wikipedia.org/w/index.php?title=Cynthia_Rhodes&oldid=798800669"
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The Fight (How I Met Your Mother)
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The topic of this article may not meet Wikipedia's general notability guideline. Please help to establish notability by citing reliable secondary sources that are independent of the topic and provide significant coverage of it beyond its mere trivial mention. If notability cannot be established, the article is likely to be merged, redirected, or deleted.
Find sources: "The Fight" How I Met Your Mother – news · newspapers · books · scholar · JSTOR (May 2017) (Learn how and when to remove this template message)
This article's lead section does not adequately summarize key points of its contents. Please consider expanding the lead to provide an accessible overview of all important aspects of the article. Please discuss this issue on the article's talk page. (December 2015)
"The Fight"
How I Met Your Mother episode
Episode no.
Season 4
Episode 10
Directed by
Pamela Fryman
Written by
Theresa Mulligan Rosenthal
Production code
4ALH10
Original air date
December 8, 2008
Guest appearance(s)
Will Sasso (Doug Martin)
Episode chronology
← Previous
"The Naked Man" Next →
"Little Minnesota"
"The Fight" is the tenth episode in the fourth season of the television series How I Met Your Mother and 74th overall. It originally aired on December 8, 2008.
Contents
[hide]
1 Plot
2 Critical response
3 References
4 External links
Plot[edit]
A bartender, Doug, gets Ted and Barney involved in a fight with a group of guys sitting in the gang's favorite booth. Marshall and Lily try to warn them off, but Barney vows to join in when Robin reveals that she thinks fights are sexy. Ted joins in as an experience he thinks he should have sometime in his life.
When they arrive in the back alley, Doug has knocked out the guys single-handedly. Ted and Barney try to give him credit, but he insists they were in the fight as well. Afraid of appearing unmasculine, they take the credit after Barney creates "battle wounds" by blackening his own eye and punching Ted in the nose. They earn the admiration of everyone except Marshall, who claims that he used to fight with his brothers and Ted and Barney wouldn't stand a chance. Ted and Barney laugh it off.
Ted and Barney are sued by the losers of the fight. They admit to Marshall and the others that they had no role in the victory. Robin, who had been extremely attracted to Barney, cancels a date to a hockey match. Marshall gets the boys out of the lawsuit with their admission of no involvement.
Doug is now the only person named in the suit and he plans to pulverize Ted and Barney for their betrayal. Barney runs away in fear. Doug brings up Stella leaving him and Ted punches Doug, who subsequently knocks him out cold. Marshall proves his earlier stories of fighting prowess by knocking out Doug with one blow; as it turns out his childhood fights with his brothers weren't gentle horseplay as the gang believed, but rather vicious brawls. Barney returns to find both Doug and Ted on the floor in pain.
At school, Lily struggles with two kids in her class who are also fighting. First, she has Marshall come to class to preach pacifism, but the kids call him a wuss. She later has Ted come to class after he has been hit by Doug to preach the consequences of fighting. The kids are still unmoved.
Marshall is shown with Lily at his mother's house 3–5 years later for Thanksgiving and he pulls out a lightsaber to carve the turkey.
Critical response[edit]
This section needs expansion. You can help by adding to it. (June 2010)
Donna Bowman of The A.V. Club rated the episode B+.[1] Michelle Zoromski of IGN rated the episode 8.2 out of 10.[2] Television Without Pity gave the episode a rating A.[3]
References[edit]
Jump up ^ How I Met Your Mother "The Fight" B+ by Donna Bowman December 8, 2008 http://www.avclub.com/articles/the-fight,13419/ The A.V. Club The Onion
Jump up ^ How I Met Your Mother: "The Fight" Review. Barney kicks his own ass. December 9, 2008 by Michelle Zoromski http://tv.ign.com/articles/937/937083p1.html IGN News Corporation
Jump up ^ How I Met Your Mother Fight Club By Cindy McLennan | Season 4 | Episode 10 | Aired on 2008.12.08 http://www.televisionwithoutpity.com/show/how_i_met_your_mother/the_fight_1_1.php Pages 11 Television Without Pity
External links[edit]
"The Fight" on IMDb
"The Fight" at TV.com
[hide]
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The Road to Mecca (play)
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see The Road to Mecca (disambiguation).
The Road to Mecca
Written by
Athol Fugard
Characters
Elsa Barlow
Miss Helen
Rev. Marius Byleveld
Date premiered
1984
Original language
English
The Road to Mecca is a play by South African playwright Athol Fugard. It was inspired by the story of Helen Martins, who lived in Nieu-Bethesda, Eastern Cape, South Africa and created The Owl House, which is now a provincial heritage site.
Contents
[hide]
1 Synopsis
2 Productions
2.1 2011 Broadway production
3 1991 film adaptation
4 Notes
5 References
6 External links
Synopsis[edit]
Miss Helen, a senior South African widow, has been working on an overgrown sculpture garden, which is a dream trip to "Mecca". Pastor Marius urges Helen to move to a senior home. However, Elsa, a Cape Town schoolteacher arrives to encourage Helen in her art.
Productions[edit]
The Road to Mecca was presented at the Yale Repertory Theatre, New Haven, Connecticut, in May 1984. Directed by Fugard, the cast starred Carmen Mathews (Helen), Marianne Owen (Elsa), and Tom Aldredge (Marius).[1]
The play was performed at the National Theatre Littleton Theatre in London in February to July 1985.[2][3] It was then presented at the Spoleto Festival USA in May 1987, starring Athol Fugard as the Rev. Marius Byleveld, Charlotte Cornwell as Elsa Barlow, and Yvonne Bryceland as Miss Helen. Cornwell and Bryceland were also in the National Theatre production.[4]
Fugard had written the part of Helen for Yvonne Bryceland. When he and the Lincoln Center Theater Company were in talks in 1985 to have the play produced there, Bryceland was not permitted to perform the role in the United States by Actors Equity. The issue began in early 1984, when Fugard and Lloyd Richards, the artistic director of the Yale Repertory Theater, asked for permission for her to perform in the Yale Rep production; the request was denied.[5] She was subsequently allowed to perform at the Spoletto Festival.[6] The union finally permitted Bryceland to perform in the United States.[7]
The play premiered Off-Broadway at the Promenade Theatre on April 12, 1988 and closed on September 11, 1988 after 172 performances. Directed by Fugard, he also starred as Marius Byleveld; the cast featured Yvonne Bryceland as Miss Helen and Amy Irving as Elsa Barlow. John Lee Beatty was the Set Designer, Susan Hilferty, Costume Designer and Dennis Parichy, Lighting Designer.[8] The play won the 1988 New York Drama Critics' Circle Award for Best Foreign Play and the 1987-1988 Obie Awards for Outstanding Performances, Yvonne Bryceland.[8]
2011 Broadway production[edit]
The Road to Mecca premiered on Broadway at Roundabout Theatre Company's American Airlines Theatre on December 16, 2011 (in previews) and closed on March 4, 2012. The cast starred Rosemary Harris (Miss Helen), Jim Dale (Pastor Marius Byleveld) and Carla Gugino (Elsa), directed by Gordon Edelstein.[9][10]
1991 film adaptation[edit]
The 1991 film adaptation of The Road to Mecca, written by Peter Goldsmid, who also co-directed it with Fugard, starred Fugard as the Rev. Marius Byleveld, Kathy Bates as Elsa Barlow, and Yvonne Bryceland as Miss Helen.[11]
Notes[edit]
Jump up ^ Rich, Frank. "Stage: 'To Mecca,' By Athol Fugard" The New York Times, May 15, 1984
Jump up ^ Rosenthal, Daniel. "1985", The National Theatre Story, Oberon Books, 2013, ISBN 1849439435, p. 17
Jump up ^ "National Theatre Catalogue, Search" nationaltheatre.org.uk, accessed September 4, 2015
Jump up ^ Gussow, Mel. "Theater Review: Stage: Athol Fugard's 'Road to Mecca' at Spoleto Festival" The New York Times 26 May 1987
Jump up ^ Freedman, Samuel G. "South African Actress Denied Role By Equity" The New York Times, July 24, 1985
Jump up ^ Nelsen, Don. "Fugard Aims For `Mecca` On Broadway" Chicago Tribune, May 28, 1987
Jump up ^ Collins, William B. "In 'Mecca,' Fugard's Message Shifts From Racial To Spiritual" philly.com, April 13, 1988
^ Jump up to: a b "'The Road to Mecca' 1988" lortel.org, accessed September 4, 2015
Jump up ^ "The Road to Mecca on Broadway". Playbill Vault.
Jump up ^ Blank, Matthew. "A Cover Story: 'The Road to Mecca'" Playbill, December 15, 2011
Jump up ^ "'The Road to Mecca' Film Listing" tcm.com, accessed September 4, 2015
References[edit]
"The Best of the Decade". Time. 1 Jan. 1990. Accessed 2 Oct. 2008. ["The Road to Mecca (1987). South Africa's conscience, Athol Fugard, proved his compassion is universal in this Ibsenesque conflict between a fiercely independent artist and a society justly yearning for order."]
Fugard, Athol. The Road to Mecca: A Play in Two Acts. London: Faber and Faber, 1985. ISBN 0-571-13691-5. ("Suggested by the life and work of Helen Martins of New Bethesda.")
External links[edit]
The Road to Mecca on IMDb
[hide]
v
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e
Plays by Athol Fugard
Blood Knot (1961, revised 1987)
Boesman and Lena (1969)
Sizwe Bansi Is Dead (1972)
The Island (1972)
Marigolds in August (1980)
"Master Harold"...and the Boys (1982)
The Road to Mecca (1984)
The Train Driver (2010)
The Shadow of the Hummingbird (2014)
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Handshaking lemma
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In this graph, an even number of vertices (the four vertices numbered 2, 4, 5, and 6) have odd degrees. The sum of the degrees of the vertices is 2 + 3 + 2 + 3 + 3 + 1 = 14, twice the number of edges.
In graph theory, a branch of mathematics, the handshaking lemma is the statement that every finite undirected graph has an even number of vertices with odd degree (the number of edges touching the vertex). In more colloquial terms, in a party of people some of whom shake hands, an even number of people must have shaken an odd number of other people's hands.
The handshaking lemma is a consequence of the degree sum formula (also sometimes called the handshaking lemma),
∑ v ∈ V deg  v = 2 | E | {\displaystyle \sum _{v\in V}\deg v=2|E|}
for a graph with vertex set V and edge set E. Both results were proven by Leonhard Euler (1736) in his famous paper on the Seven Bridges of Königsberg that began the study of graph theory.
The vertices of odd degree in a graph are sometimes called odd nodes or odd vertices; in this terminology, the handshaking lemma can be restated as the statement that every graph has an even number of odd nodes.
Contents
[hide]
1 Proof
2 Regular graphs
3 Infinite graphs
4 Exchange graphs
5 Computational complexity
6 Other applications
7 Notes
8 References
Proof[edit]
Euler's proof of the degree sum formula uses the technique of double counting: he counts the number of incident pairs (v,e) where e is an edge and vertex v is one of its endpoints, in two different ways. Vertex v belongs to deg(v) pairs, where deg(v) (the degree of v) is the number of edges incident to it. Therefore, the number of incident pairs is the sum of the degrees. However, each edge in the graph belongs to exactly two incident pairs, one for each of its endpoints; therefore, the number of incident pairs is 2|E|. Since these two formulas count the same set of objects, they must have equal values.
In a sum of integers, the parity of the sum is not affected by the even terms in the sum; the overall sum is even when there is an even number of odd terms, and odd when there is an odd number of odd terms. Since one side of the degree sum formula is the even number 2|E|, the sum on the other side must have an even number of odd terms; that is, there must be an even number of odd-degree vertices.
Alternatively, it is possible to use mathematical induction to prove that the number of odd-degree vertices is even, by removing one edge at a time from a given graph and using a case analysis on the degrees of its endpoints to determine the effect of this removal on the parity of the number of odd-degree vertices.
Regular graphs[edit]
The degree sum formula implies that every r-regular graph with n vertices has nr/2 edges.[1] In particular, if r is odd then the number of edges must be divisible by r.
Infinite graphs[edit]
An infinite graph that does not obey the handshaking lemma
The handshaking lemma does not apply to infinite graphs, even when they have only a finite number of odd-degree vertices. For instance, an infinite path graph with one endpoint has only a single odd-degree vertex rather than having an even number of such vertices.
Exchange graphs[edit]
Several combinatorial structures listed by Cameron & Edmonds (1999) may be shown to be even in number by relating them to the odd vertices in an appropriate "exchange graph".
For instance, as C. A. B. Smith proved, in any cubic graph G there must be an even number of Hamiltonian cycles through any fixed edge uv; Thomason (1978) used a proof based on the handshaking lemma to extend this result to graphs G in which all vertices have odd degree. Thomason defines an exchange graph H, the vertices of which are in one-to-one correspondence with the Hamiltonian paths beginning at u and continuing through v. Two such paths p1 and p2 are connected by an edge in H if one may obtain p2 by adding a new edge to the end of p1 and removing another edge from the middle of p1; this is a symmetric relation, so H is an undirected graph. If path p ends at vertex w, then the vertex corresponding to p in H has degree equal to the number of ways that p may be extended by an edge that does not connect back to u; that is, the degree of this vertex in H is either deg(w) − 1 (an even number) if p does not form part of a Hamiltonian cycle through uv, or deg(w) − 2 (an odd number) if p is part of a Hamiltonian cycle through uv. Since H has an even number of odd vertices, G must have an even number of Hamiltonian cycles through uv.
Computational complexity[edit]
In connection with the exchange graph method for proving the existence of combinatorial structures, it is of interest to ask how efficiently these structures may be found. For instance, suppose one is given as input a Hamiltonian cycle in a cubic graph; it follows from Smith's theorem that there exists a second cycle. How quickly can this second cycle be found? Papadimitriou (1994) investigated the computational complexity of questions such as this, or more generally of finding a second odd-degree vertex when one is given a single odd vertex in a large implicitly-defined graph. He defined the complexity class PPA to encapsulate problems such as this one; a closely related class defined on directed graphs, PPAD, has attracted significant attention in algorithmic game theory because computing a Nash equilibrium is computationally equivalent to the hardest problems in this class.[2]
Other applications[edit]
The handshaking lemma is also used in proofs of Sperner's lemma and of the piecewise linear case of the mountain climbing problem.
Notes[edit]
Jump up ^ Aldous, Joan M.; Wilson, Robin J. (2000), "Theorem 2.2", Graphs and Applications: an Introductory Approach, Undergraduate Mathematics Series, The Open University, Springer-Verlag, p. 44, ISBN 978-1-85233-259-4
Jump up ^ Chen, Xi; Deng, Xiaotie (2006), "Settling the complexity of two-player Nash equilibrium", Proc. 47th Symp. Foundations of Computer Science, pp. 261–271, doi:10.1109/FOCS.2006.69, ECCC TR05-140
References[edit]
Cameron, Kathie; Edmonds, Jack (1999), "Some graphic uses of an even number of odd nodes", Annales de l'Institut Fourier, 49 (3): 815–827, doi:10.5802/aif.1694, MR 1703426 .
Euler, L. (1736), "Solutio problematis ad geometriam situs pertinentis" (PDF), Commentarii Academiae Scientiarum Imperialis Petropolitanae, 8: 128–140 . Reprinted and translated in Biggs, N. L.; Lloyd, E. K.; Wilson, R. J. (1976), Graph Theory 1736–1936, Oxford University Press .
Papadimitriou, Christos H. (1994), "On the complexity of the parity argument and other inefficient proofs of existence", Journal of Computer and System Sciences, 48 (3): 498–532, doi:10.1016/S0022-0000(05)80063-7, MR 1279412 .
Thomason, A. G. (1978), "Hamiltonian cycles and uniquely edge colourable graphs", Advances in Graph Theory (Cambridge Combinatorial Conf., Trinity College, Cambridge, 1977), Annals of Discrete Mathematics, 3, pp. 259–268, doi:10.1016/S0167-5060(08)70511-9, MR 0499124 .
Retrieved from "https://en.wikipedia.org/w/index.php?title=Handshaking_lemma&oldid=791615113"
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Machine-dependent software
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Machine-dependent software is application programming that runs only on a specific kind of PC. On the other hand, applications that keep running on an assortment of distinctive sorts of PCs are called machine-independent, or cross-platform.[1] Many organisations opt for such software because they believe that having such machine-dependent software is an asset and will attract more consumers towards the particular brand. For some organizations, who want certain application software to work on their non-native computers, they use the help of porting. Before conveying machine-dependent applications on non-local PC architectures or working frameworks, such an application more often than not experiences porting. This procedure includes composing, or re-composing, the application's PC code to suit the objective structural planning or working framework.
Contents
[hide]
1 Porting
2 Application Software
3 References
4 See also
Porting[edit]
Porting concept in which an application goes through so that it can be changed in a way that it suits the target architecture or operating system. Porting is the procedure of adjusting programming so that an executable project can be made for a figuring domain that is not quite the same as the one for which it was initially composed (e.g. distinctive CPU, operating system, or third party library).[2] The term is additionally utilised when programming/equipment is changed to make them usable in distinctive situations. Programming is convenient when the expense of porting it to another stage is not exactly the expense of composing it starting with no outside help. The lower the expense of porting programming, with respect to its usage cost, the more convenient it is said to be.
The expression "port" is gotten from the Italian portare, signifying "to convey".[3] At the point when code is not perfect with a specific working framework or building design, the code must be "conveyed" to the new framework. The term is not for the most part connected to the procedure of adjusting programming to keep running with less memory on the same CPU and working framework, nor is it connected to the modifying of source code in an alternate dialect (i.e. dialect change or interpretation).
Software developers frequently assert that the product they compose is compact, implying that little exertion is expected to adjust it to another environment (Wang, Sun, & Sun, 2011). The measure of exertion really required relies on upon a few variables, including the degree to which the first environment (the source stage) varies from the new environment (the objective stage), the experience of the first creators in knowing which programming dialect develops and third party library calls are unrealistic to be compact, and the measure of exertion put by the first creators in just utilizing convenient builds (stage particular develops regularly give a less expensive arrangement) (Huang, Li, & Xie, 2015).
Rather than making an interpretation of straightforwardly into machine code, cutting edge compilers mean a machine independent intermediate code to improve compactness of the compiler and minimise outline endeavours (Yin, et al., 2012). The transitional dialect characterises a virtual machine that can execute all projects written in the intermediate dialect (a machine is characterised by its dialect and the other way around). The intermediate code guidelines are interpreted into identical machine code arrangements by a code generator to make executable code. It is likewise conceivable to avoid the era of machine code by really executing the virtual machine in machine code (Mathur, Miles, & Du, 2015). This virtual machine usage is called a mediator, in light of the fact that it peruses in the intermediate code guidelines one by one and after every read executes the proportionate machine code successions (the translation) of the read halfway guideline straightforwardly.
Composing the compiler sources completely in the programming dialect the compiler should interpret, makes the accompanying methodology, otherwise called compiler bootstrapping, possible on the objective machine (Röhrich, & Welfonder, 2014):
· Port the translator. This should be coded in get together code, utilising an officially display constructing agent on the objective.
· Adapt the source of the code generator to the new machine.
· Execute the adjusted source utilizing the translator with the code generator source as data. This will produce the machine code for the code generator.
Application Software[edit]
Moving on to the application software, some of the application software runs on specific computers due to the programming language they are created with. An application system (or application for short) is a PC project intended to perform a gathering of facilitated capacities, errands, or activities for the advantage of the client (Shepperd, Bowes, & Hall, 2014). Illustrations of an application incorporate a word processor, a spreadsheet, a bookkeeping application, a web program, a media player, an aeronautical pilot training program, a console diversion or a photograph editor. The aggregate thing application programming alludes to all applications by and large.
Some of the application software is restricted to certain programming languages that work only in certain computers (Lee, Yu, & Lee, 2013). Owing to which, people who want certain application software to work in a non-native computer, they make use of porting in order to rewrite the program in a way that it helps in functioning the program on the target computer.
References[edit]
Jump up ^ Agrawala, & Rauscher, 2014)
Jump up ^ Rashid, Patnaik, & Bhattacherjee, 2014
Jump up ^ Lin, & Ying, 2014
Agrawala, A. K., & Rauscher, T. G., 2014, Foundations of microprogramming: architecture, software, and applications, Academic press
Huang, J., Li, Y. F., & Xie, M., 2015, An empirical analysis of data preprocessing for machine learning-based software cost estimation, Information and Software Technology, 67, 108-127
Lee, J. H., Yu, J. M., & Lee, D. H., 2013, A tabu search algorithm for unrelated parallel machine scheduling with sequence-and machine-dependent setups: minimizing total tardiness, The International Journal of Advanced Manufacturing Technology, 69(9-12), 2081-2089
Lin, S. W., & Ying, K. C., 2014, ABC-based manufacturing scheduling for unrelated parallel machines with machine-dependent and job sequence-dependent setup times, Computers & Operations Research, 51, 172-181
Mathur, R., Miles, S., & Du, M., 2015, Adaptive Automation: Leveraging Machine Learning to Support Uninterrupted Automated Testing of Software Applications, arXiv preprint arXiv:1508.00671
Rashid, E. A., Patnaik, S. B., & Bhattacherjee, V. C., 2014, Machine learning and software quality prediction: as an expert system, International Journal of Information Engineering and Electronic Business (IJIEEB), 6(2), 9
Röhrich, T., & Welfonder, E., 2014, Machine Independent Software Wiring and Programming of Distributed Digital Control Systems, In Digital Computer Applications to Process Control: Proceedings of the 7th IFAC/IFIP/IMACS Conference, Vienna, Austria, 17–20 September 1985 (p. 247), Elsevier
Shepperd, M., Bowes, D., & Hall, T., 2014, Researcher bias: The use of machine learning in software defect prediction, Software Engineering, IEEE Transactions on, 40(6), 603-616
Wang, J. B., Sun, L. H., & Sun, L. Y., 2011, Single-machine total completion time scheduling with a time-dependent deterioration, Applied Mathematical Modelling, 35(3), 1506-1511
Yin, Y., Liu, M., Hao, J., & Zhou, M., 2012, Sin
See also[edit]
Virtual machine
Java (programming language)
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Mr. Popper's Penguins
From Wikipedia, the free encyclopedia
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For the film of the same name, see Mr. Popper's Penguins (film).
Mr. Popper's Penguins
Mr. Popper's Penguins book cover (1988 ed.)
Author
Richard and Florence Atwater
Illustrator
Robert Lawson
Country
United States
Language
English
Genre
Children's novel
Publisher
Little, Brown Young Readers
Publication date
1938
Media type
Print (Hardback, Paperback) & AudioBook (Cassette)
Pages
139
ISBN
0-316-05842-4
OCLC
17265673
LC Class
PZ7.A892 Mr 1988
Mr. Popper's Penguins is a children's book written by Richard and Florence Atwater, with illustrations by Robert Lawson, originally published in 1938. It tells the story of a poor house painter named Mr. Popper and his family, who live in the small town of Stillwater in the 1930s. The Poppers unexpectedly come into possession of a penguin, Captain Cook. The Poppers then receive a female penguin from the zoo, who mates with Captain Cook to have 10 baby penguins. Before long, something must be done lest the penguins eat the Poppers out of house and home.[1]
Contents
[hide]
1 Plot
2 Publication history
3 Reception
4 Awards
5 Film adaptation
6 References
Plot[edit]
Mr. Popper is a house painter of modest means, living with his wife and two children (Bill and Janie) in the small town of Stillwater, Oklahoma. He has a happy life, but he is also a restless dreamer, spending his time reading of famous explorers in faraway places.
One day, the Popper family tunes in to a radio broadcast by an Admiral exploring polar regions. Mr. Popper had previously sent the Admiral fan mail, and the Admiral promises Mr. Popper a surprise. The surprise turns out to be a penguin, which comes in a large box. Mr. Popper names the penguin "Captain Cook" after the famous James Cook. Mr. Popper cleans out the icebox so that the penguin can sleep inside. As time goes by, the Poppers find that Captain Cook is growing large, but his health is failing. Mr. Popper writes to the curator of a large aquarium, asking for help. The curator replies that the aquarium has a female penguin, Greta, who unfortunately is also experiencing the same symptoms, and he suggests that perhaps the penguins are simply lonely. Soon after, the Poppers receive their second penguin in the mail.
The pair of penguins are revitalized by each other's presence. As both birds cannot fit into the icebox together, Mr. Popper opens the window to let in the cold winter air, creating a snow-covered habitat. As this solution will not work in springtime, Mr. Popper has the main things moved upstairs and a freezing plant installed in the basement for the birds. This makes for happy penguins, but strains the family budget.
As time passes, Greta lays eggs. She continues laying a new egg every three days until the total reaches ten. As penguins do not normally lay so many eggs, Mr. Popper attributes this to the change in climate the birds have experienced. When the eggs hatch, the Popper family now has twelve penguins to feed, and the contractor is looking for payment on the household changes.
Mr. Popper decides to raise money by training the twelve penguins and turning them into a circus act. The act debuts at the local theater, and soon the "Popper's Performing Penguins" are featured throughout the country. But in the theater in New York City, the penguins cause trouble; what's worse, they've accidentally shown up at the wrong theater. The manager of the wrong theater is extremely angry and has Mr. Popper arrested, along with the penguins.
Admiral Drake, having arrived to see Popper's Performing Penguins for himself, posts bail for Mr. Popper. After speaking with the Admiral, Mr. Popper decides that show business is no life for a penguin. Drake lets all of the twelve penguins go with him on his expedition to the North Pole, where they will be released experimentally into the Arctic. The Poppers are sad to see the penguins go, especially Mr. Popper himself — that is, until Admiral Drake invites Mr. Popper to accompany him on the trip. The Poppers wave goodbye as Mr. Popper and his penguins sail away towards the North Pole and Mr. Popper promises to be back in a year or two.
Publication history[edit]
1938, U.S.A., Little, Brown and Company OCLC 11447859 [2]
1988, U.S.A., Little, Brown and Co. ISBN 978-0-316-05842-1[3]
1993, U.S.A., Little, Brown ISBN 978-0-316-05844-5, pop-up[4]
2000, U.S.A., Prince Frederick ISBN 978-0-7887-2724-5, cassette[5]
Reception[edit]
Mr. Popper's Penguins has received generally positive reviews. Common Sense Media wrote "Vivid imagery, clever word plays, and funny characters that border on the absurd have made this book a popular choice in for kids in classrooms and at home."[6] Kirkus Reviews, on the other hand, stated "This is rather a silly story, and I don't believe children will think it particularly funny."[7]
Publishers Weekly said of a pop-up version "Aside from the alliterative appeal of a pop-up Mr. Popper, it's hard to see how the children's classic benefits from this particular format." and "Stick with the real thing."[8]
Awards[edit]
Mr. Popper's Penguins was named a Newbery Honor Book in 1939 and won the 1940 Young Reader's Choice Award.[9][10] It was one of the inaugural 1958 Lewis Carroll Shelf Award books.
Film adaptation[edit]
Main article: Mr. Popper's Penguins (film)
A 20th Century Fox film based loosely on the book was released on June 17, 2011 and starred Jim Carrey as Mr. Popper.[11]
References[edit]
Jump up ^ http://www.scholastic.com/browse/book.jsp?id=340
Jump up ^ "Weekly Reader Books presents Mr. Popper's penguins". www.worldcat.org. OCLC. Retrieved 24 September 2015.
Jump up ^ "Mr. Popper's penguins". www.worldcat.org. OCLC. Retrieved 24 September 2015.
Jump up ^ "Mr. Popper's penguins : a pop-up book". www.worldcat.org. OCLC. Retrieved 24 September 2015.
Jump up ^ "Mr. Popper's penguins". www.worldcat.org. OCLC. Retrieved 24 September 2015.
Jump up ^ "Mr. Popper's Penguins". www.commonsensemedia.org. Common Sense Media Inc. Retrieved 24 September 2015.
Jump up ^ "Mr. Popper's Penguins". www.kirkusreviews.com. Kirkus Media LLC. 1 September 1938. Retrieved 24 September 2015.
Jump up ^ "Mr. popper's Penguins". www.publishersweekly.com. PWxyz LLC. Retrieved 24 September 2015.
Jump up ^ "Newbery Medal and Honor Books, 1922-Present". American Library Association. Retrieved 12 December 2012.
Jump up ^ "Past winners". Young Reader's Choice Awards. Retrieved 25 November 2012.
Jump up ^ "Carla Gugino Cast in Mr. Popper's Penguins". ComingSoon.net. Retrieved 2010-09-21.
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VIAF: 183101267
LCCN: n85026128
Retrieved from "https://en.wikipedia.org/w/index.php?title=Mr._Popper%27s_Penguins&oldid=799369486"
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1938 American novels
American children's novels
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Fictional penguins
Children's novels about animals
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1938 children's books
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This page was last edited on 7 September 2017, at 08:37.
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