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Herford

Herford (Hiarwede) is a town in North Rhine-Westphalia, Germany, located in the lowlands between the hill chains of the Wiehen Hills and the Teutoburg Forest. It is the capital of the district of Herford.

Geographic location
The former Hanseatic town of Herford is situated in the chain of hills south of the Wiehen Hills (Ravensberg Hills). The highest place is the Dornberg (240 m) in the Schwarzenmoor district; the lowest point (56 m) is located in the Werretal in the Falkendiek district. The River Aa joins the river Werre in the centre of the town. The Stuckenberg is located east of the town.

Sports
The Herforder EV (Ice Dragons) ice hockey club plays in the Regionaliga, and have enjoyed regular success. They draw an average of 800 fans.

Neighbouring towns

 * West: Enger, Hiddenhausen
 * North: Löhne
 * North-East: Vlotho
 * South-East: Bad Salzuflen (Lippe district)
 * South-West: Bielefeld

Districts

 * Altstädter Feldmark
 * Neustädter Feldmark
 * Radewiger Feldmark
 * Diebrock¹
 * Eickum¹
 * Elverdissen¹
 * Falkendiek¹
 * Herringhausen¹
 * Laar¹
 * Schwarzenmoor¹
 * Stedefreund¹

History
The town was founded in 789 by Charlemagne in order to guard a ford in the narrow Werre river. A century later, Matilda, daughter of Dietrich of Ringelheim, a count of Saxony, grew up in the abbey of Herford; she was a descendant of the Saxon leader Widukind. In Herford she met Henry the Fowler, who later became king of Germany.

In late medieval times Herford was a member of the Hanseatic League. It was a Free Imperial City, i.e. it was directly subordinated to the emperor. This status was lost after the Peace of Westphalia (1648), when Herford was annexed by Brandenburg-Prussia. It was administered within the Province of Westphalia following the Napoleonic Wars, and made part of the new state North Rhine-Westphalia after World War II.

Sights

 * The Herford Minster (Münsterkirche) is a late Romanesque hall church, built about 1220-1250 for the Fürstabtei Herford (Herford monastery). It is one of the earliest hall churches in Germany
 * St. James' (Jakobikirche/Radewiger Kirche) is a late Gothic hall church (1330)
 * St. John's (St. Johannis/Neustädter Kirche) is a late Gothic hall church (1340)
 * St. Mary's (St. Marien auf dem Berge) is also a late Gothic hall church. It was completed about 1325/50 and part of a monastery
 * Town hall, built 1913-16 by Paul Kanold in Neo-Baroque forms
 * Neustädter Rathaus (former town hall), built 1600, aesthetic pediment 1930 removed, 1988/89 reconstructed
 * Remensnider-Haus, Brüderstraße 26, a late Gothic half-timbered building from 1521
 * Kantorhaus, Elisabethstraße 2, a half-timbered building, about 1484/1494
 * Holland 21, half-timbered building, 1554
 * Holland 39, half-timbered building, 1559
 * Bürgermeisterhaus, Höckerstraße 4, a late Gothic stone building from 1538 with a stepped gable similar to houses in Münster and Bielefeld
 * Frühherrenstraße 11, a Renaissance building, 1591
 * Wulfert-Haus, Neuer Markt 2 with a brick-built Renaissance gable, 1560

Museums
The MARTa Herford, a museum for contemporary art and design, housed in a building designed by Frank Gehry, has been open to the public since May 2005. Its exhibits change regularly. The current artistic director is Roland Nachtigäller.

The Daniel-Pöppelmann-Haus in Herford explores the history of the city, and the Memorial and Meeting Place Cell Block, in the basement of the city hall, documents the persecution and the obliteration of minorities. Plans to construct a museum of city history next to the city hall and the Minster church have been postponed.

Music and theatre
Herford is the seat of the Nordwestdeutsche Philharmonie (Northwest German Philharmonic) which performs regularly in the Stadtpark Schützenhof as well as many neighbouring cities in North Rhine-Westphalia. Eugene Tzigane is the principal conductor designate (2010–present). The current director is Andreas Kuntze.

The Stadttheater (Municipal theatre) provides seats for 706 viewers and it is served by visiting theatre companies.

Events at regular intervals

 * Easter Fair around Easter (Oster-Kirmes)
 * Jazz Festival May - Performances of different jazz artists in a couple of bars
 * Organ Summer
 * Visions Fair June
 * Summer Stage Summer (Sommerbühne) - Concerts at the square between city hall and market hall
 * Hoekerfest August - Municipal festival with plenty of events in the city centre
 * City Fair October - In the city centre
 * Herbstzeitlos (Autumnally timeless) Autumn - Exhibition at the former depot site
 * Wine Festival Autumn - At Gänsemarkt
 * Christmas Lights December - Municipal Christmas fair (Weihnachtsmarkt)

Economy

 * Vivani organic chocolate

Military
Herford was the location of the headquarters of the 1st (United Kingdom) Armoured Division at Westfalen Garrison, part of British Forces Germany, until the division moved to the United Kingdom in 2015.

The British Forces Broadcasting Service (BFBS) studio for Germany was located in Wentworth Barracks until 2009 when it moved to Hohne.

Twin towns – sister cities
Herford is twinned with:
 * 🏴 Hinckley, England, United Kingdom (1972)
 * Fredericia, Denmark (1987)
 * 🇺🇸 Quincy, United States (1991)

Friendly cities
Herford also has friendly relations with:
 * Vodice, Croatia (1974)
 * 🇵🇱 Gorzów Wielkopolski, Poland (1995)
 * 🇹🇷 Manavgat, Turkey (2008)
 * 🇨🇳 Xinbei (Jiangsu), China (2015)

Notable people

 * Heinrich von Herford (c. 1300–1370)
 * Gerhard Friedrich Müller (1705–1783), explorer of Siberia
 * Karl Ludwig Costenoble (1769–1837), actor and theatre director
 * Frederick August Otto Schwarz (1836–1911), founder of FAO Schwarz toystore
 * Friedrich Adolf Richter (1847–1910), founder of Richter (toy company)
 * Carl Severing (1875–1952), politician (SPD)
 * Otto Weddigen (1882–1915), submarine-commander in World War I
 * Hermann Höpker-Aschoff (1883–1954), politician (DDP, FDP)
 * Karl Steinhoff (1892–1981), Minister-president (Ministerpräsident) of the German state (Land) of Brandenburg
 * Reinhard Maack (1892–1969), explorer, geologist and geographer
 * Erich Gutenberg (1897–1984), economist
 * Heinz Röttger (1909–1977), composer
 * Hans Kornberg (1928–2019), biochemist
 * Wilhelm Leber (born 1947), mathematician
 * Bernd Sponheuer (born 1948), musicologist
 * Marian Gold (born 1954), singer-songwriter
 * Karl-Heinz Wiesemann (born 1960), 96th Bishop of Speyer
 * Jörg Rüpke (born 1962), academic, scholar of comparative religion and classical philology
 * Thomas Helmer (born 1965), footballer
 * Philipp Heithölter (born 1982), footballer
 * Diego Demme (born 1991), footballer
 * Carlotta Wamser (born 2003), footballer

title: Herford


text:
Aker Stadion

The Aker Stadion (known as Molde Stadion for UEFA competitions and prior to sponsorship) is an all-seater football stadium located at Reknes in Molde, Norway, and is the home of Eliteserien club Molde. The stadium has a current capacity of 11,249 spectators.

The building was designed by architect Kjell Kosberg. It cost NOK212 million, most of which was paid for by club-owner Kjell Inge Røkke—after whom the ground has been nicknamed "Røkkeløkka". The main construction work took place 1997, and the stadium was inaugurated on 18 April 1998 in a league game against Lillestrøm, replacing Molde idrettspark as Molde's home ground. The stadium was nominated for the FIABCI Prix D' Excellence and awarded the City Prize in 1999. The record attendance of 13,308 was set in a league match against Rosenborg in 1998. The same year, the arena hosted its first international match, where Norway beat Saudi Arabia 6–0. The following year, when Molde reached the UEFA Champions League, the stadium was converted to an all-seater, reducing its capacity. Since May 2006, the stadium name has been sponsored by Røkke's company Aker. The grass pitch was replaced with artificial turf in 2014.

History
Since 1955, Molde had been playing their home games at Molde idrettspark (at the time called Molde stadion), a municipal-owned multi-use venue. A new stadium was proposed to be located at the waterfront at Reknes. There were many local protests, including complaints about the size of the structure. Construction of the land fillings and preparation of the construction site started in March 1997, before final approval had been granted by the municipality.

The stadium was inaugurated on 18 April 1998, when the stadium was officially opened by Prime Minister and Molde-fan Kjell Magne Bondevik. In the opening match, Molde beat Lillestrøm 4–0 in their first home game of the season, attracting 13,010 spectators. During the season, this was the match in the country with the most spectators not hosted at Rosenborg's home ground Lerkendal. On 27 May, the arena hosted its first international match, with Norway beating Saudi Arabia 6–0 in a 1998 World Cup friendly. On 11 August, CSKA Sofia visited Molde for the second qualifying round of the UEFA Cup, for which Molde failed to qualify. The all-time spectator record was set on 26 September, when Molde hosted Rosenborg BK in front of 13,308 people.

During the fall of 1999, Molde played two qualification games for UEFA Champions League at the stadium. Following the aggregated victories over CSKA Moscow and Mallorca, Molde qualified for the group stage, where they played Real Madrid, Porto and Olympiacos. Following entry into Champions League, the stadium was converted to an all-seater, with seats being installed on the lower sections of the short end stands. The reduced the attendance capacity permanently, because the club chose to not remove the seats afterwards.

In 2006, an agreement was made where Røkke's company Aker became the stadium name sponsor, with the stadium being renamed Aker stadion. The same season, the club was relegated to the First Division, where the team played in 2007. Despite the relegation, average attendance increased, and Molde won the league. Since 2008, the team has again played in the top flight.

Molde later entered the UEFA Cup four times (renamed to Europa League in 2010), in 2000–01, 2003–04 and 2006–07, 2010–11, playing a total of eight home games, before they in 2012 again played qualification for the Champions League and Ventspils and Basel visited Aker Stadion. Molde were eliminated by Basel, but managed to qualify for the Europa League group stage and played against Heerenveen, Stuttgart, Steaua Bucuresti and Copenhagen at Aker Stadion. In 2015–16, Ajax, Fenerbahçe and Celtic visited Molde during the Europa League group stage, after they've beaten Standard Liège in the Play-off and before Sevilla came to Aker Stadion in the Round of 32 in February 2016. On 19 November 2013, Aker Stadion hosted its second international match, a friendly Norway were defeated 1–0 by Scotland.

Aker Stadion has been proposed used during the annual Moldejazz, Norway's largest jazz festival, but this has been rejected several times by the festival management. The issue was intensified in 2004, when a much smaller arena was used for a quickly sold-out Stevie Wonder concert. On 6 October 2007, StatoilHydro arranged a free concert at the stadium with Ane Brun and Röyksopp to celebrate the completion of their near-by processing plant for the gas field Ormen Lange. In a 2012 survey carried out by the Norwegian Players' Association among away-team captains, Aker Stadion was found to be the league's fourth-best stadium, with a score of 4.27 on a scale from one to five.

The club decided on 4 October 2013 to lay artificial turf on the field, which it hoped would be in place ahead of the 2014 season. The club was especially concerned with the poor surface during March, April, October and November. It also cited the possibility of hosting all trainings at the stadium and that the field could be used 2,000 instead of 130 hours per year. The stadium hosted its second international match on 19 November 2013, when Norway was defeated 0–1 Scotland in a friendly match watched by 9,750 spectators. It was the first time since 2002 that a home Norway game was not played at the national stadium, Ullevaal Stadion. In October 2017, the artificial turf was changed to a newer generation.

Facilities

The stadium was designed by Kjell Kosberg of Kosbergs Arkitektkontorer. In addition to featuring the stadium, the complex has 2800 m2 of commercial space. The whole structure cost NOK 212 million, of which NOK 160 million was for the stadium itself. The stadium is located at Reknes, just west of the city center, on the shore of the Moldefjord. The exterior of the building is clad with two colors of granite, glass and aluminum. The building was financed by Kjell Inge Røkke, although NOK 10 million was paid by the municipality and NOK 2.7 million by Norsk Tipping. In 1999, the structure won the City Prize, that is awarded to the Norwegian building project that is both profitable, innovative and increases the value of the surrounding area. The stadium was also nominated to FIABCI's Prix D' Excellence.

There are four stands in two tiers built as a continual whole and a capacity of 11,167. Prior to 1999, the lower tiers along the short sides had terraces, allowing an initial capacity of 13,308. There are 13 entrances, 52 toilets and 9 kiosks. The stadium has thirteen executive boxes in the north stand, varying in size between 18 and 33 m2. The arena is 17250 m2, measuring 150 by. It includes a restaurant and café, in addition to a medical clinic. The pitch is 105 by of natural grass, with 4% artificial turf sown in. Floodlight is provided with 176 lamps, mounted at a low 19.5 m. The speaker system has 32 kW.

The stadium is located within walking distance of the city center. There is no public transport that serves the arena, but all city and regional buses serve the city center's bus terminal, which is within walking distance. On game days, Aukra Auto operates a bus service from Aukra, while Nettbuss operates from Eidsvåg, Kleive, Batnfjordsøra and Sjøholt. Tide Sjø operates a fast ferry to Helland and Vikebukt. There are a very limited number of parking spaces at the stadium, and these are limited to holders of VIP tickets.

Attendance

The stadium has hosted more than 10,000 spectators 39 times, including the international game between Norway and Saudi Arabia, which attracted 13,114 spectators. Molde FK has attracted such attendance thirty-four times in Eliteserien, of which thirteen have been against Rosenborg BK and eight in derbies against Aalesunds FK. In addition, two high-attendance matches have been played in Champions League and one in the Norwegian Cup. The all-time record dates from the 1998 derby with Rosenborg BK, which was followed by 13,308 spectators.

The highest average attendance at Aker Stadion over a league season was 9,817, set in the 2011 season. The lowest average attendance at Aker Stadon came in the 2004 season, when an average of 5,554 spectators watched each game.

The following list includes the attendance for Molde FK during the home domestic league matches. It excludes cup and UEFA tournaments. In 2007, the club played in the 1. divisjon. The table includes average, minimum and maximum attendance, in addition to the attendance rank among the top-league teams.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Aker Stadion


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Bilander

The bilander, also spelled billander or bélandre is a two-masted vessel, the foremast carrying square rigs on all of its yards and its taller mainmast having a long lateen mainsail yard with corresponding trapezoidal sail and rig inclined at about 45° with square rigs on the yards above that, the lowermost secured at the corners by a crossjack.

History
A bilander was a small European merchant ship with two masts - used in the Netherlands for coast and canal traffic and occasionally seen in the North Sea but more frequently to be seen in the Mediterranean Sea. In England, the use of the bilander can be dated back as far as the reign of Queen Elizabeth. The mainmast was lateen-rigged with a trapezoidal mainsail, but the foremast carried the conventional square course and square topsail. Displacement was typically under 100 tons. However, the design was eventually replaced by more efficient sailing ship designs, leading it to be regarded as simply a precursor to the brig. The design was popular in the Mediterranean Sea as well as around New England in the first half of the 18th century but was soon surpassed by better designs. It is considered the forerunner of the brig. Few examples survive.

title: Bilander


text:
User:Ggoddard

For more information, please go here.

title: User:Ggoddard


text:
1996 Cricket World Cup

The 1996 Cricket World Cup, also called the Wills World Cup 1996 after the Wills Navy Cut brand produced by tournament sponsor ITC, was the sixth Cricket World Cup organised by the International Cricket Council (ICC). It was the second World Cup to be hosted by Pakistan and India (who had also hosted the 1987 Cricket World Cup) but Sri Lanka were hosts for the first time. The tournament was won by Sri Lanka, who defeated Australia by seven wickets in the final on 17 March 1996 at the Gaddafi Stadium in Lahore, Pakistan.

Hosts
The World Cup was played in India, Pakistan and Sri Lanka. India hosted 17 matches at 17 venues, while Pakistan hosted 16 matches at 6 venues and Sri Lanka hosted 4 matches at 3 venues.

Controversy dogged the tournament before any games were played; Australia and the West Indies refused to send their teams to Sri Lanka following the bombing of Central Bank in Colombo by the Tamil Tigers in January 1996. Sri Lanka, in addition to offering maximum security to the teams, questioned the validity of citing security concerns when the International Cricket Council had determined it was safe. After extensive negotiations, the ICC ruled that Sri Lanka would be awarded both games on forfeit. As a result of this decision, Sri Lanka automatically qualified for the quarter-finals before playing a game.

Sri Lanka

 * Two matches were scheduled to be played at Premadasa Stadium, but neither took place as Australia and the West Indies declined to play in Sri Lanka.

Teams
All the Test-playing nations participated in the competition, including Zimbabwe, who became the ninth Test-status member of the ICC following the last World Cup. The three Associate teams (previously one) to qualify through the 1994 ICC Trophy – the United Arab Emirates, Kenya and the Netherlands – also made their World Cup debuts in 1996. The Netherlands lost all of their five matches, including a defeat to the UAE, while Kenya recorded a surprise victory over the West Indies in Pune.

Summary
The Sri Lankans, coached by Dav Whatmore and captained by Arjuna Ranatunga, used Man of the Series Sanath Jayasuriya and Romesh Kaluwitharana as opening batsmen to take advantage of the fielding restrictions during the first 15 overs of each innings. At a time when 50 or 60 runs in the first 15 overs was considered adequate, Sri Lanka scored 117 runs in those overs against India, 123 against Kenya, 121 against England in the quarter-final and 86 against India in the semi-final. Against Kenya, Sri Lanka made 398 for 5, a new record for the highest team score in a One Day International that stood until April 2006. Gary Kirsten scored 188 not out against United Arab Emirates at Rawalpindi, Pakistan. This became the highest individual score ever in any World Cup match until it was surpassed by first Chris Gayle of the West Indies, and later Martin Guptill of New Zealand, who scored 215 and 237 respectively in the 2015 Cricket World Cup.

Sri Lanka won the first semi-final over India at Eden Gardens in Calcutta, in front of a crowd unofficially estimated at 110,000. After they had lost both openers cheaply, Sri Lanka launched a counter-attack, led by Aravinda de Silva, to post a strong total of 251 for the loss of 8 wickets. India began their chase promisingly but after the loss of Sachin Tendulkar, the Indian batting order collapsed. After India had slumped to 120 for 8 in the 35th over, sections of the crowd began to throw fruit and plastic bottles onto the field. The players left the field for 20 minutes in an attempt to quieten the crowd. When the players returned for play, more bottles were thrown onto the field and fires were lit in the stand. Match referee Clive Lloyd awarded the match to Sri Lanka, the first default ever in a Test or One Day International.

In the second semi-final in Mohali, Australia recovered from 15/4 to reach 207/8 from their 50 overs. The West Indians had reached 165/2 in the 42nd over before losing their last eight wickets for 37 runs in 50 balls.

Sri Lanka won the toss in the final and sent Australia in to bat despite the team batting first having won all five previous World Cup finals. Mark Taylor top scored with 74 in Australia's total of 241/7. Sri Lanka won the match in the 47th over with Aravinda de Silva following his 3 for 42 with an unbeaten 107 to win the Player of the Match award. It was the first time a tournament host or co-host had won the cricket World Cup.

A warm-up match was played between South Africa and Pakistan on 8 February 1996 in which South Africa defeated Pakistan by 65 runs.

Final
Sri Lanka won the toss and chose to field. Mark Taylor (74 from 83 balls, 8 fours, 1 six) and Ricky Ponting (45 from 73 balls, 2 fours) shared a second-wicket partnership of 101 runs. When Ponting and Taylor were dismissed, however, Australia fell from 137/1 to 170/5 as the famed four-pronged spin attack of Sri Lanka took its toll. Despite the slump, Australia struggled on to 241/7 from their 50 overs.

title: 1996 Cricket World Cup


text:
Ruru

Ruru may refer to:

Places

 * Ruru, Nepal
 * Ruru, New Zealand

People

 * Rouran, an ancient nomadic race from the Mongolian steppes, also called Juan Juan
 * Ruru Madrid (born 1997), a Filipino actor
 * Ruru (Ikshvaku King), an ancient king; see List of Ikshvaku dynasty kings in Hinduism

Others

 * Māori name for the morepork owl
 * Ruru Amour (ルールー・アムール), a character from Hugtto! PreCure

title: Ruru


text:
Ascension frigatebird

The Ascension frigatebird (Fregata aquila) is a seabird of the frigatebird family Fregatidae which breeds on Boatswain Bird Island and Ascension Island in the tropical Atlantic Ocean.

The Ascension frigatebird is a large lightly built seabird with brownish-black plumage and a deeply forked tail. It has a wingspan of around 2 m. The male has a striking red gular sac which he inflates to attract a mate. The female is slightly larger than the male and has a brown breast-band and sometimes a white belly. They feed on fish taken in flight from the ocean's surface (mostly flying fish), and sometimes indulge in kleptoparasitism, harassing other birds to force them to regurgitate their food.

Taxonomy
The Ascension frigatebird was described by Carl Linnaeus in his landmark 1758 10th edition of Systema Naturae under the binomial name Pelecanus aquilus. His specimen had been collected from the Ascension Island by the Swedish explorer Pehr Osbeck.

The names "frigatebird" and Fregata derive from the French mariners' name for the bird La Frégate, a frigate or fast warship. The specific aquila is Latin for an eagle, and refers to the dark plumage and rapacious habits.''

The genus Fregata formerly included all four species of large frigatebirds but in 1914 the Australian ornithologist Gregory Mathews split off the other three species leaving Fregata aquila to denote the Ascension frigatebird. An analysis of ribosomal and mitochondrial DNA indicates that within the genus Fregata, the Ascension frigatebird is most closely related to the magnificent frigatebird.

Description
The Ascension frigatebird is a dark coloured seabird with long slender pointed wings, a long deeply forked tail and a long hooked bill. It measures 89 - 96 cm in length, has a wingspan of 196 - 201 cm and weighs around 1250 g. Male birds are entirely black except for the nape, mantle and scapulars that are covered with elongated lanceolate feathers that have a green metallic sheen. The birds have a striking red gular sack that they inflate to attract a mate. Their bills are pale blueish grey, their eyes are dark brown with a black eye-ring and their legs are grey. Female birds are brownish black and lack the green lanceolate feathers. Birds with the more common dark morph have a brown panel on the front that stretches from the collar down to the chest. Their eye-rings and the base of the bill are pale blue. Birds with the pale morph have some white on their chest. It is possible that they are young breeding females that have not yet acquired the full adult plumage.

Distribution
The bulk of the Ascension frigatebird population nests on a 3 ha plateau on top of Boatswain Bird Island, which lies 250 m off the northeast coast of Ascension Island. The species formerly bred on Ascension Island itself, but the colonies were exterminated by feral cats introduced in 1815. A program conducted between 2002 and 2004 successfully eliminated all the feral cats and, as a result, two pairs of frigatebirds returned to nest on Ascension Island in 2012. In 2014 twelve nests were reported on Letterbox Peninsula at the extreme east end of the island.

As with other frigatebirds, its movements outside the breeding season are little known because of identification problems within this difficult group, but it occurs off West Africa. It feeds on fish and similar surface prey such as small turtles.

A juvenile frigatebird found dying in 1953 in Tiree, Scotland was identified at the time as magnificent frigatebird but the specimen was re-examined in 2002 and found to be an Ascension frigatebird. In July 2013 a juvenile was photographed at Bowmore on the island of Islay in Scotland. In late June 2014 one was tracked by satellite to within 100 nautical miles of the Brazilian island of Fernando de Noronha, some 200 miles from the South American mainland.

Status
A census of the Ascension frigatebird population on the islet of Boatswain conducted in 2001–2002 recorded around 6,250 breeding females. As female frigatebirds normally only breed every other year, this implied a total population of 12,500 birds. This number is similar to an earlier estimate of between 8,000 and 10,000 birds obtained in a study conducted in 1957–1959. The species is classified as "vulnerable" by the International Union for Conservation of Nature as it breeds on just a single tiny island.

title: Ascension frigatebird


text:
BM

BM or bm may refer to:

Music

 * BM (rapper), born Matthew Kim, a Korean-American rapper
 * BM (album), a 2008 Barbara Morgenstern album
 * B minor, a musical chord (Bm)
 * Bachelor of Music, an academic degree
 * Beautiful music, a radio format
 * Black metal, a genre of music

Other uses in arts and entertainment

 * Bashir Mirza, a Pakistani painter
 * BM or "Bad Manners" in video gaming, cf. glossary of video game terms

Business terminology

 * Brick and mortar or B&M

Businesses

 * Birmingham Midshires, a division of the Bank of Scotland
 * Bolinder-Munktell, a Swedish tractor manufacturer, now part of Volvo
 * Bolliger & Mabillard, B&M, a Swiss roller coaster manufacturer
 * Boston and Maine Corporation, B&M, a former US railway company
 * British Midland International, former airline rebranded bmi
 * BMI Regional, IATA airline code

Health and medicine

 * Bachelor of Medicine, an academic degree
 * Bacterial meningitis
 * Basement membrane
 * Boehringer Mannheim test, a blood test performed using a glucose meter
 * Bowel movement

Other uses in science and technology

 * .bm, Bermuda Internet top-level domain
 * Builder's Measurement or Builder's Old Measurement of ship size (18th and 19th century)

Language

 * Bambara language (ISO 639-1: bm), a West African language
 * Malaysian language, or Bahasa Malaysia

Military

 * Bandmaster in the British Army and Royal Marines
 * Boatswain's mate (United States Navy)
 * Boatswain's mate (United States Coast Guard)
 * Bravery Medal (Australia)
 * Brigade major in the British Army and Commonwealth armies
 * Martin BM, a United States Navy torpedo-bomber aircraft
 * A US Navy hull classification symbol: Monitor (BM)

Places

 * Bermuda (ISO 3166-1 2-letter country code)
 * .bm, the Internet country code top-level domain for Bermuda
 * Birch Mountain, location of Birch Mountains kimberlite field, Alberta, Canada
 * Burma (FIPS Pub 10-4 code and obsolete NATO country code)
 * Bukit Merah, Singapore
 * The British Museum, London

Other uses

 * British Movement, a British fascist group

title: BM


text:
User:Larry Sanger/Archive

(This page archived Feb. 14, 2003.)

I've settled in the Columbus, Ohio area.

Columbus has a lot of squirrels. Sometimes I feel like this when working on Wikipedia--hard to explain.

 * Because sometimes it seems like a gathering of nuts? Sorry, coudln't resist. --LDC

 * No, actually because it's a fuzzy cute small animal that looks like it's saying, "Who, me?" :-)

image:20ency1.1.jpg

(This picture was taken for a New York Times article about Wikipedia.)

What I've written here
I worked on many hundreds of articles. I originated quite a few. I inflicted a series of philosophy lectures first on Ohio State students, and now on Wikipedia.

I wrote a few 'pedia-related columns, which I moved to Wikipedia's meta-discussion wiki.

You can help to promote Wikipedia. This is one of the most important things you can do for the Wikipedia community. Go to building Wikipedia membership.

Random discussion

 * Old comments that used to be at this point on the page.
 * More old comments
 * Still more old comments
 * Yet more old comments
 * And more old comments
 * Will these comments ever stop
 * Final comments archive, maybe

Add any comments here!

 A message in a bottle to Larry Sanger. ..

I am not yet clear on what happened before I encountered Wikipedia and Nupedia, but I do know what it is to work on something that matters.

. . . And that the work is the important thing.

. . . And that the quality of your work speaks for itself.

Oh yeah! . ..

F*** `em if they can't take a joke! -- NetEsq

Thanks! I appreciate that. Yep, I'd like to put the unpleasantness behind me. The treatment was rough while it lasted but the whole process of making and guiding Wikipedia from the beginning was also fun and rewarding. But y'know I'm very glad that Wikipedia is surviving without me. :-) --Larry

Here's a link for you to try:

It's a recient changes list for everything linked from List of philosophical topics. It should have nearly all the topics that currently exist, and links to a number of potential topics, so there's a good chance new philosophy topics will show up on the list as well. Hopefully it will be useful to you.

Thanks for putting it together, Mark. I already tried it and it's pretty neat. I just hope some coder puts together a plan of action for how we can auto-categorize (and hand-recategorize) existing and newer links, so that this sort of resource is available for all Main Page fields, and kept up to date. --Larry Sanger

Dear Larry: I wrote the Eugene Wigner article. I promise you it is not plagiarized or copyrighted material.

Sincerely, Andrew Szanton ASzanton@rcn.com

Great! I'm glad to hear it! Fantastic article. --Larry Sanger

Hi, Larry. See the Bayesian Probability talk page. You will observe that I agreed with you. The article contains an error that I may correct once I've figured out what should replace it. Michael Hardy 22:32 Jan 18, 2003 (UTC) PS: That's a good picture of you right under the statement that you've settled in Columbus, Ohio, but who's that guy in front of the keyboard?

title: User:Larry Sanger/Archive


text:
Media of Canada

The media of Canada is highly autonomous, uncensored, diverse, and very regionalized. Canada has a well-developed media sector, but its cultural output—particularly in English films, television shows, and magazines—is often overshadowed by imports from the United States. As a result, the preservation of a distinctly Canadian culture is supported by federal government programs, laws, and institutions such as the Canadian Broadcasting Corporation (CBC), the National Film Board of Canada (NFB), and the Canadian Radio-television and Telecommunications Commission (CRTC).

Canadian mass media, both print and digital, and in both official languages, is largely dominated by a "handful of corporations". The largest of these corporations is the country's national public broadcaster, the Canadian Broadcasting Corporation, which also plays a significant role in producing domestic cultural content, operating its own radio and TV networks in both English and French. In addition to the CBC, some provincial governments offer their own public educational TV broadcast services as well, such as TVOntario and Télé-Québec.

The 1991 Broadcasting Act declares "the system should serve to safeguard, enrich, and strengthen the cultural, political, social, and economic fabric of Canada". The promotion of multicultural media began in the late 1980s as multicultural policy was legislated in 1988. In the Multiculturalism Act, the federal government proclaimed the recognition of the diversity of Canadian culture. Thus, multicultural media became an integral part of Canadian media overall. Upon numerous government reports showing lack of minority representation or minority misrepresentation, the Canadian government stressed separate provision be made to allow minorities and ethnicities of Canada to have their own voice in the media.

Non-news media content in Canada, including film and television, is influenced both by local creators as well as by imports from the United States, the United Kingdom, Australia, and France. In an effort to reduce the amount of foreign-made media, government interventions in television broadcasting can include both regulation of content and public financing. Canadian tax laws limit foreign competition in magazine advertising.

History
The history of Canadian media performers goes back to the first days of radio. In the 1940s, the Radio Artists of Toronto Society (RATS) was formed. Radio performers in Montreal, Winnipeg, and Vancouver also organized to fight for artists' rights, working conditions, and better fees. In 1943, the Association of Canadian Radio Artists (ACRA) was formed as a loose national coalition of actors' groups. Over the years, ACRA evolved into the Association of Canadian Radio and Television Artists, followed by the Canadian Council of Authors and Artists, then the Association of Canadian Television and Radio Artists, and, in 1984, to the Alliance of Canadian Cinema, Television and Radio Artists, its present name.

The Canadian Broadcasting Act, historically and in its modern conception, is based on the fact that, since the start of the 20th century, it was important for broadcasters to ensure that information flowed freely and reflected the diversity of Canadian points of view, as opposed to the classic approach, which gives media owners more freedom to express their views. The Canadian broadcasting system as it exists today "would probably not exist if we had allowed the marketplace to regulate ownership rights."

In August 2015, the Canadian Media Guild, the union representing CBC journalists, became a registered third party in order to campaign for increased taxpayer funding of the CBC in the 2015 election. After the Liberal Party of Canada won the election, it increased taxpayer funding of the CBC by CA$150 million. In 2017, the federal government announced a five-year $50-million program to help struggling local newspapers. In 2018, it announced $595 million in tax credits to help struggling newspapers and television networks adapt to competition from online news sources.

In 2013, Maclean's wrote an article noting the influence that Quebecor and owner Pierre Karl Péladeau have on the Quebec media system. The article noted that Quebecor behaves like a counterpart to the federalist La Presse, owned by the Desmarais family. In November 2018, Unifor, the other major union for Canadian journalists, announced that it would campaign against the Conservative Party of Canada in the 43rd Canadian federal election. In February 2019, former Attorney General Jody Wilson-Raybould gave testimony to the House of Commons Justice Committee raising further speculation of political interference from the Liberal Party in journalism. As part of the testimony, Jessica Prince, the Wilson-Raybould's chief of staff revealed that Katie Telford, chief of staff to Prime Minister Justin Trudeau, said: "If Jody is nervous, we would, of course, line up all kinds of people to write op-eds saying that what she is doing is proper."

Postmedia has faced questions from both Maclean's and Canadaland, regarding whether recent changes to their editorial staff was singling a shift that they were pushing "conservative views" onto their audience. In 2019, Kathy English, the public editor for the Toronto Star, admitted that The Star has failed to meet its journalistic standards by stating "call for reporting fairly and accurately and reflecting the pertinent facts and diversity of views on matters of public debate."

English defended The Star, arguing that there is "no such a thing as objectivity in journalism."

A report released from the Digital Democracy Project, a joint venture between the Public Policy Forum and McGill University's School of Public Policy revealed that non-partisans with high exposure to traditional media gave roughly 50% more wrong answers than those with low exposure. "Strong partisans", however, gave almost twice as many.

Regulation
The Canadian government regulates media ownership and the state of media through the Canadian Radio-television and Telecommunications Commission. Section 3(d)(iii) of the Canadian Broadcasting Act states that media organizations should reflect "equal rights, the linguistic duality and multicultural and multiracial nature of Canadian society and the special place of aboriginal peoples within that society."

Television broadcasting
The Canadian television broadcasting industry is split between public and private ownership. Canada currently has 130 originating television stations, which broadcast on 1,456 transmitters across the country, on both the VHF and UHF bands.

In addition to the public Canadian Broadcasting Corporation/Société Radio-Canada, which operates both English (CBC Television) and French (Ici Radio-Canada Télé) television networks, there are five major private TV networks. CTV, Global, and Citytv broadcast in English, and are available throughout the country. TVA and Noovo (formerly 'V') broadcast in French and operate over-the-air in French-language markets (including Quebec and parts of Ontario and New Brunswick), although are also available across Canada via pay television. Most network stations are owned and operated by the networks themselves, although all networks have some affiliates with different ownership. In addition, the Aboriginal Peoples Television Network (APTN), a service devoted mainly to programming of interest to the Indigenous peoples of Canada, is considered a network by the CRTC, although the network airs terrestrially only in the 3 Canadian territories, and must be carried by all television providers in the rest of Canada. There are, as well, a number of smaller television systems, such as CTV Two (a compliment to the main CTV network in smaller and secondary markets), and Omni Television—a group of Rogers-owned ethnic broadcasters.

Several provinces maintain provincial public broadcasting networks in addition to the CBC, including Télé-Québec, TVOntario, TFO, and Knowledge (British Columbia). Citytv Saskatchewan and CTV Two Alberta were formerly provincial public broadcasters (SCN and Access), but both have since been privatized and amalgamated into commercial networks operated by their current owners (Rogers and Bell). While both outlets devote a portion of their schedules to their networks' respective, advertising-supported entertainment programming, both networks are still required to adhere to an educational remit in the majority of their programming. Unlike in the United States, where a statewide public network is usually the state's primary PBS member station, the provincially owned public systems in Canada are independent of each other and have their own programming.

Only CBC/Radio-Canada, TVA and APTN are officially considered national networks by the CRTC, while V is a provincial network in Quebec. City, CTV and Global are legally considered "television services" even though they operate as networks for all practical purposes. As well, there are a few independent stations, including CFTU in Montreal, CJON in St. John's and CJIL in Lethbridge. However, most of these are not general entertainment stations like independent stations in the United States, but are instead specialty community channels or educational services. CJON is the only independent commercial station currently operating in Canada, although CJON sublicenses a mix of programming from Global, CTV and other sources rather than purchasing program rights independently.

TV station callsigns in Canada are usually made up of four letters, although two stations have three call letters (CKX in Brandon and CKY in Winnipeg) and some (primarily CBC-owned Radio-Canada stations) have five. The first call letter is always C, and callsigns of privately owned television stations start with the two-letter combinations of CF, CH, CI, CJ, or CK. The combinations CG, CY, CZ and several combinations beginning with V and X are also assigned to Canada, but to date no Canadian television station has ever been licensed to take a call sign within those ranges. There is no clear rule for the call letters of rebroadcasters—some are labelled by the call-letters of the originating station, followed by a number, while others have their own distinct call letters. Low-power repeater transmitters (LPRTs) have their own unique callsign format, which consists of the letters CH followed by four numbers. Some rebroadcast transmitters are licensed as semi-satellites, which are licensed to air separate commercials (and, on rarer occasions, a limited amount of distinct programming) targeted to their community of license.

CBC-owned stations use call letters beginning with the combination CB (through a special agreement with the government of Chile); private affiliates of the CBC use the same combinations as other private stations. The CBC has also sometimes directly acquired former private affiliate stations; these usually (although not always) retain their historic call sign rather than changing to a CB call. While Canadian TV stations are technically required to identify themselves over the air by their call letters, the rule is rarely enforced by the CRTC. As a result, most TV stations never use their call letters for any purpose other than official CRTC business, and instead brand under regional names such as CTV Northern Ontario or Global Regina. Even then, most network-owned stations may only use these brands for station identification and newscasts, and promote the majority of their programming under the network brand without any disambiguation.

Due to their proximity to American media markets, a number of Canadian cities and regions receive US broadcasters as part of their local media. This has required special dispensation for Canadian content for broadcasters in the Windsor, Ontario region (due to it falling within the Detroit media footprint), and there have also been cases of US-based broadcasters (KCND-TV of Pembina, North Dakota, now CKND-DT of Winnipeg; also KVOS-TV of Bellingham, Washington) targeting its programming and advertising at Canadian viewers.

Although all broadcast networks in Canada are required to produce and air some Canadian content, only the English and French networks of the CBC run predominantly Canadian-produced schedules, though, the English network does run some imported programming from the United Kingdom, most notably Coronation Street. The private networks, CTV, Global and Citytv, have all at times faced criticism over their level of commitment to producing and airing Canadian programming. The commercial networks often find it easier to purchase rights to hit American series than to invest in Canadian productions, which are often prohibitively costly for the comparatively small size of the Canadian market. The French-language networks traditionally have had less difficulty meeting their Canadian content obligations, as the language difference makes francophone audiences much more readily receptive to home-grown programming than to dubbed American imports.

Digital television is an emerging technology in Canada. Although some TV stations have begun broadcasting digital signals in addition to their regular VHF or UHF broadcasts, this is not yet as widespread as in the United States. Although most markets have digital channel assignments already in place, to date digital broadcasts have only launched in the largest metropolitan areas. Digital television sets are available in Canadian stores, but are not universally present in all Canadian homes.

Several broadcasters, including the CBC, have argued that there is no viable business case for a comprehensive digital conversion strategy in Canada. At CRTC hearings in 2007 on the future direction of regulatory policy for television, broadcasters proposed a number of strategies, including funding digital conversion by eliminating restrictions on the amount of advertising that television broadcasters are permitted to air, allowing terrestrial broadcasters to charge cable viewers a subscription fee similar to that already charged by cable specialty channels, permitting license fees similar to those which fund the BBC in the United Kingdom, or eliminating terrestrial television broadcasting entirely and moving to an exclusively cable-based distribution model.

In May 2007, the CRTC set August 31, 2011 as the deadline for digital conversion in Canada. This is approximately two years later than the cutoff date in the United States. The CRTC ultimately decided to relax restrictions on advertising as the funding mechanism. However, a CRTC statement issued in June 2008 indicated that as of that date, only 22 digital transmitters had been fully installed across the entire country, and expressed the regulator's concern that Canada's television broadcasters were not adequately preparing for the shift to digital broadcasting.

Cable television
Cable television is a very common method of television programming delivery in Canada. By 1997, already 77% of Canadian homes subscribed to a cable television service. Vancouver, with 93% of its homes connected to cable, had one of the highest cable connection rates in the world.

There are currently 739 licensed cable distributors in Canada. This significant decline from over 2000 just a few years ago is attributable both to major cable companies acquiring smaller distributors and to a recent change in CRTC rules by which independent cable operators with fewer than 2,000 subscribers are no longer required to operate under full CRTC licences. (However, the CRTC does retain some regulatory authority over these operators. This is an exemption granted by the CRTC to previously licensed companies that continue to meet certain conditions, and does not mean that anybody can simply set up their own small cable company without CRTC approval.)

Major Canadian cable companies include Rogers, Shaw, Cogeco, Vidéotron and EastLink/Persona. Most Canadian cities are served by only one cable company per market; in the few cities that are served by more than one cable company, each company is restricted to a specific geographical division within the market. For instance, in Hamilton, Cogeco Cable, Rogers Cable and Source Cable are all licensed operators, but each has a monopoly in a specific area of the city.

However, two major companies offer direct broadcast satellite delivery as an alternative to cable: Bell Satellite TV, which is a division of BCE Inc., and Shaw Direct, which is a division of Shaw. Grey market DBS dishes can also be obtained from American services such as DirecTV and Dish Network, but as these are not licensed Canadian providers, stores that sell those packages—and users who buy them—are at risk of criminal charges.

In some remote communities in the Territories (Yukon, Northwest Territories, Nunavut), cable delivery is prohibitively costly, so similar services are offered through MMDS technology.

An English-language 'basic cable' package in Canada traditionally includes:

 * CTV, CTV Two, Global, City – the major English-language Canadian commercial networks;
 * CBC Television and Ici Radio-Canada Télé – the English- and French-language CBC networks;
 * a provincial educational broadcast undertaking (e.g. TVO in Ontario), if available (not all provinces have one);
 * a community channel, produced by the particular cable company, which usually includes public affairs and information programming as well as community events listings (c.f. public-access television in the United States);
 * APTN – a network devoted to Aboriginal programming;
 * TVA – one of the two private French-language broadcasters in Quebec;
 * nearby independent channels or channels from smaller television systems such as Omni Television or Yes TV;
 * CPAC – a channel that broadcasts parliamentary sessions and committee meetings, along with some political public-affairs programming;
 * a similar channel to CPAC, but broadcasting the proceedings of the provincial legislature;
 * network affiliates (typically from the nearest major American city) of ABC, CBS, Fox, NBC, and PBS;
 * a mixture of Canadian and American special-interest channels (e.g. TSN, MuchMusic, CNN, CTV News Channel, Showcase).

A further set of Canadian and American special-interest channels are offered as 'extended cable' packages, which are available for additional fees. In the past, cable companies have engaged in the controversial practice of negative option billing, in which a subscriber is automatically given and billed for the new services unless he or she specifically declines them, but this is now illegal.

A package of 'pay TV' channels is also available for additional fees, including movie networks such as Crave TV, Movie Central, Super Channel, and Super Écran; and American superstations such as WSBK, WPIX, WGN, and KTLA (which are often affiliated with The CW and MyNetworkTV.) These services, however, require a descrambler box.

A study in 2006 said that the CRTC had licensed 44 digital specialty services and 5 ethnic specialty- and pay-television services across the country.

Cable companies now offer digital cable packages in most Canadian cities, including a number of channels which have been licensed exclusively for digital package distribution. Digital cable also typically includes a range of audio broadcast services such as Galaxie and Max Trax. In some markets, digital cable service may also include local radio stations; where this is offered, it has largely replaced the availability of cable FM service. Digital cable, however, is provided only if a customer chooses to subscribe to that package. As of 2016, cable companies are also now required to offer a "skinny basic" option, whereby a small selection of channels – typically the main over-the-air networks, along with "public service" channels such as The Weather Network and CPAC –  are packaged for a maximum fee of $25 with additional channels available on a pick and pay basis at the subscriber's discretion. Although this package has had some popularity, the traditional larger and more expensive cable packages remain the dominant subscription mode.

Although this is sometimes controversial, Canadian cable companies are required by the CRTC to practise simultaneous substitution when a Canadian channel and a non-Canadian channel (which is usually American) are airing the same program at the same time. Programming on an American service may also be blocked if it has significant bearing on a Canadian legal matter (e.g., one episode of Law & Order, inspired by the trials of Paul Bernardo and Karla Homolka, was blocked in Canada) or if it interferes with a Canadian channel's broadcast rights (such as James Bond movies airing on Spike TV; the Canadian broadcast rights are held by Bell Media.)

Many cable companies also offer high speed cable Internet service.

Radio broadcasting
Canada is served by approximately 2,000 radio stations, on both the AM and FM bands.

As with television stations, radio callsigns in Canada are made up of four letters beginning with the two-letter combinations of CF, CH, CI, CJ, or CK, although a few stations use three-letter callsigns. In addition to private stations CKX and CKY, some CBC stations have three-letter callsigns, generally in major cities where the stations first aired in the 1930s. Newer CBC stations have normal four-letter callsigns, however. As with CBC television, CBC radio uses callsigns beginning with CB, through a special arrangement with the government of Chile. A few exceptions, such as CKSB in Winnipeg and CJBC in Toronto, exist where the CBC acquired an existing station with a historically significant callsign.

The combinations CG, CY, CZ and several combinations beginning with V and X are also assigned to Canada. Only four Canadian radio stations, all in St. John's, Newfoundland and Labrador, have taken call signs in those ranges. Three of these stations, VOAR, VOWR and VOCM, began broadcasting before Newfoundland was a Canadian province, and retained their VO call letters when Newfoundland joined Canadian Confederation in 1949. The other station, VOCM-FM, adopted the callsign in 1981 because of its ownership association with VOCM. With the exception of VOCM-FM, radio stations licensed in Newfoundland after 1949 use the same CF-CK range as other Canadian stations.

The future of VO callsigns in Canada is unknown. It would not be at all unusual for Industry Canada to simplify all callsigns used in Canada as part of the ongoing modernization and simplification of domestic telecom regulations.

There is no clear rule for the call letters of repeater stations—some repeaters are labelled by the call-letters of the originating station, followed by a number, while others have their own distinct call letters. Low-power repeater transmitters (LPRTs) have their own unique callsign format, which consists of the letters VE or VF followed by four numbers.

As of 2020, the four largest major commercial radio broadcast groups in Canada are Stingray Group, Rogers Radio, Corus Radio, and Bell Media Radio. However, many smaller broadcasters operate radio stations as well. Most genres of music are represented on the Canadian commercial radio spectrum, including pop, rock, hip hop, country, jazz and classical. News, sports, talk radio and religious stations are also available in many cities. In addition, many Canadian universities and colleges have licensed campus radio stations, and some communities also have community radio stations or Christian radio stations licensed to non-profit groups or co-operatives. Canada has approximately 14 full-time ethnic radio stations, based primarily in the major metropolitan markets of Toronto, Montreal and Vancouver.

As well, the publicly owned Canadian Broadcasting Corporation operates four national radio networks, two each in English and French. The English Radio One and the French Ici Radio-Canada Première provide news and information programming to most communities in Canada, regardless of size, on either the AM or FM band. The English CBC Music and French Ici Musique provide arts and culture programming, including classical music and opera, and are always on FM, generally serving larger communities only.

Music-based commercial radio stations in Canada are mandated by the Canadian Radio-television and Telecommunications Commission to reserve at least 35 per cent of their playlists for Canadian content, although exemptions are granted in some border cities (e.g. Windsor, Ontario) where the competition from American stations threatens the survival of Canadian broadcasters, and for stations whose formats may not have enough Canadian recordings available to meet the 35 per cent target (e.g. classical, jazz or pop standards).

In recent years, a notable trend in Canadian radio has been the gradual abandonment of the AM band, with many AM stations applying for and receiving authorization from the CRTC to convert to the FM band. In some Canadian cities, in fact, the AM band is now either nearly or entirely vacant. Because Canada is more sparsely populated than the United States, the limitations of AM broadcasting (particularly at night, when the AM dial is often overwhelmed by distant signals) have a much more pronounced effect on Canadian broadcasters. AM radio stations have the additional protection that cable companies which offer cable FM services are required by the CRTC to distribute all locally available AM stations through conversion to a cable FM signal, but cable FM only accounts for a small percentage of radio listeners in Canada.

Digital audio broadcasting, or DAB, is an emerging technology in Canada. Although many radio stations in major metropolitan markets offer digital subchannels with distinct programming from the primary station, not many consumers yet own digital radios and digital broadcasting is usually not available in midsized or small markets. No Canadian radio broadcaster currently operates exclusively in DAB format.

On November 1, 2004, the CRTC began hearing applications for satellite radio services. Three applications were filed: one by XM Radio Canada, one by Sirius Canada, and one by the partnership of CHUM Limited and Astral Media. These services, which were approved by the CRTC on June 16, 2005, were Canada's first official satellite radio services, although a small grey market already existed for American satellite radio receivers. Sirius and XM both launched in December 2005. The CHUM-Astral service, however, was never launched, and its license expired on June 16, 2007; CHUM stated that its business plan was based in part on the expectation that in the interests of Canadian content, the CRTC would have rejected the Sirius and XM applications, approving only the CHUM-Astral service. The two active services, XM and Sirius, merged into Sirius XM Canada in 2011, several months after a similar merger between their American counterparts.

Newspapers
Canada currently has two major national newspapers: The Globe and Mail and National Post. Though not widely read outside Quebec, Le Devoir is the French-language counterpart to the national newspapers. The newspaper with the highest circulation overall is the Toronto Star, while the newspaper with the highest readership per capita is the Windsor Star (with the Calgary Herald running a very close second).

In addition, almost all Canadian cities are served by at least one daily newspaper, along with community and neighbourhood weeklies. In large cities that have more than one daily newspaper, usually at least one daily is a tabloid format; bilingual cities like Montreal and Ottawa have important papers in both French and English.

Canadian newspapers are mostly owned by large chains. At various times there have been concerns about concentration of newspaper ownership, notably in 1970 and 1980 with two commissions, the Davey Committee on combines and the Kent Royal Commission on Newspapers respectively, as well as more recently when Conrad Black's Hollinger acquired Southam Newspapers in the late 1990s. When Hollinger sold its Canadian properties, however, many of their smaller-market newspapers were in fact purchased by a variety of new ownership groups such as Osprey Media, increasing the diversity of newspaper ownership for the first time in many years.

Additionally, the 1980s and 1990s saw the emergence of city-based alternative weekly newspapers, geared toward a younger audience with coverage of the arts and alternative news. In recent years, many of these weeklies have also been acquired or driven out of business by conglomerates like Canwest, Quebecor and Brunswick News. Smaller newspapers like The Dominion, publishing primarily online but in a newspaper format, have attempted to fill gaps in Canada's journalistic coverage while avoiding the vulnerabilities of the previous generation of alternative media.

In the 2000s, a number of online news and culture magazines also launched with the goal of providing alternative sources of journalism. Some important online publications include rabble.ca, The Tyee, The Vancouver Observer, and SooToday.com. Similarly, as of 2006, Canada had over 250 ethnic newspapers.

The late 2010s have seen an expansion in online news partisan outlets with ties to the major political parties in Canada, such as North99 with the Liberal Party, The Post Millennial with the Conservatives, and PressProgress with the NDP have received attention though their massive mostly social-based following.

Motion pictures
Given Canada's small market and its position next to the United States—the dominant producer of feature films—the Canadian film industry receives substantial assistance from the government. In the 2000s, about half of the budget of a typical Canadian film came from various federal and provincial government sources.

Most of Canada's film (and television) industry produces output geared towards mainstream North American audiences, with Entertainment One and Elevation Pictures in particular enjoying significant successes in recent years. Montréal, Toronto and Vancouver are major production centres, with Vancouver being the second largest film and television production centre in North America (after Los Angeles). The Toronto International Film Festival is considered one of the most important events in North American cinema, showcasing both Canadian talent and Hollywood films.

Alliance was by far the largest and most successful Canadian film studio, both as a film and television production house (the company's television properties include Due South, This Hour Has 22 Minutes and C.S.I.), and as the major Canadian distributor of independent American and international films. On January 9, 2013, the company was acquired by Entertainment One.

Canada also produces films of a characteristically "Canadian" nature, and of all Canadian cultural industries, the English-Canadian segment of the film industry has the hardest time escaping the shadow of its (North) American counterpart. Between the marketing budgets of mainstream films, and the largely American-controlled film distribution networks, it has been nearly impossible for most distinctively English-Canadian films to break through to a wide audience. In many Canadian cities, in fact, moviegoers do not even have the option of seeing such films, as there are no theatres screening them. As a result, a Canadian film is usually considered a runaway hit if it makes as little as $1 million at the box office.

French-Canadian films, on the other hand, are often more successful—as with French-language television, the language difference makes Quebec audiences much more receptive to Canadian-produced film. In many years, the top-grossing Canadian film is a French-language production from Quebec.

As a result of the economic challenges involved in Canadian film production, film funding is often provided by government bodies such as Telefilm Canada, and television services such as CBC Television, Crave or Super Channel are often a Canadian film's most lucrative potential market. However, there is an established network of film festivals which also provide important marketing and audience opportunities for Canadian films. In addition to the Toronto International Film Festival, the smaller Vancouver International Film Festival features films from around the world, and other major festivals in Montréal, Calgary, Edmonton and Greater Sudbury—among other cities—are also important opportunities for Canadian filmmakers to gain exposure among more populist film audiences.

One particular film production house, the National Film Board of Canada, has become internationally famous for its animation and documentary production.

Books
Canada is home to a robust book publishing industry that operates in both official languages.

English Language Publishers In Canada

Foreign Publishers With Branches In Canada
 * McClelland and Stewart
 * which made its name in the 1970s as the leading publisher of English language Canadian literature. English Canada also has many smaller publishing houses, including Coach House Press, the Porcupine's Quill, House of Anansi, Key Porter Books, Hidden Brook Press, and Douglas & McIntyr

 * Coach House Press,
 * the Porcupine's Quill, House of Anansi, Key Porter Books,
 * Hidden Brook Press
 * Douglas & McIntyr

Major francophone publishers in Quebec include Bibliothèque québécoise, Alire, Québec-Amérique, Éditions Guérin and Groupe Beauchemin. Several small francophone publishers also operate outside of Quebec, including Éditions Le Nordir and Prise de parole.

Canada's largest English science fiction genre publisher is EDGE Science Fiction and Fantasy Publishing, which now also owns the Tesseract Books imprint, well known for producing excellent Canadian speculative fiction.

Magazines
A notable controversy in Canadian magazine publishing in recent years has been the existence of split run magazines, where a title published in another country, such as TIME or Sports Illustrated, is republished in Canada with a few pages of special Canadian content, in order to take advantage of Canadian advertising sales revenues. The government of Canada imposed a special excise tax on split run publications in 1995 to discourage the practice, although this continues to be controversial.

Magazines published in Canada include:

 * L'Actualité
 * AdBusters
 * Auto Atlantic – East Coast auto magazine
 * Canadian Business
 * Canadian Dimension
 * Canadian Geographic
 * Canadian Living
 * Chart
 * Chatelaine – women's magazine
 * chickaDEE
 * Cult MTL
 * Enterprise Mag
 * Exclaim!
 * Flare – fashion
 * Frank – satirical
 * Geist
 * Literary Review of Canada
 * Maclean's
 * Maisonneuve
 * MoneySense
 * My Halifax EXperience
 * OWL
 * Saturday Night
 * Today's Parent
 * Sharp (magazine)
 * Toronto Life
 * This Magazine
 * UMM
 * Up Here
 * The Walrus

Digital
The rise of online media platforms has inevitably disrupted the need for print media consumption. The concern, however, lies in whether or not these online platforms, whether hyperlocal or national, have appropriate practices to enforce standard journalism practices in place, avoiding situations of 'fake news'. For example, some platforms have been known to use scare-tactics to drive web traffic.

Online-only media publishers in Canada include:

 * BlogTO
 * Better Dwelling
 * The Breach
 * Canoe
 * Daily Hive
 * Freshdaily
 * Investigative Journalism Foundation
 * The Line
 * The Logic
 * MTL Blog
 * Narcity
 * Newsrooms
 * Rabble.ca
 * Spotlight Magazine
 * The Title Report
 * The Tyee
 * Torontoist
 * Trnto
 * University Magazine
 * Vice Magazine
 * The Weekly
 * Yahoo Canada
 * wow-maple.com
 * STAMINA Group
 * DIVINE.ca
 * View the VIBE
 * Swagger Magazine
 * WanderEater Magazine

title: Media of Canada


text:
Usagi Yojimbo

Usagi Yojimbo (兎用心棒) is a comic book series created by Stan Sakai. It is set primarily at the beginning of the Edo period of Japanese history and features anthropomorphic animals replacing humans. The main character is a rabbit rōnin, Miyamoto Usagi, whom Sakai based partially on the famous swordsman Miyamoto Musashi. Usagi wanders the land on a musha shugyō (warrior's pilgrimage), occasionally selling his services as a bodyguard.

Usagi Yojimbo is heavily influenced by Japanese cinema; it has included references to the work of Akira Kurosawa (the title of the series is derived from Kurosawa's 1961 film Yojimbo), as well as to icons of popular Japanese cinema, such as Lone Wolf and Cub, Zatoichi, and Godzilla. The series is also influenced somewhat by Groo the Wanderer by Sergio Aragonés (Sakai is the letterer for that series), but the overall tone of Usagi Yojimbo is more serious and reflective. The series follows the standard traditional Japanese naming-convention for all featured characters: their family names followed by their given names.

The books are primarily episodic, with underlying larger plots which create long extended storylines—though there are some novel-length narratives. The stories include many references to Japanese history and Japanese folklore, and sometimes include mythical creatures. The architecture, clothes, weapons and other objects are drawn with a faithfulness to period style. There are often stories whose purpose is to illustrate various elements of Japanese arts and crafts, such as the fashioning of kites, swords, and pottery. Those efforts have been successful enough for the series to be awarded a Parents' Choice Award in 1990 for its educational value through Sakai's "skillful weaving of facts and legends into his work."

Usagi Yojimbo first appeared in Albedo Anthropomorphics #2, published by Thoughts and Images in November 1984. Early positive reviews and an advertisement in Bud Plant's Spring Catalog in 1985 helped propel the character's popularity. Stan Sakai accepted an offer to move his warrior rabbit to Fantagraphics Books where he appeared in several issues of the new anthropomorphic anthology series Critters. Usagi's popularity influenced Fantagraphics to then release the Usagi Yojimbo Summer Special in October 1986 and then to give the ronin rabbit his own ongoing series with issue #1 being published in July 1987. Usagi was named the 31st-greatest comic book character by Empire magazine and was ranked 92nd in IGN's list of the top 100 comic book heroes. Rolling Stone named Usagi Yojimbo no. 43 in their '50 Best Non-Superhero Graphic Novels'.

Publishing history
Sakai originally planned for Usagi and other characters to be human in stories explicitly modeled after the life of Miyamoto Musashi. However, once as Sakai was idly doodling, he drew rabbit ears tied in a topknot on his proposed hero and was pleased by the distinctive image. Usagi was first conceived as a supporting character in The Adventures of Nilson Groundthumper and Hermy, a brief series that predates Usagi Yojimbo. Sakai expanded on the idea of a rabbit samurai and his world took on an anthropomorphized cartoon nature, creating a fantasy setting which suited his dramatic needs with a unique look he thought could attract readers.

Usagi first appeared in the anthology Albedo Anthropomorphics in 1984, and later in the Fantagraphics Books anthropomorphic anthology Critters, before appearing in his own series in 1987. The Usagi Yojimbo series has been published by four different companies. The first publisher was Fantagraphics (volume one; 38 regular issues, plus one Summer Special and three Color Specials). The second was Mirage Comics (volume two; 16 issues). The third was Dark Horse Comics (volume three, 172 regular issues and two Color Specials), which also published the Senso miniseries (2015), The Art of Usagi Yojimbo: 20th Anniversary Edition (2004), and Usagi Yojimbo: 35 Years of Covers (2018), as well as republishing the Fantagraphics and Mirage series. The fourth is IDW Publishing, (volume four, 31 issues), which also republished select Fantagraphics story portions as Usagi Yojimbo Color Classics. Usagi returned to Dark Horse in September 2023, collaborating with Dogu Limited. Another publisher, Radio Comix, published two issues of The Art of Usagi Yojimbo (1997–1998) which contained a selection of unpublished drawings, convention sketches, and other miscellaneous Usagi Yojimbo artwork (including an original short story in the first issue).

Because Usagi Yojimbo is a creator-owned comic and Sakai has complete and sole ownership of the character, Miyamoto Usagi has been able to appear in occasional short stories published by companies other than the one currently publishing his series. Usagi has appeared in stories published by Cartoon Books, Oni Press, Sky Dog Press, Wizard Press, and most recently in the benefit book Drawing the Line, the proceeds of which went to Princess Margaret Hospital and The Hospital for Sick Children, both in Toronto, for cancer research.

Sakai has experimented with formats for Usagi Yojimbo, such as when he published the color story "Green Persimmon" first as twelve separate 2-page chapters serialized in Diamond Comic Distributor's monthly catalog Previews. He has also serialized two short stories in a comic strip format in the tabloid-size promotional publication Dark Horse Extra. Usagi Yojimbo stories have also been created as both single-page "gag" stories and as multi-issue epic adventures.

Usagi has also appeared several times in Teenage Mutant Ninja Turtles (the comic, three of the animated series, and their respective toy lines), and the Turtles have appeared in Usagi Yojimbo as well. In the 1987 series, "Usagi Yojimbo" is incorrectly used as his actual name, but in the 2003 series, where he appeared far more frequently, he was referred to correctly as Miyamoto Usagi. He was even joined by Gen and other characters from his stories in his guest appearances in the 2003 series. Usagi's first appearance in the 2012 series was the fifth-season episode, "Yojimbo", which was written by Sakai. In his guest appearances, he is closest to Leonardo, both sharing the same ideals and code of ethics. The comics version also makes several pun references to Sergio Aragonés' Groo the Wanderer, in whose publication Sakai was also involved.

In addition, Sakai created a limited spin off series called Space Usagi, who first appeared in Amazing Heroes 187. It featured characters similar to those in the original series, including a descendant of Miyamoto Usagi, but set in a futuristic setting that also emulated feudal Japan in political and stylistic ways. Four mini-series of three issues each and two short stories featuring the characters were produced. Sakai has announced tentative plans to produce a fourth Space Usagi miniseries, but nothing has been announced yet. A one-shot crossover between the contemporary Usagi Yojimbo (Volume 4) series and Space Usagi, titled Space Usagi: Yokai Hunter, was released on October 11, 2023.

In the summer of 2014, Sakai, after a two-year hiatus, returned with a six-issue mini-series entitled Usagi Yojimbo: Senso. Senso, Japanese for "war", refers to The War of the Worlds, H. G. Wells's novel about Martians invading Earth. Senso tells the story of Martians invading Japan roughly twenty years after the events of the main series of Usagi Yojimbo, and also forms a plot bridge to the previously published Space Usagi.

In May 2015, Sakai returned to Usagi Yojimbo with the release of the 145th issue.

On February 22, 2019, The New York Times reported that IDW Publishing would present a new monthly Usagi Yojimbo series, in color (provided by Tom Luth for the first time). The new series opens up with a short story arc about the Japanese puppetry art of bunraku. Additionally, new full-color collections of earlier issues are planned. IDW published volume 4 of the series up until issue 31, published in 2022. Sakai returned the series to Dark Horse under his own new imprint, Dogu Publishing. The series was relaunched at Dark Horse with Usagi Yojimbo: Ice and Snow #1, the first in a five issue mini-series.

In July 2017, the traditional crossovers between Usagi Yojimbo and the Teenage Mutant Ninja Turtles franchise - at that time part also part of IDW's publishing program - were resumed with a one-shot comic titled Teenage Mutant Ninja Turtles/Usagi Yojimbo. In April 2023, publication was started on the five-issue miniseries Teenage Mutant Ninja Turtles/Usagi Yojimbo: WhereWhen, which is an immediate prelude to Senso and once again co-stars the Ninja Turtles.

Television
Usagi first appeared in episodes 32 and 34 in the third season of the 1987 Teenage Mutant Ninja Turtles animated series. He next appeared in episodes 23–26 in the second season of the 2003 Teenage Mutant Ninja Turtles animated series for an interdimensional tournament against the Turtles (along with Gen). He and Gen showed up again in episodes 1 and 22–23 of season 3 for a Christmas party and a continuation of the second-season storyline (which prominently featured his world and characters), respectively. Usagi again appeared in episode 13 of season 4 ("Samurai Tourist") for a confrontation with Leonardo, although the focus was mainly on Gen. Usagi and Gen also attended the wedding of April O'Neil and Casey Jones in episode 13 of season 7 (Back to the Sewer) titled "Wedding Bells and Bytes". He becomes one of their greatest inter-dimensional allies and especially closest to Leonardo.

In September 2016, an appearance of Usagi was also announced for the 2012 CGI series of Teenage Mutant Ninja Turtles. He appears in the fifth season (which is titled Tales of the Teenage Mutant Ninja Turtles) in the episodes "Yojimbo", "Osoroshi no Tabi", and "Kagayake! Kintaro", where the Turtles are hurled into his dimension, and teamed up to save a child he protects from ancient evil.

On February 8, 2018, it was announced that a CGI adaptation of the comics is in the works from Gaumont Animation. On July 15, 2020, Gaumont announced that the series would be released worldwide exclusively on Netflix under the title Samurai Rabbit: The Usagi Chronicles, in partnership with Netflix Animation. Production companies Atomic Monster and Dark Horse Entertainment are also partnering with Gaumont, with Mumbai-based studio 88 Pictures handling the CGI animation. Doug and Candie Langdale serve as show-runners on the series. The series takes place in Neo Edo in the 26th century and centers on rabbit teenager Yuichi Usagi (voiced by Darren Barnet), who is the descendant of Miyamoto Usagi. The show premiered on April 28, 2022 and concluded on September 1, 2022.

Video games
A Samurai Warrior: The Battles of Usagi Yojimbo video game was released for the Commodore 64, ZX Spectrum and Amstrad CPC in 1988 by Firebird.

Usagi appears as a playable character in the Dimension Shellshock downloadable content for Teenage Mutant Ninja Turtles: Shredder's Revenge, released on August 31, 2023.

Numbered volumes

 * Book 1: The Ronin (1987, Fantagraphics) – collects stories from Albedo Anthropomorphics #2, 3, and 4; Usagi Yojimbo: Summer Special #1; The Doomsday Squad #3; and Critters #1, 3, 6, 7, 10, 11, and 14
 * Book 2: Samurai (1989, Fantagraphics) – collects Usagi Yojimbo (vol. 1) #1–6
 * Book 3: Wanderer's Road (1989, Fantagraphics) – collects Usagi Yojimbo (vol. 1) #7–12 and a story from Turtle Soup (vol. 1) #1
 * Book 4: Dragon Bellow Conspiracy (1991, Fantagraphics) – collects Usagi Yojimbo (vol. 1) #13–18
 * Book 5: Lone Goat and Kid (1992, Fantagraphics) – collects Usagi Yojimbo (vol. 1) #19–24
 * Book 6: Circles (1994, Fantagraphics) – collects Usagi Yojimbo (vol. 1) #25–31 and a story from Critters #50
 * Book 7: Gen's Story (1996, Fantagraphics) – collects Usagi Yojimbo (vol. 1) #32–38 and a story from Critters #38
 * Book 8: Shades of Death (1997, Dark Horse) – collects Usagi Yojimbo (vol. 2) #1–6 and stories from #7–8
 * Book 9: Daisho (1998, Dark Horse) – collects Usagi Yojimbo (vol. 2) #7–12 and 14
 * Book 10: The Brink of Life and Death (1998, Dark Horse) – collects Usagi Yojimbo (vol. 2) #13 and 15–16 and Usagi Yojimbo (vol. 3) #1–6
 * Book 11: Seasons (1999, Dark Horse) – collects Usagi Yojimbo (vol. 3) #7–12 and Usagi Yojimbo Color Special: Green Persimmon #1, and stories from Usagi Yojimbo Roleplaying Game and The Art of Usagi Yojimbo #1
 * Book 12: Grasscutter (1999, Dark Horse) – collects Usagi Yojimbo (vol. 3) #13–22
 * Book 13: Grey Shadows (2000, Dark Horse) – collects Usagi Yojimbo (vol. 3) #23–30
 * Book 14: Demon Mask (2001, Dark Horse) – collects Usagi Yojimbo (vol. 3) #31–38 and stories from Dark Horse Presents (vol. 1) #140, Dark Horse Presents Annual #3, Wizard magazine #97, Oni Double Feature #11, and Dark Horse Extra #20–23
 * Book 15: Grasscutter II – Journey to Atsuta Shrine (2002, Dark Horse) – collects Usagi Yojimbo (vol. 3) #39–45
 * Book 16: The Shrouded Moon (2003, Dark Horse) – collects Usagi Yojimbo (vol. 3) #46–52
 * Book 17: Duel at Kitanoji (2003, Dark Horse) – collects Usagi Yojimbo (vol. 3) #53–60 and stories from Dark Horse Extra #45–48
 * Book 18: Travels with Jotaro (2004, Dark Horse) – collects Usagi Yojimbo (vol. 3) #61–68
 * Book 19: Fathers and Sons (2005, Dark Horse) – collects Usagi Yojimbo (vol. 3) #69–75
 * Book 20: Glimpses of Death (2006, Dark Horse) – collects Usagi Yojimbo (vol. 3) #76–82 and a story from Drawing the Line
 * Book 21: The Mother of Mountains (2007, Dark Horse) – collects Usagi Yojimbo (vol. 3) #83–89
 * Book 22: Tomoe's Story (2008, Dark Horse) – collects Usagi Yojimbo (vol. 3) #90–93 and stories from Usagi Yojimbo Color Special #1–3
 * Book 23: Bridge of Tears (2009, Dark Horse) – collects Usagi Yojimbo (vol. 3) #94–102
 * Book 24: Return of the Black Soul (2010, Dark Horse) – collects Usagi Yojimbo (vol. 3) #103–109 and a story from Free Comic Book Day: Star Wars / Dark Horse All Ages #1
 * Book 25: Fox Hunt (2011, Dark Horse) – collects Usagi Yojimbo (vol. 3) #110–116 and a story from MySpace Dark Horse Presents #18
 * Book 26: Traitors of the Earth (2012, Dark Horse) – collects Usagi Yojimbo (vol. 3) #117–123 and stories from Dark Horse Maverick 2001 #1 and MySpace Dark Horse Presents #35
 * Book 27: A Town Called Hell (2013, Dark Horse) – collects Usagi Yojimbo (vol. 3) #124–131
 * Book 28: Red Scorpion (2014, Dark Horse) – collects Usagi Yojimbo (vol. 3) #132–138
 * Book 29: Two Hundred Jizo (2015, Dark Horse) – collects Usagi Yojimbo (vol. 3) #139–144 and stories from Dark Horse Presents (vol. 2) #7 and 35–36
 * Book 30: Thieves and Spies (2016, Dark Horse) – collects Usagi Yojimbo (vol. 3) #145–151
 * Book 31: The Hell Screen (2017, Dark Horse) – collects Usagi Yojimbo (vol. 3) #152–158
 * Book 32: Mysteries (2018, Dark Horse) – collects Usagi Yojimbo (vol. 3) #159–165
 * Book 33: The Hidden (2019, Dark Horse) – collects Usagi Yojimbo: The Hidden #1–7 (vol. 3, #166–172)
 * Book 34: Bunraku and Other Stories (2020, IDW) – collects Usagi Yojimbo (vol. 4) #1–7
 * Book 35: Homecoming (2021, IDW) – collects Usagi Yojimbo (vol. 4) #8–14
 * Book 36: Tengu War! (2022, IDW) – collects Usagi Yojimbo (vol. 4) #15–21
 * Book 37: Crossroads (2022, IDW) – collects Usagi Yojimbo (vol. 4) #22–26
 * Book 38: The Green Dragon (2023, IDW) – collects Usagi Yojimbo (vol. 4) #27–31
 * Book 39: Ice And Snow (2024, Dark Horse / Dogu) – collects Usagi Yojimbo: Ice and Snow #1-5

Omnibus collections

 * Usagi Yojimbo: The Special Edition (2009, Fantagraphics) – collects books #1–7
 * The Usagi Yojimbo Saga
 * Volume 1 (2014, Dark Horse) – collects books #8–10
 * Volume 2 (2015, Dark Horse) – collects books #11–13
 * Volume 3 (2015, Dark Horse) – collects books #14–16
 * Volume 4 (2015, Dark Horse) – collects books #17–19
 * Volume 5 (2015, Dark Horse) – collects books #20–22
 * Volume 6 (2016, Dark Horse) – collects books #23–25
 * Volume 7 (2016, Dark Horse) – collects books #26–28
 * Volume 8 (2019, Dark Horse) – collects books #29–31
 * Volume 9 (2021, Dark Horse) – collects books #32–33 and Usagi Yojimbo/Teenage Mutant Ninja Turtles: The Complete Collection
 * Legends (2017, Dark Horse) – collects Space Usagi, Yokai, and Senso and a story from CBLDF Liberty Annual 2014 #1

Other collections and graphic novels

 * Space Usagi (1998, Dark Horse) – collects Space Usagi (vol. 1) #1–3, Space Usagi (vol. 2) #1–3, and Space Usagi (vol. 3) #1–3, and stories from Usagi Yojimbo Color Special #3 and Teenage Mutant Ninja Turtles (vol. 1) #47
 * Usagi Yojimbo: Yokai (2009, Dark Horse) – original graphic novel
 * Usagi Yojimbo: Senso (2015, Dark Horse) – collects Usagi Yojimbo: Senso #1–6
 * Usagi Yojimbo/Teenage Mutant Ninja Turtles: The Complete Collection (2018, Dark Horse) – collects stories from Turtle Soup #1, Usagi Yojimbo (vol. 3) #10, Shell Shock, Usagi Yojimbo (vol. 2) #1–3, and Teenage Mutant Ninja Turtles/Usagi Yojimbo, in the Saga trade dress
 * Chibi Usagi: Attack of the Heebie Chibis (2021, IDW) – original graphic novel, co-authored and illustrated by Julie Fujii Sakai, and collects a story Usagi Yojimbo FCBD 2020

Origins collections
The Usagi Yojimbo Origins series collects color reprints of stories originally published in black and white.

 * Volume 1: Samurai (2021, IDW) – collects Usagi Yojimbo Color Classics #1–7, which contains stories originally published in Usagi Yojimbo (vol. 1) #1–4 and 6, Critters #6 and 7, and Albedo Anthropomorphics #3–4
 * Volume 2: Wanderer's Road (2021, IDW) – collects Usagi Yojimbo: Wanderer's Road #1–7, which contains stories originally published in Usagi Yojimbo (vol. 1) #7–14
 * Volume 3: The Dragon Bellow Conspiracy (2022, IDW) – collects Usagi Yojimbo: The Dragon Bellow Conspiracy #1–6, which contains stories originally published in Usagi Yojimbo (vol. 1) #13–18
 * Volume 4: Lone Goat and Kid (2022, IDW) – collects Usagi Yojimbo: Lone Goat and Kid #1–6, which contains stories originally published in Usagi Yojimbo (vol. 1) #19–24

Art books

 * The Art of Usagi Yojimbo (2004, Dark Horse) – includes stories from Trilogy II Tour Book and the hardcover edition of Usagi Yojimbo Book Four
 * The Sakai Project: Artists Celebrate Thirty Years of Usagi Yojimbo (2014, Dark Horse)
 * Usagi Yojimbo Gallery Edition Volume 1: Samurai and Other Stories (2015, Dark Horse)
 * Usagi Yojimbo Gallery Edition Volume 2: The Artist and Other Stories (2016, Dark Horse)
 * Usagi Yojimbo: 35 Years of Covers (2019, Dark Horse)

Related works
A project for an animated television series, Space Usagi, was cancelled following the failure of Bucky O'Hare and the Toad Wars. However, Space Usagi was one of the action figures produced under the Teenage Mutant Ninja Turtles line.

Two editions of an Usagi role-playing game have been made, a 1998 version, Usagi Yojimbo Roleplaying Game, from Gold Rush Games and a 2005 version from Sanguine Productions. A second edition of the 2005 version was successfully Kickstarted in 2019. A Hero Pack of Miyamoto Usagi, Gennosuke and Kitsune will be added to Arcadia Quest.

The comic is the basis of two video games: the 1988 game Samurai Warrior: The Battles of Usagi Yojimbo and the 2013 game Usagi Yojimbo: Way of the Ronin. Both are side-scrolling hack-and-slash action games.

Usagi returned to the Turtles franchise in the 2022 beat 'em up game Teenage Mutant Ninja Turtles: Shredder's Revenge, being based on his incarnation from the 1987 cartoon from which the rest of the game is based on. He become available as downloadable content in 2023.

Awards
The series has been awarded 10 Eisner Awards and over 20 nominations.

 * 1996 Eisner Award for "Best Letterer" (Groo and Usagi Yojimbo)
 * 1996 Eisner Award for "Talent Deserving of Wider Recognition" (Usagi Yojimbo)
 * 1999 Eisner Award for "Best Serialized Story" (Usagi Yojimbo "Grasscutter")
 * 2012 Eisner Award for "Best Lettering" (Usagi Yojimbo)
 * 2015 Eisner Award for "Best Lettering" (Usagi Yojimbo)
 * 2018 Eisner Award for "Best Lettering" (Usagi Yojimbo and Groo: Slay of the Gods)
 * 2020 Eisner Award for "Best Lettering" (Usagi Yojimbo)
 * 2020 Eisner Award for "Best Archival/Collection Project - Comic Books" (Usagi Yojimbo: "The Complete Grasscutter" Artist Select, edited by Scott Dunbier)
 * 2021 Eisner Award for "Best Lettering" (Usagi Yojimbo)
 * 2021 Eisner Award for "Best Continuing Series" (Usagi Yojimbo)

The Japanese American National Museum in Los Angeles's Little Tokyo presented an exhibit entitled "Year of the Rabbit: Stan Sakai's Usagi Yojimbo from July 9 through October 30, 2011.

Usagi was rated No. 92 on IGN's Top 100 Comic Book Heroes.

Film references
Several of the characters in Usagi's world are inspired by or make reference to samurai movies. Usagi's former lord is named Mifune, which is a nod to Toshiro Mifune, an actor who starred in countless classic Samurai films. Gen, the rhino bounty hunter, was inspired by the characters made famous by Toshiro Mifune in the samurai films Yojimbo and Sanjuro. Zato-Ino, the Blind Swordspig, is a reference and tribute to the film character of Zatoichi. The story arc "Lone Goat and Kid" features an assassin who wanders with his son in a babycart, referring to the film/manga series Lone Wolf and Cub. Most significantly, the main character's name, Miyamoto Usagi, is a play on "Miyamoto Musashi", Japan's most famous historical samurai and the author of The Book of Five Rings, and Usagi the Japanese language word for "rabbit" (The story notes for one volume also cite as an influence Hiroshi Inagaki's Samurai Trilogy, which features Miyamoto Musashi as a protagonist.) His friend Tomoe Ame, a feline samurai, is inspired by the female samurai Tomoe Gozen. The storyline "The Dragon Bellow Conspiracy" includes elements reminiscent of the classic Akira Kurosawa films The Seven Samurai and The Hidden Fortress, particularly the way that Usagi collects various allies to raid an evil lord's fortress.

While Usagi Yojimbo draws most heavily upon samurai and chanbara films, it has also been influenced by Japanese films from other genres. For example, the three-part story "Sumi-E" (included in Vol. 18. Travels with Jotaro) features monsters resembling Godzilla (identified as "Zylla", who was first introduced in Vol. 2. Samurai), Gamera, Ghidorah, Mothra, and Daimajin.

title: Usagi Yojimbo


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