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National Education Association

The National Education Association (NEA) is the largest labor union in the United States. It represents public school teachers and other support personnel, faculty and staffers at colleges and universities, retired educators, and college students preparing to become teachers. The NEA has just under 3 million members and is headquartered in Washington, D.C. The NEA had a budget of more than $341 million for the 2012–2013 fiscal year. Becky Pringle is the NEA's current president.

During the early 20th century, the National Education Association was among the leading progressive advocates of establishing a United States Department of Education.

Driven by pressure from teacher organizing, by the 1970s the NEA transformed from an education advocacy organization to a rank-and-file union. In the decades since, the association has continued to represent organized teachers and other school workers in collective bargaining and to lobby for progressive education policy. The NEA's political agenda frequently brings it into conflict with conservative interest groups. State affiliates of the NEA regularly lobby state legislators for funding, seek to influence education policy, and file legal actions.

At the national level, the NEA lobbies the United States Congress and federal agencies and is active in the nominating process for Democratic candidates. From 1989 through the 2014 election cycle, the NEA spent over $92 million on political campaign contributions, 97% of which went to Democrats.

Founding
The NEA was founded in Philadelphia in 1857 as the National Teachers Association (NTA). Zalmon Richards was elected the NTA's first president and presided over the organization's first annual meeting in 1858. At the beginning and for its first century of history, it had the character of a professional association rather than a labor union. The NTA became the National Education Association (NEA) in 1870 when it merged with the American Normal School Association, the National Association of School Superintendents, and the Central College Association. The union was chartered by Congress in 1906.

The NEA was never on good terms with the New Deal. Its main goal was for Congress to pass a multipurpose public finance bill that would supplement local property taxes in funding public schools. Some relief money was used to build schools, but the New Deal avoided channeling any of it through the Office of Education. Legislation never succeeded, because it would condone segregated schools in the South and because President Franklin D. Roosevelt rejected any across-the-board program. He believed that federal money should only go to the poorest schools, and none to rich states. The New Deal set up its own separate educational program through the Civilian Conservation Corps and other relief agencies.

From association to labor union
For most of the 20th century, the NEA was dominated by the public school administration in small towns and rural areas. The state organizations played a major role in policy formation for the NEA. Only a small portion of American public school teachers were unionized before the 1960s. That began to change in 1959, when Wisconsin became the first state to pass a collective bargaining law for public employees. Over the next 20 years, most other states adopted similar laws.

The NEA merged with the American Teachers Association, the historically Black teachers association founded as the National Association of Teachers in Colored Schools, in 1966. The NEA's merger with the ATA, its transformation into a true labor union, and other factors were to greatly change the organization's demographics. In 1967, the NEA elected its first Hispanic president, Braulio Alonso. In 1968, NEA elected its first black president, Elizabeth Duncan Koontz.

After 1957, the NEA began a process that would transform it into an organization representing the teachers in its districts, rather than just the administrators. It came to resemble the rival American Federation of Teachers (AFT), which was a labor union for teachers in larger cities. The success of the AFT in raising wages through strike activity encouraged the NEA to undertake similar activities. The years between 1957 and 1973 saw a gradual shift in power to the association's classroom teachers, a tentative embrace of collective bargaining and teacher strikes, and the creation of a political action committee. These changes culminated in a new constitution adopted in 1973. The constitution expelled school administrators entirely and made structural changes to allow the NEA to operate as a labor union.

In the 1970s, more militant politics came to characterize the NEA. Its political action committee engaged in local election campaigns, and the union began endorsing political candidates who supported its policy goals. State NEA branches became less important as the national and local levels began direct and unmediated relationships. The NEA's elected leadership often supported teachers in opposition to school administrators.

Relations with the American Federation of Teachers
In 1998, a tentative merger agreement was reached between NEA and American Federation of Teachers (AFT) negotiators, but ratification failed soundly in the NEA's Representative Assembly meeting in New Orleans in early July 1998. However, five NEA state affiliates have since merged with their AFT counterparts. Mergers occurred in Florida (the Florida Education Association formed in 2000); Minnesota (Education Minnesota formed in 1998), Montana (MEA-MFT formed in 2000), New York (New York State United Teachers formed in 2006) and North Dakota (North Dakota United formed in 2013).

In 2006, the NEA and the AFL–CIO also announced that, for the first time, stand-alone NEA locals as well as those that had merged with the AFT would be allowed to join state and local labor federations affiliated with the AFL-CIO.

2024 NEASO strike
The National Education Association Staff Organization (NEASO) is the staff union representing employees who work for the NEA. In July 2024, NEASO staff members went on strike, which resulted in the halting of the National Education Association's (NEA) annual representative assembly in Philadelphia. The event, which was scheduled to run for four days over the Fourth of July weekend, brings together thousands of educators to vote on the union's priorities, budget, and strategic plan. President Joe Biden, who was expected to address the delegates, canceled his appearance, citing his refusal to cross the picket line.

Following the strike, the NEA locked out nearly 300 staff members working at its headquarters in Washington, D.C. These staff members will not be paid or allowed to work until a new contract is reached.

Composition
According to NEA's Department of Labor records since 2005, when membership classifications were first reported, the majority of the union's membership are "active professional" members, having fallen only slightly from 74% to the current 71%. The second largest category have been "active education support professional" members, with about 15%. The third largest category are "retired" members, which have grown from 8% to 10%. Two other categories, "active life" and "student" members, have both remained with around 2%, falling slightly. These categories are eligible to vote in the union, though the union lists some comparatively marginal categories which are not eligible to vote: "staff", "substitute" and "reserve" members, each with less than 1% of the union's membership. NEA contracts also cover some non-members, known as agency fee payers, which since 2006 have numbered comparatively about 3% of the size of the union's membership.

As of 2014 these categories account for about: 2.1 million "active professionals", 457,000 "active education support professionals", 300,000 "retirees", 52,000 "students", 42,000 "active life" members, and just under nine thousand others, plus about 90,000 non-members paying agency fees.

Membership trends
The NEA reported a membership of 766,000 in 1961. In 2007, at the 150th anniversary of its founding, NEA membership had grown to 3.2 million. However, by July 2012, USA Today reported that NEA had lost nearly 0.3% of their members each year since 2010.

Following the Supreme Court's 2018 Janus v. AFSCME case, which ended the compulsion of non-union, public employees to pay agency fees, or what are colloquially known as 'fair-share fees,' the NEA's total membership and agency fee payers dropped from 3,074,841 on its November 28, 2017, report to 2,975,933 in its August 31, 2019, report, a total loss of 98,908 dues payers.

Structure and governance
The NEA has a membership of just under 3 million people, with membership levels dropping every year since 2010. The NEA is incorporated as a professional association in a few states and as a Trade union in most. The group holds a congressional charter under Title 36 of the United States Code. It is not a member of the AFL–CIO, but is part of Education International, the global federation of teachers' unions.

NEA members set the union's policies through the Representative Assembly (RA). The RA, which is a delegation comprising elected representatives from each local and state affiliate, coalitions of student members and retired members, and other segments of the united education profession—is the primary legislative and policy-making body of the NEA. RA delegates elect the union's executive officers and members of the Executive Committee.

, the executive officers of the NEA are Rebecca Pringle (President), Princess Moss (Vice President), Noel Candelaria (Secretary-Treasurer) and Kim A. Anderson (Executive Director). These posts are elected by the Representative Assembly.

The board of directors and executive committee are responsible for the general policies and interests of the NEA. The board of directors consists of one director from each state affiliate (plus an additional director for every 20,000 active members in the state), six directors for the retired members, and three directors for the student members. The board also includes at-large representatives of ethnic minorities, administrators, classroom teachers in higher education, and active members employed in educational support positions. The Executive Committee consists of the President, Vice President, and Secretary-Treasurer plus six members elected at large by delegates to the Representative Assembly. It acts for the board of directors when it is not in session.

Funding
Most NEA funding comes from dues paid by its members ($295 million in dues from a $341 million total budget in 2005). Typically, local chapters negotiate a contract with automatic deduction of dues from members' paychecks. Part of the dues remain with the local affiliate (the district association), a portion goes to the state association, and a portion is given to the national association. The NEA returned 39 percent of dues money back to state affiliates in 2021 and 2022.

Federal law prohibits unions from using dues money or other assets to contribute to or otherwise assist federal candidates or political parties, in accordance with their tax-exempt status. The NEA Fund for Children and Public Education is a special fund for voluntary contributions from NEA members which can legally be used to assist candidates and political parties. Critics have repeatedly questioned the NEA's actual compliance with such laws, and a number of legal actions focusing on the union's use of money and union personnel in partisan contexts have ensued.

Read Across America Day
National Read Across America Day is an NEA initiative to encourage reading. It has expanded into a year-long program with special celebrations in March as National Reading Month. Read Across America Day began in 1998, on March 2 which was the birthday of the popular children's author, Dr. Seuss. The NEA partnered with Dr. Seuss Enterprises on the venture from 1997 to 2018, when the contract ended. Since 2017, NEA's Read Across America focuses on the importance, value, and fun of reading and sharing diverse books and "celebrating a nation of diverse readers".

Political activities
NEA has played a role in politics since its founding, as it has sought to influence state and federal laws that would affect public education. The extent to which the NEA and its state and local affiliates engage in political activities, especially during election cycles, has been a source of controversy. The organization tracks legislation related to education and the teaching profession and encourages members to get involved in politics.

 * 1910–1915: Women played increasing leadership roles in NEA.
 * 1912: The NEA endorsed women's suffrage in the United States
 * 1918: The report "Cardinal Principles of Secondary Education" emphasized the education of students in terms of health, a command of fundamental processes, worthy home membership, vocation, citizenship, worthy use of leisure, and ethical character. They emphasized life adjustment and reflected the social efficiency model of progressive education.
 * 1918: The NEA Commission on the Emergency in Education, with George Strayer as chairman, warned that the evidence from the wartime draft showed millions of potential soldiers were illiterate or poorly educated, and often in bad health. The NEA study said the cause was very low quality rural schools in the South, badly trained teachers, and inequitable financing. It called for $100 million of federal aid to remedy the deficiencies, but none was forthcoming. Many states, however, started setting minimal standards for rural schools.
 * 1920: The "Preliminary Report on the Tenure of Teachers" cautiously recommended that school boards adopt a policy of academic tenure.
 * 1923: The NEA began to promote state pension plans for teachers; by 1950, every state had a pension plan in effect.
 * 1923–1928: Hunter's "Committee of One Hundred on the Problem of Tenure" stressed the  advantages of tenure for society. In 1925, it argued that tenure "protects the great body of good teachers from political attack and from dismissal for petty personal and political reasons", but also argued that administrators should maintain control over dismissal decisions.
 * 1920s: The main NEA goals during this period were to raise teacher salaries, raise standards, and to gain a cabinet-level U.S. Secretary of Education. Success on the cabinet issue came only in 1979.
 * 1930s: The NEA lobbied, mostly unsuccessfully, for Congress to pass a multipurpose public finance bill that would supplement local property taxes in funding public schools. Some relief money was used to build schools, but the New Deal avoided channeling any of it through the Office of Education. Legislation never succeeded, because it would condone segregated schools in the South and because Roosevelt rejected any across-the-board program. He believed that federal money should only go to the poorest schools, and none to rich states. The New Deal set up its own separate educational program through the Civilian Conservation Corps and other relief agencies.
 * 1940s: The NEA successfully lobbied Congress for special funding for public schools near military bases.
 * 1944: The NEA lobbied for the G.I. Bill, a law that provided a range of benefits for returning World War II veterans.
 * 1958: The NEA helped gain passage of the National Defense Education Act.
 * 1964: The NEA lobbied to pass the Civil Rights Act
 * 1965: The NEA worked with Catholic school leaders to pass the Elementary and Secondary Education Act for federal aid to schools.
 * 1968: After years of feuding, the AFT suggested a merger with the NEA. The NEA refuses.
 * 1968: The NEA lobbied for passage of the Bilingual Education Act, with federal funding for Spanish-language education in public schools.
 * 1968-68: There was a wave of school strikes outside South, 80% by the NEA.
 * 1969: 450,000 teachers were covered by 1,019 collective bargaining agreements. The NEA accounted for 90 percent of the contracts and 61 percent of the teachers.
 * 1972: The New York State Teachers Association quit the NEA and merged with the AFT.
 * 1970s: State affiliates become powerful lobbyists.
 * 1976: 265 NEA delegates attended the Democratic National Convention; the NEA endorsed Democrat Jimmy Carter for president. He won and secured the creation of the Department of Education in 1979.
 * 1980: 464 NEA delegates attended the Democratic National Convention.
 * 1984: The NEA lobbied for passage of a federal retirement equity law to provide the means to end sex discrimination against women in retirement funds.
 * 2000: The NEA began to lobby for changes to the No Child Left Behind Act.
 * 2009: NEA delegates to the Representative Assembly passed a resolution opposing discriminatory treatment of same-sex couples.
 * 2013: the NEA wrote an open letter to the United States House of Representatives opposing the Continuing Appropriations Resolution, 2014 (H.J.Res 59; 113th Congress). The NEA urged representatives to vote no because the bill "continues the devastating cuts to education set in motion by the sequester and permanently defunds the Affordable Care Act."
 * 2020: Together with the American Federation of Teachers, NEA issued a report expressing opposition to active shooter drills being held in schools, calling on the drills to be revised or eliminated.

Other policy positions
The NEA has taken positions on policy issues including:
 * Reforming the No Child Left Behind Act to reduce the focus on standardized testing
 * Increasing education funding
 * A minimum $40,000 starting annual salary for all teachers
 * Mandate high school graduation or equivalency as compulsory for everyone below the age of 21
 * Lowering the achievement gap
 * Reforming Social Security Offsets (GPO/WEP)
 * Discouraging school vouchers and all forms of competition with public schools
 * Reforming laws governing charter schools

The NEA is a member of the U.S. Global Leadership Coalition.

Electoral politics
In recent decades the NEA has increased its visibility in party politics, contributing funds and other assistance to political campaigns. Like other American labor unions, the NEA has favored the Democratic Party, giving its endorsement and support to every Democratic nominee for President since Jimmy Carter. It has never endorsed any Republican or third party candidate for the presidency.

Based on required filings with the federal government, it is estimated that between 1990 and 2002, eighty percent of the NEA's substantial political contributions went to Democratic Party candidates. Ninety-five percent of contributions went to Democrats in 2012. the NEA maintains that it bases support for candidates primarily on the organization's interpretation of candidates' support for public education and educators. Every presidential candidate endorsed by the NEA must be recommended by the NEA's PAC Council (composed of representatives from every state and caucus) and approved by the Board of Directors by a 58 percent majority. In October 2015, the NEA endorsed Hillary Clinton's 2016 presidential bid. Clinton accepted the endorsement in person.

Criticism
Some critics have alleged the NEA puts the interests of teachers ahead of students. The NEA has often opposed measures such as merit pay, school vouchers, weakening of teacher tenure, certain curricular changes, the No Child Left Behind Act, and other reforms that make it easier for school districts to use disciplinary action against teachers. In July 2019, the NEA voted down a resolution that would have "re-dedicate[d] itself to the pursuit of increased student learning in every public school in America by putting a renewed emphasis on quality education".

With the modern scrutiny placed on teacher misconduct, particularly regarding sexual abuse, the NEA has been criticized for its alleged failure to crack down on abusive teachers. From an Associated Press investigation, former NEA President Reg Weaver commented, "Students must be protected from sexual predators and abuse, and teachers must be protected from false accusations". He then refused to be interviewed. The Associated Press reported that much of the resistance to report the problem comes from "where fellow teachers look away", and "school administrators make behind-the-scenes deals".

Inclusion of the "NEA Ex-Gay Caucus" at a convention in 2006 sparked controversy. Some critics believe the NEA promotes a gay rights agenda, especially since the U.S. Ninth Circuit Court of Appeals 2005 case Fields v. Palmdale School District. The case originated when some California elementary school students were administered a school survey containing sexual questions. Parents, who had not been told the survey would contain questions of a sexual nature, brought the case forward. The court in that case initially ruled that parents' fundamental right to control the upbringing of their children "does not extend beyond the threshold of the school door", which upon petition for rehearing was struck and clarified to "does not entitle individual parents to enjoin school boards from providing information the boards determine to be appropriate in connection with the performance of their educational functions", and that a public school has the right to provide its students with "whatever information it wishes to provide, sexual or otherwise". NEA states that it does not "encourage schools to teach students to become gay, lesbian, bisexual, or transgendered (LGBT)", but the NEA does believe that "schools should be safe for all students and advocates that schools should raise awareness of homophobia and intervene when LGBT students are harassed".

A leading critic of NEA from the left is Dr. Rich Gibson, whose article on the NEA–AFT merger convention outlines a critique of unionism itself.

Notable members

 * C. Louise Boehringer, in 1913 she spoke at their convention in San Francisco
 * Jill Biden, First Lady of the United States
 * Della Prell Darknell Campbell
 * William George Carr, Executive Director of the NEA from 1952 to 1967
 * Sabra R. Greenhalgh, life member of the NEA, elected a delegate to represent northern California at the annual convention in Columbus, Ohio, in 1931
 * Jessie Gray (educator), president (1933–1934)
 * Kate Wetzel Jameson, member
 * Vesta C. Muehleisen, member
 * Caroline Haven Ober, member
 * William F. Phelps, founder and president
 * Waurine Walker, president (1954–1955)
 * Pearl Anderson Wanamaker, president (1946–1947)
 * Caroline S. Woodruff, president (1937–1938)
 * Mary Yost, vice-president of the Western Division of Department of Deans of Women

title: National Education Association


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User talk:Korthar666

Wow, those jokes were so funny. Um, yeah, and don't post any more of them, mkay? We like jokes too but not in our encyclopedia. Isomorphic 01:06, 15 Mar 2004 (UTC)

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

title: User talk:Korthar666


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Hilbert's eighth problem

Hilbert's eighth problem is one of David Hilbert's list of open mathematical problems posed in 1900. It concerns number theory, and in particular the Riemann hypothesis, although it is also concerned with the Goldbach Conjecture. The problem as stated asked for more work on the distribution of primes and generalizations of Riemann hypothesis to other rings where prime ideals take the place of primes.

Riemann hypothesis and generalizations
Hilbert calls for a solution to the Riemann hypothesis, which has long been regarded as the deepest open problem in mathematics. Given the solution, he calls for more thorough investigation into Riemann's zeta function and the prime number theorem.

Goldbach conjecture
He calls for a solution to the Goldbach conjecture, as well as more general problems, such as finding infinitely many pairs of primes solving a fixed linear diophantine equation.

Generalized Riemann conjecture
Finally, he calls for mathematicians to generalize the ideas of the Riemann hypothesis to counting prime ideals in a number field.

title: Hilbert's eighth problem


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A Trip to the Moon

A Trip to the Moon (Le voyage dans la lune) is a 1902 French science-fiction adventure trick film written, directed and produced by Georges Méliès. Inspired by Jules Verne's 1865 novel From the Earth to the Moon and its 1870 sequel Around the Moon, the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon's surface, escape from an underground group of Selenites (lunar inhabitants), and return to Earth with a captive Selenite. Méliès leads an ensemble cast of French theatrical performers as the main character Professor Barbenfouillis.

Although the film disappeared into obscurity after Méliès's retirement from the film industry, it was rediscovered around 1930, when Méliès's importance to the history of cinema was beginning to be recognised by film devotees. An original hand-colored print was discovered in 1993 and restored in 2011.

A Trip to the Moon was ranked 84th among the 100 greatest films of the 20th century by The Village Voice. The film remains Méliès' best known, and the moment when the capsule lands in the moon's eye remains one of the most iconic and frequently referenced images in the history of cinema.

Plot
At a meeting of the Astronomy Club, its president, Professor Barbenfouillis, proposes an expedition to the Moon. After addressing some dissent, five other brave astronomers—Nostradamus, Alcofrisbas, Omega, Micromegas, and Parafaragaramus—agree to the plan. A space capsule in the shape of a bullet is built, along with a huge cannon to shoot it into space. The astronomers embark and their capsule is fired from the cannon with the help of "marines", most of whom are played by young women in sailors' outfits. The Man in the Moon watches the capsule as it approaches, and, in an iconic shot, it hits him in the eye.

Landing safely on the Moon, the astronomers get out of the capsule (without the need of space suits or breathing apparatus) and watch the Earth rise in the distance. Exhausted by their journey, they unroll their blankets and sleep. As they sleep, a comet passes, the Big Dipper appears with human faces peering out of each star, old Saturn leans out of a window in his ringed planet, and Phoebe, goddess of the Moon, appears seated in a crescent-moon swing. Phoebe causes a snowfall that awakens the astronomers, and they seek shelter in a cavern where they discover giant mushrooms. One astronomer opens his umbrella; it promptly takes root and turns into a giant mushroom itself.

At this point, a Selenite (an insectoid alien inhabitant of the Moon, named after one of the Greek moon goddesses, Selene) appears, but it is killed easily by an astronomer, as the creatures explode if they are hit with force. More Selenites appear, and it becomes increasingly difficult for the astronomers to destroy them as they are surrounded. The Selenites capture the astronomers and take them to the palace of their king. An astronomer lifts the Selenite King off his throne and throws him to the ground, causing him to explode.

The astronomers run back to their capsule while continuing to hit the pursuing Selenites, and five get inside. The sixth astronomer, Barbenfouillis himself, uses a rope to tip the capsule over a ledge on the Moon and into space. A Selenite tries to seize the capsule at the last minute. Astronomer, capsule, and Selenite fall through space and land in an ocean on Earth, where they are rescued by a ship and towed ashore. The final sequence (missing from some prints of the film) depicts a celebratory parade in honour of the travellers' return, including a display of the captive Selenite and the unveiling of a commemorative statue bearing the motto "Labor omnia vincit".

Cast
When A Trip to the Moon was made, film actors performed anonymously and no credits were given; the practice of supplying opening and closing credits in films was a later innovation. Nonetheless, the following cast details can be reconstructed from available evidence:
 * Georges Méliès as Professor Barbenfouillis and The Moon. Méliès, a pioneering French film-maker and magician now generally regarded as the first person to recognise the potential of narrative film, had already achieved considerable success with his film versions of Cinderella (1899) and Joan of Arc (1900). His extensive involvement in all of his films as director, producer, writer, designer, technician, publicist, editor, and often actor makes him one of the first cinematic auteurs. Speaking about his work late in life, Méliès commented: "The greatest difficulty in realising my own ideas forced me to sometimes play the leading role in my films ... I was a star without knowing I was one, since the term did not yet exist." All told, Méliès took an acting role in at least 300 of his 520 films.
 * Bleuette Bernon as Phoebe (the woman on the crescent moon). Méliès discovered Bernon in the 1890s, when she was performing as a singer at the cabaret L'Enfer. She also appeared in his 1899 adaption of Cinderella.
 * François Lallement as the officer of the marines. Lallement was one of the salaried camera operators for the Star Film Company.
 * Henri Delannoy as the captain of the rocket.
 * Jules-Eugène Legris as the parade leader. Legris was a magician who performed at Méliès's theatre of stage illusions, the Théâtre Robert-Houdin in Paris.
 * Victor André, Delpierre, Farjaux, Kelm, and Brunnet as the astronomers. André worked at the Théâtre de Cluny; the others were singers in French music halls.
 * Ballet of the Théâtre du Châtelet as stars and as cannon attendants.
 * Acrobats of the Folies Bergère as Selenites.

Inspiration
When asked in 1930 what inspired him for A Trip to the Moon, Méliès credited Jules Verne's novels From the Earth to the Moon (1865) and Around the Moon (1870). Cinema historians, the mid-20th-century French writer Georges Sadoul first among them, have frequently suggested H. G. Wells's The First Men in the Moon (1901), a French translation of which was published a few months before Méliès made the film, as another likely influence. Sadoul argued that the first half of the film (up to the shooting of the projectile) is derived from Verne and that the second half, the travellers' adventures on and in the Moon, is derived from Wells.

In addition to these literary sources, various film scholars have suggested that Méliès was heavily influenced by other works, especially Jacques Offenbach's opera-féerie Le voyage dans la lune (an unauthorised parody of Verne's novels) and the A Trip to the Moon attraction at the 1901 Pan-American Exposition in Buffalo, New York. The French film historian Thierry Lefebvre hypothesises that Méliès drew upon both of these works, but in different ways: he appears to have taken the structure of the film—"a trip to the Moon, a Moon landing, an encounter with extraterrestrials with a deformity, an underground trek, an interview with the Man in the Moon, and a brutal return to reality back on Earth"—directly from the 1901 attraction, but also incorporated many plot elements (including the presence of six astronomers with pseudo-scientific names, telescopes that transform into stools, a moonshot cannon mounted above ground, a scene in which the Moon appears to approach the viewer, a lunar snowstorm, an earthrise scene, and umbrella-wielding travellers), not to mention the parodic tone of the film, from the Offenbach opera-féerie.

Filming

As the science writer Ron Miller notes, A Trip to the Moon was one of the most complex films that Méliès had made, and employed "every trick he had learned or invented". It was his longest film yet; both the budget and filming duration were unusually lavish, costing 10,000 to make and taking three months to complete. The camera operators were Théophile Michault and Lucien Tainguy, who worked on a daily basis with Méliès as salaried employees for the Star Film Company. In addition to their work as cameramen, Méliès's operators also did odd jobs for the company such as developing film and helping to set up scenery, and another salaried operator, François Lallement, appeared onscreen as the marine officer. By contrast, Méliès hired his actors on a film-by-film basis, drawing from talented individuals in the Parisian theatrical world, with which he had many connections. They were paid one Louis d'or per day, a considerably higher salary than that offered by competitors, and had a full free meal at noon with Méliès.

Méliès's film studio, which he had built in Montreuil, Seine-Saint-Denis in 1897, was a greenhouse-like building with glass walls and a glass ceiling to let in as much sunlight as possible, a concept used by most still photography studios from the 1860s onward; it was built with the same dimensions as Méliès's own Théâtre Robert-Houdin (13.5 × 6.6 m). Throughout his film career, Méliès worked on a strict schedule of planning films in the morning, filming scenes during the brightest hours of the day, tending to the film laboratory and the Théâtre Robert-Houdin in the late afternoon, and attending performances at Parisian theatres in the evening.

According to Méliès's recollections, much of the unusual cost of A Trip to the Moon was due to the mechanically operated scenery and the Selenite costumes in particular, which were made for the film using cardboard and canvas. Méliès himself sculpted prototypes for the heads, feet, and kneecap pieces in terracotta, and then created plaster moulds for them. A mask-making specialist, probably from the major Parisian mask- and box-making firm of the Maison Hallé, used these moulds to produce cardboard versions for the actors to wear. Though other details about the film's making are scarce, the film historian Georges Sadoul argued that Méliès most likely collaborated with the painter Claudel on the scenery, and with Jehanne d'Alcy on the costumes. One of the backdrops for the film, showing the inside of the glass-roofed workshop in which the space capsule is built, was painted to look like the actual glass-roofed studio in which the film was made.

Many of the special effects in A Trip to the Moon, as in numerous other Méliès films, were created using the substitution splice technique, in which the camera operator stopped filming long enough for something onscreen to be altered, added, or taken away. Méliès carefully spliced the resulting shots together to create apparently magical effects, such as the transformation of the astronomers' telescopes into stools or the disappearance of the exploding Selenites in puffs of smoke. Other effects were created using theatrical means, such as stage machinery and pyrotechnics. The film also features transitional dissolves.

The pseudo-tracking shot in which the camera appears to approach the Man in the Moon was accomplished using an effect Méliès had invented the previous year for the film The Man with the Rubber Head. Rather than attempting to move his weighty camera toward an actor, he set a pulley-operated chair upon a rail-fitted ramp, placed the actor (covered up to the neck in black velvet) on the chair, and pulled him toward the camera. In addition to its technical practicality, this technique also allowed Méliès to control the placement of the face within the frame to a much greater degree of specificity than moving his camera allowed. A substitution splice allowed a model capsule to suddenly appear in the eye of the actor playing the Moon, completing the shot. Another notable sequence in the film, the plunge of the capsule into real ocean waves filmed on location, was created through multiple exposure, with a shot of the capsule falling in front of a black background superimposed upon the footage of the ocean. The shot is followed by an underwater glimpse of the capsule floating back to the surface, created by combining a moving cardboard cutout of the capsule with an aquarium containing tadpoles and air jets. The descent of the capsule from the Moon was covered in four shots, taking up about twenty seconds of film time.

Coloring
Color prints were produced for a small percent of Méliès's films and advertised alongside the black-and-white versions at a higher price. From approximately 1897 to 1912, these prints (for films such as The Kingdom of the Fairies, The Impossible Voyage, The Barber of Seville, and A Trip to the Moon) were hand-colored by Élisabeth and Berthe Thuillier's coloring lab in Paris. The Thuilliers led a studio of two hundred women, painting directly on film stock with brushes in carefully chosen colors. Each worker was assigned a specific color to apply to a frame of film in assembly line style, with more than twenty colors sometimes used for a single film. On average, the Thuilliers' lab produced about sixty hand-colored copies of a film.

Music
Though Méliès's films were silent, they were not intended to be seen silently; exhibitors often used a bonimenteur, or narrator, to explain the story as it unfolded on the screen, accompanied by sound effects and live music. Méliès himself took considerable interest in musical accompaniment for his films, and prepared special film scores for several of them, including The Kingdom of the Fairies and The Barber of Seville. He did not require specific music for any film, allowing exhibitors freedom to choose whatever accompaniment they felt most suitable. When the film was screened at the Olympia music hall in Paris in 1902, an original film score was reportedly written for it.

In 1903, the English composer Ezra Read published a piano piece called A Trip to the Moon: Comic Descriptive Fantasia, which follows Méliès's film scene by scene and may have been used as a score for the film; it may have been commissioned by Méliès himself, who had likely met Read on one of his trips to England. More recent composers who have recorded scores for A Trip to the Moon include Nicolas Godin and Jean-Benoit Dunckel of Air (for the 2011 restoration; see the Hand-colored version section below), Frederick Hodges, Robert Israel, Eric Le Guen, Lawrence Lehérissey (a great-great-grandson of Méliès), Jeff Mills, Donald Sosin, and Victor Young (for an abridged print featured as a prologue to the 1956 film Around the World in 80 Days).

Style
The film's style, like that of most of Méliès's other films, is deliberately theatrical. The stage set is highly stylised, recalling the traditions of the 19th-century stage, and is filmed by a stationary camera, placed to evoke the perspective of an audience member sitting in a theatre. This stylistic choice was one of Méliès's first and biggest innovations.

Although he had initially followed the popular trend of the time by making mainly actuality films (short "slice of life" documentary films capturing actual scenes and events for the camera), in his first few years of filming Méliès gradually moved into the far less common genre of fictional narrative films, which he called his scènes composées or "artificially arranged scenes". The new genre was extensively influenced by Méliès's experience in theatre and magic, especially his familiarity with the popular French féerie stage tradition, known for their fantasy plots and spectacular visuals, including lavish scenery and mechanically worked stage effects. In an advertisement he proudly described the difference between his innovative films and the actualities still being made by his contemporaries: "these fantastic and artistic films reproduce stage scenes and create a new genre entirely different from the ordinary cinematographic views of real people and real streets."

Because A Trip to the Moon preceded the development of narrative film editing by filmmakers such as Edwin S. Porter and D. W. Griffith, it does not use the cinematic vocabulary to which American and European audiences later became accustomed, a vocabulary built on the purposeful use of techniques such as varied camera angles, intercutting, juxtapositions of shots, and other filmic ideas. Rather, each camera setup in Méliès's film is designed as a distinct dramatic scene uninterrupted by visible editing, an approach fitting the theatrical style in which the film was designed.

Similarly, film scholars have noted that the most famous moment in A Trip to the Moon plays with temporal continuity by showing an event twice: first the capsule is shown suddenly appearing in the eye of an anthropomorphic moon; then, in a much closer shot, the landing occurs very differently, and much more realistically, with the capsule actually plummeting into believable lunar terrain. This kind of nonlinear storytelling—in which time and space are treated as repeatable and flexible rather than linear and causal—is highly unconventional by the standards of Griffith and his followers, before the development of continuity editing. Other filmmakers performed similar experiments with time. (Porter, for instance, used temporal discontinuity and repetition extensively in his 1903 film Life of an American Fireman.) Later in the twentieth century, with sports television's development of the instant replay, temporal repetition again became a familiar device to screen audiences.

Because Méliès does not use a modern cinematic vocabulary, some film scholars have created other frameworks of thought with which to assess his films. For example, some recent academicians, while not necessarily denying Méliès's influence on film, have argued that his works are better understood as spectacular theatrical creations rooted in the 19th-century stage tradition of the féerie.

Similarly, Tom Gunning has argued that to fault Méliès for not inventing a more intimate and cinematic storytelling style is to misunderstand the purpose of his films; in Gunning's view, the first decade of film history may be considered a "cinema of attractions," in which filmmakers experimented with a presentational style based on spectacle and direct address rather than on intricate editing. Though the attraction style of filmmaking declined in popularity in favour of a more integrated "story film" approach, it remains an important component of certain types of cinema, including science fiction films, musicals, and avant-garde films.

Themes

With its pioneering use of themes of scientific ambition and discovery, A Trip to the Moon is sometimes described as the first science fiction film. A Short History of Film argues that it codified "many of the basic generic situations that are still used in science fiction films today". Other genre designations are possible; Méliès advertised the film as a pièce à grand spectacle, a term referring to a type of spectacular Parisian stage extravaganza popularised by Jules Verne and Adolphe d'Ennery in the second half of the nineteenth century. Richard Abel describes the film as belonging to the féerie genre, as does Frank Kessler. It can also be described simply as a trick film, a catch-all term for the popular early film genre of innovative, special effects-filled shorts—a genre Méliès himself had codified and popularised in his earlier works.

A Trip to the Moon is highly satirical in tone, poking fun at nineteenth-century science by exaggerating it in the format of an adventure story. The film makes no pretense whatsoever to be scientifically plausible; the real waves in the splashdown scene are the only concession to realism. The film scholar Alison McMahan calls A Trip to the Moon one of the earliest examples of pataphysical film, saying it "aims to show the illogicality of logical thinking" with its satirically portrayed inept scientists, anthropomorphic moon face, and impossible transgressions of laws of physics. The film historian Richard Abel believes Méliès aimed in the film to "invert the hierarchal values of modern French society and hold them up to ridicule in a riot of the carnivalesque". Similarly, the literary and film scholar Edward Wagenknecht described the film as a work "satirizing the pretensions of professors and scientific societies while simultaneously appealing to man's sense of wonder in the face of an unexplored universe."

There is also a strong anti-imperialist vein in the film's satire. The film scholar Matthew Solomon notes that the last part of the film (the parade and commemoration sequence missing in some prints) is especially forceful in this regard. He argues that Méliès, who had previously worked as an anti-Boulangist political cartoonist, mocks imperialistic domination in the film by presenting his colonial conquerors as bumbling pedants who mercilessly attack the alien lifeforms they meet and return with a mistreated captive amid fanfares of self-congratulation. The statue of Barbenfouillis shown in the film's final shot even resembles the pompous, bullying colonialists in Méliès's political cartoons. The film scholar Elizabeth Ezra agrees that "Méliès mocks the pretensions of colonialist accounts of the conquest of one culture by another," and adds that "his film also thematizes social differentiation on the home front, as the hierarchical patterns on the moon are shown to bear a curious resemblance to those on earth."

Release
Méliès, who had begun A Trip to the Moon in May 1902, finished the film in August of that year and began selling prints to French distributors in the same month. From September through December 1902, a hand-colored print of A Trip to the Moon was screened at Méliès's Théâtre Robert-Houdin in Paris. The film was shown after Saturday and Thursday matinee performances by Méliès's colleague and fellow magician, Jules-Eugène Legris, who appeared as the leader of the parade in the two final scenes. Méliès sold black-and-white and color prints of the film through his Star Film Company, where the film was assigned the catalogue number 399–411 and given the descriptive subtitle Pièce à grand spectacle en 30 tableaux. In France, black-and-white prints sold for 560, and hand-colored prints for 1,000. Méliès also sold the film indirectly through Charles Urban's Warwick Trading Company in London.

Many circumstances surrounding the film—including its unusual budget, length, and production time, as well as its similarities to the 1901 New York attraction—indicate that Méliès was especially keen to release the film in the United States. Because of rampant film piracy, Méliès never received most of the profits of the popular film. One account reports that Méliès sold a print of the film to the Paris photographer Charles Gerschel for use in an Algiers theatre, under strict stipulation that the print only be shown in Algeria. Gerschel sold the print, and various other Méliès films, to the Edison Manufacturing Company employee Alfred C. Abadie, who sent them directly to Edison's laboratories to be duplicated and sold by Vitagraph. Copies of the print spread to other firms, and by 1904 Siegmund Lubin, the Selig Polyscope Company, and Edison were all redistributing it. Edison's print of the film was even offered in a hand-colored version available at a higher price, just as Méliès had done. Méliès was often uncredited altogether; for the first six months of the film's distribution, the only American exhibitor to credit Méliès in advertisements for the film was Thomas Lincoln Tally, who chose the film as the inaugural presentation of his Electric Theater.

In order to combat the problem of film piracy that became clear during the release of A Trip to the Moon, Méliès opened an American branch of the Star Film Company, directed by his brother Gaston Méliès, in New York in 1903. The office was designed to sell Méliès's films directly and to protect them by registering them under United States copyright. The introduction to the English-language edition of the Star Film Company catalogue announced: "In opening a factory and office in New York we are prepared and determined energetically to pursue all counterfeiters and pirates. We will not speak twice, we will act!"

Various trade arrangements were made with other film companies, including American Mutoscope and Biograph, the Warwick Trading Company, the Charles Urban Trading Co., Robert W. Paul's studio, and Gaumont. In these negotiations, a print sale price of 0.15 per foot was standardised across the American market, which proved useful to Méliès. Later price standardisations by the Motion Picture Patents Company in 1908 hastened his financial ruin, as his films were impractically expensive under the new standards. After 1908, his films waned from the fashions of time as fanciful magic fell out of vogue.

Reception
According to Méliès's memoirs, his initial attempts to sell A Trip to the Moon to French fairground exhibitors met with failure because of the film's unusually high price. Finally, Méliès offered to let one such exhibitor borrow a print of the film to screen for free. The applause from the very first showing was so enthusiastic that fairgoers kept the theatre packed until midnight. The exhibitor bought the film immediately, and when he was reminded of his initial reluctance he even offered to add 200 to compensate "for [Méliès's] inconvenience." The film was a pronounced success in France, running uninterrupted at the Olympia music hall in Paris for several months.

A Trip to the Moon was met with especially large enthusiasm in the United States, where (to Méliès's chagrin) its piracy by Lubin, Selig, Edison and others gave it wide distribution. Exhibitors in New York City, Washington, D.C., Cleveland, Detroit, New Orleans, and Kansas City reported on the film's great success in their theatres. The film also did well in other countries, including Germany, Canada, and Italy, where it was featured as a headline attraction through 1904.

A Trip to the Moon was one of the most popular films of the first few years of the twentieth century, rivalled only by a small handful of others (similarly spectacular Méliès films such as The Kingdom of the Fairies and The Impossible Voyage among them). Late in life, Méliès remarked that A Trip to the Moon was "surely not one of my best," but acknowledged that it was widely considered his masterpiece and that "it left an indelible trace because it was the first of its kind." The film which Méliès was proudest of was Humanity Through the Ages (1908), a serious historical drama now presumed lost.

Black-and-white print
After Méliès's financial difficulties and decline, most copies of his prints were lost. In 1917, his offices were occupied by the French military, who melted down many of Méliès's films to gather the traces of silver from the film stock and make boot heels from the celluloid. When the Théâtre Robert-Houdin was demolished in 1923, the prints kept there were sold by weight to a vendor of second-hand film. Finally, in that same year, Méliès had a sudden fit of rage and burned all his remaining negatives in his garden in Montreuil. In 1925, he began selling toys and candy from a stand in the Gare Montparnasse in Paris. A Trip to the Moon was largely forgotten to history and went unseen for years.

Thanks to the efforts of film history devotées, especially René Clair, Jean George Auriol, and Paul Gilson, Méliès and his work were rediscovered in the late 1920s. A "Gala Méliès" was held at the Salle Pleyel in Paris on 16 December 1929 in celebration of the filmmaker, and he was awarded the Legion of Honor in 1931. During this renaissance of interest in Méliès, the cinema manager Jean Mauclaire and the early film experimenter Jean Acme LeRoy both set out independently to locate a surviving print of A Trip to the Moon. Mauclaire obtained a copy from Paris in October 1929, and LeRoy found one from London in 1930, though both prints were incomplete; Mauclaire's lacked the first scene, and LeRoy's was missing the entire final sequence featuring the parade and commemorative statue. These prints were occasionally screened at retrospectives (including the Gala Méliès), avant-garde cinema showings, and other special occasions, sometimes in presentations by Méliès himself.

Following LeRoy's death in 1932, his film collection was bought by the Museum of Modern Art in 1936. The museum's acquisition and subsequent screenings of A Trip to the Moon, under the direction of MoMA's film curator Iris Barry, opened the film up once again to a wide audience of Americans and Canadians and established it definitively as a landmark in the history of cinema. LeRoy's incomplete print became the most commonly seen version of the film and the source print for most other copies, including the Cinémathèque Française's print. A complete version of the film, including the entire celebration sequence, was finally reconstructed in 1997 from various sources by the Cinémathèque Méliès, a foundation set up by the Méliès family.

Hand-colored print

No hand-colored prints of A Trip to the Moon were known to survive until 1993, when one was given to the Filmoteca de Catalunya by an anonymous donor as part of a collection of two hundred silent films. It is unknown whether this version, a hand-colored print struck from a second-generation negative, was colored by Elisabeth Thuillier's lab, but the perforations used imply that the copy was made before 1906. The flag waved during the launching scene in this copy is colored to resemble the flag of Spain, indicating that the hand-colored copy was made for a Spanish exhibitor.

In 1999, Anton Gimenez of the Filmoteca de Catalunya mentioned the existence of this print, which he believed to be in a state of total decomposition, to Serge Bromberg and Eric Lange of the French film company Lobster Films. Bromberg and Lange offered to trade a recently rediscovered film by Segundo de Chomón for the hand-colored print, and Gimenez accepted. Bromberg and Lange consulted various specialist laboratories in an attempt to restore the film, but because the reel of film had apparently decomposed into a rigid mass, none believed restoration to be possible. Consequently, Bromberg and Lange themselves set to work separating the film frames, discovering that only the edges of the film stock had decomposed and congealed together, and thus that many of the frames themselves were still salvageable. Between 2002 and 2005, various digitisation efforts allowed 13,375 fragments of images from the print to be saved. In 2010, a complete restoration of the hand-colored print was launched by Lobster Films, the Groupama Gan Foundation for Cinema, and the Technicolor Foundation for Cinema Heritage. The digitised fragments of the hand-colored print were reassembled and restored, with missing frames recreated with the help of a black-and-white print in the possession of the Méliès family, and time-converted to run at an authentic silent-film speed, 16 frames per second. The restoration was completed in 2011 at Technicolor's laboratories in Los Angeles. Restoration costs were $1 million.

The restored version premiered on 11 May 2011, eighteen years after its discovery and 109 years after its original release, at the 2011 Cannes Film Festival, with a new soundtrack by the French band Air. The restoration was released by Flicker Alley in a 2-disc Blu-ray and DVD edition featuring both color and black & white versions of the film also including The Extraordinary Voyage, a feature-length documentary by Bromberg and Lange about the film's restoration, in 2012. In The New York Times, A. O. Scott called the restoration "surely a cinematic highlight of the year, maybe the century."

Legacy

As A Short History of Film notes, A Trip to the Moon combined "spectacle, sensation, and technical wizardry to create a cosmic fantasy that was an international sensation." It was profoundly influential on later filmmakers, bringing creativity to the cinematic medium and offering fantasy for pure entertainment, a rare goal in film at the time. In addition, Méliès's innovative editing and special effects techniques were widely imitated and became important elements of the medium. The film also spurred on the development of cinematic science fiction and fantasy by demonstrating that scientific themes worked on the screen and that reality could be transformed by the camera. In a 1940 interview, Edwin S. Porter said that it was by seeing A Trip to the Moon and other Méliès films that he "came to the conclusion that a picture telling a story might draw the customers back to the theatres, and set to work in this direction." Similarly, D. W. Griffith said simply of Méliès: "I owe him everything." Since these American directors are widely credited with developing modern film narrative technique, the literary and film scholar Edward Wagenknecht once summed up Méliès's importance to film history by commenting that Méliès "profoundly influenced both Porter and Griffith and through them the whole course of American film-making."

It remains Méliès's most famous film as well as a classic example of early cinema, with the image of the capsule stuck in the Man in the Moon's eye particularly well known. The film has been evoked in other creative works many times, ranging from Segundo de Chomón's 1908 unauthorised remake Excursion to the Moon through the extensive tribute to Méliès and the film in the Brian Selznick 2007 novel The Invention of Hugo Cabret and its 2011 Martin Scorsese film adaptation Hugo. Film scholar Andrew J. Rausch includes A Trip to the Moon among the "32 most pivotal moments in the history of [film]," saying it "changed the way movies were produced." Chiara Ferrari's essay on the film in 1001 Movies You Must See Before You Die, which places A Trip to the Moon as the first entry, argues that the film "directly reflects the histrionic personality of its director", and that the film "deserves a legitimate place among the milestones in world cinema history."

title: A Trip to the Moon


text:
Donald Kaufman

Donald Kaufman may refer to:

 * Donald Kaufman (collector) (1930–2009), American toy collector
 * Donald Bruce Kaufman, co-founder of homebuilding firm Kaufman & Broad (now KB Home)
 * Donald Kaufman, fictional character in the 2002 film Adaptation

title: Donald Kaufman


text:
RFA Bacchus

Three ships of the Royal Fleet Auxiliary have borne the name RFA Bacchus, after Bacchus, the god of wine in Roman mythology:

 * RFA Bacchus was a store carrier launched in 1915. She was renamed RFA Bacchus II in 1936 and was sunk as a target in 1938.
 * RFA Bacchus was a store carrier launched in 1936 and sold into civilian service in 1962 under the name Pulau Bali.
 * RFA Bacchus was a store carrier launched in 1962 and returned to her owners in 1981 under the name Cherry Lanka.

title: RFA Bacchus


text:
Wikipedia talk:Selected anniversaries/June 10

--150.101.189.156 11:44, 9 Jun 2005 (UTC)
 * Some admin add this, please. It's big:
 * 1940 - World War II: Norway surrenders to German forces.

 * 1534 - Jacques Cartier and crew celebrate the first mass in North America

Main page error
The 1805 entry re: the Barbary War says $6,000 was paid in tribute, the article says $60,000 at First Barbary War. Jody B  talk 10:27, 10 June 2007 (UTC)

2012 notes
— howcheng  {chat} 06:07, 9 June 2012 (UTC)
 * Deleted: Hawkhurst Branch Line (one-time inclusion)
 * Moved to Ineligible: Battle of Brice's Crossroads (maintenance); United Church of Canada (maintenance)
 * New articles (unused): Battle of Big Bethel; Kidnapping of Jaycee Lee Dugard
 * Omitted: Frederick I, Holy Roman Emperor; First Barbary War; Alcoholics Anonymous; Canadian federal election, 1957
 * Included: The Boat Race (6th appearance, last in 2008; rescued from Ineligible); United States expedition to Korea (first appearance); Six-Day War (5th appearance, last in 2011; moved from June 5; Gora Prai airstrike (3rd appearance, last in 2010)
 * Repeats: SMS Szent István (2nd consecutive appearance, 2 total)

2013 notes
— howcheng  {chat} 08:14, 9 June 2013 (UTC)
 * Omitted: Portugal Day (ineligible—maintenance); The Boat Race; United States expedition to Korea; SMS Szent István; Six-Day War (deleted; featured on June 4); Gora Prai airstrike
 * Included: Frederick I, Holy Roman Emperor (8th appearance, last in 2011); Myall Creek massacre (4th appearance, last in 2010); United Church of Canada (first appearance; rescued from Ineligible); Alcoholics Anonymous (8th appearance, last in 2011); Kidnapping of Jaycee Lee Dugard (first appearance)

2014 notes
— howcheng  {chat} 07:17, 9 June 2014 (UTC)
 * Omitted: Frederick I, Holy Roman Emperor; United Church of Canada; Alcoholics Anonymous
 * Included: Portugal Day (rescued from Ineligible); SMS Szent István (3rd appearance, last in 2012); United States expedition to Korea (2nd appearance, last in 2012); John Diefenbaker/Canadian federal election, 1957 (Diefenbaker: 3rd appearance, last in 2006; previously appeared on February 20; Election: 3rd appearance, last in 2011)
 * Repeats: Myall Creek massacre (2nd consecutive appearance, 5 total); Kidnapping of Jaycee Lee Dugard (2nd consecutive appearance, 2 total)

Protected edit request on 10 June 2014
There can be found scholarly, independent reliable sources around the internet (but also in books) that verify that 1871 was actually before 1918.

85.74.125.119 (talk) 01:32, 10 June 2014 (UTC)
 * Yes check.svg Done WP:BLUE? Anyway, the years are now in the correct order. (And next time, you may get a quicker response at WP:ERRORS.) Best — Mr. Stradivarius  ♪ talk ♪ 01:44, 10 June 2014 (UTC)

2015 notes
— howcheng  {chat} 07:57, 8 June 2015 (UTC)
 * Omitted: Myall Creek massacre; SMS Szent István; United States expedition to Korea; Kidnapping of Jaycee Lee Dugard
 * Included: The Boat Race (7th appearance, last in 2012); Tristan und Isolde (first appearance); United Church of Canada (2nd appearance, last in 2013; 90th anniversary); Gora Prai airstrike (4th appearance, last in 2012)
 * Repeats: John Diefenbaker/Canadian federal election, 1957 (both: 2nd consecutive appearance, 4 total)
 * Dear I added the International Quds Day according this source. Mhhossein (talk) 17:11, 6 July 2015 (UTC)
 * That's July 10, this is the June 10 day. :) — howcheng  {chat} 23:56, 6 July 2015 (UTC)
 * Oh sorry! Mhhossein (talk) 13:33, 7 July 2015 (UTC)

2016 notes
— howcheng  {chat} 15:53, 8 June 2016 (UTC)
 * New articles (ineligible): Oradour-sur-Glane massacre (maintenance)
 * Moved to Ineligible: Frederick I, Holy Roman Emperor (maintenance)
 * Omitted: The Boat Race; Tristan und Isolde; John Diefenbaker/Canadian federal election, 1957; Gora Prai airstrike
 * Included: Myall Creek massacre (6th appearance, last in 2014); United States expedition to Korea (3rd appearance, last in 2014); SMS Szent István (4th appearance, last in 2014); Kidnapping of Jaycee Dugard (3rd appearance, last in 2014; 25th anniversary)
 * Repeats: United Church of Canada (2nd consecutive appearance, 3 total)

2017 notes
— howcheng  {chat} 18:52, 10 June 2017 (UTC)
 * Moved to Ineligible: The Boat Race (maintenance); Tristan und Isolde (maintenance)
 * Omitted: Portugal Day (ineligible—maintenance); United States expedition to Korea (ineligible—maintenance); SMS Szent István; United Church of Canada; Kidnapping of Jaycee Dugard
 * Included: Battle of Pelekanon (first appearance); Alcoholics Anonymous (9th appearance, last in 2013); John Diefenbaker/Canadian federal election, 1957 (both: 5th appearance, last in 2015; 60th anniversary); Gora Prai airstrike (5th appearance, last in 2015); Cheng Rui (first appearance); Abu al-Wafa' Buzjani (first appearance); Nils Økland (first appearance)
 * Repeats: Myall Creek massacre (2nd consecutive appearance, 7 total)

2018 notes
— howcheng  {chat} 15:40, 11 June 2018 (UTC)
 * New articles (ineligible): Christina Grimmie (maintenance)
 * Rescued from Ineligible (unused): 1886 eruption of Mount Tarawera (blurb previously featured Mount Tarawera, which remains ineligible)
 * New articles (unused): 1786 Kangding-Luding earthquake
 * Omitted: Battle of Pelekanon; Myall Creek massacre; Alcoholics Anonymous; John Diefenbaker/Canadian federal election, 1957; Cheng Rui; Abu al-Wafa' Buzjani; Nils Økland
 * Included: Frederick I, Holy Roman Emperor (9th appearance, last in 2013; rescued from Ineligible); Bridget Bishop (2nd appearance, last in 2010; rescued from Ineligible); League of Prizren (first appearance); SMS Szent István (5th appearance, last in 2016; 100th anniversary); Princess Caroline of Great Britain (first appearance); Sessue Hayakawa (first appearance); Margaret Abbott (first appearance)
 * Repeats: Gora Prai airstrike (2nd consecutive appearance, 6 total; 10th anniversary)

2019 notes
— howcheng  {chat} 16:07, 10 June 2019 (UTC)
 * Moved to Ineligible: Nils Økland (maintenance)
 * New articles (unused): Edward Everett Hale; Wang Yuegu
 * Omitted: Bridget Bishop; League of Prizren; SMS Szent István; Gora Prai airstrike; Princess Caroline of Great Britain; Sessue Hayakawa; Margaret Abbott
 * Included: 1786 Kangding-Luding earthquake (first appearance); 1886 eruption of Mount Tarawera (first appearance); United Church of Canada (4th appearance, last in 2016); Kidnapping of Jaycee Dugard (4th appearance, last in 2016); Gustave Courbet (first appearance; 200th birthday); Ninian Comper (first appearance); Christina Grimmie (first appearance)
 * Repeats: Frederick I, Holy Roman Emperor (2nd consecutive appearance, 10 total)

2020 notes
— howcheng  {chat} 16:53, 11 June 2020 (UTC)
 * Omitted: Frederick I, Holy Roman Emperor; 1786 Kangding-Luding earthquake; 1886 eruption of Mount Tarawera; United Church of Canada; Kidnapping of Jaycee Dugard; Gustave Courbet; Ninian Comper; Christina Grimmie
 * Included: Myall Creek massacre (8th appearance, last in 2017); Mihailo Obrenović (first appearance); SMS Szent István (6th appearance, last in 2018); John Diefenbaker/1957 Canadian federal election (both: 6th appearance, last in 2017); Gora Prai airstrike (7th appearance, last in 2018); Isabella Andreini (first appearance); Robert Brown (botanist, born 1773) (first appearance); Aud Blegen Svindland (first appearance)

2021 notes
— howcheng  {chat} 06:52, 14 June 2021 (UTC)
 * Omitted: Mihailo Obrenović; SMS Szent István; John Diefenbaker/1957 Canadian federal election; Gora Prai airstrike; Isabella Andreini; Robert Brown (botanist, born 1773); Aud Blegen Svindland
 * Included: Battle of Pelekanon (2nd appearance, last in 2017); 1786 Kangding-Luding earthquake (2nd appearance, last in 2019); Arab Revolt (first appearance); Kidnapping of Jaycee Dugard (5th appearance, last in 2019; 30th anniversary); Hans Karl von Diebitsch (first appearance); João Gilberto (first appearance; 90th birthday); Wang Yuegu (first appearance)
 * Repeats: Myall Creek massacre (2nd consecutive appearance, 9 total)

2022 notes
— howcheng  {chat} 17:55, 11 June 2022 (UTC)
 * Omitted: Battle of Pelekanon; 1786 Kangding-Luding earthquake; Myall Creek massacre; Arab Revolt; Kidnapping of Jaycee Dugard; Hans Karl von Diebitsch (deleted—low quality); João Gilberto; Wang Yuegu
 * Included: Frederick I, Holy Roman Emperor (11th appearance, last in 2019); Bridget Bishop (3rd appearance, last in 2018); League of Prizren (2nd appearance, last in 2018); United Church of Canada (5th appearance, last in 2019); Sudan Airways Flight 109 (first appearance); Theodor Philipsen (first appearance); Margarito Bautista (first appearance); Margaret Abbott (2nd appearance, last in 2018)


text:
0304

0304 is the fifth studio album by American singer Jewel, released on June 3, 2003, by Atlantic Records. Inspired by Jewel's sudden success topping the US Billboard Hot Dance Club Play chart in early November 2002 with a remix of "Serve the Ego", the final single from her previous album This Way, the album is a radical departure from her previous folk-oriented musical efforts and is instead more pop and dance-focused.

0304 produced three singles. The lead single "Intuition", a top 20 hit on the US Billboard Hot 100, topped the Dance Club Songs chart, as did the album's second single "Stand". Its third single, "2 Become 1", was less successful, peaking at 33 on the Adult Top 40 chart.

Background
Within the liner notes to 0304, Jewel includes a note to her fans, explaining, "This album may seem different to you." According to Jewel, the album is a result of her desire to create a "modern interpretation of big band music. A record that [is] lyric-driven, like Cole Porter stuff, that also has a lot of swing...that combined dance, urban, and folk music." For the album, Jewel teamed with producers Lester Mendez (Shakira, Enrique Iglesias) and Rick Nowels (Madonna).

Critical reception
0304 received generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 63, based on nine reviews. Stephen Thomas Erlewine from AllMusic stated that "it's the first album of hers that's a sheer pleasure to hear", while noting "[she] includes a note to her fans, explaining, 'This album may seem different to you,' which is putting it mildly", to convey the surprising, yet pleasing modern sound. Erlewine also wrote that "she puts herself out on the line more than she ever has, and she's come up with her best record, with her best set of songs and best music yet." Ron Slomowicz from About.com declared that "the album is balanced by dance pop that you would expect to hear on a Britney album." Sal Cinquemani from Slant Magazine was also positive, writing that "the album breaks little musical ground and is, in fact, more pop than electronica, but it also presents one of the most startling—yet oddly fitting—transformations in pop history." Cinquemani also compared the album to Madonna's Ray of Light (1998) and American Life (2003). Barry Walters from Rolling Stone agreed with Cinquemani and wrote that the album "is essentially a wanna-be version of Madonna's American Life." Walters also wrote that "she's found herself an artificial flavor that tastes good." A positive review also came from Uncut, who wrote that "the tunes are stunning, her voice has never sounded better and she makes serious points few others would dare in a pop context." Brian Hiatt from Entertainment Weekly opined that the "unexpected dance-pop vibrancy makes it Jewel's best album."

The album also received some mixed reviews, with some critics criticizing the change of style adopted on the album. Alexis Petridis from The Guardian wrote, "Like Robbie Williams's Escapology, 0304 virtually knocks itself out in its attempts to win over the US public", while commenting that she looks "desperate" and "uncomfortable" on the album. Darryl Sterdan from Jam! said that the album "isn't going to save her soul—or anyone else's." Caroline Bansal from musicOMH described the album as "an enjoyable 54 minutes of pop, full of catchy, chirpy songs, proving Jewel's ear candy as well as eye candy credentials. The album could be the soundtrack of a summer's day at the beach, or for getting ready for a girly night out."

Commercial performance
0304 became the highest-debuting album of Jewel's career, entering the Billboard 200 at number two (behind Metallica's St. Anger) with 144,000 copies sold in its first week. It earned a gold certification from Recording Industry Association of America (RIAA) one month after its release, on July 14, 2003, and had sold over 771,000 copies in the United States as of June 2010.

Track listing
Notes
 * The UK edition has the same cover art as that of the edition released in the rest of Europe but is otherwise identical to the main release.

Personnel
Credits adapted from the liner notes of 0304.

Musicians

 * Jewel – vocals
 * Rusty Anderson – electric guitar
 * David Levita – electric guitar (tracks 1, 2, 4–14)
 * Mark Oakley – acoustic guitar
 * Paul Bushnell – bass (tracks 1, 3–14)
 * Lester A. Mendez – keyboards, arrangement (all tracks); claps (tracks 3, 11)
 * Abe Laboriel Jr. – snare drum (tracks 1, 2); claps (tracks 3, 11); drums (tracks 4–14); percussion (tracks 4–8, 10–14)
 * Mike Bolger – accordion (track 3); trumpet, trombone (track 4)
 * Greg Collins – claps (tracks 3, 11)
 * Patrick Warren – Chamberlin (tracks 4, 6, 9, 14); piano (track 8)
 * Lisa Germano – violin, backing vocals (track 6)
 * Havana Hustlers – programming

Technical

 * Lester A. Mendez – production
 * Jewel Kilcher – production
 * Lenedra Carroll – executive production
 * Ron Shapiro – executive production
 * Evan Lamberg – executive production
 * Greg Collins – engineering
 * Clif Norrell – additional engineering
 * Ryan Freeland – additional engineering
 * Andrew Scheps – additional engineering
 * Carlos Paucar – additional engineering
 * John Morrical – engineering assistance
 * Seth Waldmann – engineering assistance
 * Serban Ghenea – mixing
 * John Hanes – additional Pro Tools engineering
 * Tim Roberts – mix engineering assistance
 * Chris Gehringer – mastering
 * Will Quinnell – mastering engineering assistance
 * Becky Scott – production coordination

Artwork

 * Richard Bates – art direction
 * Greenberg Kingsley – design
 * Peter Robathan – photography

title: 0304


text:
Cannibal! The Musical

'Cannibal! The Musical (originally known as Alferd Packer: The Musical') is a 1993 American black comedy Western musical film directed, written, produced, co-scored by and starring Trey Parker in his directorial debut while studying at the University of Colorado at Boulder, before reaching fame with South Park alongside his friend Matt Stone who also stars in and produced the film. It is loosely based on the true story of Alfred Packer and the sordid details of the trip from Utah to Colorado that left his five fellow travelers dead and partially eaten. Trey Parker (credited as Juan Schwartz) stars as Alferd Packer, with frequent collaborators Stone, Dian Bachar, and others playing the supporting roles.

A live staged version was performed at Sierra College, in Rocklin, California, in May 1998. It was followed by Dad's Garage Theater, Atlanta Georgia, in the fall of 1998. The Dad's Garage version is highlighted in the special features of Troma's DVD release of the movie. The show has continued to find small theaters and audiences across America and beyond for many years. In 2001, a production was staged Off-Broadway at the Kraine Theater on East 4th Street in New York.

In 2011, producer Jason McHugh released a book titled ''Shpadoinkle: The Making of Cannibal! The Musical which chronicles all aspects of the creation and continuation of the Cannibal! The Musical'' cult phenomenon.

Plot
The film begins with a reenactment of the gruesome act of cannibalism described by the prosecuting attorney during Alferd Packer's 1883 trial. During this sensationalized account, a haggard Packer repeatedly insists that was not how it happened. During a break in the trial, Packer is enticed by journalist Polly Pry to tell his side of the story, which he proceeds to do, via flashback beginning with his horse Liane galloping in a field.

In 1873, Packer was part of a group of miners in Bingham Canyon, Utah who hear of new prospects in Breckenridge. Together, the small group decide to travel together into Colorado Territory. Packer is appointed as the replacement for the original guide, since he claimed knowledge of the area. He and Liane set off on what Packer estimates will be a three-week journey with a party of five miners: Shannon Wilson Bell, James Humphrey, Frank Miller, George Noon and Israel Swan.

Four weeks later, while attempting to visit Provo for supplies they become convinced they are lost. They are given local warning them of impending doom awaiting them in the mountains. Finally arriving in Provo, they run into a group of three fur trappers bound for Saguache; O.D. Loutzenheiser, Preston Nutter, and their diminutive leader, Jean "Frenchy" Cabazon. The trappers despise the miners, whom they contemptuously call "diggers", yet seem to like Packer's Arabian horse, telling Packer that she's a "trapper horse". The next day, Packer wakes up to discover his horse Liane is missing. The men attempt to cross the Green River near the Utah border. Eventually, after a disastrous crossing of the Colorado River the Packer party is spotted by two "Nihonjin" Indians. They are taken back to the tribe's encampment near Delta where the chief warns them of a winter storm, allowing them to wait it out with the tribe. Packer's party also find the trappers camping out with the tribe, a small altercation breaks out over Liane, whose feedbag Packer finds in their possession.

In the present time, Packer is sentenced to death by hanging, with his execution to occur in Lake City. That night, Polly reveals her growing affection for him through song. The next day, Polly visits Packer once again in prison, where he continues his story.

The men set out in the wilderness and begin to suspect that Packer is really only interested in following the trappers to find his horse. They soon run out of food, resorting to eating their shoes as they become lost in the snow-covered Rocky Mountains. Out of frustration, Bell shoots Swan in the head while in the middle of a song, because he does not appreciate his (Swan's) perspective on their predicament. The men discuss their dire situation that night over the fire, speaking of the cannibalism that the Donner Party had to resort to in California. They decide to consume the body of their dead companion as Miller cuts up Swan's body, and only Bell refuses to partake in the cannibalism. After a few more days, the party loses hope, which leads to talk of sacrificing one of their own. Packer convinces them for one more chance for a scouting trip, but when he returns, Bell has killed the others, claiming they planned to kill and eat him after Packer left. Packer is forced to throw a cleaver at Bell, seemingly killing him. He is then forced to cannibalize the others to wait out the rest of the winter.

Arriving in Saguache sometime later, Packer finds Liane, who has taken to Cabazon, upsetting Packer. The sheriff of Saguache, suspicious of Packer arriving without the rest of his party, eventually finds out the fate of the other members and attempts to arrest Packer for cannibalism at a saloon. A bar-fight between Packer and the trappers occurs, which Packer wins after brutally attacking Cabazon's groin using fighting techniques he learned from the Nihonjin chief, leaving Cabazon incapacitated. Following this, Packer attempts to flee to Wyoming, only to later be arrested there and brought back to Colorado to await judgment. However, he is saved at the last minute by Polly, who arrives on the scene with Liane. Meanwhile, Cabazon, wants revenge against Packer for their fight in Saguache. The Nihonjin chief saves Packer by cutting his rope with a katana before beheading Cabazon. Packer, seeing that Polly brought back Liane, he realizes he does not need her anymore and chooses Polly, the two kiss, only to be frightened by a still-alive but badly maimed Bell.

Cast

 * Trey Parker as Alferd Packer (credited as Juan Schwartz)
 * Toddy Walters as Polly Pry
 * Matt Stone as James Humphrey (credited as Mathew Stone)
 * Dian Bachar as George "California" Noon
 * Jason McHugh as Frank Miller
 * Jon Hegel as Israel Swan
 * Ian Hardin as Shannon Wilson Bell
 * Duster as Packer's horse, Liane
 * Robert Muratore as Jean "Frenchy" Cabazon
 * Edward Henwood as O.D. Loutzenheiser/The Cyclops
 * Andrew Kemler as Preston Nutter
 * Masao Maki as the Chief of the fictitious Nihonjin Indian tribe (credited as Maseo Maki)
 * Japanese foreign exchange students as Nihonjin Indians
 * Junichi as Junichi
 * Tomomi as Tomomi, a young Indian girl whom Noon swoons over
 * Audrey Stafferd as the Voice of Doom
 * Randy Parker (Trey Parker's father) as Judge Jerry
 * Jessica James Kelly as Tiny Tim/Baby Packer
 * Martin Leeper as the Sheriff of Saguache (credited as Marty Leeper)
 * Brad Gordon as Mills
 * Steve Jackson as the Sheriff of Lake City
 * Stan Brakhage as Noon's father
 * Don Yannacito as Humphrey's father
 * Kevin Allen as a passerby who glances over Polly Pry with a confused look as she performs "This Side of Me"
 * Liane Adamo as one of the dancers during the "Hang the Bastard" number (uncredited)
 * Chris Graves as a drunken man who plays a cowbell break in "Hang the Bastard" (uncredited)
 * Joe McHugh (Jason McHugh's father) as General Store Clerk (uncredited)
 * Brody McHugh (Jason McHugh's sister) as Woman leaving store (uncredited)

Musical numbers

 * 1) "Shpadoinkle" – Alferd
 * 2) "Shpadoinkle (Reprise)" – George, Alferd, Shannon, Frank, Swan, and Humphrey
 * 3) "That's All I'm Asking for" – George, Alferd, Shannon, Frank, Swan, and Humphrey.
 * 4) "When I Was on Top of You" – Alferd
 * 5) "Trapper Song" – Frenchy (voice of Parker), Loutzenheiser, and Nutter
 * 6) "This Side of Me" – Polly
 * 7) "Let's Build a Snowman" – Swan
 * 8) "Let's Build a Snowman (Reprise)" – Swan
 * 9) "That's All I'm Asking for (Reprise)" – George, Alferd, Shannon, Frank and Humphrey
 * 10) "Hang the Bastard" – Company
 * 11) "Shpadoinkle (Finale)" – Polly, Alferd, and Company

Contrasting with the musical's generally dark and morbid humor are its cheerful songs, all composed by Parker, including "Let's Build a Snowman", "When I Was on Top of You", "Hang the Bastard", and "Shpadoinkle" (pronounced shpah-doink-ul). The last of these is a transparent parody of the song "Oh, What a Beautiful Mornin'" from the Rodgers & Hammerstein musical Oklahoma!.

Two songs that were originally going to be in the film, but later taken out, were "Shatterproof", a rap song to be sung by Packer during the bar fight scene, and "Don't Be Stupid", a song to be sung by some of the Bingham Canyon miners after the reprise of "Shpadoinkle". An interview with Ian Hardin (now known as Ian Keldin) revealed that Trey thought "Shatterproof" made Packer seem too tough.

Production
The film began as a 3-minute trailer made for a film class, having been an idea Parker and his friends had for a while but also inspired in part by Parker's resentment towards his ex-fiancée Lianne Adamo after discovering her cheating on him not long before their wedding, with Packer's disloyal horse "Liane" in the final film being based on her. After the trailer drew much attention, Parker and Stone raised around $125,000 and began shooting the full-length film. The film was shot during weekends and on spring break in 1993, and according to Ian Hardin, most of the crew failed their film history class as a result. Filming was done on location throughout Colorado in Denver, Colorado National Monument, Black Canyon, and Ouray, with the courtroom scenes being shot in the actual courthouse that Alferd Packer was tried in, in Lake City, and the town scenes taking place in Provo, Saguache, and the hanging scene being shot in different parts of the Buckskin Joe Old West theme park in Canyon City.

A few incidents happened during filming, such as Parker getting a hairline hip fracture after being thrown from one of the horses playing "Liane", fights occasionally breaking out among the crew, some of the main cast experiencing cold shock and almost being swept away by strong currents from crossing the icy Gunnison River that doubled for the Green River, as well as inclement weather and even an avalanche complicating shooting.

This film was originally titled Alferd Packer: The Musical in 1993. The film premiered on October 31, 1993, in Boulder, Colorado, at a cinema near the University of Colorado campus. A fake protest organized by friends of Parker and Stone, organized along the lines of an animal rights demonstration, took place in front of the theater. The film then played at Raindance Film Festival in October 2004. Parker and Stone attended.

It was not released generally until 1996, however, when Troma Entertainment picked it up and renamed it ''Cannibal! The Musical'' out of concern that not enough people outside of Colorado knew who Packer was. Few people outside of Colorado ever saw the film since Troma did not distribute it widely. Parker and Stone's animated satire South Park debuted the following year.

Several live productions of the show have been mounted, with excerpts from one live version available on the DVD.

Home media
Following Matt and Trey's success with South Park, Troma re-released the film on VHS and DVD and it enjoyed a decent cult following. The DVD contains a "Drunken Director's Commentary" where Parker and Stone along with most of the cast get drunk as they watch the film, although there are a few times when the commentary cuts out.

The film has since been released on UMD for the Sony PSP. A special edition 13th anniversary DVD was released by Troma with added features, including all-new interviews with the cast and crew.

The film was re-released in November 2008 as the first of the "Tromasterpiece Collection," as Troma considers Cannibal! to be one of its best films. Included in the new two-disc version, with over three hours of special features, never-before-seen deleted material and stage shows. Songs such as "Shatter Proof" and the early short films of Parker and Stone were considered to be a part of the new DVD, but these additions were ultimately rejected.

Stage productions
There have been several amateur productions of ''Cannibal! The Musical'' since 1996. The first was at the Sierra College in Northern California and then at Dad's Garage Theater where it won accolades by fans and the press.

In 2001, Saturday Players launched a six-month off-off-Broadway run of the show that earned critical acclaim and returning audience members.

In 2004, Cannibal made its European debut in Rome at the Teatro di Servi.

In 2005, the first High School group attempted the show at The Ironwood Ridge High School in Tucson, Arizona, but the show was censored by the school and performed off campus as a benefit. Later that year the show made its German debut at the University of Regensburg and played many small colleges and community houses in the US.

In 2006, the show debuted at its first Fringe Festivals in Minneapolis and Victoria, Canada and continued to find adoption by small colleges and community theaters.

In 2008, The Insurgo Theater Movement launched the show in Las Vegas for the first of several runs by their company. Unexpected Productions launched the first of four October runs of Cannibal in Seattle.

Also in 2008, The Rival Theatre Company produced the first large-scale professional production. The show ran from July 31 to August 25 at the George Square Theatre, Edinburgh for a total of 26 performances. It starred Aimie Atkinson as Polly Pry and James Topping as Alferd Packer. Original film cast member Jason McHugh made a guest appearance as Mr. Mills. Other guest stars included Jim Bowen and The Q Brothers.

This production was planned a six-week run to the West End from July 27, 2010, at the Leicester Square Theatre. However, after copyright holder Jason McHugh withdrew the rights in May 2010, the show was canceled.

In 2011, M.P.M.M. Productions, performed the musical in Winnipeg, Manitoba, Canada during the 2011 Winnipeg Fringe Festival. It won "The Best of Fest" for its venue (meaning it outsold other shows in the venue and was awarded an additional show). The show also debuted in St Louis and Denver with great reviews and enthusiastic casts and audience members.

In May 2012, Logan Donahoo Presents performed a version of the musical in Orlando, Florida during the 2012 Orlando International Fringe Theatre Festival, in the Yellow venue. The show was successful, receiving positive reviews, and winning Patron's Pick for its venue, meaning that it had outsold all of the other shows and was awarded an additional performance.

''Trey Parker's Cannibal! The Musical'' played in Toronto at David Mirvish's Panasonic Theatre for a four-week run (February 10 to March 8, 2015). Additional book, lyrics, and music by Christopher Bond, Aaron Eyre, and Trevor Martin.

It was announced in early 2014 that a production of the show is being produced at the Waterfront Theatre in Vancouver, B.C. by independent traveling theatre troupe Last Chance Productions. The show ran from June 12, 2014, until March 8, 2015, with two separate seating areas (a "Gore Zone" where audience members are subject to splash-zone-esque involvement, and a less messy "Gore-Free Zone".)

Trey Parker's CANNIBAL THE MUSICAL! had its first national tour in 2017 which rehearsed out of Toronto before heading to the Captiol Theatre in Windsor, ON the Canadian cast featured Greg Carruthers, David DiFrancesco, Shaeane Jimenez, Michelle Nash, Taylor Lavigne, Lucas Popowich, Brandon Knox, and Benjamin Zoëy. This production toured to the Overture Center in Madison, Wisconsin and Tennessee Performing Arts Center Andrew Johnson Theater in Nashville, Tennessee.

In 2019, Cannibal the Musical had its Bay Area premiere. It was performed by The Other Other Theatre Company in San Francisco. The show ran from July 21–29 at MoonSpace.

Reception
Cannibal! currently holds a 63% "Fresh" approval rating on Rotten Tomatoes based on 19 reviews, with a weighted average of 5.2/10. The site's critical consensus says: "If you're only going to watch one black comedy about a real-life explorer whose fellow travelers ended up eaten, make it Cannibal! The Musical."

title: Cannibal! The Musical


text:
Talk:Island (Huxley novel)

Unsorted text
When you finish editing this page, I think that it should be moved to Island (novel) or something of that sort. But the page looks great so far :-). ugen64 23:56, Mar 13, 2004 (UTC)

 * Oh, and don't sign your name at the end of articles :-). Thanks, ugen64 00:19, Mar 14, 2004 (UTC)

That large yellow box in the midle of the page needs to go, too. RickK | Talk 00:25, 14 Mar 2004 (UTC)

 * Yeah, I was thinking aobut that as well. ugen64 23:24, Mar 14, 2004 (UTC)

Island vs. Brave New World Table
Can we PLEASE delete this table and turn it into a bulletted list? RickK | Talk 01:21, 15 Mar 2004 (UTC)~

I agree, I don't like the table, but a bullet list wouldn't put them into contrasting columns which is the whole point. Anyone know a better way? --Karuna8 03:16, 23 September 2006 (UTC)

 * If nothing else, the table seems to be missing its index column.... 62.196.17.197 (talk) 16:14, 10 July 2013 (UTC)

What's What
How about a section on the Old Raja's Notes on What's What? I thought that was one of the best parts of the novel, and I learn something new every time I read it. "'I' affirms a separate and abiding me substance. 'Am' denies the fact that all existence is relationship and change.  'I Am' two tiny words but what an enormity of untruth!"

Fair use rationale for Image:Islandfhjkm.jpg
Image:Islandfhjkm.jpg is being used on this article. I notice the image page specifies that the image is being used under fair use but there is no explanation or rationale as to why its use in this Wikipedia article constitutes fair use. In addition to the boilerplate fair use template, you must also write out on the image description page a specific explanation or rationale for why using this image in each article is consistent with fair use.

Please go to the image description page and edit it to include a fair use rationale. Using one of the templates at Fair use rationale guideline is an easy way to ensure that your image is in compliance with Wikipedia policy, but remember that you must complete the template. Do not simply insert a blank template on an image page.

If there is other fair use media, consider checking that you have specified the fair use rationale on the other images used on this page. Note that any fair use images lacking such an explanation can be deleted one week after being tagged, as described on criteria for speedy deletion. If you have any questions please ask them at the Media copyright questions page. Thank you.

BetacommandBot (talk) 23:37, 13 February 2008 (UTC)

New Age again
In seeking to reconcile Western science and Eastern mysticism, Island can be considered a more intelligent and circumspect manifestation of the New Age Movement.
 * For the umpteenth time, most psychedelic proponents have nothing to do with the New Age Movement. I don't know who keeps adding this to all the psychedelic articles, but I'm removing it, again. Viriditas (talk) 14:29, 15 August 2008 (UTC)

MacPhelan did not shipwreck on Pala
He went there by invitation to cure the cancer of the old raja. —Preceding unsigned comment added by 201.28.124.254 (talk) 12:17, 24 April 2009 (UTC)

Worst. Article. Ever!
I came to this page to see if this was a book I would want to read, and I couldn't even figure out what genre it is! No description of the concept of the book, no plot synopsis, only analysis. Fix please.--DnivyØ (talk) 18:53, 9 October 2009 (UTC) Maybe because the importance of this book is not the plot but the themes. Like starship troopers the things that happened to the main character were unimportant but the ideas expressed repeatedly were the entire point of the book. —Preceding unsigned comment added by 12.111.105.81 (talk) 18:07, 20 April 2010 (UTC)

Plot Synopsis
This article should have a plot synopsis. It doesn't matter whether themes are important, it still requires some form of a plot synopsis. Many other novels with just as well-developed themes have a plot synopsis, and this book should be no exception.--137.146.143.108 (talk) 00:01, 15 March 2012 (UTC)
 * Agree. The whole article is more like an essay, constructed from personal opinions about the novel's themes, relationship to other works, and what Huxley was apparently thinking when he wrote certain scenes. None of it is independently verified - there is not a single citation throughout. Are articles about literary works held to a lower standard than those in the rest of WP? Just dreadful. 58.7.82.99 (talk) 06:24, 7 June 2012 (UTC)

Cleanup
Note, I'm going to try working on this in the next few weeks. Viriditas (talk) 23:26, 21 February 2013 (UTC)

Two weeks is up?
I do appreciate all the effort that goes into all articles, but the "Plot Summary" here would be better titled "Plot Details"...and in the end, eliminated. "Major Themes" and the table are enough to give visitors an idea of what the book is about.--50.68.140.76 (talk) 19:04, 23 July 2018 (UTC)

Copyright problem removed
Prior content in this article duplicated one or more previously published sources. The material was copied from: http://www.theplaidzebra.com/aldous-huxleys-wife-wrote-this-letter-about-injecting-him-with-lsd-right-before-he-died. Copied or closely paraphrased material has been rewritten or removed and must not be restored, unless it is duly released under a compatible license. (For more information, please see "using copyrighted works from others" if you are not the copyright holder of this material, or "donating copyrighted materials" if you are.)

For legal reasons, we cannot accept copyrighted text or images borrowed from other web sites or published material; such additions will be deleted. Contributors may use copyrighted publications as a source of information, and, if allowed under fair use, may copy sentences and phrases, provided they are included in quotation marks and referenced properly. The material may also be rewritten, providing it does not infringe on the copyright of the original or plagiarize from that source. Therefore, such paraphrased portions must provide their source. Please see our guideline on non-free text for how to properly implement limited quotations of copyrighted text. Wikipedia takes copyright violations very seriously, and persistent violators will be blocked from editing. While we appreciate contributions, we must require all contributors to understand and comply with these policies. Thank you. Sam Sailor 05:31, 24 June 2019 (UTC)

"Island Huxley novel" listed at Redirects for discussion
A discussion is taking place to address the redirect Island Huxley novel. The discussion will occur at Redirects for discussion/Log/2020 July 24 until a consensus is reached, and readers of this page are welcome to contribute to the discussion. –Deacon Vorbis (carbon • videos) 19:52, 24 July 2020 (UTC)

Governance (article mentions democracy)
The word "democracy" is mentioned in the article's Major Themes section. In Island (prior to Pala's forced unification with Rendang-Lobo, effected by Colonel Dipa's swoop on the country), did Huxley portray (or even give hints of) the structure, processes, and 'means' of Pala's governance? Was there an elected legislative assembly? Were there actual laws? If so, how were they enforced? Or was there a council of wise persons (whose practical guidance was heeded)?

"The Old Raja" was an ideologist of the new society. Was the Rani a sort of "New Raja" before her son was to be installed? What power did the Rani have?

Or did Huxley leave these dimensions vague?Joel Russ (talk) 00:50, 27 April 2023 (UTC)

title: Talk:Island (Huxley novel)