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The National (TV program)

The National (officially CBC News: The National) is a Canadian national television news program which serves as the flagship broadcast for the English-language news division of CBC News by the Canadian Broadcasting Corporation. It reports on major Canadian and international news stories, airing on CBC Television stations nationwide Sunday to Friday at 10:00 p.m. local time (10:30 p.m. NT).

The program is also aired on CBC News Network; on weekdays, the initial version that airs live to Atlantic Canada on the main network is simulcast on CBC News Network at 9:00 p.m. ET, with several repeat broadcasts overnight. Until August 2005, The National was seen in the United States on the defunct Newsworld International channel; the program continues to be aired occasionally on C-SPAN when that network wants to provide coverage of a major Canadian news story, or a Canadian angle for a world or American event.

The National and other CBC newscasts, including CBC owned-and-operated stations' (O&Os) early-evening local newscasts, are streamed on the CBC website; those residing outside of Canada may not be able to view some content. The show is also aired in Australia on SBS and made available on SBS ON Demand.

The National's sister French-language newscast is Le Téléjournal, aired on the Radio-Canada TV network.

Format
The National used to run a news headlines segment for 20 to 25 minutes without commercial interruption. This format has been relaxed or reinstated at various points over the years. Subsequent segments would consist of documentaries or other feature reports, either in the form of a separate program (The Journal or The Magazine) or as additional segments of the main program.

The opening segment generally runs 15 to 20 minutes, followed by additional segments of varying length featuring additional stories, features, or panel discussions. Long-form documentaries or feature reports are not as common as they were prior to 2009, but are featured from time to time, particularly during the Friday and Sunday editions. The broadcast contains some live inserts but some of the broadcast's segments are taped prior to the program's airtime. The anchor begins the first commercial break of the broadcast by saying "We're back in two." and the second commercial break of the broadcast by saying "The National breaks down the stories shaping our world, next.". Since 2023, the news segment of the show has been followed by a segment called "The Breakdown". The program concludes with a final segment called "The Moment".

Peter Mansbridge, as chief correspondent for CBC News, was the regular weeknight anchor, normally hosting from Monday to Thursday, but may host other nights if a significant news event has occurred. Mansbridge also regularly anchored on Fridays until the late 2000s; although CBC primetime promos on Fridays in the early 2010s often indicated that Mansbridge was the regular anchor that night as well, by that point Wendy Mesley was usually substituting, and she has since become the permanent Friday anchor. Mesley had also been the Sunday anchor since September 2010, essentially a reprisal of her tenure as anchor of Sunday Report in the early 1990s, while Asha Tomlinson was the last regular Saturday anchor.

From October 2009 to September 2012, weekday (and, on some stations, Sunday) airings on CBC O&Os ended at 10:55 with the anchor handing over to 10-minute local news bulletins that overlapped the normal 11:00 start time of the competing CTV National News. On CBC News Network, the weekday editions continued to run a full hour during this period; separate final segments, both pre-taped, were used for the 55- and 60-minute versions. Private affiliates, some of which had already been airing 11:00 p.m. local newscasts prior to the implementation of the 55-minute format, had the option of carrying either the 55- or 60-minute version. On September 17, 2012, with many CBC O&Os extending late local news to 30 minutes, The National reverted to a single 60-minute format on weeknights and Sundays. (Those stations which continue to produce 10-minute late local newscasts now air them starting at 11:00, followed by a condensed 20-minute version of The Exchange before rejoining the network schedule at 11:30.)

From 2009 to 2017, a 30-minute Saturday edition of The National (essentially a rebranding of the long-standing Saturday Report) generally aired on CBC Television at 6:00 p.m. ET during the season of Hockey Night in Canada (or if other live CBC Sports broadcasts are scheduled for that evening), and 6:00 local (7:00 AT, 7:30 NT) otherwise, with updated editions throughout the evening on CBC News Network. However, beginning in the early 2010s, most CBC stations in eastern Canada began to carry local newscasts in that timeslot instead, or used a local opt-out at 6:20 ET. Just before the fall 2017 relaunch, the Saturday edition was discontinued altogether in favour of additional segments of CBC News Network's rolling coverage, with the 6:00pm ET segment, simulcast on CBC Television in western Canada, serving as the CBC's de facto network TV newscast of record on Saturdays.

History
The National began as The National News in 1954. Since 1952, there had been a five-minute national news bulletin on the fledgling CBC Television service - each bulletin would be read by a different reader, which the CBC's management realised resulted in a disjoined broadcast. Program director Mavor Moore decided to choose a single newsreader for the program in order to create continuity. He hired veteran radio newsman Larry Henderson to anchor the broadcast which soon expanded to a nightly thirteen-minute program airing at 11 pm. Henderson, who had hoped to become Canada's answer to Edward R. Murrow, had spent several years travelling the world with his Headliners radio broadcast. He proved a temperamental newsreader who would occasionally swear on the air, respond in anger to cues to speed up his reading, and once walked off the set when a filmed segment was not ready on cue.

Henderson left the broadcast in 1959 and was succeeded by Earl Cameron, who had been presenter of the National News Bulletin on the CBC's main radio service, the Trans-Canada Network, since 1944. Changes in the philosophy of CBC News led to Cameron, a professional announcer rather than a journalist, being replaced by journalist Stanley Burke, in 1966.

Though journalists were now reading the news, union regulations required a journalist acting as news anchor to leave the journalists' union and join the announcers' union and thus prohibited the anchor from doing anything other than reading a script written by others. Burke anchored the show from 1966 until 1969 when he resigned in order to launch a public campaign on the Biafran civil war. Burke was replaced by Warren Davis, at which point the show was renamed The National and the program was broadcast in colour. From 1970, the program was anchored by Lloyd Robertson until he was hired away by the CTV Television Network, the CBC's rival, in 1976, largely as a result of Robertson's frustration at not being able to participate in the writing of the newscast due to union rules.

Peter Kent hosted the show for two years and, because he had worked as a senior correspondent with CBC News Magazine and The National, he was allowed to report and write and anchor The National and CBC News Specials before leaving to return to work as a foreign correspondent. In 1978, Knowlton Nash—who had been director of news and current affairs, three management levels above being Kent's supervisor—became the newscast's new anchor, after winning an audition process whose result was upheld in arbitration. Inaccurate news reports had claimed Nash appointed himself to the role. During Nash's tenure, the CBC was able to win formal concessions from its unions allowing working journalists to read the news, allowing Nash to assume the title of "Chief Correspondent" for CBC News. This allowed him to participate in the writing of the show's script as well as act as a news editor with influence over the stories selected for the newscast and other questions of editorial judgment. Nash stepped down as chief anchor in 1988 and was replaced by Peter Mansbridge.

On January 11, 1982, The National was relaunched in the 10:00 p.m. timeslot with a modernized design and format. The Journal, a program that covered news stories in greater depth using interviews and documentaries, followed it at 10:22 p.m.

One of the hosts of The Journal from the beginning was Barbara Frum, who quickly became a symbol of CBC News as she was not afraid to tackle the toughest and most controversial of issues. Frum died of chronic leukemia on March 26, 1992. Her final interview was with Canadian author Mordecai Richler, which took place just days before her death.

That same year, the CBC, which was undergoing major changes, replaced The National and The Journal with Prime Time News, an integrated package which aired at 9:00 p.m. with two hosts, Mansbridge and Pamela Wallin. However, the show fared poorly in the ratings, resulting in the competing CTV National News overtaking the CBC in national news ratings for the first time in its history, and returned to the 10 p.m. time slot in 1994. During this time, the title The National was retained by a separate newscast on CBC Newsworld, hosted by Alison Smith.

In 1995, the main-network program reverted to the name The National, hosted by Mansbridge, and was followed by The National Magazine, hosted by Hana Gartner. Brian Stewart later took the helm of the second program, which was retitled The Magazine. It continued as a pseudo-separate program until the start of the federal election campaign of fall 2000, when the second half-hour was turned over to additional election coverage hosted by Mansbridge, under the moniker "Behind the Ballot". However, The Magazine did not return after the election, and Mansbridge continued to anchor the full hour. In early 2001, this integrated format was introduced as part of a revamp of the program; for a time, the latter part of the hour was often titled Documentary, on nights when such were featured; on other occasions, feature reports and/or panel discussions would be featured instead. The program acquired a new look and format in the eventful fall of that year with the CBC's latest corporate redesign.

Beginning in the late 1990s, in an effort to provide an 11:00 p.m. alternative to the now-dominant CTV National News, the CBC's owned-and-operated stations would repeat the news headline portion of The National at 11:00 p.m., followed (until summer 2000) by a half-hour local newscast at 11:30. This practice ended in October 2006, when The Hour began airing in that timeslot. Most private affiliates of the CBC did not broadcast the 11 p.m. airing.

"The National Online" debuted on the web on March 21, 1996. The interactive website initially made "available both information about the program and more in-depth content to supplement what we broadcast on television." Later that year the website added news "headlines and very short summaries that got updated about once a day - but that's how online news got started at CBC."

On January 9, 2006, The National adopted a new look as part of a major rebranding for CBC News, stemming mainly from an extensive study by the CBC into how to make news programming more relevant, particularly in the face of stiff competition from CTV National News and Global National. The rebranding had been scheduled for September 2005 but was postponed because of the lengthy lockout that had just concluded at that time. The primary colour of CBC News shifted from blue to red, not unlike BBC News.

The CBC in summer 2006 briefly and controversially aired The National at 11 p.m. on Tuesday nights in the Eastern Time Zone, in order to simulcast the American airing of The One: Making a Music Star. The One received very low ratings on both ABC and CBC, and after two weeks The National returned to airing at 10 p.m. five nights a week as of July 31, 2006.

In May 2007, The National launched a redesigned website featuring the latest broadcast, recent documentaries, and an extensive online archive that opens the floor for comments from the viewers. There is also a behind-the-scenes blog and video bios on many of the reporters.

In December 2008, it was announced that as part of a larger series of planned changes surrounding CBC News, Saturday Report and Sunday Night were to be replaced by weekend editions of The National in 2009, citing that The National had better brand awareness than other CBC News properties. These changes took effect in September 2009; as with its predecessor, a half-hour version of the Saturday-night edition was still scheduled at 6 p.m. ET during the NHL season as a lead-in to Hockey Night in Canada's pre-game show.

2017–present: Mansbridge's retirement, relaunch
In September 2016, Mansbridge announced that he would retire as anchor of the program in 2017, following the network's Canada Day broadcast. On the future of the program following his departure, CBC News editor-in-chief Jennifer McGuire told the Canadian Press that the CBC were planning to perform a significant revamp of The National in October 2017.

On August 1, 2017, the CBC announced that Adrienne Arsenault, Rosemary Barton, Andrew Chang, and Ian Hanomansing would host a revamped version of The National beginning on November 6, 2017. The four anchors hosted from different cities, with Arsenault and Hanomansing initially hosting primarily from Toronto, Barton from Ottawa, and Chang from Vancouver, although the anchors were able to host on-location as warranted by stories. Master control and playout comes from the CBC studios in Ottawa, the national capital. During the series run the anchor duty stations shifted, with Hanomansing principally hosting from Vancouver and Chang from Toronto.

CBC News executive Jonathan Whitten stated that the new format will be designed to focus more upon in-depth and "personal" coverage of ongoing stories, rather than merely recapping all of the day's headlines. Whitten explained that "increasingly the audience is going to demand more at the end of the day. Some may think we're jumping too fast into a world where we're abandoning that six or seven, two-minute news item [model], but we think that's what the positioning for the future's about." There will also be a focus on expanding the presence of The National as an overarching brand for original journalism across the CBC's television and digital platforms, rather than referring solely to the TV program (to emphasize this perspective, CBC staff have also referred to the program internally as The National Tonight rather than just The National).

The inaugural episode with the new format received mixed to negative reviews; John Doyle wrote in The Globe and Mail that the show was no longer a newscast, but a "chatty, visually bewildering assessment of some news stories of the day" that felt "disjointed, surreal and sadly lacking in coherence". Although acknowledging that its hosts were "superb" journalists, he argued that its opening story on the Sutherland Springs church shooting featured "a reporter, skilled at doing traditional TV reportage, suddenly doing deep feelings and expected to be personally raw. That, with respect, is what the Dr. Phil show is for – exposed feelings and some kind of half-baked social context." Johanna Schneller wrote for the Toronto Star that the new format was likely an admission by the CBC that "you know the news, but we're the experts. Not the stentorian experts-on-high the way we used to be; we're chatty experts. Your four friends who always make you go, 'Huh.'"

On January 22, 2020, CBC News announced revisions to the program, dropping the four-anchor format and having Arsenault and Chang co-anchor from Monday through Thursday. Ian Hanomansing serves as solo anchor for the Friday and Sunday editions. Barton became the chief political correspondent for CBC News and the host of the Sunday morning political talk show Rosemary Barton Live; she continues to host The National's weekly "At Issue" political panel.

In 2022, the CBC announced further changes. Arsenault will now serve as sole weekday anchor, with Hanomansing continuing to anchor on Friday and Sunday while Chang moves to a new daily program for the CBC's forthcoming streaming news service.

Presentation
The show's name was shortened to The National in 1969. The broadcast's original opening, used from 1969 through 1982, was known as "the Bloops" and featured the title of the program in a "space-age" font in green on the bottom of the screen, superimposed over a wide shot of the set. Sometimes the program title appeared in the centre of the screen, with a black background. Accompanied by synthesized beeps that resembled an old computer, different letters rapidly cycled from left to right until they spelled "The National".

An announcer, usually Allan McFee, would intone "The National, with ", followed by a cut to a shot of the anchor beside a screen. The anchor of the program would then summarize the top stories as different slides appeared for each of them on the screen.

An internal study was conducted in July 1979 on whether to move The National to the 10 p.m. slot. This study group was composed of Bill Morgan, Mark Starowicz, and Vince Carlin.

On January 11, 1982, the CBC relaunched The National with a radically different format and presentation style that looked very hi-tech for its time. The intro started with a map of the world superimposed on a cube which began to rotate, splitting into smaller cubes as it did. The final rotation revealed the title of the show in shiny chrome lettering using the font Stop. The synthesized opening music featured a fanfare played by The Canadian Brass, called The National.

During the mid-1980s, Quantel Paintbox was used to create many of the graphics for the stories.

On July 31, 1989, the CBC updated the presentation of The National with more modern computer graphics, similar to those used on CBC Newsworld at the same time. The logo used all upper-case letters in the typeface Times New Roman.

After Barbara Frum's death in 1992, The Journal—which she hosted—was subsequently cancelled later that year and replaced with CBC Prime Time News; the name The National was retained on CBC Newsworld for its late evening news bulletin.

From 1995 to 1997, the logo used the font Palatino in upper-case for the words "The National", and Frutiger in upper-case for the words "CBC News" underneath.

A new opening and look for the show appeared in 1997 that retained the style of the 1995 opening but used somewhat more sophisticated and modern computer animation.

In 2001, a logo was introduced that used the typeface Microgramma, centred on two lines, with the CBC News logo underneath in Frutiger. It was short-lived, lasting only a few months.

In the fall of 2001, the presentation of The National was updated along with the corporate redesign of the entire network to have one consistent branding. The New York design firm Razorfish designed the look of this and other network programs. The logo used the typeface Frutiger in upper case.

In late 2004 or early 2005, several graphics were modified, featuring more blue, less beige, and a slightly modified logo (with bolder type for "The National"). These changes were only implemented in selected sequences, sometimes leading to confusion - i.e., the older set of graphics was used at the start of the newscast's opening, and the new set was used at the end of the open.

The opening sequence started with the CBC News ID which flowed into the main graphic sequence, followed by Mansbridge or the fill-in anchor saying "Tonight ..." followed by a verbal listing of the main headlines and accompanying video and graphics. The title sequence would then continue, and cut to an aerial view of Toronto (new shot every Monday which then ran the entire week) and Lisa Dalbello announcing up and under the theme saying "The National; from the Canadian Broadcasting Centre, here is Peter Mansbridge."

In early 2006, the entire news division - including The National and CBC Newsworld - received another update, including a new theme song and new title sequences, featuring the colours red, black, and white. From 2008 to the 2009 rebranding, Tony Daniels introduced the show and the host.

After more than two years in the making, The National underwent sweeping changes on October 26, 2009. Host Peter Mansbridge began delivering all segments of the news standing up, a style pioneered in Canada by the Citytv system. The set was redesigned and the colour blue was mixed into the previous channel's colours of red and white. A press release had stated that the 2006 theme music would remain intact; however, new music cues by Eggplant Collective were created. Most of the logos and graphic fonts were changed to use Christian Schwartz's Stag typeface.

In 2016, the program received a new opening sequence featuring a sweeping pan of the program title followed by a flash. The lower-thirds and other graphical elements were also updated.

Anchors

 * 1954–1959: Larry Henderson
 * 1959–1966: Earl Cameron
 * 1966–1969: Stanley Burke
 * 1969–1970: Warren Davis
 * 1970–1976: Lloyd Robertson
 * 1976–1978: Peter Kent
 * 1978–1988: Knowlton Nash
 * 1988–1992, 1995–2017: Peter Mansbridge
 * 1992–1995: Alison Smith
 * 2017–2020: Adrienne Arsenault, Rosemary Barton, Andrew Chang and Ian Hanomansing
 * 2020–2022: Adrienne Arsenault and Andrew Chang (Monday to Thursday); Ian Hanomansing (Friday and Sunday)
 * 2022–present: Adrienne Arsenault (Monday to Thursday); Ian Hanomansing (Friday and Sunday)

Journalist staff

 * Nahlah Ayed, foreign correspondent, London, UK
 * Rosemary Barton, chief political correspondent
 * Christine Birak, health and science reporter
 * Keith Boag, correspondent, Washington, D.C.
 * Kim Brunhuber, correspondent, Los Angeles
 * Havard Gould, business reporter, Toronto
 * Ian Hanomansing, Friday & Sunday anchor
 * Paul Hunter, foreign correspondent and substitute host, Toronto
 * Laura Lynch, reporter, Toronto
 * Neil Macdonald, senior correspondent, Ottawa
 * Duncan McCue, reporter, Vancouver
 * Bob McDonald, science correspondent, currently based in Victoria
 * Wendy Mesley, reporter, Toronto
 * Terry Milewski, senior correspondent, Ottawa
 * Rex Murphy, commentator, Toronto
 * Susan Ormiston, senior correspondent, Toronto
 * Saša Petricic, foreign correspondent, Beijing
 * Reg Sherren, reporter, Winnipeg
 * Derek Stoffel, foreign correspondent, Middle East
 * Deana Sumanac, arts reporter, Toronto
 * Diana Swain, senior investigative journalist, Toronto

Other personalities who have anchored The National as weekend or substitute anchors include George McLean, George Finstad, Alison Smith, Wendy Mesley, Diana Swain, Carole MacNeil, Mark Kelley, Brian Stewart, Ian Hanomansing, Heather Hiscox, Asha Tomlinson, and Evan Solomon. In 1974, Jan Tennant became the first woman to anchor the programme.

Commentators and panels
The National features a number of recurring discussion and commentary segments:
 * A political panel titled "At Issue" hosted by Rosemary Barton airs weekly, usually on Thursday nights, except during the summer. The regular panellists are columnists Andrew Coyne, Chantal Hébert, Althia Raj and Elamin Abdelmahmoud from the Globe and Mail, Toronto Star, Toronto Star and BuzzFeed respectively, who are occasionally joined by one or more guest panellists. The At Issue panel was formerly followed by a weekly commentary segment by Rex Murphy, titled "Point of View", prior to his retirement in 2017.
 * "At Issue" and Rex Murphy's commentary were also repeated as a stand-alone half-hour weekend program on CBC News Network.
 * Other regular panels include:
 * "The Insiders": Three former political-party backroom organizers – usually David Herle of the Liberals, Jaime Watt of the Conservatives, and Kathleen Monk of the New Democratic Party – provide commentary (intended as non-partisan) about political strategy. Usually appears bi-weekly on Tuesday nights
 * "The Bottom Line": A monthly Tuesday-night panel about the economy with various panellists, typically including Preet Banerjee, Patti Croft and Jim Stanford
 * "Turning Point": A semi-regular panel on foreign affairs, with regular panellists Samantha Nutt and Janice Stein
 * "National Check-Up": A semi-regular panel on health issues, with physicians Danielle Martin, Vivek Rao and Samir Sinha
 * "The Sunday Talk": A weekly panel on Sunday broadcasts, with various panellists
 * "The Pop Panel": A weekly panel on Friday broadcasts
 * "The Moment": A segment that was shown at the end of every broadcast
 * "Our Changing Planet"
 * "CBC News Investigates"
 * "Go Public": A weekly segment introduced by Hanomansing on Sunday broadcasts, except during the summer months
 * "Marketplace": A weekly segment introduced by Arsenault on Thursday broadcasts, except during the spring and summer months
 * "The Fifth Estate": A weekly segment introduced by Arsenault on Thursday broadcasts
 * "The Interview with Ian Hanomansing/It Changed Everything": A weekly segment hosted by Hanomansing on Sunday broadcasts
 * "Quick Question": A weekly segment on Friday broadcasts
 * "The Breakdown": A daily segment during the second half of the show on Sunday-Friday, except Thursdays due to "At Issue"
 * "Frontburner": A commercial that was aired after the final commercial break

Current Affairs Editors

 * Aileen McBride (senior)
 * Sheldon Beldick
 * Ed MacDonald
 * Morna Scott-Dunne
 * Jan Silverthorne

Awards
The National has received many awards including Geminis and foreign awards.

title: The National (TV program)


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WarioWare, Inc.: Mega Microgames!

WarioWare, Inc.: Mega Microgames!,, known as WarioWare, Inc.: Minigame Mania in the PAL region, is a minigame compilation video game developed and published by Nintendo for the Game Boy Advance. The debut title in the WarioWare series, the game is about rapid completion of "microgames", short minigames given to the player consecutively and with increasing speed per each game complete. The game's concept was inspired by the "Sound Bomber" mode of Mario Artist: Polygon Studio for the Nintendo 64DD. The music and sound effects (including Wario's voice clips) were recycled from Wario Land 4. The game was produced by Takehiro Izushi and directed by Hirofumi Matsuoka. Matsuoka was also the director of Polygon Studio. Mega Microgames! was released in 2003; in Japan in March, in North America and Europe in May and in Australia in June.

Upon its release, WarioWare, Inc.: Mega Microgames! received critical acclaim, winning GameSpot's Editor's Choice Award and Most Innovative Game Award of 2003, among other awards. It is also revered as one of the greatest games of all time. The game went on to receive a multiplayer-focused remake called WarioWare, Inc.: Mega Party Games! on the GameCube. The game went on to spawn the WarioWare series of video games, which all have the same formula of gameplay as the debut title, with the exception of Game & Wario. "Pyoro" and "Paper Plane", two bonus minigames that appear in Mega Microgames!, were reworked into two full titles for the DSiWare service as Bird & Beans and Paper Airplane Chase, respectively. In addition, some of the microgames featured in Mega Microgames! also return in the ninth installment, WarioWare Gold. The game has also been re-released through the Virtual Console on Wii U, the Ambassador Program on Nintendo 3DS and on the Nintendo Switch Online + Expansion Pack.

Gameplay

WarioWare ' s core gameplay principles revolve around the concept of "microgames", fast-paced minigames that must be completed within a demanding time limit. Mega Microgames! features over 210 microgames across nine stages hosted by Wario and his companions, each centered around themes such as sports, nature and classic Nintendo games, as well as remix stages that feature microgames from previous stages. In each stage, microgames appear consecutively, presenting the player with a simple prompt with which to clear the microgame with. Failing a microgame, either by losing the game or running out of time, one of four lives will be deducted, with the stage ending once the player runs out of lives. As the player keeps playing, the game speeds up, making microgames' time limits shorter and forcing the player to complete them faster. At the end of a set number of microgames, the player must complete a "boss stage"; a longer microgame without a set time limit. When playing a stage for the first time, players are simply required to clear enough microgames and defeat the boss stage without running out of lives, which unlocks the next stage or set of stages. If a stage has already been cleared once, players will instead play for a high score, seeing how many microgames they can clear before running out of lives. Players can regain one of their lost lives by defeating boss battles, but the difficulty and speed of the microgames further increase the longer the player manages to survive. In addition to the main stages, players can unlock various minigames by clearing certain unlock conditions in-game. These games include high score challenges such as a jump rope minigame, competitive games which can be played with two players using the same system, and Wario-fied versions of Dr. Mario and Sheriff.

Development and release
WarioWare's inception began during the development of Mario Artist: Polygon Studio, a successor to Mario Paint being developed for the Nintendo 64DD; a game where players could create and animate fully polygonal three-dimensional models. A feature of Polygon Studio was a mode called "Sound Bomber", where the player completes rapid consecutive "microgames". This concept would be reused and fleshed out for the first WarioWare title. In addition, many of the minigames in Polygon Studio bear heavy resemblance to some microgames found in Mega Microgames!.

The development team used post-it notes in order to come up with microgame ideas; whenever someone had an idea for a microgame, they would write it down on a note and stick it to the director's table. The game became well known around the department, as other members not actively working on the game contributed ideas of their own in the hopes that the development team would be receptive. Microgames that were too obscene or "too Japanese" were cut to make sure all people playing could understand the game. As individual programmers coded individual microgames, each microgame has a vastly different visual style.

Made in Wario, as the game is known in Japan, was originally made secretly by a number of developers on the development team Nintendo R&D1 without telling their manager at the time. The people came up with the idea of using Wario as its mascot since they could not think of anyone else who would best be suited for the game. According to Yoshio Sakamoto, Wario was chosen as the game's protagonist as he "is always doing stupid things and is really idiotic".

Shigeru Miyamoto put a lot of thought into how best to market the game. He wanted to show how its unusual playing style made it distinct from other games, in the way it could be simply picked up and enjoyed. Miyamoto gave the staff the approval to use the slogan "More! Shorter! Faster!" (最多 最短 最速 Saita Saitan Saisoku), which prominently appeared on the Japanese box art, surpassing the actual game logo in terms of size. It was not used for Western packaging, which instead depicted the WarioWare cast rather than just a portion of Wario's face as seen on the Japanese counterpart.

Reception
Mega Microgames! has won numerous awards and received critical acclaim. It was voted the winner of the Edge Award at the Edinburgh International Games Festival in 2004 by a panel of videogames industry members, academics, and journalists.

At GameSpot, it was awarded the Editor's Choice Award, "Game Boy Advance Game of the Month" prize and was nominated for its "Best and Worst" of 2003 in the "Most Innovative Game" category.

Reviewers wrote enthusiastically about the game. Jeff Gerstmann from GameSpot gave it a 9.1 out of 10 and praised the game for its portability, being able to play it in "short bursts" and being able to return to it again and again. Craig Harris from IGN said that the sheer number of minigames, its simplicity, and replay value made the game original and great, and gave it a 9.0.

Edge ranked the game #40 on its list of "The 100 Best Games To Play Today", stating "almost every minigame is a masterclass in how to instantly captivate with clear goals and a captivating alchemy of sound, image and control". The game was ranked 138th in Electronic Gaming Monthly's "The Greatest 200 Video Games of Their Time" in 2006. Official Nintendo Magazine ranked the game 78th on a list of greatest Nintendo games.

WarioWare, Inc.: Mega Party Games!
Mega Microgames! was remade for the GameCube as WarioWare, Inc.: Mega Party Games!, as a more multiplayer focused game than the original. The game features all of the same microgames as the Game Boy Advance version, but the microgames are set up in competitive environments for two to four players rather than an environment for one player.

DSiWare
Two unlockable minigames from this title, Paper Plane and Pyoro, have been released for the Nintendo DSi's DSiWare digital distribution service.

Paper Airplane Chase
Paper Airplane Chase (紙ヒコーキ), known in Europe and Australasia as Paper Plane, was released in Japan on December 24, 2008, in Europe and Australasia on April 3, 2009, and in North America on April 27 during the same year. The game plays the same as in its original title. There are three modes – the first is Endless, which places the player in a randomly generated course, requiring him or her to guide a paper airplane through it as it descends, attempting to get as far down as possible; Time Attack, which places the player in pre-created tracks, requiring them to get down to a certain point as fast as possible; and Race Mode, a two-player competition that is played on one DSi, with one player using the d-pad and the other using the face buttons. There are a total of eight courses in the game.

Bird & Beans
Bird & Beans (鳥とマメ), known in PAL regions as Pyoro, features both Pyoro and Pyoro 2 from the original GBA version. Both play mostly the same as the original versions, although the play area is now wider. The first requires the player to eat falling beans by shooting Pyoro's tongue in an upward diagonal direction. If a bean lands on the ground, it destroys part of the floor, limiting how much the player can move Pyoro. If the player eats a differently colored bean, it will restore one of the blocks, and eating a flashing bean restores many, if not all, lost blocks and destroys all on-screen beans. The further Pyoro's tongue is extended, the more points are awarded. If a seed lands on Pyoro, the game ends. In the second game, the player must shoot seeds at the falling beans. More points are awarded when two or more are taken out at the same time. Bird & Beans does not have any additional modes.

Virtual Console
In December 2011, Mega Microgames! and nine other Game Boy Advance games were released to Nintendo 3DS Ambassadors, who were early adopters that purchased and registered their 3DS systems prior to the console's first major price cut in their home markets.

The game was later released on the Wii U Virtual Console on April 3, 2014, in Japan and April 10 in North America and Europe.

In 2023, the game was re-released on the Nintendo Switch as part of the Game Boy Advance collection available through the Nintendo Switch Online Expansion Pack.

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

title: WarioWare, Inc.: Mega Microgames!


text:
Cedric the Entertainer

Cedric Antonio Kyles (born April 24, 1964), better known by his stage name Cedric the Entertainer, is an American stand-up comedian, actor and television host. He hosted BET's ComicView during the 1993–1994 season and Def Comedy Jam in 1995. He is best known for co-starring with Steve Harvey on The WB sitcom The Steve Harvey Show, as one of The Original Kings of Comedy, and for starring as Eddie Walker in Barbershop. He hosted the 12th season of the daytime version of Who Wants to Be a Millionaire in 2013–14 and starred in the TV Land original series The Soul Man, which aired from 2012 to 2016. He has also done voice work for Ice Age, the Madagascar film series, Charlotte's Web, Planes and Planes: Fire & Rescue. He currently stars on the CBS sitcom The Neighborhood. In 2019, he received a star on the Hollywood Walk of Fame.

Early life
Cedric was born on April 24, 1964, in Jefferson City, Missouri, the son of Rosetta (née Boyce), a schoolteacher, and Kittrell Kyles, an employee of The Missouri Pacific Railroad. He has a younger sister, Sharita Kyles Wilson, a communications professor at Pepperdine University in Malibu, California.

Cedric was raised in Caruthersville, Missouri, but after junior high school he moved to Berkeley, Missouri, a northern suburb of St. Louis. He is a graduate of Berkeley High School.

He earned a degree in communications from Southeast Missouri State University.

Career
Cedric's stage name came about when he felt that his real name, Cedric Kyles, sounded too formal. Inspired by an entertainer named Kodak, he came up with the name "Cheerio", but received a cease and desist letter from General Mills over their cereal Cheerios. He settled on his stage name when someone introduced him as "an entertainer, Cedric the entertainer" and the name stuck.

In 1995, Cedric moved into acting, auditioning for and receiving his first-ever role as The Cowardly Lion in the 1995 Apollo Theater Revival of The Wiz. He expanded his career by playing Steve Harvey's friend Cedric Jackie Robinson on The Steve Harvey Show.

He began appearing in films, including Barbershop, Barbershop 2: Back in Business, Ride, Serving Sara, Johnson Family Vacation, Code Name: The Cleaner, Intolerable Cruelty, Man of the House, Lemony Snicket's A Series of Unfortunate Events, Madagascar, Madagascar: Escape 2 Africa, Madagascar 3: Europe's Most Wanted and Be Cool. He was the subject of controversy when his Barbershop character made unpopular remarks about Martin Luther King Jr. and Rosa Parks. These comments were spoken in character, as part of the script; he has never apologized for them. In Madagascar, he voiced Maurice the aye aye. In October 2005, he joined the Champ Car auto racing series as a part owner. He appeared in the film Charlotte's Web as the voice of Golly the gander.

While his acting career grew, Cedric continued to perform stand-up comedy and traveled the country as one of the Kings of Comedy headliners with Steve Harvey, D. L. Hughley and Bernie Mac. The act was later made into a Spike Lee film, The Original Kings of Comedy. Cedric had his own sketch comedy show, Cedric the Entertainer Presents, but after being renewed for a second season, it was canceled by Fox before the season began. He took time to write a book, Grown-A$$ Man. He appeared in the 2003 video game Tiger Woods PGA Tour 2004. A more recent HBO Comedy Special was Cedric The Entertainer: Taking You Higher. He recorded comedic interludes on two Nelly albums, Country Grammar (2000) and Nellyville (2002) as well as on Jay-Z's The Black Album (2003).

In the 2007 comedy film Code Name: The Cleaner, Cedric plays Jake, a janitor with amnesia who may be a secret undercover government agent involved in an illegal arms conspiracy. He starred in the 2008 films Welcome Home Roscoe Jenkins and Street Kings.

Cedric appeared as the lead comedian at the White House Correspondents Dinner, but jokingly remarked that he was unprepared because he thought that he would follow a humorous speech by President George W. Bush. He instead followed First Lady Laura Bush, who called him "hilarious" and "probably the funniest person" she had ever met.

Cedric has won many awards, beginning with $500 in the Johnny Walker National Comedy Contest in 1990 and coming in first in the Miller Genuine Draft Comedy Contest in 1993. BET named him Richard Pryor Comic of the Year. He has also won four NAACP Awards.

He was inducted to the St. Louis Walk of Fame on June 7, 2008. His star is at 6166 Delmar.

He was the special guest host for WWE Raw on September 21, 2009, in Little Rock, Arkansas. During the show, he participated in a wrestling match, defeating Chavo Guerrero Jr. by pinfall. The match also featured Santino Marella as a guest referee. Cedric also got help from an unknown wrestler dubbed The Sledge Hammer (played by Imani Lee) and Hornswoggle.

In March 2010, Cedric made his directorial debut with Dance Fu, produced and funded independently by his company Bird and a Bear Entertainment with producer Eric C. Rhone. It starred comedian Kel Mitchell. Cedric made a cameo appearance in the film as a homicide detective. It was released straight to DVD on October 4, 2011.

Cedric appeared in the Broadway revival of David Mamet's play American Buffalo.

In a June 21, 2011, interview, Cedric said his latest reality game show, It's Worth What?, would air on NBC on July 12, 2011, but the start date was delayed by one week to July 19. Starting in 2012, he played the main character in the TV Land original series The Soul Man, featuring Niecy Nash. The series ran for five seasons and ended in 2016.

Cedric was the host of the American TV game show Who Wants to Be a Millionaire, beginning with its 12th season in national syndication, which premiered on September 2, 2013. On April 30, 2014, Cedric announced that he was leaving the game show after the 2013–14 season to focus on other projects. Terry Crews took over as host on September 8, 2014. Starting in 2018, Cedric played the character of Calvin Butler in the television sitcom The Neighborhood.

Personal life
Cedric is married to Lorna Wells. They have two children, Croix (born 2000) and Lucky Rose (born 2003). He also has a daughter, Tiara (born 1990), from a previous relationship. He continues his involvement with his high school by awarding a scholarship each year to a graduating senior through the Cedric the Entertainer Charitable Foundation, whose motto is "Reaching Out...Giving Back". Cedric majored in mass communication at Southeast Missouri State University and worked as a State Farm insurance claims adjuster and substitute high school teacher before becoming a full-time comedian. He is a member of Kappa Alpha Psi. In May 2015, he was awarded an honorary doctorate in fine arts and humanities by Lincoln University of Missouri (his parents' alma mater). In 2018, St. Louis honored him by renaming the street in front of the Kappa Alpha Psi Alumni House Cedric The Entertainer Way.

title: Cedric the Entertainer


text:
Infancy Gospel of Thomas

The Infancy Gospel of Thomas is an apocryphal gospel about the childhood of Jesus. The scholarly consensus dates it to the mid-to-late second century, with the oldest extant manuscript dating to the fourth or fifth century. The document is generally considered to be Gnostic in origin because of references in letters (by Hippolytus of Rome and Origen of Alexandria) to a "Gospel of Thomas", but it is unclear whether those letters refer to the Infancy Gospel or the Gospel of Thomas, a sayings gospel discovered near Nag Hammadi, Egypt in 1945.

Early Christian writers regarded the Infancy Gospel of Thomas as inauthentic and heretical. Eusebius rejected it as a heretical "fiction" in the third book of his fourth-century Church History, and Pope Gelasius I included it in his list of heretical books in the fifth century.

Date of creation
The first known quotation of the Infancy Gospel of Thomas is from Irenaeus of Lyon around AD 180, who calls it spurious and apocryphal. Scholars generally agree on a date in the mid-to-late-2nd century AD. There are two 2nd-century documents, the Epistula Apostolorum and Irenaeus' Adversus haereses, that refer to a story of Jesus's tutor telling him, "Say alpha," and Jesus replied, "First tell me what is beta, and I can tell you what alpha is." At least some period of oral transmission of the source material is generally believed to have occurred, either wholly or as several different stories before it was first transcribed and over time redacted. Thus, both of these documents and the Infancy Gospel of Thomas possibly all refer to the oral versions of this story. The area of origin for the work is unknown and many proposed locations of origin have been put forward.

Besides the difficulty in its name, given that the work is not related to the Gospel of Thomas, the work is not a gospel but possibly an appendage to the Gospel of Luke or a stand-alone work that has a dependent association to the canonical Gospel texts. This infancy story ends with Jesus in the temple at age 12 quoting parts of the gospel of Luke. (see Infancy 19:1–12 and ).

Authorship
The author of the gospel is unknown. In the earliest Syriac manuscripts, no author is indicated at all, indicating either a truncated introduction, an author who wished to remain anonymous, or a compilation of existing stories by an editor. In later manuscripts dating from the Middle Ages, the Gospel opens with a prologue where "Thomas the Israelite" introduces himself, but with no further explanation. It is possible that this was meant to hint that the author was Judas Thomas, better known as Thomas the Apostle, thought by some Christians to be a brother of Jesus and thus familiar with young Jesus's activities.

Manuscript tradition
Whether the original language of the Infancy Gospel of Thomas was Greek or Syriac is unknown. The few surviving Greek manuscripts provide no clues themselves because only one small scrap on papyrus predates the 13th century, whereas the earliest authorities, according to the editor and translator Montague Rhodes James, are a much abbreviated sixth-century Syriac version, and a Latin palimpsest of the fifth or sixth century, which has never been fully translated and can be found in Vienna. Many manuscripts, translations, shortened versions, alternates, and parallels have slight, nuanced differences. James found that their large number makes the compilation of an urtext very difficult. This number of texts and versions reflects the great popularity of the work during the High Middle Ages.

Of the many different versions and alternate forms (e.g. Greek, Syriac, Latin, Slavonic, etc.), the three principal forms are commonly referred to as given by Constantin von Tischendorf. Two of those are Greek texts which are called Greek Text A (Greek A); Greek Text B (Greek B); and the third is Latin. The first known publication of the Infancy Gospel of Thomas was by J Fabricius and has come to be known as Greek A. The Greek A is the most well-known form often used and in its full form is the longer of the two Greeks, based on at least 2 manuscripts. It consists of nineteen chapters with several alternate other manuscripts with abbreviated forms. The Greek B was found by Tischendorf on a trip to Mount Sinai in 1844, which is not only shorter (11 chapters), but is a different version of the well-known A text. It has some chapters abbreviated, other entire chapters left out completely, and few new lines. The Latin translations has two distinct form of versions from the Old Latin with the Late Latin. The Latin was notable as it was the first discovered with an Egyptian prologue.

Parts of the Latin version were translated into Old Irish poetry, probably around 700 AD according to James Carney, making this translation one of the earliest of this gospel.

An earlier manuscript of the infancy gospel has since discovered, dating to the fourth or fifth century.

Content
The text describes the life of the child Jesus from the ages of five to twelve, with fanciful, and sometimes malevolent, supernatural events. He is presented as a precocious child who starts his education early. The stories cover how the young Incarnation of God matures and learns to use his powers for good and how those around him first respond in fear and later with admiration. One of the episodes involves Jesus making clay birds, which he then proceeds to bring to life, an act also attributed to Jesus in, and in a medieval Jewish work known as Toledot Yeshu, although Jesus's age at the time of the event is not specified in either account. In another episode, a child disperses water that Jesus has collected. Jesus kills this first child, when at age one he curses a boy, which causes the child's body to wither into a corpse. Later, Jesus kills another child via curse when the child apparently accidentally bumps into Jesus, throws a stone at Jesus, or punches Jesus (depending on the translation).

When Joseph and Mary's neighbors complain, Jesus miraculously strikes them blind. Jesus then starts receiving lessons, but tries to teach the teacher, instead, upsetting the teacher who suspects supernatural origins. Jesus is amused by this suspicion, which he confirms, and revokes all his earlier apparent cruelty. Subsequently, he resurrects a friend who is killed when he falls from a roof, and heals another who cuts his foot with an axe.

After various other demonstrations of supernatural ability, new teachers try to teach Jesus, but he proceeds to explain the law to them instead. Another set of miracles is mentioned, in which Jesus heals his brother, who is bitten by a snake, and two others, who have died from different causes. Finally, the text recounts the episode in Luke in which Jesus, aged 12, teaches in the temple.

Although the miracles seem quite randomly inserted into the text, three miracles are before and three are after each of the sets of lessons. The structure of the story is essentially:
 * Bringing life to a dried fish (this is present only in later texts)
 * (First group)
 * Three Miracles – Breathes life into birds fashioned from clay; curses a boy, who then becomes a corpse (not present in Greek B); curses a boy who falls dead and his parents become blind
 * Attempt to teach Jesus, which fails, with Jesus doing the teaching
 * Three Miracles – Reverses his earlier acts (this would include resurrecting the two boys and healing the blind parents), resurrects a friend who fell from a roof, heals a man who chopped his foot with an axe
 * (Second group)
 * Three Miracles – carries water on cloth, produces a feast from a single grain, and stretches a beam of wood to help his father finish constructing a bed
 * Attempts to teach Jesus, which fail, with Jesus doing the teaching
 * Three Miracles – heals James from snake poison, resurrects a child who died of illness, and resurrects a man who died in a construction accident
 * Incident in the temple paralleling Luke

Episodes from Jesus's childhood as depicted in the Klosterneuburger Evangelienwerk, a 14th-century gospel translation:

title: Infancy Gospel of Thomas


text:
Frederick C. Alderdice

Frederick Charles Alderdice (November 10, 1871 – February 26, 1936) was a Newfoundland businessman, politician and the last Prime Minister of Newfoundland. Alderdice was born in Belfast, Ireland and was educated at Methodist College Belfast. He moved to Newfoundland in 1886. A prominent St. John's businessman, Alderdice was appointed to the Legislative Council of Newfoundland (the Upper House of the legislature) in 1924 and became leader of the Liberal-Conservative Progressive Party and the dominion's Prime Minister when his cousin Walter Stanley Monroe retired from the post on August 15, 1928. Alderdice's first term as prime minister was short-lived, however, as his government lost that year's general election to the Liberals led by Sir Richard Squires.

Alderdice joined with Liberals dissatisfied with Squires to form the United Newfoundland Party with himself as leader. The Great Depression embroiled the dominion in a severe economic crisis which was compounded by corruption in the Squires government taking the dominion to the brink of bankruptcy. Widespread unemployment added to the crisis and resulted in an anti-government riot in St. John's on April 5, 1932. The Squires government collapsed and Alderdice swept to power in the ensuing June election on the promise that if elected, his government would examine the possibility of suspending the constitution and having a commission administer the country until conditions improved. His United Newfoundland Party won 24 seats to only two for the Liberals.

The Alderdice government was unable to deal with the economic crisis and proposed a partial default on the dominion's debts. Britain and Canada (whose currency was shared by Newfoundland) agreed to give the dominion financial aid in exchange for the creation of an Imperial Royal Commission to investigate the dominion's future. The Commission recommended the suspension of responsible government and the institution of an appointed Commission of Government to rule the dominion.

Alderdice was pressured by the British to accept the recommendations without calling a new election or submitting the proposals to a referendum. Alderdice agreed and, at the end of 1933, the legislature voted to accept the recommendations and voted itself out of existence. Alderdice was appointed to the Commission of Government when it was established in February 1934 and served as Commissioner for Home Affairs and Education in the new Commission of Government as well as Vice-Chairman until his death in 1936.

title: Frederick C. Alderdice


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Voiced alveolar implosive

The voiced alveolar implosive is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ɗ ⟩. The IPA symbol is lowercase letter d with a rightward hook protruding from the upper right of the letter.

Features
Features of the voiced alveolar implosive:

title: Voiced alveolar implosive


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Voiced palatal implosive

The voiced palatal implosive is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ ʄ ⟩, and the equivalent X-SAMPA symbol is. Typographically, the IPA symbol is a dotless lowercase letter j with a horizontal stroke that was initially created by turning the type for a lowercase letter f (the symbol for the voiced palatal stop) and a rightward hook (the diacritic for implosives). A very similar-looking letter, $⟨ ƒ ⟩$ (an $⟨f⟩$ with a tail), is used in Ewe for.

Features
Features of the voiced palatal implosive:

title: Voiced palatal implosive


text:
Voiced bilabial implosive

The voiced bilabial implosive is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ɓ⟩, and the equivalent X-SAMPA symbol is.

Features
Features of the voiced bilabial implosive:

title: Voiced bilabial implosive


text:
Voiced uvular implosive

The voiced uvular implosive is an extremely rare type of consonantal sound. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ʛ ⟩, a small capital letter G with a rightward pointing hook extending from the upper right of the letter.

Features
Here are the features of the voiced uvular implosive:

title: Voiced uvular implosive


text:
Voiced velar implosive

The voiced velar implosive is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ɠ ⟩, and the equivalent X-SAMPA symbol is. It is familiar to English speakers as the sound made when mimicking the 'gulping' of water.

title: Voiced velar implosive


text: User talk:82.35.17.203

title: User talk:82.35.17.203


text:
Airstream mechanism

In phonetics, the airstream mechanism is the method by which airflow is created in the vocal tract. Along with phonation and articulation, it is one of three main components of speech production. The airstream mechanism is mandatory for most sound production and constitutes the first part of this process, which is called initiation.

The organ generating the airstream is called the initiator and there are three initiators used phonemically in non-disordered human oral languages: There are also methods of making sounds that do not require the glottis. These mechanisms are collectively called alaryngeal speech mechanisms (none of these speech mechanisms are used in non-disordered speech):
 * the diaphragm together with the ribs and lungs (pulmonic mechanisms),
 * the glottis (glottalic mechanisms), and
 * the tongue (lingual or "velaric" mechanisms).

 * the cheeks (buccal mechanisms, notated {ↀ} in VoQS). See buccal speech.
 * after a laryngectomy, the esophagus may be used (notated {Œ} for simple esophageal speech, {Ю} for tracheo-esophageal speech in VoQS, and notated {И} for electrolaryngeal speech). See esophageal speech.
 * the pharynx, and replacing the glottis using the tongue and the upper alveolus, the palate, or the pharyngeal wall. See pharyngeal speech.

Percussive consonants are produced without any airstream mechanism.

Types of airstream mechanism
Any of the three principal initiators − diaphragm, glottis or tongue − may act by either increasing or decreasing the pressure generating the airstream. These changes in pressure often correspond to outward and inward airflow, and are therefore termed egressive and ingressive respectively.

Of these six resulting airstream mechanisms, four are found lexically around the world, alongside the percussive sounds produced without an airstream mechanism, for a total of five:
 * pulmonic egressive, where the air is pushed out of the lungs by the ribs and diaphragm. All human languages employ such sounds (such as /b/), and nearly three out of four use them exclusively.
 * glottalic egressive, where the air column is compressed as the glottis moves upward. Such consonants are called ejectives. Ejective and ejective-like consonants occur in 16% of the languages.
 * glottalic ingressive, where the air column is rarefied as the glottis moves downward. Such consonants are called implosives. Implosive and implosive-like consonants occur in 13% of the world's languages. Despite the name, the airstream may not actually flow inward: While the glottis moves downward, pulmonic air passes outward through it, but the reduction in pressure makes an audible difference to the sound.
 * lingual ingressive, AKA velaric ingressive, where the air in the mouth is rarefied by a downward and sometimes rearward movement of the tongue. These are the click consonants. Clicks are regular sounds in ordinary (i.e. lexical) words in fewer than 2% of the world's languages, all in Africa.
 * percussive, where two organs are striked against each other. No standalone percussive occurs in any language, but alveolar clicks may have a sublingual percussive release in Sandawe, where after the click is pronounced, the tongue strikes the floor of the mouth.

That leaves pulmonic ingressive and lingual (velaric) egressive as the only two airstream mechanisms produced by the three main initiators that are not found lexically in the world.

These mechanisms may be combined into airstream contours, such as clicks which release into ejectives.

In normal vocabulary, the various Khoisan languages have pulmonic, ejective, and click consonants; the Chadic languages, some Mayan languages, and scattered Nilo-Saharan languages such as Gumuz, Uduk and Meʼen have pulmonic, implosive, and ejective consonants, and the Nguni languages of the Bantu family utilize all four, – pulmonic, click, implosive, and ejective, – as does the Dahalo language of Kenya. Most other languages utilize at most two airstream mechanisms.

In interjections, the other two mechanisms may be employed. For example, in countries as diverse as Sweden, Turkey, and Togo, a pulmonic ingressive ("gasped" or "inhaled") vowel is used for back-channeling or to express agreement, and in France a lingual egressive (a "spurt") is used to express dismissal. The only language where such sounds are known to be contrastive in normal vocabulary is the extinct ritual language Damin (also the only language outside Africa with clicks); however, Damin appears to have been intentionally designed to differ from normal speech.

Pulmonic initiation
Initiation by means of the lungs (actually the diaphragm and ribs) is called pulmonic initiation. The vast majority of sounds used in human languages are pulmonic egressives. In most languages, including all the languages of Europe (excluding the Caucasus), all phonemes are pulmonic egressives.

The only attested use of a phonemic pulmonic ingressive is a lateral fricative in Damin, a ritual language formerly used by speakers of Lardil in Australia. This can be written with the extended version of the International Phonetic Alphabet as. !Xóõ has ingression as a phonetic detail in one series of its clicks, which are ingressive voiceless nasals with delayed aspiration,. Peter Ladefoged considers these to be among the most difficult sounds in the world. Other languages, for example in Taiwan, have been claimed to have pulmonic ingressives, but these claims have either proven to be spurious or to be occasional phonetic detail.

In interjections, but not in normal words, pulmonic ingressive vowels or words occur on all continents. This is commonly done for back-channeling (as with in Ewe) or affirmation (as with  in Swedish). In English, an audible intake of breath,, or an indrawn consonant such as or  is used in a conversation to indicate that someone is about to speak or is preparing to continue speaking. In some languages, such as Finnish and Amharic, entire phrases may be uttered with an ingressive airstream. (See ingressive sound.)

Glottalic initiation
It is possible to initiate airflow in the upper vocal tract by means of the vocal cords or glottis. This is known as glottalic initiation.

For egressive glottalic initiation, one lowers the glottis (as if to sing a low note), closes it as for a glottal stop, and then raises it, building up pressure in the oral cavity and upper trachea. Glottalic egressives are called ejectives. The glottis must be fully closed to form glottalic egressives, or the air column would flow backwards over it; it is therefore impossible to pronounce voiced ejectives. Ejective allophones of voiceless stops occur in many varieties of English at the ends of intonation units.

For ingressive glottalic initiation, the sequence of actions performed in glottalic pressure initiation is reversed:  one raises the glottis (as if to sing a high note), closes it, and then lowers it to create suction in the upper trachea and oral cavity. Glottalic ingressives are called implosives, although they may involve zero airflow rather than actual inflow. Because the air column would flow forwards over the descending glottis, it is not necessary to fully close it, and implosives may be voiced; indeed, voiceless implosives are exceedingly rare.

It is usual for implosives to be voiced. Instead of keeping the glottis tightly closed, it is tensed but left slightly open to allow a thin stream of air through. Unlike pulmonic voiced sounds, in which a stream of air passes through a usually-fixed glottis, in voiced implosives a mobile glottis passes over a nearly motionless air column to cause vibration of the vocal cords. Phonations that are more open than modal voice, such as breathy voice, are not conducive to glottalic sounds because in these the glottis is held relatively open, allowing air to readily flow through and preventing a significant pressure difference from building up behind the articulator.

Because the oral cavity is so much smaller than the lungs, vowels and approximants cannot be pronounced with glottalic initiation. So-called glottalized vowels and other sonorants use the more common pulmonic egressive airstream mechanism.

There is no clear divide between pulmonic and glottalic sounds. Some languages may have consonants which are intermediate. For example, glottalized consonants in London English, such as the t in rat, may be weakly ejective. Similarly, fully voiced stops in languages such as Thai, Zulu, and Maidu are weakly implosive. This ambiguity does not occur with the next airstream mechanism, lingual, which is clearly distinct from pulmonic sounds.

Lingual (velaric) initiation
The third form of initiation in human language is lingual or velaric initiation, where a sound is produced by a closure at two places of articulation, and the airstream is formed by movement of the body of the tongue. Lingual stops are more commonly known as clicks, and are almost universally ingressive. The word lingual is derived from Latin lingua, which means tongue.

To produce a lingual ingressive airstream, first close the vocal tract at two places: at the back of the tongue, as in a velar or uvular stop, and simultaneously with the front of the tongue or the lips, as in a coronal or bilabial stop. These holds may be voiceless, voiced, or nasalized. Then lower the body of the tongue to rarefy the air above it. The closure at the front of the tongue is opened first, as the click "release"; then the closure at the back is released for the pulmonic or glottalic click "accompaniment" or "efflux". This may be aspirated, affricated, or even ejective. Even when not ejective, it is not uncommon for the glottis to be closed as well, for a triply articulated consonant, and this third closure is released last to produce a glottalized click. Clicks are found in very few languages, notably the Khoisan languages of southern Africa and some nearby tongues such as Zulu. They are more often found in extra-linguistic contexts, such as the "tsk tsk" sound many Westerners use to express regret or pity (a dental click), or the clucking noise used by many equestrians to urge on their horses (a lateral click).

Lingual egressive initiation is performed by reversing the sequence of a lingual ingressive: the front and back of the tongue (or lips and back of the tongue) seal off the vocal cavity, and the cheeks and middle of the tongue move inward and upward to increase oral pressure. The only attested use of a lingual egressive is a bilabial nasal egressive click in Damin. Transcribing this also requires the use of the Extended IPA,.

Since the air pocket used to initiate lingual consonants is so small, it is not thought to be possible to produce lingual fricatives, vowels, or other sounds which require continuous airflow.

Clicks may be voiced, but they are more easily nasalized. This may be because the vocal cavity behind the rearmost closure, behind which the air passing through the glottis for voicing must be contained, is so small that clicks cannot be voiced for long. Allowing the airstream to pass through the nose enables a longer production.

Nasal clicks involve a combination of lingual and pulmonic mechanisms. The velum is lowered so as to direct pulmonic airflow through the nasal cavity during the lingual initiation. This nasal airflow may itself be egressive or ingressive, independently of the lingual initiation of the click. Nasal clicks may be voiced, but are very commonly unvoiced and even aspirated, which is rare for purely pulmonic nasals.

Airstream contours
In some treatments, complex clicks are posited to have airstream contours, in which the airstream changes between the front (click) and rear (non-click) release. There are two attested types: Linguo-pulmonic consonants, where the rear release is a uvular obstruent such as or ; and linguo-glottalic consonants, where the rear release is an ejective such as  or.

Not only are simultaneous (rather than contour) implosive clicks possible, i.e. velar (e.g. ), uvular, and de facto front-closed palatal , but velar implosive clicks are easier to produce than modally voiced clicks. However, they are not attested in any language.

Percussive consonants
Consonants may be pronounced without any airstream mechanism. These are percussive consonants, where the sound is generated by one organ striking another. Percussive consonants are not phonemic in any known language, though the extensions to the IPA for disordered speech provide symbols for a bilabial percussive (smacking lips) and a bidental percussive  (gnashing teeth). The only percussive known to be used in nondisordered speech is a sublingual percussive (a tongue slap) that appears allophonically in the release of alveolar clicks in the Sandawe language of Tanzania.

title: Airstream mechanism


text:
Ruth Montgomery

Ruth Shick Montgomery (June 11, 1912 – June 10, 2001) was a journalist with a long and distinguished career as a reporter, correspondent, and syndicated columnist in Washington, DC.

Later in life she transitioned to a career as a psychic and authored a number of books on metaphysical and New Age subjects. The polar shift of the early 21st century was among many predictions made by a spirit guide group from whom she regularly translated messages. She was a biographer of paranormal medium Jeane Dixon and a protégée of Arthur Ford, who claimed that he, like Edgar Cayce, could access the Akashic Records (or database) of the Universe.

Journalism
Montgomery began her long journalism profession as a cub reporter for Waco-News-Tribune while receiving her education at Baylor University (1930–1935). Later she graduated from Purdue University (1934) and began work as a reporter on the Louisville Herald-Post.

In 1943, she became the first female reporter in the Washington bureau of the New York Daily News, and embarked on her extensive Washington, DC career. She covered notable foreign affairs (the Berlin Airlift among them), was a syndicated columnist for Hearst Headlines and United Press International and was a well-read correspondent with the International News Service.

At Franklin D. Roosevelt's funeral, Montgomery was the only female of the 12 invited reporters. In 1950, while a reporter for the New York Daily News, she was voted president of the Women's National Press Club. In 1959, she was a member of then Vice-president Richard Nixon's press corps on his tour of Russia. Montgomery wrote of her 25 years covering Washington in her 1970 book, “Hail to the Chiefs; My Life and Times with Six Presidents”.

Montgomery wrote annual newspaper columns listing predictions by psychic Jeane Dixon beginning in 1952. In 1962, “Once There was a Nun: Mary McCarran's Years as Sister Mary Mercy” was published and thus began Montgomery's long career as a non-fiction author. In 1965 her book, “A Gift of Prophecy” about Jeane Dixon was published and became a best-seller, selling over 3 million copies.

Montgomery retired from her journalism career in 1969. As part of their Texas Collection, the Archives Division at Baylor University contains a research collection which include papers of Montgomery.

She held honorary doctor of law degrees from Baylor University and Ashland College.

New Age writing
Soon after meeting celebrity medium Arthur Ford, Montgomery began automatic writing, first with a pencil and later with a typewriter, and said she was able to communicate with Ford after his passing. These post-mortem communications became the basis for a lengthy series of books which resulted in her achieving minor celebrity status, when Montgomery became a regular on the morning talk show circuit. During the 1960s and 1970s she became a household name.

Montgomery, whose prolific New Age writings earned her a loyal and enthusiastic following, believed her mission on Earth was to educate the public regarding her views on life after death, which is not uncommon among spiritualists. She also studied reincarnation and came to believe that mental and physical illnesses often have their origins in past lives. Montgomery wrote of such things as birth marks indicating the possible sites of past life injuries and commented that often children born with serious defects or illnesses are in fact repaying debts incurred in previous existences. Her books sometimes discussed the past lives of the famous among her contemporaries, stating that Ernest Hemingway had once been a Hun warrior and that in a previous incarnation Jacqueline Kennedy was a famed French queen.

Montgomery was a believer in the existence of extraterrestrial contact and documented meetings she had with non-human aliens on a number of occasions, particularly when she resided in Mexico in the 1970s.

With other like-minded mystics, Montgomery founded the Association for Past Life Research and Therapy. Her many books (allegedly channeled via automatic writing from her spirit guides) popularized spiritualist notions in public consciousness in the 1960s through the 1990s, and paved the way for what is now known as the New Age movement. Montgomery is particularly noted for documenting the walk-in theory whereby a person's soul can depart a hurt or anguished body and be replaced with a new soul which overtakes the body. In her writings she presented an extensive list of present-day and historical individuals she said were examples of "walk-ins" including several US presidents.

Past life regression
In her book A World Beyond, Montgomery revealed that in a past incarnation she had been alive during the time of Christ and known as Lazarus' third sister Ruth, who is not mentioned in the Bible. As this woman, Montgomery claims to have witnessed Jesus' circumcision.

Predictions
Echoing the earlier predictions of Edgar Cayce, Montgomery believed that ancient advanced civilizations of Mu and Atlantis had destroyed themselves thousands of years in the pre-history of modern man. Montgomery claimed we would see remnants of the lost continent of Atlantis rise from the sea after a "Polar Shift" which she foretold coming to pass in 1999.

Montgomery predicted in the 1970s (with the help of her supposed spirit guides) that World War III would begin in the mid-1980s when a brush-fire conflict, started by Ethiopian strongman Mengistu Haile Mariam, would spread first to the Middle East, and then Europe. Montgomery's "guides" stated that humans have free will and can make their own decisions regarding their destiny, and after the failure of her predictions regarding global strife, she attributed her error to this cause.

Montgomery also predicted that Ronald Reagan would be a one-term President to be followed in 1984 by a big-spending Democrat, and that in the 1970s and 1980s, America would have a "walk-in" as president in the 199 ("unsure which term, 1992 or 1996") before a Polar Shift, which was to happen "in the last months of the century" would eradicate most human life on Earth, and greatly alter existing coastlines.

The Guides predicted in her 1999 book The World To Come that the walk-in president would not come until 2008 at the earliest, and therefore the Shift would be delayed until 2010–2012 at least. The potential catastrophe of the shift was also reduced by human free will. Except for Florida and the coast of California, the Guides reported, most of America will survive, a direct contradiction of Montgomery's earlier forecast of significant global destruction in the coming event.

Influence in popular culture
Montgomery's book "Aliens Among Us" has been cited by Sammy Hagar as the inspiration for the 1985 Van Halen song "Love Walks In". The book's account of benevolent aliens residing on earth in human form for the purpose of assisting humanity during a critical time is the template for speculation in UFOlogy communities. Alleged extraterrestrial candidates include far-reaching public figures such as technology visionary Steve Jobs, psychic medium Danielle Egnew and the Dalai Lama.

title: Ruth Montgomery


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Epiglottal plosive

The epiglottal or pharyngeal plosive (or stop) is a type of consonantal sound, used in some spoken languages. The symbol in the International Phonetic Alphabet that represents this sound is ⟨ʡ⟩.

Epiglottal and pharyngeal consonants occur at the same place of articulation. Esling (2010) describes the sound covered by the term "epiglottal plosive" as an "active closure by the aryepiglottic pharyngeal stricture mechanism" – that is, a stop produced by the aryepiglottic folds within the pharynx.

Features
Features of the epiglottal stop:

 * It has no defined phonation, although it is typically voiceless, which means it is produced without vibrations of the vocal cords. Voiced epiglottal "stops" tend toward being epiglottal flaps.

title: Epiglottal plosive