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  "text": "Passage 1:\nHal Roach\nHarold Eugene \"Hal\" Roach Sr. (January 14, 1892 – November 2, 1992) was an American film and television producer, director, screenwriter, and centenarian, who was the founder of the namesake Hal Roach Studios.\nRoach was active in the industry from the 1910s to the 1990s known for producing a number of successes including the Laurel and Hardy franchise, the films of entertainer Charley Chase, and the Our Gang short film comedy series.\n\nEarly life and career\nRoach was born in Elmira, New York, to Charles Henry Roach, whose father was born in Wicklow, County Wicklow, Ireland, and Mabel Gertrude Bally, her father John Bally being from Switzerland. A presentation by the American humorist Mark Twain impressed Roach as a young grade school student.After an adventurous youth that took him to Alaska, Roach arrived in Hollywood, California, in 1912 and began working as an extra in silent films. Upon coming into an inheritance, he began producing short film comedies in 1915 with his friend Harold Lloyd, who portrayed a character known as Lonesome Luke.In September 1916, Roach married actress Marguerite Nichols, who worked as an actress in the 1930s and 1940s, and died in March 1941. They had two children, Hal Roach Jr. (June 15, 1918 – March 29, 1972), who followed his father as a producer and director, and Margaret Roach (March 15, 1921 – November 22, 1964), Roach married a second time, on September 1, 1942, to Lucille Prin (January 20, 1913 – April 4, 1981), a Los Angeles secretary. They were married at the on-base home of Colonel Franklin C. Wolfe and his wife at Wright-Patterson Airfield in Dayton, Ohio, where Roach was stationed at the time while serving as a major in the United States Army Air Corps. Roach and Lucille had four children, Elizabeth Carson Roach (December 26, 1945 – September 5, 1946), Maria May Roach (born April 14, 1947), Jeanne Alice Roach (born October 7, 1949), and Kathleen Bridget Roach (born January 29, 1951).\n\nSuccess\nUnable to expand his studios in Downtown Los Angeles because of zoning, Roach purchased what became the Hal Roach Studios from Harry Culver in Culver City, California. During the 1920s and 1930s, he employed Lloyd (his top money-maker until his departure in 1923), Will Rogers, Max Davidson, the Our Gang children, Charley Chase, Harry Langdon, Thelma Todd, ZaSu Pitts, Patsy Kelly and, most famously, Laurel and Hardy. During the 1920s, Roach's biggest rival was producer Mack Sennett. In 1925, Roach hired away Sennett's supervising director, F. Richard Jones.Roach released his films through Pathé Exchange until 1927, when he struck a distribution deal with Metro-Goldwyn-Mayer. He converted his silent-movie studio to sound in late 1928 and began releasing talking shorts in early 1929. In the days before dubbing, foreign language versions of the Roach comedies were created by reshooting each film in the Spanish, French, and occasionally Italian and German languages. Laurel & Hardy, Charley Chase, and the Our Gang kids (some of whom had barely begun school) were required to recite the foreign dialogue phonetically, often working from blackboards hidden off-camera.In 1931, with the release of the Laurel & Hardy film Pardon Us, Roach began producing occasional full-length features alongside the short subjects. Two-reel comedies were less profitable than features, and Roach phased most of them out by 1936. When the Our Gang feature film General Spanky did not do as well as expected, Roach intended to disband Our Gang entirely. MGM still wanted the Our Gang short subjects, so Roach agreed to supply them in single-reel (10-minute) form.\nIn 1937, Roach conceived a joint business venture partnering with Vittorio Mussolini, son of fascist Italian dictator Benito Mussolini, to form a production company called \"R.A.M.\" (Roach and Mussolini). Roach claimed the scheme involved Italian bankers providing US$6 million that would enable Roach's studio to produce a series of 12 films. Eight would be for Italian screening only while the remaining four would receive world distribution. The first film for Italy was to be a feature film of the opera Rigoletto.This proposed business alliance with Mussolini alarmed MGM, which intervened and forced Roach to buy his way out of the venture. This embarrassment, coupled with the underperformance of much of Roach's latest feature-film output (except Laurel & Hardy titles and the 1937 hit Topper), led to the end of Roach's distribution contract with MGM. In May 1938, Roach sold MGM the production rights and actors contracts to the Our Gang shorts. Roach signed a distribution deal with United Artists at this time.From 1937 to 1940, Roach concentrated on producing glossy features, abandoning low comedy almost completely. Most of his new films were either sophisticated farces (like Topper and The Housekeeper's Daughter, 1939) or rugged action fare (like Captain Fury, 1939, and One Million B.C., 1940). Roach's one venture into heavy drama was the acclaimed Of Mice and Men (1939), in which actors Burgess Meredith and Lon Chaney Jr. played the leading roles. The Laurel and Hardy comedies, once the Roach studio's biggest drawing cards, were now the studio's least important product and were phased out altogether in 1940.\nIn 1940, Roach experimented with medium-length featurettes, running 40 to 50 minutes each. He contended that these \"streamliners\", as he called them, would be useful in double-feature situations where the main attraction was a longer-length epic. Exhibitors agreed with him and used Roach's mini-features to balance top-heavy double bills. He had intended to introduce the new format with a series of four Laurel and Hardy featurettes, but was overruled by United Artists, which insisted on two Laurel & Hardy feature films instead. United Artists continued to release Roach's streamliners through 1943. By this time, Roach no longer had a resident company of comedy stars and cast his films with familiar featured players (William Tracy and Joe Sawyer, Johnny Downs, Jean Porter, Frank Faylen, William Bendix, George E. Stone, Bobby Watson, etc.).\nRecognizing the value of his film library, in 1943 Roach began licensing revivals of his older productions for theatrical distribution through Film Classics, Inc. and home-movie distribution.\n\nWorld War II and television\nHal Roach Sr., commissioned in the U.S. Army Signal Reserve Corps in 1927, was called back to active military duty in the Signal Corps in June 1942, at age 50. The studio output he oversaw in uniform was converted from entertainment featurettes to military training films. The studios were leased to the U.S. Army Air Forces, and the First Motion Picture Unit made 400 training, morale and propaganda films at \"Fort Roach.\" Members of the unit included Ronald Reagan and Alan Ladd. After the war the government returned the studio to Roach, with millions of dollars of improvements.In 1946, Hal Roach resumed motion picture production, with former Harold Lloyd co-star Bebe Daniels as an associate producer. Roach was the first Hollywood producer to adopt an all-color production schedule, making four streamliners in Cinecolor, although the increased production costs did not result in increased revenue. In 1948, with his studio deeply in debt, Roach re-established his studio for television production, with Hal Roach Jr., producing series such as The Stu Erwin Show, Steve Donovan, Western Marshal, Racket Squad, The Public Defender, The Gale Storm Show, Rocky Jones, Space Ranger and My Little Margie, and independent producers leasing the facilities for such programs as Amos 'n' Andy, The Life of Riley and The Abbott and Costello Show. By 1951, the studio was producing 1,500 hours of television programs a year, nearly three times Hollywood's annual output of feature movies.Roach's old theatrical films were also early arrivals on television. His Laurel and Hardy comedies were successful in television syndication, as were the Our Gang comedies he produced from 1929 to 1938.\n\nLater years\nIn 1955, Roach sold his interests in the production company to his son, Hal Roach Jr., and retired from active production. The younger Roach lacked much of his father's business acumen and was forced to sell the studio in 1958 to The Scranton Corporation, a division of the automobile-parts conglomerate F. L. Jacobs Co. The Roach studio finally shut down in 1961.For two more decades, Roach Sr. occasionally worked as a consultant on projects related to his past work. In 1983 the \"Hal Roach Studios\" name was reactivated as a video concern, pioneering the new field of colorizing movies. Roach lent his film library to the cause but was otherwise not involved in the new video productions. Extremely vigorous into an advanced age, Roach contemplated a comedy comeback at 96.In 1984, 92-year-old Roach was presented with an honorary Academy Award. Former Our Gang members Jackie Cooper and George \"Spanky\" McFarland made the presentation to a flattered Roach, with McFarland thanking the producer for hiring him 53 years prior. An additional Our Gang member, Ernie Morrison, was in the crowd and started the standing ovation for Roach. Years earlier Cooper had been the youngest Academy Award nominee ever for his performance in Skippy when he had been under contract with Roach. Although Paramount had paid Roach $25,000 for Cooper's services in that film, Roach paid Cooper only his standard salary of $50 per week.On January 21, 1992, Roach was a guest on The Tonight Show with Johnny Carson, one week after his 100th birthday, where he recounted experiences with such stars as Stan Laurel and Jean Harlow; he even did a brief, energetic demonstration of the \"humble hula\" dance.  In February 1992, Roach traveled to Berlin to receive the honorary award of the Berlinale Kamera for Lifetime Achievement at the 42nd Berlin International Film Festival.On March 30, 1992, Roach appeared at the 64th Academy Awards ceremony, hosted by Billy Crystal. When Roach rose from the audience to a standing ovation, he decided to give a speech without a microphone, causing Crystal to quip \"I think that's appropriate because Mr. Roach started in silent films.\"\n\nDeath and legacy\nHal Roach died in his home in Bel Air, Los Angeles, from pneumonia, on November 2, 1992, at the age of 100. He had married twice, and had six children, eight grandchildren, and a number of great-grandchildren. Roach outlived three of his children by more than 20 years: Hal Jr. (died in 1972), Margaret (died in 1964), and Elizabeth (died in 1946). He also outlived many of the children who starred in his films. Roach is buried in Woodlawn Cemetery in Elmira, New York, where he grew up.In the 2018 Laurel and Hardy biopic Stan & Ollie, Roach was portrayed by Danny Huston.\nPassage 2:\nWale Adebanwi\nWale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow. He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania. Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa.\n\nEducation background\nWale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M.Sc. and Ph.D. in Political Science from the University of Ibadan. He also has an MPhil. and a Ph.D. in Social Anthropology from the University of Cambridge.\n\nCareer\nAdebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher. He was later appointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA. He became a full professor at UC Davis in 2016.Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies.\n\nWorks\nHis published works include:\nNation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)\nYoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)\nAuthority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including.\n\nThe Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)\nWriters and Social Thought in Africa (Routledge, 2016)\n(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)\n(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013).\n(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)\n(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010).\n\nAwards\nRhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies.\nPassage 3:\nJohn McMahon (Surrey and Somerset cricketer)\nJohn William Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-born first-class cricketer who played for Surrey and Somerset County Cricket Clubs in England from 1947 to 1957.\n\nSurrey cricketer\nMcMahon was an orthodox left-arm spin bowler with much variation in speed and flight who was spotted by Surrey playing in club cricket in North London and brought on to the county's staff for the 1947 season at the age of 29. In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81 runs.In his first full season, 1948, he was Surrey's leading wicket-taker and in the last home game of the season he was awarded his county cap – he celebrated by taking eight Northamptonshire wickets for 46 runs at The Oval, six of them coming in the space of 6.3 overs for seven runs. This would remain the best bowling performance of his first-class career, not surpassed, but he did equal it seven years later. In the following game, the last away match of the season, he took 10 Hampshire wickets for 150 runs in the match at Bournemouth. In the 1948 season as a whole, he took 91 wickets at an average of 28.07. As a tail-end left-handed batsman, he managed just 93 runs in the season at an average of 4.22.The emergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career. Though he played in 12 first-class matches in the 1949 season, McMahon took only 19 wickets; a similar number of matches in 1950 brought 34 wickets. In 1951, he played just seven times and in 1952 only three times. In 1953, Lock split the first finger of his left hand, and played in only 11 of Surrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though a measure of their comparative merits was that Lock's 11 games produced 67 wickets at 12.38 runs apiece, while McMahon's 14 games brought him 45 wickets at the, for him, low average of 21.53. At the end of the 1953 season, McMahon was allowed to leave Surrey to join Somerset, then languishing at the foot of the County Championship and recruiting widely from other counties and other countries.\n\nSomerset cricketer\nSomerset's slow bowling in 1954 was in the hands of leg-spinner Johnny Lawrence, with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was on national service. McMahon filled a vacancy for a left-arm orthodox spinner that had been there since the retirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in 1953, though his batting had advanced significantly.\nMcMahon instantly became a first-team regular and played in almost every match during his four years with the county, not missing a single Championship game until he was controversially dropped from the side in August 1957, after which he did not play in the Championship again.In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment, according to Wisden: \"The new spin bowlers, McMahon and Hilton, did not attain to the best standards of their craft in a wet summer, yet, like the rest of the attack, they would have fared better with reasonable support in the field and from their own batsmen,\" it said. McMahon took 85 wickets at an average of 27.47 (Hilton took only 42 at a higher average). His best match was against Essex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second to finish with match figures of 11 for 141, which were the best of his career. He was awarded his county cap in the 1954 season, but Somerset remained at the bottom of the table.\nThe figures for the 1955 were similar: McMahon this time took 75 wickets at 28.77 apiece. There was a small improvement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262 runs and an average of 9.03. This included his highest-ever score, 24, made in the match against Sussex at Frome. A week later in Somerset's next match, he equalled his best-ever bowling performance, taking eight Kent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called \"clever variation of flight and spin\". These matches brought two victories for Somerset, but there were only two others in the 1955 season and the side finished at the bottom of the Championship for the fourth season running.At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956 season, with Langford returning from National Service as the main support. McMahon responded with his most successful season so far, taking 103 wickets at an average of 25.57, the only season in his career in which he exceeded 100 wickets. The bowling average improved still further in 1957 to 23.10 when McMahon took 86 wickets. But his season came to an abrupt end in mid-August 1957 when, after 108 consecutive Championship matches, he was dropped from the first team during the Weston-super-Mare festival. Though he played some games for the second eleven later in August, he regained his place in the first team for only a single end-of-season friendly match, and he was told that his services were not required for the future, a decision, said Wisden, that \"proved highly controversial\".\n\nSacked by Somerset\nThe reason behind McMahon's sacking did not become public knowledge for many years. In its obituary of him in 2002, McMahon was described by Wisden as \"a man who embraced the antipodean virtues of candour and conviviality\". It went on: \"Legend tells of a night at the Flying Horse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybody drinks!'\" The obituary recounts a further escapade in second eleven match at Midsomer Norton where a curfew imposed on the team was circumvented by \"a POW-type loop\" organised by McMahon, \"with his team-mates escaping through a ground-storey window and then presenting themselves again\". As the only Somerset second eleven match that McMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw. But in any case there had been \"an embarrassing episode at Swansea's Grand Hotel\" earlier in the season, also involving Jim Hilton, who was also dismissed at the end of the season. Team-mates and club members petitioned for McMahon to be reinstated, but the county club was not to be moved.\nAfter a period in Lancashire League cricket with Milnrow Cricket Club, McMahon moved back to London where he did office work, later contributing some articles to cricket magazines.\n\n\n== Notes and references ==\nPassage 4:\nWesley Barresi\nWesley Barresi (born 3 May 1984) is a South African born first-class and Netherlands international cricketer. He is a right-handed wicket keeper-batsman and also bowls right-arm offbreak. In February 2021, Barresi announced his retirement from all forms of cricket, but returned to the national team in August 2022.\n\nCareer\nWesley became the 100th victim to Indian cricketer Yuvraj Singh, when he was dismissed in the 2011 World Cup game against India.In July 2018, he was named in the Netherlands' One Day International (ODI) squad, for their series against Nepal. Ahead of the ODI matches, the International Cricket Council (ICC) named him as the key player for the Netherlands.In July 2019, he was selected to play for the Amsterdam Knights in the inaugural edition of the Euro T20 Slam cricket tournament. However, the following month, the tournament was cancelled.\nPassage 5:\nHartley Lobban\nHartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early 1950s.\n\nLife and career\nLobban played little cricket in Jamaica. He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF. He began playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37.Worcestershire invited him to play for them, and he made his first-class debut against Sussex in July 1952. He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9. A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire. In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the first innings. Worcestershire won the game and Lobban finished the season with 23 wickets at 23.69.He took 23 wickets again in 1953, but at a considerably worse average of 34.43, and had only two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July. On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the first innings. He also made his highest score with the bat, 18, but Sussex won by five wickets.In 1954 Lobban made only two first-class appearances, and managed only the single wicket of Gloucestershire tail-ender Bomber Wells. In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51. He bowled just two overs in the second innings as Warwickshire completed an easy ten-wicket win. Lobban played one more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets.\nHe was also a professional boxer and played rugby union for Kidderminster.He later moved to Canada, where he worked as a teacher in Burnaby, British Columbia. He and his wife Celia had a son and two daughters.\nPassage 6:\nLagu Kenangan\nLagu Kenangan ('Song of Memories') is a 1953 Indonesian film directed by L. Inata and produced by Djamaluddin Malik for the Persari Film Corporation. Starring Titien Sumarni and A. N. Alcaff, it follows the domestic troubles of a composer and his wife.\n\nPlot\nThe composer Supardi lives with his wife, Surjati, and their two children Janti and Janto. The couple often fight, owing to Supardi's late hours, as he does his best work at night when the children are sleeping. Things escalate to the point that Surjati takes Janti and leaves. This separation nearly ends in divorce, but eventually with the support of their parents, Surjati and Supardi are able to reconcile.\n\nProduction\nLagu Kenangan was produced for Persari Film Corporation by Djamaluddin Malik. The film was one in a long line of commercially oriented ventures which had been produced by the company starting with Sedap Malam in 1950. This black-and-white film was written and directed by L. Inata, who joined Persari shortly after completing Pahit-Pahit Manis for their competitor Banteng Film.The film starred Titien Sumarni and AN Alcaff. They were supported by Mien Sondakh, M. Budhrasa, Sjamsu, Ramlan, and Djauhari Effendi.\n\nRelease\nLagu Kenangan passed the censorship bureau in 1953, and was rated for viewers aged 13 and up. Screenings are reported as early as 14 August, at the Rivoli Theatre in Jakarta. The film had reached Malang, East Java, by 7 November 1953. For its run there at the Atrium Theater, it was advertised as a \"charming, sad, funny and replete with melodious songs\" (\"menawan hati, sedih, lutju, dan diringi dengan njanjian2 jang merdu\"). Lagu Kenangan was screened as late as August 1955.\nPassage 7:\nHenry Moore (cricketer)\nHenry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand.\n\nLife and family\nHenry Moore was born in Cranbrook, Kent, in 1849. He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch. One of his brothers, Arthur, became an admiral and was knighted. Their great \ngrandfather was John Moore, Archbishop of Canterbury from 1783 to 1805. One of their sisters was a maid of honour to Queen Victoria.Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch. He married Henrietta Lysaght of Hāwera in November 1879, and they had one son. In May 1884 she died a few days after giving birth to a daughter, who also died.In 1886 Moore became a Justice of the Peace in Geraldine. In 1897 he married Alice Fish of Geraldine. They moved to England four years before his death in 1916.\n\nCricket career\nMoore was a right-handed middle-order batsman. In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively. His 76 came in his first match for Canterbury, against Otago. He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a \"very fine exhibition of free hitting, combined with good defence\". Canterbury were all out for 133, but went on to win the match. His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6. The New Zealand cricket historian Tom Reese said, \"Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving.\" Canterbury won again.Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34.4. Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians. In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team.\nPassage 8:\nAll-American Co-ed\nAll-American Co-ed is a 1941 American musical film produced and directed by Leroy Prinz as a Hal Roach Streamliner for release by United Artists. It stars Frances Langford, Johnny Downs, Marjorie Woodworth, Noah Beery Jr., Esther Dale, Harry Langdon, and The Tanner Sisters.\n\nPlot\nQuinceton College Zeta fraternity stages a revue with members in drag. The resulting publicity catches the attention of newspaperman Hap Holden (Harry Langdon) and Virginia Collinge (Frances Langford). They convince Virginia's aunt Matilda Collinge (Esther Dale), president of failing Mar Brynn (a woman's horticultural  college), to refute the school's staid image by sponsoring a contest awarding a dozen free scholarships aimed at \"unusual girls\", winners of pageants for fruits, vegetables and flowers, as women most likely to succeed and to be showcased in a musical presentation during the Fall Festival.\nTo publicize the contest, President Collinge pokes fun at Zeta members as being least likely to succeed and bans them from their campus. For revenge the Zeta chapter president Bob Sheppard (Johnny Downs) is coerced to infiltrate Mar Brynn by entering the contest as \"Bobbie DeWolfe, Queen of the Flowers\". After falling in love with Virginia, Bob comes clean and assists in staging the show, but includes in the finale a Busby Berkeley-style spelling out of \"Zeta\" as revenge for the ban.\n\nCast\nFrances Langford as Virginia\nJohnny Downs as Bob Sheppard\nMarjorie Woodworth as Bunny\nNoah Beery Jr. as Slinky\nEsther Dale as Matilda\nHarry Langdon as Hap Holden\nAlan Hale Jr. as Tiny\nKent Rogers as Henry\nAllan Lane as 2nd Senior\nJoe Brown Jr. as 3rd Senior\nIrving Mitchell as Doctor\nLillian Randolph as Washwoman (Deborah)\nCarlyle Blackwell Jr. as 4th Senior\nMickey Tanner • Betty Tanner • Martha Tanner as Vocal Trio\n\nUncredited\nFrank O'Connor, as Policeman\nJesse Graves, as Redcap\nDudley Dickerson, as Dancing Train Porter\nElyse Knox, as Co-ed\nMarie Windsor, as Carrot Queen\n\nSoundtrack\nJohnny Downs with chorus - \"I'm a Chap with a Chip on My Shoulder\" (by Walter G. Samuels and Charles Newman)\nFrances Langford - \"I'm a Chap with a Chip on My Shoulder\"\nMarjorie Woodworth, Tanner Sisters with Harry Langdon and chorus - \"Up at the Crack of Dawn\" (by Walter G. Samuels and Charles Newman)\nFrances Langford with chorus - \"Out of the Silence\" (by Lloyd B. Norlin)\nFrances Langford, Tanner Sisters and Johnny Downs - \"The Farmer's Daughter\" (by Walter G. Samuels and Charles Newman)\"Out of the Silence\", music and lyrics by Lloyd B. Norlin, was nominated for the Academy Award for Best Original Song of 1941. It lost to Jerome Kern and Oscar Hammerstein's \"The Last Time I Saw Paris\", from Lady Be Good (1941).\n\nExternal links\nAll-American Co-Ed at IMDb\nAll-American Coed at AllMovie\nAll-American Co-Ed is available for free viewing and download at the Internet Archive\nPassage 9:\nDjamaluddin Malik\nDjamaluddin Malik (13 February 1917 – 8 June 1970) was a prominent Indonesian film producer, politician, entrepreneur. He founded the Jakarta Indonesian company Persari Film.\n\nPersonal life\nMalik was born in Padang, West Sumatra. His father was a Pagaruyung descendant, in the Minangkabau hinterland.  He died in Munich, Germany in 1970.  During his lifetime in Senen his friends called him \"the king of artists\".\n\nCareer\nMalik started his career in the Dutch shipping business, then worked in a Dutch trading company, where he gained experience in business and finance, so that he could eventually found his own company.In 1942 he entered the world of art and culture. He started a theatrical group, Panca Warna. To help Indonesian independence, he showed around Indonesia to inspire spirit and patriotism. In 1951 Djamaluddin established and became President of PT Persari (Perseroan Artis Indonesia). In this effort, he was inspired by United Artists in Hollywood, United States. Persari has a complete film studio in Jatinegara.  During the same time Malik was President of the electrical installation company Prapatak and of the weaving company PT Cimalaka in Sumedang, West Java.\nDjamaluddin Malik was the Nahdlatul Ulama politician and the member of People's Representative Council. He was also as the chairman of National Film Council.\n\nFamily\nMalik married Elly Yunara. They had four children: Zainal Malik, Camelia Malik, Yudha Asmara Malik, and Lailasari Malik. Camelia follows his career, as an actress and pop-dangdut singer. His wife, continued the family interests by founding PT. Remaja Ellynda Film. It successfully produced Malin Kundang and Jembatan Merah.\n\nAwards\nThe government appointed Djamaluddin and Usmar Ismail as Cinema of Indonesian figures.\n\nFilmography\nRodrigo de Villa (1952)\nLeilani (1953)\nLagu Kenangan (1953)\nTabu (1953)\nSupir Istimewa (1954)\nTarmina (1955)\nRatu Asia\nTauhid (1964)\n\nNotes\nExternal links\n(in Indonesian) https://web.archive.org/web/20090610211435/http://perfilman.pnri.go.id/djamaluddin/\nPassage 10:\nGreg A. Hill (artist)\nGreg A. Hill is a Canadian-born First Nations artist and curator. He is \nKanyen'kehà:ka Mohawk, from Six Nations of the Grand River Territory, Ontario.\n\nEarly life\nHill was born and raised in Fort Erie, Ontario.\n\nArt career\nHis work as a multidisciplinary artist focuses primarily on installation, performance and digital imaging and explores issues of his Mohawk and French-Canadian identity through the prism of colonialism, nationalism and concepts of place and community.Hill has been exhibiting his work since 1989, with solo exhibitions and performance works across Canada as well as group exhibitions in North America and abroad. His work can be found in the collections of the Canada Council, the Indian Art Centre, Indian and Northern Affairs Canada, the Canadian Native Arts Foundation (now Indspire), the Woodland Cultural Center, the City of Ottawa, the Ottawa Art Gallery and the International Museum of Electrography.\n\nCuratorial career\nHill serves as the Audain Senior Curator of Indigenous Art at the National Gallery of Canada.\n\nAwards and honours\nIn 2018, Hill received the Indspire Award for Arts.",
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  "questions": [
    {
      "question_id": "q00",
      "qtype": "2wikimqa",
      "question": "Which film whose producer was born first, All-American Co-Ed or Lagu Kenangan?"
    }
  ]
}