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Four hour flight with a layover verses 14 hour drive with 18 month old?

I’m most likely going to North Carolina the begining of August (from southern Mississippi). Its either a 14 hour drive or a 4 four flight with a layover. I don’t *think* there are any direct flights.

Which do you think would be better to do? What are some kid friendly thins to do in Jacksonville (NC, duh lol)

(And will ticket prices go down closer to the date or just keep going up??)
I don’t know about flight to layover ratio, just that there’s a layover in Atlanta or Charlotte.
You have to be 25 to rent a car. I’m about 4 years too young.

at this point tickets will fluctuate, so i wouldn’t book anything just yet. I’d go for the flight, if u mean 4 hours with a layover does that mean 1 hour + a 3 hour flight or 1 hour + 2 with a 1 hour layover?

Believe it or not, the layovers are better for kids, its gets them off the plane, gets them some time to wiggle around and then you can get them back on. I’d go for the flight. In the long run it will be cheaper, as I imagine u’ll HAVE to stop off at a hotel, plus gas, plus 3 meals at expensive rest stops. NO child should be in a car for 14 hours straight.

it also depends on your child and the time of the day
if its an early morning flight where you’re dragging them out of bed at 4:30 am., they’re likely to sleep. If its midday after nap, that just seems unpleasant

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Tax deferral or tax cuts – the cost of separation

tax deferral is a key cost benefits segregation, but a common misconception about the cost of segregation is only used for tax deferral does not reduce taxes. The tax deferral and to give tax cuts is misunderstood by the sophisticated real estate investors and tax professionals. The consequences of this lack of information is unfortunate because many investors to give up property tax relief, which would lead to tax deductions and tax deferral team.

the cost segregation generates both tax deferral and reduction of income tax. deferred income tax is in force for over depreciation is taken in the early years of ownership. tax reduction is achieved since more income is taxed at capital gains (15% or less in compared with the rate of ordinary income tax at 35%). The tax deferral delays the payment of taxes to a future date.

The deferral mechanisms tax and tax rebate calculations are simple but not intuitive. Many accounting professionals believe that the only benefit is tax-deferred until you consider the mechanics or the recognition of gain on sale. Tax deferral not only benefits to be achieved.

The following example illustrates the mechanism recognition of gain on sale and the tax deduction tax deferral benefits and a cost segregation study.

John bought the property five years ago. Accumulated depreciation over the property was $ 600,000 based on the results of a cost allocation study. Depreciation accumulated would have been $ 400,000 without taking into account the costs of segregation.

The study identifies the costs of segregation five seven, and ownership of 15 years in more than 39 years, property and land. tax preparer John addresses the requirement of five, seven, and the assets of 15 at the time of sale. Are agree on the value of the property short term (five years, seven and 15) is the same as the basis of amortized cost. Therefore, the tax rate of $ 200,000 depreciation is the capital gains rate.

During each year of ownership, John received an additional $ 40,000 of depreciation as a result of study of cost allocation. This bonus depreciation rate reduced their federal income taxes of $ 14,000 ($ 40,000 x 35%) and $ 70 000 in five years. When selling property, capital gains tax increases by $ 30,000 ($ 200,000 x 15%). The net tax savings of $ 40,000 ($ 70,000 – $ 30,000).

Cost segregation allows a tax reduction and tax deferral.

Cost segregation produces tax deductions and reduce federal income taxes across the country and in all size markets. Here are some examples of where cost segregation generates meaningful tax deductions.

City:

Orlando, FL
New York, NY
Houston, TX
San Francisco CA
Los Angeles, CA
Boston, MA
Atlanta, GA
New Orleans, LA
Miami, FL
Bridgeport, CT
Portland, OR
Stockton, CA
Santa Rosa, CA
Little Rock, AR
Charlotte, North Carolina
Palm Bay, FL
Austin, TX
Boise, ID
Durham, North Carolina
Providence, RI
Baton Rouge LA
Detroit, MI
Wichita, KS
Omaha, NE
San Jose, CA
Oxnard, CA
Greenville, SC
Lancaster, PA
Poughkeepsie, NY
Nashville, TN

Cost segregation produces tax deductions for virtually all property types.

Type:

Stock Photo
Apartments
Motel
Discount store
Country Club
Strip Mall
many opportunities
Department store
Truck Stop
Self-storage

Almost all sectors, including the following, can generate tax deductions cost-effectiveness with cost segregation.

Industry:

Warehousing and storage
Non-durable good wholesalers
Electronics and appliance stores
Metal Fabrication
Electrical component manufacturing
Textile product mills
Graphic arts
Truck transportation
Automotive parts distributors
Chemical manufacturing

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Remodeling Secrets: Adding Value With Tile

If you want to add true value to your home, in terms of what an outside party will pay for it, you have to think outside of the box. You can’t simply throw on a fresh coat of paint, vacuum the rug and hope all is well. That will accomplish nothing but a few hours of work and a few weeks of not getting the price you had hoped. You have to make changes – additions – updating the house to meet current trends and satisfy the needs of the customer, who in this case is the homebuyer. One of your best options is ceramic tile.

For years, ceramic tile has been associated with restaurants, hotels and other commercial establishments. It was what you expected to see in an Italian café or French bistro, but not what you would anticipate in someone’s home. However, that has all changed. No longer are designers limited to linoleum, wood or carpet when installing flooring and even walls. Personal kitchens, bathrooms and other areas are bedecked in tile of all styles, colors and types.

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Tile is also one of those rare items that looks to be complex and difficult to install but is not. With a little care or some wise professional help you can have it installed in no time at all, with no skin off your back. And once it’s installed, your floor will look glowing, new and refreshed.

Another bonus of tile is its easy cleanup. Ceramic tile truly requires little maintenance. Once installed, it is advised that the grout be sealed a month later and that you regularly sweep and damp mop the area. There is no need to first vacuum, then shampoo, then vacuum, and then be dismayed by the sudden and new stain you have discovered on your floor. You have only to give it a mop, perhaps a scrub if there are persistent stains, and you are through with the chore. For a perspective homeowner, looking for something that won’t detract precious time from unpacking and getting organized, what could be better?

Adding tile to your home is one of the best ways to add value. It is smart and innovative, in that it is both trendy and modern, and easy to maintain. Possible buyers, viewing your home for the first or third time, will note the tile and immediately add to what they view is a worthy price for the home. The same would not be true of linoleum or plastic-like flooring, or a shag and dirty carpet. Tile, in and of itself, is unique. It is special, and it is how you are raising your asking price. You are installing tile.

About the Author

The author writes articles on Austin Real Estate Blog. For more information about Austin realtor, Lakeway real estate and Austin real estate can be found on the net.

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Buffalo Bill

en.wikipedia.org/wiki/Buffalo_Bill)

Children

Four children, two of whom died young: Kit died of scarlet fever in April, 1876, and his daughter Orra died in 1880

William Frederick “Buffalo Bill” Cody (February 26, 1846 January 10, 1917) was an American soldier, bison hunter and showman. He was born in the Iowa Territory (now the American state of Iowa), near Le Claire. He was one of the most colorful figures of the American Old West, and mostly famous for the shows he organized with cowboy themes. Buffalo Bill received the Medal of Honor in 1872.

Contents

1 Nickname and work life

2 Early years

3 Military service

3.1 Medal of Honor

4 Buffalo Bill’s Wild West

4.1 Irrigation

5 Life in Cody, Wyoming

6 Life in Staten Island, New York

7 Death

8 Legacy

9 In film and television

10 The false Italian pedigree

11 Buffalo Bill’s / defunct

12 Other Buffalo Bills

13 See also

14 References

15 Further reading

16 External links

//

Nickname and work life

William Frederick Cody (“Buffalo Bill”) got his nickname after he undertook a contract to supply Kansas Pacific Railroad workers with buffalo meat. The nickname originally referred to Bill Comstock. Cody earned the nickname by killing 4,860 American Bison (commonly known as buffalo) in eight months (186768). He and Comstock eventually competed in a shooting match over the exclusive right to use the name, which Cody won.

In addition to his documented service as a soldier during the Civil War and as Chief of Scouts for the Third Cavalry during the Plains Wars, Cody claimed to have worked many jobs, including as a trapper, bullwhacker, “Fifty-Niner” in Colorado, a Pony Express rider in 1860, wagonmaster, stagecoach driver, and even a hotel manager, but it’s unclear which claims were factual and which were fabricated for purposes of publicity. He became world famous for his Wild West Shows.

Early years

William Cody at age 19

While giving an anti-slavery speech at the local trading post, his father so inflamed the supporters of slavery in the audience that they formed a mob and one of them stabbed him. Cody helped to drag his father to safety, although he never fully recovered from his injuries. The family was constantly persecuted by the supporters of slavery, forcing Isaac Cody to spend much of his time away from home. His enemies learned of a planned visit to his family and plotted to kill him on the way. Cody, despite his youth and the fact that he was ill, rode 30 miles (48 km) to warn his father. Cody’s father died in 1857 from complications from his stabbing.

After his father’s death, the Cody family suffered financial difficulties, and Cody, aged 11, took a job with a freight carrier as a “boy extra,” riding up and down the length of a wagon train, delivering messages. From here, he joined Johnston’s Army as an unofficial member of the scouts assigned to guide the Army to Utah to put down a falsely-reported rebellion by the Mormon population of Salt Lake City. According to Cody’s account in Buffalo Bill’s Own Story, the Utah War was where he first began his career as an “Indian fighter”.

Presently the moon rose, dead ahead of me; and painted boldly across its face was the figure of an Indian. He wore this war-bonnet of the Sioux, at his shoulder was a rifle pointed at someone in the river-bottom 30 feet (9 m) below; in another second he would drop one of my friends. I raised my old muzzle-loader and fired. The figure collapsed, tumbled down the bank and landed with a splash in the water. ‘What is it?’ called McCarthy, as he hurried back. ‘It’s over there in the water,’. ‘Hi!’ he cried. ‘Little Billy’s killed an Indian all by himself!’ So began my career as an Indian fighter.

At the age of 14, Cody was struck by gold fever, but on his way to the gold fields, he met an agent for the Pony Express. He signed with them and after building several way stations and corrals was given a job as a rider, which he kept until he was called home to his sick mother’s bedside.

Military service

circa 1875

After his mother recovered Cody wished to enlist as a soldier, but was refused for his age. He began working with a United States freight caravan which delivered supplies to Fort Laramie. In 1863 he enlisted as a teamster with the rank of Private in Company H, 7th Kansas Cavalry and served until discharged in 1865.

From 1868 until 1872 Cody was employed as a scout by the United States Army. Part of this time he spent scouting for Indians, and the remainder was spent gathering and killing bison for them and the Kansas Pacific Railroad. In January 1872 Cody was a scout for Grand Duke Alexei Alexandrovich of Russia’s highly publicized royal hunt.

Medal of Honor

Cody received a Medal of Honor in 1872 for “gallantry in action” while serving as a civilian scout for the 3rd Cavalry Regiment. In 1917, the U.S.Congressfter revising the standards for award of the medalevoked 911 medals previously awarded either to civilians, or for actions that would not warrant a Medal of Honor under the new higher standards. After Dr. Mary Edwards Walker’s medal was restored in 1977, other reviews began that led to Cody’s medallong with those given to four other civilian scoutseing re-instated on June 12, 1989.

Buffalo Bill’s Wild West

The Wild West Show, 1890

In December 1872 Cody traveled to Chicago to make his stage debut with friend Texas Jack Omohundro in The Scouts of the Prairie, one of the original Wild West shows produced by Ned Buntline. During the 1873-74 season, Cody and Omohundro invited their friend James Butler “Wild Bill” Hickok to join them in a new play called Scouts of the Plains.

The troupe toured for ten years and his part typically included an 1876 incident at the Warbonnet Creek where he claimed to have scalped a Cheyenne warrior, purportedly in revenge for the death of George Armstrong Custer.

It was the age of great showmen and traveling entertainers. Cody put together a new traveling show based on both of those forms of entertainment. In 1883 in the area of North Platte, Nebraska he founded “Buffalo Bill’s Wild West,” (despite popular misconception, the word “show” was not a part of the title) a circus-like attraction that toured annually.

In 1893 the title was changed to “Buffalo Bill’s Wild West and Congress of Rough Riders of the World”. The show began with a parade on horseback, with participants from horse-culture groups that included US and other military, American Indians, and performers from all over the world in their best attire. There were Turks, Gauchos, Arabs, Mongols and Georgians, among others, each showing their own distinctive horses and colorful costumes. Visitors to this spectacle could see main events, feats of skill, staged races, and sideshows. Many authentic western personalities were part of the show. For example Sitting Bull and a band of twenty braves appeared. Cody’s headline performers were well known in their own right. People like Annie Oakley and her husband Frank Butler put on shooting exhibitions along with the likes of Gabriel Dumont. Buffalo Bill and his performers would re-enact the riding of the Pony Express, Indian attacks on wagon trains, and stagecoach robberies. The show typically ended with a melodramatic re-enactment of Custer’s Last Stand in which Cody himself portrayed General Custer.

Sitting Bull and Buffalo Bill, Montreal, QC, 1885

The profits from his show enabled him to purchase a 4,000-acre (16 km2) ranch near North Platte, Nebraska in 1886. Scout’s Rest Ranch included an eighteen-room mansion and a large barn for winter storage of the show’s livestock.

In 1887 he took the show to Britain in celebration of the Jubilee year of Queen Victoria. The show was staged in London before going on to Birmingham and then Salford near Manchester, where it stayed for five months. In 1889 the show toured Europe. In 1890 he met Pope Leo XIII. He set up an exhibition near the Chicago World’s Fair of 1893, which greatly contributed to his popularity, and also vexed the promoters of the fair. As noted in The Devil in the White City, he had been rebuffed in his request to be part of the fair, so he set up shop just to the west of the fairgrounds, drawing many of their patrons away. Since his show was not part of the fair, he was not obligated to pay the promoters any royalties, which they could have used to temper their financial problems.

Irrigation

Larry McMurtry, along with some historians such as RL Wilson, asserts that at the turn of the 20th century Buffalo Bill Cody was the most recognizable celebrity on earth. And yet, despite all of the recognition and appreciation Cody’s show brought for the Western and American Indian cultures, Buffalo Bill saw the American West change dramatically during his tumultuous life. Bison herds, which had once numbered in the millions, were now threatened with extinction. Railroads crossed the plains, barbed wire, and other types of fences divided the land for farmers and ranchers, and the once-threatening Indian tribes were now almost completely confined to reservations. Wyoming’s resources of coal, oil and natural gas were beginning to be exploited towards the end of his life.

Even the Shoshone River was dammed for hydroelectric power as well as for irrigation. In 1897 and 1899 Cody and his associates acquired from the State of Wyoming the right to take water from the Shoshone River to irrigate about 169,000 acres (680 km2) of land in the Big Horn Basin. They began developing a canal to carry water diverted from the river, but their plans did not include a water storage reservoir. Cody and his associates were unable to raise sufficient capital to complete their plan. Early in 1903 they joined with the Wyoming Board of Land Commissioners in urging the federal government to step in and help with irrigation development in the valley.

The Shoshone Project became one of the first federal water development projects undertaken by the newly formed Reclamation Service, later to become known as the Bureau of Reclamation. After Reclamation took over the project in 1903, investigating engineers recommended constructing a dam on the Shoshone River in the canyon west of Cody.

Construction of the Shoshone Dam started in 1905, a year after the Shoshone Project was authorized. Almost three decades after its construction, the name of the dam and reservoir was changed to Buffalo Bill Dam by an act of Congress to honor Cody.

Life in Cody, Wyoming

In 1895, William Cody was instrumental in the founding of Cody, the seat of Park County in northwestern Wyoming. The site where the community was established is now the Old Trail Town museum, which honors the traditions of Western life. Cody first passed through the region in the 1870s. He was so impressed by the development possibilities from irrigation, rich soil, grand scenery, hunting, and proximity to Yellowstone Park that he returned in the mid-1890s to start a town. He brought with him men whose names are still on street signs in Cody downtown area Beck, Alger, Rumsey, Bleistein and Salsbury. The town was incorporated in 1901.

In November 1902, Cody opened the Irma Hotel in downtown Cody, a hotel named after his daughter. He envisioned a growing number of tourists coming to the town via the recently opened Burlington rail line. He expected that they would spend money at local business including the Irma Hotel. Cody also expected that they would proceed up the Cody Road along the North Fork of the Shoshone River to visit Yellowstone Park. To accommodate travelers along the Cody Road, Cody completed construction of the Wapiti Inn and Pahaska Tepee in 1905 and opened both to guests.

Cody also established the TE Ranch, which was located on the South Fork of the Shoshone River about thirty-five miles from Cody. When he acquired the TE property, he ordered the movement of Nebraska and South Dakota cattle to Wyoming. This new herd carried the TE brand. The late 1890s were relatively prosperous years for Buffalo Bill’s Wild West and he used some of the profits to accumulate lands which were added to the TE holdings. Eventually Cody held around eight thousand acres (32 km) of private land for grazing operations and ran about a thousand head of cattle. He also operated a dude ranch, pack horse camping trips, and big game hunting business at and from the TE Ranch, on the South fork of the Shoshone River. In his spacious and comfortable ranch house he entertained notable guests from Europe and America.

Life in Staten Island, New York

Cody brought his “Wild West Show” to an area of Mariners Harbor called Erastina (named for Staten Island promoter Erastus Wiman) for two seasons from June to October in 1886 and again in 1887. During the winter of 1886, the show moved indoors to Madison Square Garden. His show, featuring Native Americans, trick riders, “the smallest cowboy” and sharpshooters (including Annie Oakley) is said to have drawn millions of visitors to the island.

His 1879 autobiography is titled The Life and Adventures of Buffalo Bill

Death

Buffalo Bill’s grave on Lookout Mountain in Colorado.

William F. Cody died of kidney failure on January 10, 1917, surrounded by family and friends at his sister’s house in Denver. Cody was baptized into the Roman Catholic Church the day before his death by Father Christopher Walsh of the Denver Cathedral. Upon the news of Cody’s death, he received tributes from King George V of the United Kingdom, Kaiser Wilhelm II of Imperial Germany, and President Woodrow Wilson. His funeral was in Denver at the Elks Lodge Hall. Wyoming Governor John B. Kendrick, a friend of Cody’s, led the funeral procession to the Elks Lodge.

Contrary to popular belief, Cody was not destitute, but his once great fortune had dwindled to under $100,000. Despite his request in an early will to be buried in Cody, Wyoming, a later will left his burial arrangements up to his wife Louisa. To this day, there is controversy as to where Cody should have been buried. According to the writer Larry McMurtry, Harry Tammen and Frederick Gilmer Bonfils of the Denver Post, who had strong-armed Cody into appearing in their Sells-Floto Circus, either “bullied or bamboozled the grieving Louisa” and had Cody buried in Colorado. This is consistent with an account by Gene Fowler, who wrote Cody’s obituary for the Post under direction from Tammen and Bonfils.

On June 3, 1917, Cody was buried on Colorado’s Lookout Mountain in Golden, Colorado, west of the city of Denver, on the edge of the Rocky Mountains, overlooking the Great Plains. His exact burial site was selected by his sister, Mrs. Mary Decker, while looking over the area accompanied by W.F.R. Mills, manager of the Denver Mountain Parks. In 1948 the Cody branch of the American Legion offered a reward for the ‘return’ of the body, so the Denver branch mounted a guard over the grave until a deeper shaft could be blasted into the rock.

Legacy

Buffalo Bill Cody in 1903

In contrast to his image and stereotype as a rough-hewn outdoorsman, Buffalo Bill pushed for the rights of American Indians and women. In addition, despite his history of killing bison, he supported their conservation by speaking out against hide-hunting and pushing for a hunting season.

Buffalo Bill became so well known and his exploits so well entrenched in American culture that his character has appeared in many literary works, as well as television shows and movies, and on two U.S. postage stamps. Westerns were very popular in the 1950s and 60s, and Buffalo Bill would make an appearance in many of them. As a character, he is in the very popular Broadway musical Annie Get Your Gun, which was very successful both with Ethel Merman and more recently with Bernadette Peters in the lead role.

Having been a frontier scout who respected the natives, he was a staunch supporter of their rights. He employed many more natives than just Sitting Bull, feeling his show offered them a better life, calling them “the former foe, present friend, the American”, and once said,

“Every Indian outbreak that I have ever known has resulted from broken promises and broken treaties by the government”.

While in his shows the Indians were usually the “bad guys”, attacking stagecoaches and wagon trains in order to be driven off by “heroic” cowboys and soldiers, Bill also had the wives and children of his Indian performers set up camp as they would in the homelands as part of the show, so that the paying public could see the human side of the “fierce warriors”, that they were families like any other, just part of a different culture.

The city of Cody, Wyoming was founded in 1896 by Cody and some investors, and is named for him. It is the home of the Buffalo Bill Historical Center. Fifty miles from Yellowstone National Park, it became a tourist magnet with many dignitaries and political leaders coming to hunt. Bill did indeed spend a great amount of time in Wyoming at his home in Cody. However, he also had a house in the town of North Platte, Nebraska and later built the Scout’s Rest Ranch there where he came to be with his family between shows. This western Nebraska town is still home to “Nebraskaland Days,” an annual festival including concerts and a large rodeo. The Scout’s Rest Ranch in North Platte is both a museum, and a tourist destination for thousands of people every year.

Buffalo Bill became a hero of the Bills, a Congolese youth subculture of the late 1950s who idolized Western movies.

The nickname of the K.A.A. Gent football club in Ghent, Belgium is De Buffalo’s (The Buffalos), which was adopted after the Wild West Show visited the area in the early 1900s.

In film and television

On television, his character has appeared on shows such as Bat Masterson and even Bonanza. His persona has been portrayed as anything from an elder statesman to a flamboyant, self-serving exhibitionist. Buffalo Bill has been portrayed in the movies and on television by: bill the buffalo

Himself (1898 and 1912)

George Waggner (1924)

John Fox, Jr. (1924)

Jack Hoxie (1926)

Roy Stewart (1926)

William Fairbanks (1928)

Tom Tyler (1931)

Douglass Dumbrille (1933)

Earl Dwire (1935)

Moroni Olsen (1935)

Ted Adams (1936)

James Ellison (1936)

Carlyle Moore (1938)

Jack Rutherford (1938)

George Reeves (1940)

Roy Rogers (1940)

Joel McCrea (1944)

Richard Arlen (1947)

Enzo Fiermonte (1949)

Monte Hale (1949)

Louis Calhern (1950)

Tex Cooper (1951)

Clayton Moore (1952)

Rodd Redwing (1952)

Charlton Heston (1953)

William O’Neal (1957)

Malcolm Atterbury (1958)

James McMullan (1963)

Gordon Scott (1964)

Guy Stockwell (1966)

Rufus Smith (1967)

Matt Clark (1974)

Michel Piccoli (1974)

Paul Newman (1976)

Buff Brady (1979)

R. L. Tolbert (1979)

Ted Flicker (1981)

Robert Donner (1983)

Ken Kercheval (1984)

Jeffrey Jones (1987)

Stephen Baldwin (1989)

Brian Keith (1993)

Dennis Weaver (1994)

Keith Carradine (1995)

Peter Coyote (1995)

J. K. Simmons (2004)

Frank Conniff (2005)

Cameron Klinger (2008)

Nicholas Campbell (2009)

William Cody’s statue at the Buffalo Bill Historical Center in Cody, Wyoming.

The false Italian pedigree

Italy was among many countries where stories recounting various adventures attributed to Buffalo Bill were highly popular. In the 1930s and 1940s, the Nerbini Publishing House of Florence monthly published such brochures, sold at 60 centesimi each.

In 1942, when Fascist Italy found itself at war with the United States, the publisher added a note purporting to reveal that Buffalo Bill had actually been an Italian immigrant named Domenico Tombini, originally from Romagna, Mussolini’s own native province – a pedigree for which no shred of historical evidence exists. In this way, the adventures could continue publication in wartime Italy, under the title “Buffalo Bill, the Italian Hero of the Plains”.

Buffalo Bill’s / defunct

A free verse poem on mortality by E E Cummings uses Buffalo Bill as an image of life and vibrancy. The poem is generally untitled, and commonly known by its first two lines: “Buffalo Bill’s / defunct”, however some books such as Poetry edited by J. Hunter uses the name “portrait”. The poem uses expressive phrases to describe Buffalo Bill’s showmanship, referring to his “watersmooth-silver / stallion”, and using a staccato beat to describe his rapid shooting of a series of clay pigeons. The poem which featured this character caused great controversy. The fusion of words such as “onetwothreefourfive” interprets the impression which Buffalo Bill left on his audiences.

Other Buffalo Bills

Buffalo Bill is also the name of a musician/producer/M.C. from the group Mechanics of Sound. Buffalo Bill is most known for his work with Melodic Undertone Production Group and his help in the underground hiphop movement of San Antonio.

Buffalo Bill was the first song written by Australian country music singer Sara Storer. Living in Camooweal, north of Mount Isa, she met a retired water buffalo shooter whose stories inspired her to write Buffalo Bill, her first song. Buffalo Bill won a Golden Guitar at the Tamworth Country Music Festival in 2001 for New Talent of the Year and appears on her first album, Chasing Buffalos.

Buffalo Bill is also the name of a fictional character from Thomas Harris’s The Silence of the Lambs, who was also parodied in the movie Joe Dirt under the name Buffalo Bob.

Two television series, Buffalo Bill, Jr. (19556) starring Dickie Jones and Buffalo Bill (19834) starring Dabney Coleman, had nothing to do with the historic person.

The Buffalo Bills, an NFL team based in Buffalo, New York, were named after Buffalo Bill. Prior to that team’s existence, other early football teams (such as Buffalo Bills (AAFC)) used the nickname, solely due to name recognition, as Bill Cody had no special connection with the city.

The Buffalo Bills are a barbershop-quartet singing group consisting of Vern Reed, Al Shea, Bill Spangenberg, and Wayne Ward. They appeared in the original Broadway cast of The Music Man (opened 1957) and in the 1962 motion-picture version of that play.

Buffalo Bill is the title of a song by the jam band Phish.

Buffalo Bill is the name of a bluegrass band in Wisconsin.

Samuel Cowdery, buffalo hunter, “wild west” showman and aviation pioneer changed his surname to “Cody” and was often taken for the original “Buffalo Bill” in his touring show Captain Cody King of the Cowboys.

William Wilson “Buffalo Bill” Quinn: Retired Lieutenant General and Silver Star recipient. He served in World War II as a colonel and became a full colonel in Korea; and at the end of Korea became a Brigadier General.

Bungalow Bill is the title of a song by the Beatles that indirectly refers to Buffalo Bill.

Buffalo Bill is the title of a song by American rapper Eminem

See also

United States Army portal

American Civil War portal

List of Medal of Honor recipients for the Indian Wars

Ned Buntline: Contemporary of Buffalo Bill and author of successful dime novel series “Buffalo Bill Cody – King of the Border Men”

William “Doc” Carver

References

^ a b Herring, Hal (2008). Famous Firearms of the Old West: From Wild Bill Hickok’s Colt Revolvers to Geronimo’s Winchester, Twelve Guns That Shaped Our History. TwoDot. pp. 224. ISBN 0762745088. 

^ a b c Cody, Col. William F: “The Adventures of Buffalo Bill Cody”, 1st ed. page viii. New York and London: Harper & Brother, 1904

^ a b c d e f g h i j Wilson, R.L. (1998). Buffalo Bill’s Wild West: An American Legend. Random House. pp. 316. ISBN 978-0375501067. 

^ a b c Carter, Robert A. (2002). Buffalo Bill Cody: The Man Behind the Legend. Wiley. pp. 512. ISBN 978-0471077800. 

^ Miles from Nowhere: Tales from America’s Contemporary Frontier, Dayton Duncan, U of Nebraska Press, 2000 ISBN 0803266278, 9780803266278

^ Polanski, Charles (2006). “The Medal’s History”. Congressional Medal of Honor Society. Archived from the original on September 28, 2007. http://web.archive.org/web/20070928073912/http://www.cmohs.com/medal/medal_history.htm. 

^ Sterner, C. Douglas (19992009). “Restoration of 6 Awards Previously Purged From The Roll Of Honor”. HomeOfHeroes.com. http://www.homeofheroes.com/moh/corrections/restorations.html. 

^ Performing the American Frontier, 1870-1906, Roger A. Hall, Cambridge University Press, 2001, p.54, ISBN 0521793203, 9780521793209

^ The life of Hon. William F. Cody, known as Buffalo Bill, the famous hunter, scout and guide. An autobiography, F. E. BLISS. HARTFORD, CONN, 1879, p329

^ Retrieved on 2008-06-07

^ Retrieved on 2008-06-07

^ Could Building Site be burial ground of the lost warrior from Buffalo Bill’s show? Retrieved on 2008-04-25

^ Kensel, W. Hudson. Pahaska Tepee, Buffalo Bill’s Old Hunting Lodge and Hotel, A History, 1901-1946. Buffalo Bill Historical Center, 1987.

^ Staten Island on the Web: Famous Staten Islanders

^ a b Lloyd, J & Mitchinson, J: “The Book of General Ignorance”. Faber & Faber, 2006.

^ Larry McMurtry: “Sacagawea’s Nickname”. New York Review of Books, 2001.

^ Colorado Transcript, May 17, 1917.

^ The false Italian pedigree of Buffalo Bill is one of the many items unearthed by Umberto Eco during his extensive research into the pulp literature and popular culture of Fascist Italy, undertaken for writing “The Mysterious Flame of Queen Loana”

Further reading

Buffalo Bill Days (June 2224, 2007). A 20-page special section of The Sheridan Press, published in June 2007 by Sheridan Newspapers, Inc., 144 Grinnell Avenue, Post Office Box 2006, Sheridan, Wyoming, 82801, USA. (Includes extensive information about Buffalo Bill, as well as the schedule of the annual three-day event held in Sheridan, Wyoming.)

Story of the Wild West and Camp-Fire Chats by Buffalo Bill (Hon. W.F. Cody.) “A Full and Complete History of the Renowned Pioneer Quartette, Boone, Crockett, Carson and Buffalo Bill.”, c1888 by HS Smith, published 1889 by Standard Publishing Co., Philadelphia, PA.

The life of Hon. William F. Cody, known as Buffalo Bill, the famous hunter, scout and guide. An autobiography, F. E. Bliss. Hartford, Conn, 1879 Digitized from the Library of Congress.

External links

Wikimedia Commons has media related to: Buffalo Bill

buffalobill.org

Works by Buffalo Bill at Project Gutenberg

Buffalo Bill Historical Center

The Scottish National Buffalo Bill Archive

Advert and press report about Buffalo Bill’s Wild West in Horsham, West Sussex, June 15, 1904

http://www.arlingtoncemetery.net/wwquinn.htm

v  d  e

American Old West

Towns

Arizona

Phoenix  Tombstone  Tucson  Yuma

California

Bakersfield  Fresno  San Francisco  Los Angeles  San Diego  Jamestown 

New Mexico

Alamogordo  Albuquerque  Cimarron  Gallup  Lincoln  Mogollon  Roswell  Santa Fe  Tucumcari

Oklahoma

Broken Arrow  Oklahoma City  Tulsa

South Dakota

Deadwood  Pine Ridge

Texas

Abilene  El Paso  San Antonio

Others

Carson City  Denver  Dodge City  Hot Springs  Independence  Omaha  Portland  Salt Lake City  Seattle  Virginia City

Prominent Figures

Wild West outlaws  Wild West lawmen  Cowboys and Cowgirls  Wild Bill Hickok  Elfego Baca  Butch Cassidy  Mangas Coloradas  Calamity Jane  Victorio  Billy the Kid  Chiricahua  Wyatt Earp  Virgil Earp  Doc Holliday  Bat Masterson  Jesse James and the James-Younger Gang  Liver-Eating Johnson  Annie Oakley  Buffalo Bill  Kit Carson  Sitting Bull  James C. Cooney  Goyaa (Geronimo)  Tom Ketchum  Cochise  Sundance Kid  Crazy Horse  Touch the Clouds  Red Cloud  Soapy Smith  Wild Bunch  Black Bart  Take Witk (Crazy Horse)  Joaquin Murrieta  Massai 

Transport & trails

First Transcontinental Railroad  Mormon Trail  Oregon Trail  Pony Express  Great Platte River Road  Great Western Cattle Trail

Native Americans

Apache scouts  Battle of the Little Bighorn  Battle of Washita River  Wounded Knee Massacre  Long Walk of the Navajo  Scalping

Lore

Alma Massacre  Gunfight at the O.K. Corral  Chisholm Trail  Battle of Tularosa  Dead man’s hand  Boot Hill  Western saloon  Wild West Shows  Frisco Shootout  Lincoln County War  One-room schoolhouse

American Folklore

Pecos Bill 

Gold Rush

California Gold Rush 

v  d  e

American folklore and tall tales

 

General

Historical figures

Johnny Appleseed   Andrew Jackson  Abraham Lincoln   Billy the Kid   Blackbeard   Buffalo Bill  Balto  Daniel Boone   Jim Bowie   Kit Carson   Davy Crockett   Leif Ericson   Madoc  Mike Fink  Wild Bill Hickok   Jesse James   Calamity Jane  Casey Jones   Geronimo   Hiawatha   Captain Kidd  Jean Lafitte   Annie Oakley   Pocahontas  Chief Powhatan  Juan Ponce de Len  John Smith (explorer)   George Washington   Soapy Smith  Devil Anse Hatfield  Randolph McCoy  Robert E. Lee  Molly Pitcher  Wyatt Earp  Doc Holiday  John Rolfe  Jos Gaspar  Ulysses S. Grant  Sacagawea  Meriwether Lewis  William Clark (explorer)  Squanto  Myles Standish  Peter Stuyvesant  Jedediah Smith  John Colter  Sitting Bull  George Armstrong Custer  Theodore Roosevelt  Charles Bolles  Jim Bridger  Roy Bean 

Legendary figures

Alfred Bulltop Stormalong  Mighty Casey  Evangeline  Febold Feboldson  Ichabod Crane  John Henry  Mose Humphrey  Ole Pete  Paul Bunyan and Babe the Blue Ox  Pecos Bill  Joe Magarac  Johnny Kaw   Rip Van Winkle  Uncle Sam  Ola Vrmlnning  Feathertop  Br’er Rabbit  Br’er Fox  Br’er Bear  Uncle Remus 

Fearsome critters

Argopelter  Axehandle hound  Ball-tailed cat  Cactus cat  Fur-bearing trout  Glawackus  Hidebehind  Hodag  Hoop snake  Jackalope  Jersey Devil  Joint snake  Sidehill gouger  Snallygaster  Splintercat  Squonk  Teakettler  Wampus cat

Cultural archetypes

African American   Colonists  Conductors  Cowboys  Explorers  Fur Trappers  Frontierman  Homesteaders  Indians  Immigrants  Lumberjacks  Lawmen  Mafia  Minutemen  Mountain men   Outlaws   Pioneers  Pirates  Privateers  Prospectors  Pilgrims  Presidents of the United States of America  Quakers  Railroaders  Sailors  Soldiers  Scouts  Whalers

 

Miscellaneous

Terms

Fakelore  Folkhero  Frontier myth  Tall tales

Holidays

Thanksgiving  Fourth of July  Mardi Gras  Halloween   Christmas   Saint Valentine’s Day 

Saint Patrick’s Day  Easter  Good Friday 

Location

Alaska  California  Texas  New York  American Old West  Thirteen Colonies  Georgia (U.S. state)  Louisiana  Rhode Island  Oregon  Mississippi  Missouri  Alabama 

U.S. History

American Civil War  California Gold Rush  Klondike Gold Rush

Literature

Washington Irving  James Fenimore Cooper  Bret Harte  Herman Melville  Mark Twain  Jack London

Genre

Western (genre)  Northern (Genre) 

Persondata

NAME

William Frederick Cody

ALTERNATIVE NAMES

Buffalo Bill, Wild Bill

SHORT DESCRIPTION

frontiersman, showman

DATE OF BIRTH

February 26, 1846

PLACE OF BIRTH

near Le Claire, Iowa, United States

DATE OF DEATH

January 10, 1917

PLACE OF DEATH

Denver, Colorado, United States

Categories: American folklore | American hunters | American people of the Indian Wars | American pioneers | American Roman Catholics | American stage actors | American writers | Bison hunters | Civilian recipients of the Medal of Honor | Converts to Roman Catholicism | Deaths from renal failure | People from Omaha, Nebraska | History of Nebraska | International Circus Hall of Fame inductees | Irish Americans | Irish-Americans in the military | Irish-American writers | People from New York City | People from North Omaha, Nebraska | People from Park County, Wyoming | People from Scott County, Iowa | People from Staten Island | People of the Black Hills War | Union Army soldiers | Utah War | Wild west shows | 1846 births | 1917 deathsHidden categories: Articles with hCards
About the Author

I am a professional writer from China Crafts Suppliers, which contains a great deal of information about noodle pudding , mixed fruit jelly, welcome to visit!

Entire MN Governor Candidates Debate, at Pantages Theater.

Jazz Fundamentals

I used to tell people that I met on airplanes or in the evenings I wrote about jazz for a living. Once who arrived last wondered what kind of "life" that amounted to, smile and say "I love jazz," and then pause, added: "But I do not know much."

Were suspected, launched by references to map and chart the development of jazz – things like how 50 begat the 40 swing of bebop, which gave rise to free jazz of the 60's and all that. As if there were a manual (actually, a spokesman for Friends of mine is writing, but that's another story) and could be a test, you know. Not to mention political disputes, why the king or tip the balance of payments of the thing or the way fusion 70 years all killed.

Or perhaps put off by all that talk about techniques and expanded flat five chords and propulsion rhythmic figures behind the swing – like a genius or something.

After worship aspect: these guys more bending and swaying in the back of the club, do as the ancient Jews swing a BOF at the temple, or generalization of the bow before the deities, such as Louis Armstrong and Charlie Parker and John Coltrane (not to mention the dispute over who deserves the status of holy).

The thing is that jazz is not all that – and that's all. Evaluation does not require any prior knowledge, but to listen to all offers enrichment course. The technical aspects of jazz musical accomplishments have the beauty and complexity of the higher education in mathematics and music has a genuine religious Heft, both spiritual traditions and secular thought in the meditative moment.

I can not give a list of 12 best, or to say that what follows is the story in its entirety. But the list below establishes lines of thought, instrumental technique, rhythmic ideas and design group. The points are easy to connect, names and unforgettable sounds clearly.

And this list is like a sponge the toy is placed in water as the day of magic over night. Listen and you will find a broad knowledge of easily absorbed, not to mention the natural links many artists and recordings.

Listen Hot Fives and Sevens

Louis Lyrics Armstrong

Release Date: 1925

To tell the story of jazz, Louis Armstrong is blunt cut the head of agency is live jazz. Armstrong was a giant of the trumpet, he was a singer and perhaps most importantly, it transformed jazz from a strictly instrumental music in a complex mixture of solo and as a whole. In this sense, almost all of the 20 th century jazz that followed the issuing of these records innovation. During these sessions, you can hear the ongoing transformation, the traditional New Orleans style collective a different mix, with the call to show how Armstrong's horn.

Play Masterpieces of Art Tatum Solo Volume 1

Artist: Art Tatum

Release Date: 2001

Any of this edition set of eight CD done. And alone is enough to make sense of the enormity of the engineering and Tatum dramatic effects in all the music that followed. Tatum played the piano more – the instrument has more – than any other musician. It was a direct link between male brothel in the classic piano solo. Here, the end of life, which plays the song after song, from "too wonderful for words," each one was built at a concert melody, harmony and improvisation that set the bar high and set the logic of most modern jazz.

Listen Carnegie Hall Concerts: January 1943

Artist: Duke Ellington

Release Date: 1943

Jazz small compared to the majesty, subtlety, integrity and create bands of Duke Ellington in the 40's. It was a time when jazz Straddling two roles, as he never more: popular music, reflecting the nation's heart and mind, and artistic revolution, the allocation of new water. In Ellington, perhaps no other musician Louis Armstrong, jazz has a leader who has two disks. Ellington was a dream to play at Carnegie Hall, and provides Achievements today Lincoln Center Wynton Marsalis. This recording contains shorter pieces (miniature wonderful large) Ellington and more ambitious work as "Black, brown and beige. "There are stellar solo statements by players, including saxophonists Ben Webster and Johnny Hodges, but in reality, the cohesion of the band and bright complete picture of Ellington makes this timeless music.

Listen Tomorrow is the Question

Artist: Ornette Coleman

Release Date: 1959

Ornette Coleman's music has always considered the tradition – Charlie Parker listen and hear the echoes of here – distilled out something new and straight, or curled up as an expression of bewilderment. Here, as Coleman suggests two ideas. And the music has announced its own piano quartet: the harmonic changes on their own music arrangements narrower Coleman, replaced by his love of science the personal liberation. The way Coleman and trumpeter Don Cherry shadow lines each and exchange ideas, the process seems closer to the pure joy of hard science. Half a century later, still seems the costs.

Listen Alone In San Francisco

Artist: Thelonious Monk

Publication Date: 1959

The hip, the most addictive music was in college was a monk. I had never heard anything like that, and opened a new idea for me of how the piano can sound and what music can do: his compositions, all arpeggios or tone cluster, the mathematical content, R & B, Abstract Expressionism and slapstick humor. I was to discover a world of jazz musicians, all directly or indirectly affected by Monk, but none that sounded like him. And while Monk has recorded many notable albums big band star, but his music was to play with others a particular vision and cohesion, Monk's piano solo to envy: Straight, No Chaser. Here, early in his career, by itself, transforms San Francisco Monk Fugazi Hall with the unique architecture of his playing the piano. This is not all jazz sounds like: That's what the jazz world after Monk looks.

Play Bill Evans Trio: Sunday at the Village Vanguard

Artist: Bill Evans

Release Date: 1961

There are many religious stories, folklore and literature to support the idea that three is a magic number: Bill Evans Trio Jazz can be more powerful argument for this case. Evans was one of the most lyrical pianists in jazz, and he is at his best here. But it is the nature of this trio that rises more than anything, Evans, and bassist Scott LaFaro and drummer Paul Motian adhere to traditional roles. And the slice of cheese with three branches of room that is the Village Vanguard (the closest thing to a space sacred is in jazz today), the music acquires a quality of prayer, etc..

Listen Live Trane: European Tour

Artist: John Coltrane

Release Date: 1961

In 1961, the style of Coltrane solos – Free movement through improvisational chord changes and strong economies of scale as spokesman Ira Gitler dubbed "sheets of sound" – was signature. Their band concept was still determined to push the frontiers of the explosive energy. Coltrane may have established some of the jazz sessions in the study of the most memorable but there's really nothing like it taken from life. These issues, taken from a set of three LP, in the context to find more power for four years: a quintet in 1961 with Eric Dolphy on alto sax, flute and clarinet, and his quartet providing classical music concerts in 1963 and 1965. Fire and special communion between Coltrane and drummer Elvin Jones in the latest equipment is one thing to see.

Listen Spiritual Unity

Artist: Albert Ayler

Release Date: 1964

The first release on the label Bernard Stollman of ESP is the session that led to Albert Ayler to the forefront of avant-garde jazz. It remains an open reference for any musician wishing to explore the possibilities of an instrument sound exploit the full effects of a small group to mine the spiritual stature of the music expression. For some, the array of sounds convinced Ayler saxophone – shouting, screaming, yelling, horn honking and a mile wide vibrato, when he felt like it – represented contortions that are sound, for others, returned to jazz in evocations principles, such as Sidney Bechet soprano sax. Ayler Call expected the current axis joining punk rockers to the free jazz took the simplest of song structures and convert the most complex of visceral splatter. His "ghost", published here in two versions, you really pursue.

Listen Afro-Cuban Jazz Moods

Artist: Dizzy Gillespie and Machito

Release Date: 1975

Back when I edited a journal of jazz, I feel ashamed regular writers who thought that Latin jazz was a small box on the American jazz. Jazz is a lot of stories, a plant that is the African diaspora. The music of Latin America, South America and the Caribbean are cousins of American music (And contain secret rhythms have forgotten, I should say). Cuba, in particular, has a special relationship with American music, and trumpeter Dizzy Gillespie was one jazz ranges adorning this truth with depth and style. Although Big Bang Dizzy has his Cuban decades earlier, this session is the famous 1975 group Frank "Machito" Grillo, the great Cuban trumpeter Mario Bauza. Composer and arranger Chico O'Farrill's "Gold Frankincense and Myrrh" merger also modern ideas and cultural cons heard today.

Listen to the rain on the Moon

Artist: William Parker

Release Date: 2002

Born in 1955, [CK], William Parker is a bit more jazz music we know as free. Some say that this musical revolution is dead: They are wrong. Signs of life are critical in Manhattan Lower East Side, and downtown this scene is up, insistent bass sound Parker. There is a sort of father figure, dispensing life lessons and musical wisdom, such as drivers Legendary Duke Ellington, Art Blakey and Charles Mingus. Among the many groups of Parker is leading this quartet (with Leena Conquest add voice soul). Among the deep connections sharing, is that it can be powerful through music, with drummer Hamid Drake.

About the Author

Here author Larry Blumenfeld writes about jazz’s development and jazz instrumental. The technical aspects of jazz’s musical achievements have both the beauty and complexity of higher math. There are many people in the world who love jazz but know nothing much about it. Visit emusic.com and enjoy the real taste of jazz music and some excellent jazz music albums with mp3 downloads, music downloads, Online Music, Audio Books etc…

V-Ray Materials Part 2, The Refraction Layer

Blade Runner

Plot

Note: There are several versions of Blade Runner.

In Los Angeles, November 2019, Rick Deckard (Harrison Ford) a retired police officer, is arrested at a noodle bar by officer Gaff (Edward James Olmos). His former supervisor, Bryant (M. Emmet Walsh), tells him that several “replicants”, biologically engineered humanoids that serve as soldiers and slaves in colonies on other planets, have escaped and come to Earth illegally. As a “blade runner” while active, Deckard’s job was to track down replicants on Earth and “retire” them.

Bryant shows him a video of another blade runner (Morgan Paull), administering a Voight-Kampff test, which distinguishes humans from replicants based on their empathic response to questions. The subject of the test, Leon (Brion James), shoots the tester when it is likely he will be exposed as a replicant.

Deckard agrees to track down Leon and three other replicantsoy Batty (Rutger Hauer), Zhora (Joanna Cassidy) and Pris (Daryl Hannah)fter Bryant threatens him. These replicantsyrell Corporation Nexus-6 modelsave a four-year lifespan as a failsafe to prevent them from developing emotions and desire for independence. They may have come to Earth to try to have these lifespans extended.

Deckard is teamed with Gaff and sent to the Tyrell Corporation to ensure that the Voight-Kampff test works on Nexus-6 models. While there, Deckard discovers that Tyrell’s (Joe Turkel) assistant Rachael (Sean Young) is an experimental replicant who believes she is human; Rachael’s consciousness has been enhanced with childhood memories from Tyrell’s niece. As a result, a more extensive Voight-Kampff test is required to identify her as a replicant. During the testing Rachael suggests that Deckard himself be tested.

Roy and Leon enter the eye manufactory of Chew (James Hong); under interrogation, Chew directs them to J.F. Sebastian (William Sanderson) as their best chance of meeting Tyrell. Rachael visits Deckard at his apartment to prove her humanity to him, showing him a family photo. She leaves in tears after Deckard tells her that her memories are implants. Pris meets J.F. Sebastian at his apartment in the Bradbury Building where he lives with his manufactured companions. Deckard finds an image of Zhora in Leon’s photos.

Deckard goes to an area of the city where genetically engineered animals are sold to analyze a scale found in Leon’s bathroom, learning that it came from a snake made by Abdul Ben Hassan (Ben Astar). Hassan directs Deckard to a strip club where Zhora works. Deckard “retires” Zhora, whose death takes place in slow motion as she struggles to flee. Deckard meets with Bryant shortly after and is told to add Rachael to his list of retirements, as she has disappeared from the Tyrell Corporation headquarters. Deckard spots Rachael in the crowd but is attacked by Leon. Rachael saves Deckard by killing Leon, and the two return to Deckard’s apartment, where he roughly initiates sex.

Roy arrives at Sebastian’s apartment and tells Pris they are the only ones left. They gain Sebastian’s help after explaining their plight. Roy discovers that Sebastian is suffering from a genetic disorder that accelerates his aging. Under the pretext of Sebastian informing Tyrell of a move for a game of correspondence chess that they are playing, Roy and Sebastian enter Tyrell’s penthouse. Roy demands an extension to his lifespan from his maker. Tyrell explains that Tyrell Corporation never found a way to accomplish this. Roy asks absolution for his sins, confessing that he has done “questionable things”. Tyrell dismisses this, praising Roy’s advanced design and his accomplishments. He tells Roy to “revel in his time”, to which Roy comments “Nothing the god of biomechanics wouldn’t let you into heaven for”. Roy then holds Tyrell’s head in his hands, gives him a kiss, and kills him. Sebastian runs for the elevator, with Roy following. Roy rides the elevator down alone, and Sebastian is not seen again.

Deckard arrives at Sebastian’s apartment and is ambushed by Pris. He retires her just as Roy returns. Roy punches through a wall, grabbing Deckard’s right arm, and breaks two of his fingers in retaliation for Zhora and Pris. Roy releases Deckard and gives him time to run before he begins hunting him through the Bradbury Building. The symptoms of Roy’s limited lifespan worsen and his right hand begins failing; he jabs a nail through it to regain control. Roy forces Deckard to the roof. As Deckard attempts to escape Roy, he leaps across to another building but falls short and ends up hanging from a rain-slicked girder. As Deckard loses his grip, Roy seizes his arm and hauls him onto the roof. As Roy’s life ends, he delivers a soliloquy on his life “I’ve seen things you people wouldn’t believe: Attack ships on fire off the shoulder of Orion; I’ve watched c-beams glitter in the dark near the Tannhauser Gate. All those moments will be lost in time; like tears in rain. Time to die.”

Gaff shouts over to Deckard, “It’s too bad she won’t live; but then again, who does?” Deckard returns to his apartment to find Rachael alive. As they leave, Deckard finds an origami unicorn, a calling card left by Gaff. Depending on the version, the film ends with Deckard and Rachael either leaving the apartment block to an uncertain future or driving through an idyllic pastoral landscape.

Comparison with novel

As a result of Fancher’s divergence from the novel, numerous re-writes before and throughout shooting the film, and Ridley Scott’s never having read the entire novel on which it was based, the film differed significantly from its original inspiration. Some of the themes in the novel that were minimized or entirely removed include: fertility/sterility of the population, religion, mass media, Deckard’s uncertainty that he is human, and real versus synthetic pets and emotions.

Philip K. Dick refused an offer of $400,000 to write a novelization of the Blade Runner screenplay, saying: “[I was] told the cheapo novelization would have to appeal to the twelve-year-old audience” and “[it] would have probably been disastrous to me artistically.” He added, “That insistence on my part of bringing out the original novel and not doing the novelizationhey were just furious. They finally recognized that there was a legitimate reason for reissuing the novel, even though it cost them money. It was a victory not just of contractual obligations but of theoretical principles.” In the end, Do Androids Dream of Electric Sheep? was reprinted as a tie-in, with the film poster as a cover and the original title in parentheses below the Blade Runner title.

The producers of the film arranged for a screening of some special effects rough cuts for Philip K. Dick shortly before he died in early 1982. Despite his well known skepticism of Hollywood in principle, he became quite enthusiastic about the film. He said, “I saw a segment of Douglas Trumbull’s special effects for Blade Runner on the KNBC-TV news. I recognized it immediately. It was my own interior world. They caught it perfectly.” He also approved of the film’s script, saying, “After I finished reading the screenplay, I got the novel out and looked through it. The two reinforce each other, so that someone who started with the novel would enjoy the movie and someone who started with the movie would enjoy the novel.”

Cast and characters

Main article: List of Blade Runner characters

With the exception of Harrison Ford, Blade Runner used a number of less well-known actors such as Daryl Hannah and Sean Young. The cast includes:

Actor

Character

Notes

Harrison Ford

Rick Deckard

Coming off some success with Star Wars (1977), The Empire Strikes Back (1980) and Raiders of the Lost Ark (1981), Ford was looking for a role with dramatic depth. After Steven Spielberg praised Ford, he was hired for Blade Runner. In 1992, Ford revealed, “Blade Runner is not one of my favorite films. I tangled with Ridley.” Apart from friction with the director, Ford also disliked the voiceovers: “When we started shooting it had been tacitly agreed that the version of the film that we had agreed upon was the version without voiceover narration. It was a f**king [sic] nightmare. I thought that the film had worked without the narration. But now I was stuck re-creating that narration. And I was obliged to do the voiceovers for people that did not represent the director’s interests.” “I went kicking and screaming to the studio to record it.”

Rutger Hauer

Roy Batty

The violent yet thoughtful leader of replicants; regarded by Philip K. Dick as “the perfect Battyold, Aryan, flawless”. Of the many films Hauer has done, Blade Runner is his favorite. As he explained in a live chat in 2001, “BLADE RUNNER needs no explanation. It just IZZ [sic]. All of the best. There is nothing like it. To be part of a real MASTERPIECE which changed the world’s thinking. It’s awesome.”

Sean Young

Rachael

Tyrell’s assistant. Rachael is a replicant with memories that belonged to Tyrell’s niece.

Edward James Olmos

Gaff

Olmos used his diverse ethnic background, and some in-depth personal research, to help create the fictional “Cityspeak” language his character uses in the film. His initial addresses to Deckard at the noodle bar is partly in Hungarian, and means, “Horse dick! No way. You are the Blade … Blade Runner.”

Daryl Hannah

Pris

a “basic pleasure model”.

M. Emmet Walsh

Captain Bryant

Walsh lived up to his reputation as a great character actor with the role of a hard-drinking, sleazy and underhanded police veteran typical of the film noir genre.

Joe Turkel

Dr. Eldon Tyrell

This corporate mogul has built an empire on genetically manipulated humanoid slaves.

William Sanderson

J. F. Sebastian

a quiet and lonely genius who provides a compassionate yet compliant portrait of humanity. J.F. is able to sympathize with the replicants’ short lifespan because he has progeria, a genetic disease that causes faster aging and a short lifespan.

Brion James

Leon Kowalski

a replicant masquerading as a waste disposal engineer.

Joanna Cassidy

Zhora

a special-ops, undercover and assassin model. Cassidy portrays a strong female replicant who has seen the worst humanity has to offer.

Morgan Paull

Holden

The Blade Runner initially assigned to the case, he is shot by Leon while screening new Tyrell employees in an attempt to find the replicants, prompting his replacement with Deckard.

James Hong

Hannibal Chew

an elderly Asian geneticist specializing in synthetic eyes.

Hy Pyke

Taffey Lewis

Pyke conveys Lewis’s sleaziness with ease and with one take; something almost unheard-of with Scott’s drive for perfection resulting at times in double-digit takes.

Production

One of filming locations is Bradbury Building

in Los Angeles, California.

Interest in adapting Philip K. Dick’s novel Do Androids Dream of Electric Sheep? developed shortly after its 1968 publication. According to Dick, director Martin Scorsese was interested in filming the novel, but never optioned it. Producer Herb Jaffe optioned it in the early 1970s, but Dick wasn’t impressed with the screenplay: “Robert Jaffe, who wrote the screenplay, flew down here to Orange County. I said to him then that it was so bad that I wanted to know if he wanted me to beat him up there at the airport or wait till we got to my apartment.” The screenplay by Hampton Fancher was optioned in 1977.

Producer Michael Deeley became interested in Fancher’s draft and convinced director Ridley Scott to use it to create his first American film. Scott had previously declined the project, but after leaving the slow production of Dune, wanted a faster-paced project to take his mind off his older brother’s recent death. He joined the project on February 21, 1980, and managed to push up the promised financing from Filmways from $13 million to $15 million. Fancher’s script focused more on environmental issues and less on issues of humanity and faith, which weighed heavily in the novel. Scott wanted changes. Fancher found a cinema treatment by William S. Burroughs for Alan E. Nourse’s novel The Bladerunner (1974), entitled Blade Runner (a movie). Scott liked the name, so Deeley obtained the rights to the titles. Eventually he hired David Peoples to rewrite the script, and Fancher left the job on December 21, 1980, over the issue, although he later returned to contribute additional rewrites.

Having invested over $2.5 million in pre-production, as the date of commencement of principal photography neared, Filmways withdrew financial backing. In ten days, Deeley secured $21.5 million in financing through a three way deal between The Ladd Company (through Warner Bros.), the Hong Kong-based producer Sir Run Run Shaw, and Tandem Productions.

Philip K. Dick became concerned that no one had informed him about the film’s production, which added to his distrust of Hollywood. After Dick criticized an early version of Hampton Fancher’s script in an article written for the Los Angeles Select TV Guide, the studio sent Dick the David Peoples rewrite. Although Dick died shortly before the film’s release, he was pleased with the rewritten script, and with a twenty-minute special effects test reel that was screened for him when he was invited to the studio. Dick enthused after the screening to Ridley Scott that the world created for the film looked exactly as he had imagined it. The motion picture was dedicated to Dick.

Another shot of Bradbury Building.

Blade Runner has numerous and deep similarities to Fritz Lang’s Metropolis, including a built up urban environment, in which the wealthy literally live above the workers, dominated by a huge buildinghe Stadtkrone Tower in Metropolis and the Tyrell Building in Blade Runner. Special effects supervisor David Dryer used stills from Metropolis when lining up Blade Runner’s miniature building shots.

Ridley Scott credits Edward Hopper’s painting Nighthawks and the French science fiction comic magazine Mtal Hurlant (Heavy Metal), to which the artist Moebius contributed, as stylistic mood sources. He also drew on the landscape of “Hong Kong on a very bad day” and the industrial landscape of his one-time home in the North East of England. Scott hired as his conceptual artist Syd Mead, who, like Scott, was influenced by Mtal Hurlant. Moebius was offered the opportunity to assist in the pre-production of Blade Runner, but he declined so that he could work on Ren Laloux’s animated film Les Matres du temps, a decision he later regretted. Lawrence G. Paull (production designer) and David Snyder (art director) realized Scott’s and Mead’s sketches. Douglas Trumbull and Richard Yuricich supervised the special effects for the film. Principal photography of Blade Runner began on March 9, 1981, and ended four months later.

Casting the film proved troublesome, particularly for the lead role of Deckard. Screenwriter Hampton Fancher envisioned Robert Mitchum as Deckard, and wrote the character’s dialogue with Mitchum in mind. Director Ridley Scott and the film’s producers “spent months” meeting and discussing the role with Dustin Hoffman, who eventually departed over differences in vision. Harrison Ford was ultimately chosen for several reasons, including his performance in the Star Wars films, Ford’s interest in the story of Blade Runner, and discussions with Steven Spielberg, who was finishing Raiders of the Lost Ark at the time and strongly praised Ford’s work in the film. According to production documents, a long list of actors were considered for the role, including, but not limited to, Gene Hackman, Sean Connery, Jack Nicholson, Paul Newman, Clint Eastwood, Tommy Lee Jones, Arnold Schwarzenegger, Al Pacino, and Burt Reynolds.

Casting the roles of Rachael and Pris was also challenging; a lengthy series of screen tests were filmed with numerous actresses auditioning for the roles. Morgan Paull, who played the role of Deckard during the screen tests with actresses auditioning for the role of Rachael, was cast as Deckard’s fellow bounty hunter Holden based on his performances in the tests. One role that was not difficult to cast was Roy Batty: Ridley Scott cast Rutger Hauer without having met him, based solely on Hauer’s performances in other films Scott had seen. Joe Pantoliano, who later played the role of Cypher in the Blade Runner-inspired The Matrix, was considered for the role of Sebastian.

In 2006, Ridley Scott was asked “Who’s the biggest pain in the arse you’ve ever worked with?” He replied: “It’s got to be Harrison … he’ll forgive me because now I get on with him. Now he’s become charming. But he knows a lot, that’s the problem. When we worked together it was my first film up and I was the new kid on the block. But we made a good movie.” Ford said of Scott in 2000: “I admire his work. We had a bad patch there, and I over it.” More recently in 2006, Ford reflected on the production of the film saying: “What I remember more than anything else when I see Blade Runner is not the 50 nights of shooting in the rain, but the voiceover … I was still obliged to work for these clowns that came in writing one bad voiceover after another.” Ridley Scott confirmed in the summer 2007 issue of Total Film that Harrison Ford contributed to the Blade Runner Special Edition DVD, having already done his interviews. “Harrison’s fully on board”, said Scott.

Interpretation

Main article: Themes in Blade Runner

Despite appearing to be an action film, Blade Runner operates on multiple dramatic and narrative levels; it is greatly indebted to film noir conventions: the femme fatale, protagonist-narration (removed in later versions), dark and shadowy cinematography, and the questionable moral outlook of the heron this case, extended to include reflections upon the nature of his own humanity.

It is a literate science fiction film, thematically enfolding the philosophy of religion and moral implications of human mastery of genetic engineering in the context of classical Greek drama and hubris, and draws on Biblical images, such as Noah’s flood, and literary sources, such as Frankenstein. Linguistically, the theme of mortality is subtly reiterated in the chess game between Roy and Tyrell based on the famous Immortal game of 1851, though Scott has said that was coincidental.

Dr. Tyrell polarizing his office window to control the Sun implies the god-like powers of the Tyrell Corporation.

Blade Runner delves into the implications of technology for the environment and society by reaching to the past, using literature, religious symbolism, classical dramatic themes, and film noir. This tension, between past, present, and future is mirrored in the retrofitted future of Blade Runner, which is high-tech and gleaming in places but decayed and old elsewhere. Interviewing Ridley Scott in 2002, reporter Lynn Barber in The Observer described the film as: “extremely dark, both literally and metaphorically, with an oddly masochistic feel”. Director Scott said he “liked the idea of exploring pain” in the wake of his brother’s skin cancer death. “When he was ill, I used to go and visit him in London, and that was really traumatic for me.”

An aura of paranoia suffuses the film. Corporate power looms large, the police seem omnipresent, vehicle and warning lights probe into buildings, and the consequences of huge biomedical power over the individual are exploredspecially the consequences for replicants of their programming. Control over the environment is depicted as taking place on a vast scale, hand in hand with the absence of any natural life, with artificial animals substituting for their extinct templates. This oppressive backdrop explains the frequently referenced migration of humans to extra-terrestrial (“off-world”) colonies. The dystopian themes explored in “Blade Runner” are an early example of cyberpunk concepts expanding into film. Eyes are a recurring motif, as are manipulated images, calling into question reality and our ability to accurately perceive and remember it.

These thematic elements provide an atmosphere of uncertainty for Blade Runner’s central theme of examining humanity. In order to discover replicants, an empathy test is used, with a number of its questions focused on the treatment of animalst seems to be an essential indicator of someone’s “humanity”. The replicants are juxtaposed with human characters who lack empathy, while the replicants appear to show compassion and concern for one another at the same time as the mass of humanity on the streets is cold and impersonal. The film goes so far as to put in doubt whether Deckard is a human, and forces the audience to reevaluate what it means to be human.

The question of whether Deckard is intended to be a human or a replicant has been an ongoing controversy since the film’s release. Both Michael Deeley and Harrison Ford wanted Deckard to be human while Hampton Fancher preferred ambiguity. Ridley Scott has confirmed that in his vision Deckard is a replicant. Deckard’s unicorn dream sequence inserted into the Director’s Cut coinciding with Gaff’s parting-gift of an origami unicorn is seen by many as showing Deckard is a replicant as Gaff could have access to Deckard’s implanted memories. The interpretation that Deckard is a replicant is challenged by others who believe unicorn imagery shows that the characters, whether human or replicant, share the same dreams and recognise their affinity, or that the absence of a decisive answer is crucial to the film’s main theme. The inherent ambiguity and uncertainty of the film, as well as its textual richness, have permitted viewers to see it from their own perspective.

Reception

Blade Runner was released in 1,290 theaters on June 25, 1982. That date was chosen by producer Alan Ladd, Jr. because his previous highest-grossing films (Star Wars and Alien) had a similar opening date (May 25) in 1977 and 1979, making the date his “lucky day”. However, the gross for the opening weekend was a disappointing $6.15 million. A significant factor in the film’s rather poor box office performance was that its release coincided with other science fiction film releases, including The Thing, Star Trek II: The Wrath of Khan, and, most significantly, E.T. the Extra-Terrestrial, which dominated box office revenues that summer.

Film critics were polarized as some felt the story had taken a back seat to special effects and that it was not the action/adventure the studio had advertised. Others acclaimed its complexity and predicted it would stand the test of time.

In the United States, a general criticism was its slow pacing that detracts from other strengths; Sheila Benson from the Los Angeles Times called it “Blade crawler”, while Pat Berman in State and Columbia Record described it as “science fiction pornography”. Roger Ebert praised both the original and the Director’s cut version of Blade Runner’s visuals and recommended it for that reason; however, he found the human story clichd and a little thin. In 2007, upon release of The Final Cut, Roger Ebert somewhat revised his original opinion of the film and added it to his list of Great Movies.

Awards and nominations

Blade Runner has won and been nominated for the following awards:

Year

Award

Category

Nominee

Result

1982

British Society of Cinematographers

Best Cinematography Award

Jordan Cronenweth

Nominated

1982

Los Angeles Film Critics Association Award

Best Cinematography

Jordan Cronenweth

Won

1983

BAFTA Film Award

Best Cinematography

Jordan Cronenweth

Won

Best Costume Design

Charles Knode & Michael Kaplan

Won

Best Production Design/Art Direction

Lawrence G. Paull

Won

Best Film Editing

Terry Rawlings

Nominated

Best Make Up Artist

Marvin Westmore

Nominated

Best Score

Vangelis

Nominated

Best Sound

Peter Pennell, Bud Alper, Graham V. Hartstone, Gerry Humphreys

Nominated

Best Special Visual Effects

Douglas Trumbull, Richard Yuricich, David Dryer

Nominated

1983

Hugo Award

Best Dramatic Presentation

Blade Runner

Won

1983

London Critics Circle Film Awards

Special Achievement Award

Lawrence G. Paull, Douglas Trumbull, Syd Mead

Won

1983

Golden Globe Award

Best Original Score – Motion Picture

Vangelis

Nominated

1983

Academy Awards

Best Art Direction – Set Decoration

Lawrence G. Paull, David L. Snyder, Linda DeScenna

Nominated

Best Effects, Visual Effects

Douglas Trumbull, Richard Yuricich, David Dryer

Nominated

1983

Saturn Award

Best Science Fiction Film

Blade Runner

Nominated

Best Director

Ridley Scott

Nominated

Best Special Effects

Douglas Trumbull, Richard Yuricich

Nominated

Best Supporting Actor

Rutger Hauer

Nominated

1983

Fantasporto

International Fantasy Film Award

Best Film Ridley Scott

Nominated

1993

Fantasporto

International Fantasy Film Award

Best Film Ridley Scott (Director’s cut)

Nominated

1994

Saturn Award

Best Genre Video Release

Blade Runner (Director’s cut)

Nominated

2008

Saturn Award

Best DVD Special Edition Release

Blade Runner (5 Disc Ultimate Collector’s Edition)

Won

Lists of the best films

Current recognitions for Blade Runner include:

Blade Runner is currently ranked the third best film of all time by The Screen Directory.

On theyshootpictures.com top 1000 movies of all time, based on 2041 critics’ and filmmakers’ favorite movie lists, Blade Runner was voted #66 in 2006, #55 in 2007, #46 in 2008 and #40 in 2010. It is higher than every other movie made after it.

British movie magazine Empire voted it the “Best Science Fiction Film Ever” in 2007.

In 2002, Blade Runner was voted the 8th greatest film of all time in Channel 4′s 100 Greatest Films poll.

New Scientist readers voted it as the “all-time favourite science fiction” film in October 2008.

Year

Presenter

Title

Rank

Notes

2008

Empire

The 500 Greatest Movies of All Time

20

American Film Institute (AFI)

Top 10 Sci-fi Films of All Time

6

2007

AFI’s 100 Years100 Movies

97

2006

Total Film Readers

100 Greatest Movies of All Time

32

2005

Total Film Editors

47

Time Magazine Critics

“All-TIME” 100 Best Movies

None

2004

The Guardian, Scientists

Top 10 Sci-fi Films of All Time

1

2003

1001 Movies You Must See Before You Die

None

2002

50 Klassiker, Film

Online Film Critics Society (OFCS)

Top 100 Sci-fi Films of the Past 100 Years

2

Cultural influence

A police spinner flying beside huge advertising-laden skyscrapers. These special effects are benchmarks that have influenced many subsequent science-fiction films.

While not initially a success with North American audiences, the film was popular internationally and became a cult film. The film’s dark style and futuristic design have served as a benchmark and its influence can be seen in many subsequent science fiction films, anime, video games, and television programs. For example, Ronald D. Moore and David Eick, the producers of the re-imagining of Battlestar Galactica, have both cited Blade Runner as one of the major influences for the show. Blade Runner continues to reflect modern trends and concerns, and an increasing number consider it one of the greatest science fiction films of all time. The film was selected for preservation in the United States National Film Registry in 1993 and is frequently used in university courses. In 2007, it was named the 2nd most visually influential film of all time by the Visual Effects Society.

Blade Runner is one of the most musically sampled films of the 20th century, and inspired the Grammy nominated song “More Human than Human” by White Zombie.

Blade Runner has influenced adventure games, such as Rise of the Dragon, Snatcher, Beneath a Steel Sky and Flashback: The Quest for Identity, the anime series Bubblegum Crisis, the role-playing game Shadowrun, the first-person shooter Perfect Dark, and the Syndicate series of video games. The film is also cited as the a major influence on Warren Spector, designer of the computer-game Deus Ex, which both in its visual rendering and plot displays evidence of the film’s influence. The look of the film (darkness, neon lights and opacity of vision) is easier to render than complicated backdrops, making it a popular choice for game designers.

Blade Runner has also been the subject of parody, such as the comics Blade Bummer by Crazy comics, Bad Rubber by Steve Gallacci, and the Red Dwarf special episodes, “Back To Earth”.

Blade Runner curse

Among the folklore that has developed around the film over the years has been the belief that the film was a curse to the companies whose logos were displayed prominently as product placements in some scenes. While they were market leaders at the time, more than half experienced disastrous setbacks during the next decade. RCA, which at one time was the United States’ leading consumer electronics and communications conglomerate, was bought out by one-time parent GE in 1985, and dismantled. Atari, which dominated the home video game market when the film came out, never recovered from the next year’s downturn in the industry, and by the 1990s had ceased to represent anything more than a brand, a back catalogue of games and some legacy computers. Atari today is an entirely different firm, using the former company’s name. Cuisinart similarly went bankrupt in 1989, though it lives on under new ownership. The Bell System monopoly was broken up that same year, and most of the resulting Regional Bell operating companies have since changed their names and merged back with each other and other companies to form the new AT&T. Pan Am suffered the terrorist bombing/destruction of Pan Am Flight 103 and after a decade of mounting losses, finally went bankrupt in 1991 with the falloff in overseas travel caused by the Gulf War. The Coca-Cola Company suffered losses during its failed introduction of New Coke in 1985, but soon afterward regained its market share. Its continued success has made Coca-Cola one of several exceptions to the Blade Runner curse; also appearing in the film are logos for Budweiser, and the electronics company TDK, which continue to thrive in contemporary markets.

Future Noir

Further information: Future noir

Before the film’s principal photography began, Cinefantastique magazine commissioned Paul M. Sammon to write an article about Blade Runner’s production, which became the book Future Noir: The Making of Blade Runner (referred to as the “Blade Runner Bible” by many of the film’s fans). The book chronicles the evolution of Blade Runner as a film, and focuses on film-set politics, especially the British director’s experiences with his first American film crew, of which producer Alan Ladd, Jr. has said, “Harrison wouldn’t speak to Ridley and Ridley wouldn’t speak to Harrison. By the end of the shoot Ford was ‘ready to kill Ridley’, said one colleague. He really would have taken him on if he hadn’t been talked out of it.” Future Noir has short cast biographies and quotations about their experiences in making Blade Runner, as well as many photographs of the film’s production, and preliminary sketches. The cast chapter was deleted from the first edition; it is available online. A second edition of Future Noir was published in 2007.

Soundtrack

Main article: Blade Runner (soundtrack)

The Blade Runner soundtrack by Vangelis is a dark melodic combination of classic composition and futuristic synthesizers which mirrors the film-noir retro-future envisioned by Ridley Scott. Vangelis, fresh from his Academy Award winning score for Chariots of Fire, composed and performed the music on his synthesizers. He also made use of various chimes and the vocals of collaborator Demis Roussos. Another memorable sound is the haunting tenor sax solo “Love Theme” by UK saxophonist Dick Morrissey, who appeared on many of Vangelis’ albums. Ridley Scott also used “Memories of Green” from Vangelis’ album See You Later (an orchestral version of which Scott would later use in his film Someone To Watch Over Me).

Along with Vangelis’ compositions and ambient textures, the film’s sound scape also features a track by the Japanese Ensemble Nipponia (‘Ogi No Mato’ or ‘The Folding Fan as a Target’ from the Nonesuch Records release “Traditional Vocal And Instrumental Music”) and a track by harpist Gail Laughton (“Harps of the Ancient Temples” from Laurel Records).

Despite being well received by fans and critically acclaimed and nominated in 1983 for a BAFTA and Golden Globe as best original score, and the promise of a soundtrack album from Polydor Records in the end titles of the film, the release of the official soundtrack recording was delayed for over a decade. There are two official releases of the music from Blade Runner. In light of the lack of a release of an album, the New American Orchestra recorded an orchestral adaptation in 1982 which bore little resemblance to the original. Some of the film tracks would in 1989 surface on the compilation Vangelis: Themes, but not until the 1992 release of the Director’s Cut version would a substantial amount of the film’s score see commercial release.

These delays and poor reproductions led to the production of many bootleg recordings over the years. A bootleg tape surfaced in 1982 at science fiction conventions and became popular given the delay of an official release of the original recordings, and in 1993 “Off World Music, Ltd.” created a bootleg CD that would prove more comprehensive than Vangelis’ official CD in 1994. A disc from “Gongo Records” features most of the same material, but with slightly better sound quality. In 2003, two other bootlegs surfaced, the “Esper Edition”, closely preceded by “Los Angeles: November 2019″. The double disc “Esper Edition” combined tracks from the official release, the Gongo boot and the film itself. Finally “2019″ provided a single disc compilation almost wholly consisting of ambient sound from the film, padded out with some sounds from the Westwood game Blade Runner.

A set with three CDs of Blade Runner-related Vangelis music was released on December 10, 2007. Titled Blade Runner Trilogy, the first CD contains the same tracks as the 1994 official soundtrack release, the second CD contains previously unreleased music from the movie, and the third CD is all newly composed music from Vangelis, inspired by, and in the spirit of the movie.

Versions

The 5-Disc limited edition DVD set, packaged in a reproduction Voight-Kampff test case.

The contents of the 5-Disc limited edition DVD set.

Main article: Versions of Blade Runner

Seven different versions of Blade Runner have been shown:

Original workprint version (1982, 113 minutes) shown to audience test previews in Denver and Dallas in March 1982. It was also seen in 1990 and 1991 in Los Angeles and San Francisco as a Director’s Cut without Scott’s approval. Negative responses to the test previews led to the modifications resulting in the U.S. theatrical version, while positive response to the showings in 1990 and 1991 pushed the studio to approve work on an official director’s cut. It was re-released with 5-disc Ultimate Edition in 2007.

A San Diego Sneak Preview shown only once in May 1982, which was almost identical to the Domestic Cut with three extra scenes.

The U.S. theatrical version (1982, 116 minutes), known as the original version or Domestic Cut, released on Betamax and VHS in 1983 and laserdisc in 1987.

The International Cut (1982, 117 minutes) also known as the “Criterion Edition” or uncut version, included more violent action scenes than the U.S. theatrical version. Although initially unavailable in the U.S. and distributed in Europe and Asia via theatrical and local Warner Home Video laserdisc releases, it was later released on VHS and Criterion Collection laserdisc in North America, and re-released in 1992 as a “10th Anniversary Edition”.

The U.S. broadcast version (1986, 114 minutes), the U.S. theatrical version edited for violence, profanity and nudity by CBS to meet broadcast restrictions.

The Ridley Scott-approved (1992, 116 minutes) Director’s Cut; prompted by the unauthorized 1990  One workprint theatrical release and made available on VHS and laserdisc in 1993, and on DVD in 1997. Significant changes from the theatrical version include removal of Deckard’s voice-over, re-insertion of a unicorn sequence and removal of the studio-imposed happy ending. Ridley did provide extensive notes and consultation to Warner Brothers through film preservationist Michael Arick who was put in charge of creating the Director’s Cut.

Ridley Scott’s Final Cut (2007, 117 minutes), or the “25th Anniversary Edition”, released by Warner Bros. theatrically on October 5, 2007, and subsequently released on DVD, HD DVD, and Blu-ray in December 2007 (U.K. December 3; U.S. December 18). This is the only version over which Ridley Scott had complete artistic control as the Director’s Cut was rushed and he was not directly in charge. In conjunction with the Final Cut, extensive documentary and other materials were produced for the home video releases culminating in a five-disc “Ultimate Collector’s Edition” release by Charles de Lauzirika.

Documentaries

On the Edge of Blade Runner (2000)

On the Edge of Blade Runner (55 minutes) was produced in 2000 by Nobles Gate Ltd. (for Channel 4), was directed by Andrew Abbott and hosted/written by Mark Kermode. Interviews with production staff, including Scott, give details of the creative process and the turmoil during preproduction. Stories from Paul M. Sammon and Hampton Fancher provide insight into Philip K. Dick and the origins of Do Androids Dream of Electric Sheep?.

Interwoven are cast interviews (with the notable exceptions of Harrison Ford and Sean Young), which convey some of the difficulties of making the film (including an exacting director and humid, smoggy weather). There is also a tour of some locations, most notably the Bradbury Building and the Warner Bros. backlot that became the LA 2019 streets, which look very different from Scott’s dark vision.

The documentary then details the test screenings and the resulting changes (the voice over, the happy ending, and the deleted Holden hospital scene), the special effects, the soundtrack by Vangelis, and the unhappy relationship between the filmmakers and the investors which culminated in Deeley and Scott being fired but still working on the film. The question of whether or not Deckard is a replicant surfaces.

Future Shocks (2003)

Future Shocks (27 minutes) is a more recent documentary from 2003 by TVOntario (part of their Film 101 series using footage compiled over the years for Saturday Night at the Movies). It includes interviews with executive producer Bud Yorkin, Syd Mead, and the cast, this time with Sean Young, but still without Harrison Ford. There is extensive commentary by science fiction author Robert J. Sawyer and from film critics, as the documentary focuses on the themes, visual impact and influence of the film. Edward James Olmos describes Ford’s participation, and personal experiences during filming are related by Young, Walsh, Cassidy and Sanderson. They also relate a story about crew members creating T-shirts that took pot shots at Scott. The different versions of the film are critiqued and the accuracy of its predictions of the future are discussed.

Dangerous Days (2007)

Dangerous Days: Making Blade Runner is an approximately three and a half hour long documentary directed and produced by Charles de Lauzirika for the 2007 Final Cut version of the film. It appears with every edition of The Final Cut on DVD, HD DVD and Blu-ray. (It is a DVD format disc, even in the HD DVD and Blu-ray editions). It was culled from over 80 interviews, including Harrison Ford, Sean Young, Rutger Hauer, Edward James Olmos, Jerry Perenchio, Bud Yorkin and Ridley Scott, and also contains several alternate and deleted shots within the context of the documentary itself.

The documentary consists of eight chapters, each covering a portion of the film-makingr in the case of the final chapter, the film’s controversial legacy. The chapters and their length:

Incept Date  1980: Screenwriting and Dealmaking  30:36

Blush Response: Assembling the Cast  22:46

A Good Start: Designing the Future  26:34

Eye of the Storm: Production Begins  28:48

Living in Fear: Tension on the Set  29:23

Beyond the Window: Visual effects  28:49

In Need of Magic: Post-Production Problems  23:05

To Hades and Back: Release and Resurrection  24:12

All Our Variant Futures (2007)

All Our Variant Futures: From Workprint to Final Cut (29 minutes), produced by Paul Prischman, appears on Disc 5 of the Blade Runner Ultimate Collector’s Edition and provides an overview of the film’s multiple versions and their origins, as well as detailing the seven year-long restoration, enhancement and remastering process behind The Final Cut. Included are interviews with director Ridley Scott, restoration producer Charles de Lauzirika, restoration consultant Kurt P. Galvao, restoration VFX supervisor John Scheele and Future Noir: The Making of Blade Runner author Paul M. Sammon. Behind-the-scenes footage documenting the restorationrom archival work done in 2001 through the 2007 filming of Joanna Cassidy and Benjamin Ford for The Final Cut’s digital fixesre seen throughout.

Additional featurettes (2007)

In addition to Dangerous Days: Making Blade Runner, a variety of other supplemental featurettes produced and directed by Charles de Lauzirika are included both the four- and five-disc collector’s editions of Blade Runner released by Warner Home Video in 2007:

The Electric Dreamer: Remembering Philip K. Dick  14:22

Sacrificial Sheep: The Novel Vs. The Film  15:07

Philip K. Dick: The Blade Runner Interviews  23:03

Signs of the Times: Graphic Design  13:40

Fashion Forward: Wardrobe and Styling  20:40

Screen Tests: Rachael and Pris  8:54

The Light That Burns: Remembering Jordan Cronenweth  19:58

Deleted & Alternate Scenes  45:47

Promoting Dystopia: Rendering the Poster Art  9:35

Deck-A-Rep: The True Nature of Rick Deckard  9:30

Nexus Generation: Fans and Filmmakers  21:49

1982 Promotional Featurettes  36:21

Sequels

K.W. Jeter, a friend of Philip K. Dick, has written three official, authorised Blade Runner novels that continue Rick Deckard’s story, attempting to resolve many differences between Blade Runner and the source novel Do Androids Dream of Electric Sheep?.

Blade Runner 2: The Edge of Human (1995)

Blade Runner 3: Replicant Night (1996)

Blade Runner 4: Eye and Talon (2000)

Ridley Scott apparently toyed with the idea of a sequel film, which would have been titled Metropolis. However, the project was ultimately shelved due to rights issues. A script was also written for a proposed sequel entitled Blade Runner Down, which would have been based on K. W. Jeter’s first Blade Runner sequel novel. At the 2007 Comic-Con, Scott again announced that he is considering a sequel to the film. By September 2008, Eagle Eye co-writer Travis Wright was writing the screenplay. Wright worked with producer Bud Yorke for a few years on the project. His colleague John Glenn, who left the film by 2008, stated the script explores the nature of the off-world colonies as well as what happens to the Tyrell Corporation in the wake of its founder’s death.

Prequel

In June 2009, The New York Times reported that Ridley Scott, together with his brother Tony Scott, was working on a prequel to Blade Runner. The prequel, entitled Purefold, will be a series of 510 minute shorts, aimed first at the Web and then perhaps television, and will be set at a point in time before 2019. Due to rights issues, the series will not be linked too closely to the characters or events of the 1982 film.

Other adaptations

Comics

Archie Goodwin scripted the comic book adaptation, A Marvel Comics Super Special: Blade Runner, published September 1982. The Jim Steranko cover leads into a 45-page adaptation illustrated by the team of Al Williamson, Carlos Garzon, Dan Green and Ralph Reese. This adaptation includes one possible explanation of the title’s significance in story context: the narrative line, “Blade runner. You’re always movin’ on the edge”.

In 2009, BOOM! Studios published a 24-issue miniseries comic book adaptation of the Blade Runner source novel, Do Androids Dream of Electric Sheep?

Video games

Main articles: Blade Runner (1985 video game) and Blade Runner (1997 video game)

There are two video games based on the film, one for Commodore 64, Sinclair ZX Spectrum and Amstrad CPC (1985) by CRL Group PLC based on the music by Vangelis (due to licensing issues), and another action adventure PC game (1997) by Westwood Studios. The Westwood PC game featured new characters and branching storylines based on the Blade Runner world, coupled with voice work from some of the original cast from the film and some recurring locations from the film. The events portrayed in the 1997 game occur not after, but in parallel to those in the filmhe player assumes the role of another replicant-hunter working at the same time as Deckard, though of course they never meet, so as to remain consistent with the film.

The PC game featured a non-linear plot, non-player characters that each ran in their own independent AI, and an unusual pseudo-3D engine (which eschewed polygonal solids in favor of voxel elements) that did not require the use of a 3D accelerator card to play the game.

A prototype board game was also created in California (1982) that had game play similar to Scotland Yard.

Television series

Main article: Total Recall 2070

Though not an official sequel to Blade Runner, Total Recall 2070 was initially planned as a spin-off of the movie Total Recall but transformed into a hybrid of that movie and Blade Runner. There are many similarities between the television series and the Blade Runner universe. The series takes place in a dark, crowded, industrial, and cosmopolitan setting. David Hume is a senior detective for the Citizens Protection Bureau (CPB) who is partnered with Ian Farve, an Alpha Class android. The series focused on questions such as the nature of humanity and the rights of androids. The series was based on two works by Phillip K. Dick: “We Can Remember It for You Wholesale” (the basis for the film Total Recall), and Do Androids Dream of Electric Sheep? (the basis for Blade Runner).

References

^ Sammon, Paul M. (1996). Future Noir: the Making of Blade Runner. London: Orion Media. xvi xviii. ISBN 0-06-105314-7. 

^ Sammon, p. 79.

^ Bukatman, Scott (1997). BFI Modern Classics: Blade Runner. London: BFI (British Film Institute). p. 21. ISBN 0-85170-623-1. 

^ Conard, Mark T. (2006), The Philosophy of Neo-Noir, University Press of Kentucky, ISBN 0-8131-2422-3, http://www.kentuckypress.com/viewbook.cfm?Group=42&ID=1339&Category_ID=1, retrieved 2008-01-29 

^ Bukatman, p. 41.

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