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The Care Bears Movie

The Care Bears Movie is a 1985 animated musical fantasy film directed by Arna Selznick from a screenplay by Peter Sauder. It was the second feature film from the Canadian animation studio Nelvana after the 1983 film Rock & Rule, in addition to being one of the first films based directly on a toy line and the first based on Care Bears. It introduced the Care Bears characters and their companions, the Care Bear Cousins. The voice cast includes Mickey Rooney, Georgia Engel, Jackie Burroughs and Cree Summer. In the film, an orphanage owner (Mickey Rooney) tells a story about the Care Bears, who live in a cloud-filled land called Care-a-Lot. While traveling across Earth, the Bears help two lonely children named Kim and Jason, who lost their parents in a car accident, and also save Nicholas, a young magician's apprentice, from an evil spirit's influence. Deep within a place called the Forest of Feelings, Kim, Jason and their friends soon meet another group of creatures known as the Care Bear Cousins.

American Greetings, the owners of the Care Bears characters, began development of a feature film adaptation in 1981. Later on, the card company chose Nelvana to produce it and granted them rights to the characters, in addition to financing the film along with cereal manufacturer General Mills and television syndicator LBS Communications. Nelvana's founders were producers, with fellow employee Arna Selznick directing the film. Production lasted eight months, with a production budget of at least $2 million, and took place in Canada, Taiwan, and South Korea. Carole King and John Sebastian contributed several songs for the film. Though major American film studios passed on the project, newly established independent distributor The Samuel Goldwyn Company acquired the distribution rights to the film and soon spent a record $24 million promoting it.

The Care Bears Movie premiered on March 24, 1985, in Washington, D.C, and was released in North America on March 29, 1985; another Nelvana film, Strawberry Shortcake Meets the Berrykins, was released alongside it. It received mixed reviews from critics, who raised concern over its potential as a full-length advertisement for the title characters, among other aspects. It went on to earn $23 million domestically, making it the highest-grossing Canadian film during 1985 (with C$1.845 million), in addition to winning a Golden Reel Award. With over $34 million in worldwide sales, it set a box-office record for Canadian and non-Disney animation and has remained one of Goldwyn's largest-earning releases. The film's success, which saved Nelvana from closing, helped revive films aimed at children in the US market. It has since been cited as inspiring a spate of toy-based animated and live-action features; the film was later followed by two sequels, A New Generation (1986) and Adventure in Wonderland (1987), neither surpassing the original financially or critically.

Plot
The Cherrywoods are a middle-aged couple who run an orphanage. Mr. Cherrywood tells the orphans a story about the Care Bears and Care-a-Lot, their home in the clouds. In the story, Friend Bear and Secret Bear travel looking for people to cheer up. They meet Kim and Jason, two lonely orphaned children, who lost their parents in a car accident. Friend Bear and Secret Bear introduce themselves and remind the children of their ambitions, but neither of them are interested.

At an amusement park, Tenderheart Bear spots a magician's apprentice named Nicholas. While unloading a trunk of goods for his master, the "Great Fettucini", Nicholas finds an old book with a diary-style lock. When he unlocks it, an evil spirit appears as a woman's face, and starts corrupting him. With his help, it lays waste to the park, and begins a quest to remove all caring from the world.

Back at Care-a-Lot, some of the other bears are working on their new invention: the Rainbow Rescue Beam, a portal that can send any bear to Earth and back. The two Care Bear cubs belonging to Grams Bear, Baby Hugs and Baby Tugs, interfere with it and bring forth a group of unexpected visitors: Friend Bear, Secret Bear, Kim, and Jason. The bears introduce themselves to the children, and give them a tour of their home. Tenderheart Bear returns on his now out of control Rainbow Roller just before a "Cloud Quake" caused by the spirit, which ruins Care-a-Lot. He informs the others of Nicholas' troubles on Earth. Using the Rainbow Rescue Beam, he sends Kim and Jason to the park, along with Friend Bear and Secret Bear. They end up in the Forest of Feelings when the portal malfunctions. From a nearby river, the rest of the bears begin searching for them aboard a cloud ship called the Cloud Clipper, leaving behind Good Luck Bear, Grumpy Bear, Grams Bear and the cubs in Care-a-Lot.

Within the Forest, the children and their friends are introduced to Brave Heart Lion and Playful Heart Monkey, two of the Care Bear Cousins. Later on, the other bears discover more of these creatures, among them Cozy Heart Penguin, Lotsa Heart Elephant, Swift Heart Rabbit, and Bright Heart Raccoon. During their stay, the spirit attacks them in several disguises: a pike, tree, and eagle. After the Care Bears and their Cousins defeat it, they venture back to Earth with the remaining cousins Loyal Heart Dog, Proud Heart Cat, Gentle Heart Lamb, and Treat Heart Pig to save Nicholas from its influence.

At the park, Nicholas obtains the ingredients for his spell against the children and the creatures. After he casts it, the Care Bears and company engage in a long battle. The bears shoot beams of bright light on him, forming their "Stare"; the Cousins help with their "Call" – Good Luck Bear and Grumpy Bear arriving in time to help after fixing the Rainbow Rescue Beam. As the creatures' power drains away, Nicholas and the spirit briefly regain control. After Kim and Jason assist him, he finally realizes his misdeeds. With Secret Bear's help, he closes the spirit's face back into the book and saves himself, the park, and the world. He thanks the group and reunites with Fettucini, while Tenderheart Bear inducts the Care Bear Cousins into the Care Bear Family and gives them their own belly badges, and Kim and Jason find new parents who take them to one of Nicholas' shows.

As Mr. Cherrywood finishes his story, it is revealed that he is actually Nicholas. Tenderheart Bear, who has been listening from outside a window, returns to Care-a-Lot in his Cloudmobile.

Development
The Care Bears were created in 1981 by Those Characters from Cleveland (TCFC), a division of the Cleveland greeting card company American Greetings Corporation (AGC). That same year, the title characters made their debut on greeting cards by Elena Kucharik, while American Greetings began to develop a feature-length film using the characters. Kucharik, along with Linda Denham, Linda Edwards, Muriel Fahrion, Dave Polter, Tom Schneider, Ralph Shaffer, and Clark Wiley, created the original characters. Early in their tenure, the Bears appeared as toys from the Kenner company, and starred in two syndicated television specials from a Canadian animation studio, Atkinson Film-Arts of Ottawa: The Care Bears in the Land Without Feelings (1983) and The Care Bears Battle the Freeze Machine (1984).

Production of the first feature took place at another Canadian outlet, Toronto's Nelvana studio. This came in a period in the company's history which Nelvana co-founder Michael Hirsh refers to as its "dark years". At the time, Nelvana had just finished production of its first full-length film, 1983's Rock & Rule, which was produced using almost all of its resources (for around US$8 million), and failed to find proper distribution. The film put them on the verge of closing down. Soon after, the Nelvana team began doing work on television shows like Inspector Gadget (from DIC Entertainment), 20 Minute Workout (from Orion Television), and Mr. Microchip. During this period, they also made syndicated specials based on American Greetings properties: Strawberry Shortcake, The Get Along Gang, and Herself the Elf. "In some instances," noted Harvey Levin, vice-president of marketing and entertainment communications at TCFC, "their capabilities [on the Strawberry Shortcake specials] surpassed Disney quality." Various companies vied to produce a Care Bears feature, and Nelvana was the first to do so; Hirsh sought to seize the opportunity after hearing of its development. DIC Entertainment also expressed interest. Thanks to the Strawberry Shortcake specials and their experience on Rock & Rule, Nelvana acquired the rights to the characters and gained a contract from American Greetings to create the script. To convince the production partnership of TCFC and Kenner Toys, Hirsh held a competition inspired by Pepsi-Cola's "Pepsi Challenge" commercials of the time, in which he tested clips from Nelvana and other vying studios and checked the "animation quality, music, sound effects, and colour" of each. He then asked the producers to decide on the best demo, and Nelvana scored highest. Hirsh later recalled the words of his partners: "We know you've rigged this against everybody else because you've chosen the clips. But we like the approach."

Producers and crew
The Care Bears Movie was one of the first films to be based directly on an established toy line. It featured the ten original Bears, along with six additions to the line-up, and marked the media debut of the Care Bear Cousins. Produced for at least US$2 million, the film was financed by American Greetings, the owners of the Care Bears franchise; General Mills, the toys' distributor; and television syndicator LBS Communications. The Kenner company also took part in the production. Brought in under budget, The Care Bears Movie became Nelvana's second feature-length production, and was made over an eight-month period that lasted until February 1985. Michael Hirsh is quoted as saying in Daniel Stoffman's 2002 book, The Nelvana Story: "Nobody had ever made an animated movie for theatrical release for as little money and in as little time." In 2009 his partner, Clive A. Smith, told Canadian Business magazine: "I swear I grimaced at the thought of doing a Care Bears feature. But Michael [Hirsh] went out and actually brought that project in." Nelvana was responsible for the script, several special effects, including those for the "Care Bear Stare", and hired musicians and voice actors. With this project, Arna Selznick became the third of only four women ever to direct an animated feature; prior to this, she worked on several Nelvana productions, including Strawberry Shortcake and the Baby Without a Name. Nelvana's founders—Michael Hirsh, Patrick Loubert, and Clive A. Smith—participated as the main producers. The studio's roster included Charles Bonifacio, the director of animation, and supervising animator D. Brewster, who previously took part in the animation courses at Ontario's Sheridan College. Dale Schott, who served as a storyboard artist, remarked that "Nelvana had a lot to do with reviving the low-budget feature" with its efforts on The Care Bears Movie.

Four employees of the film's financiers served as executive producers: Louis Gioia Jr., president of Kenner's Marketing Services division; Jack Chojnacki, co-president of TCFC; Carole MacGillvray, who became president of General Mills' M.A.D. (Marketing and Design) division in February 1984; and Robert Unkel, LBS' senior vice-president of programming. A fifth producer, American Greetings staffer W. Ray Peterson, went uncredited. Three associate producers worked on the film: Paul Pressler, another employee at Kenner; John Bohach, who later became LBS' executive vice-president; and Harvey Levin. Lenora Hume, the director of photography on Rock & Rule, was the supervising producer.

Animation
Along with Inspector Gadget, The Care Bears Movie was Nelvana's first foray into animation outsourcing. Production took place at Nelvana's facilities, Taiwan's Wang Film Productions (Cuckoo's Nest Studio), and the newly established Hanho Heung-Up and Mihahn studios in South Korea. Delaney and Friends, a Vancouver-based outlet, did the uncredited work. Nelvana faced several problems with their Korean contractors, among them the language barrier between the Canadian crew and the overseas staff, and the unwieldy processes through which the film reels were shipped to the West. At one point, Loubert, Smith, and fellow staffer David Altman spent three days trying to persuade several unpaid animators to return important layout sketches. In exchange for the layouts, Nelvana gave them US$20,000 in South Korean won. By then, the production was falling behind schedule, and an opening date was already set; Loubert sent half of the work to Taiwan (where Lenora Hume supervised), while the remainder stayed in Korea under Loubert's and Smith's watch.

Back in the Americas, Hirsh tried to promote the unfinished feature before its deadline; unable to get available footage, he instead managed to show potential marketers some Leica reels and a few moments of completed colour animation. According to him, it was the first time an animated "work in progress" was screened to exhibitors; this ploy has since been used by the Disney company, particularly in the case of Beauty and the Beast (at the 1991 New York Film Festival). "People loved the movie anyway," he said of this experiment. "I was told it was considered great salesmanship. It made [them] feel that they were part of the process because they were seeing unfinished work."

Music
The music for The Care Bears Movie was composed by Patricia Cullen. The soundtrack album was released in LP and cassette format by Kid Stuff Records in the United States, Six songs were performed by Carole King, John Sebastian, NRBQ, and the Tower of Power, actor Harry Dean Stanton had a guest appearance as Brave Heart Lion for the song "Home is in Your Heart". The songs were produced by Lou Adler and John Sebastian, with additional lyrics and music by Ken Stephenson, Walt Woodward, and David Bird, Nelvana crewmember Peter Hudecki prepared the song sequences.

Before The Care Bears Movie, Sebastian contributed to several other Nelvana specials, including The Devil and Daniel Mouse (1978) and Easter Fever (1980). When asked to compose three tracks for the film, he learned about the characters since he was unfamiliar with the franchise. Despite his misgivings on the marketing aspects, Sebastian said in April 1985, "I think their central theme—being candid about your feelings, sharing your feelings—is a very positive message for children."

Adele Freedman of Toronto's The Globe and Mail wrote positively about the music in the film:

"A lot of caring has gone into the soundtrack. It doesn't attack the eardrum in the manner of so much current kids' stuff. It supposes that a child's ear can discriminate between good music and aural pollution as well as anybody else's. Carole King (of Tapestry fame) wrote and performed the theme song, 'Care A Lot'. The remaining songs, written by John Sebastian, are likewise entertaining and imaginatively arranged. The music does a lot to make the kingdom of Care-a-lot, where the goody-goody bears hang out on clouds monitoring life below on their Caring Meter, a slightly less irritable place."

Other critics tended to differ. The Houston Chronicle's Stephen Hunter found that "the film integrates its music into the story very clumsily. It's not merely that the numbers are forgettable—they are—it's that they're shoe-horned so obviously into the story that they don't amplify it, they stop it cold." Likewise, Michael Blowen of The Boston Globe said that "the uninspired songs ... add nothing to the banal plot."

Release
In 1984, before the film's completion, Carole MacGillvray offered The Care Bears Movie for consideration to major studios in the US; since they did not see the financial potential in a picture aimed strictly at children, they declined the offer. MacGillvray told Adweek magazine in April 1985, "I made several trips, and I was really disappointed. They kept telling me things like 'Animated movies won't sell' and 'Maybe we'd consider it if you were Disney,' but most just said, 'You're very nice, good-bye.' " When few takers were left, she took it to the Samuel Goldwyn Company. A newcomer in the independent market, it agreed to release the film. Comparing the title characters' appeal to Hollywood stars like Barbra Streisand and Robert Redford, founder Samuel Goldwyn Jr. remarked: "Having my [two] children, I know these bears are stars, too."

According to the 1985 edition of Guinness Film Facts and Feats, the Samuel Goldwyn Company spent up to US$24 million on the publicity budget for The Care Bears Movie, the largest at that time. The film's advertising budget was US$4 million; Variety reported that "the beneficiaries of [its] merchandising tie-ins have earmarked [the remaining] $20,000,000 to promo Care Bear products in step with the film's release". For the film's promotion, Goldwyn's staff partnered with Kenner Toys and the fast food chain Pizza Hut; there were also tie-ins on Trix cereal boxes. Parker Brothers published two tie-in books, Meet the Care Bear Cousins and Keep On Caring, shortly after the film's release;  both were reissued in October 1985 by Children's Press.

The Goldwyn staff came up with two advertising strategies, which tested well with the company—one was aimed at the film's target audience of children as young as age five; another targeted grown-ups, parents, and older children. In the words of Cliff Hauser, the distributor's executive director of marketing, "We didn't want parents to think the movie was threatening. So the big debate was—although the formula for success in animated film is the triumph of good over evil—how can you do that in single-image ads?" Jeff Lipsky, vice-president of theatrical at Goldwyn, referred to the first one as "the cheery approach"; ads therein featured the Care Bears on clouds, and carried the tagline "A movie that'll make the whole family care-a-lot". Hauser said, "That's one that a mother can look at and know she can take the 2-year-old to it and not worry." The other campaign, which Lipsky called "more Disney-esque", featured an evil tree whose hands reached out to capture the Bears; its tagline, "What happens when the world stops caring?", was also seen on the official poster. Bingham Ray, Goldwyn's vice-president of distribution, was involved in the promotional efforts.

Around opening time, Hirsh predicted that The Care Bears Movie would be its decade's response to Pinocchio and Snow White and the Seven Dwarfs, both from Walt Disney Productions. Loubert added, "These characters say something important to children. Our challenge has been to create a very distinct character for each Care Bear. A lot of effort went into bringing out their individuality." Some time afterward, Hirsh conceded that parents had to come to the film, out of respect for the dark content within. "Frightening scenes," he said, "are a necessity for the reality of the hero and villain—just as it works in nursery rhymes. Kids work out their fears this way." TCFC's Jack Chojnacki offered this vindication in The Wall Street Journal: "We consider a film one of the many products we license. When we started the whole Care Bears project we knew the importance of bears in the market but that there was a void. There were no specific bears. In the movie marketplace there was a void for good family-fare films." And, in the words of Carole MacGillvray, "Toy recognition drives this movie."

North America
The Care Bears Movie premiered in Washington, D.C., on March 24, 1985, as part of a Special Olympics benefit; Georgia Engel, the voice of Love-a-lot Bear, attended this event. The film opened on March 29, 1985, in the United States and Canada, as Nelvana's first widely released feature. It became surprisingly successful at the North American box office, playing primarily at matinees and early evening showings. At the time, the North American film industry was bereft of children's and family fare; with The Care Bears Movie, Hirsh said, "There's such a large audience for a film that appeals primarily to 6-year-olds." He remarked later on, "What we've done [at Nelvana] is tailor the film to a pre-literate audience, the very young. It's interesting to see the audience. The kids are fixated on the screen. [It's] awesome to them." Clive A. Smith observed that some children came to showings with their Bears; long line-ups held back its audience in several cities. Among those attending the matinee screenings was John Waters, a filmmaker known for controversial and cult classics Pink Flamingos (1972) and Polyester (1981). The film made an appearance at the USA Film Festival in Dallas, Texas, during its release.

When shown in theatres, the feature was immediately followed by Nelvana's TV special, Strawberry Shortcake Meets the Berrykins. It was directed by Laura Shepherd and produced by Nelvana's founders along with Lenora Hume. The story involves Strawberry Shortcake and a tiny group of creatures called the Berrykins as they work to clear their home of Strawberryland of the "world's favourite perfume", a pungent odour which was unleashed from a purple cloud. LBS Communications syndicated it on US television around the time of The Care Bears Movie's theatrical tenure; a video release from Family Home Entertainment soon followed.

The Care Bears Movie ranked fourth at the North American box office on its first two weekends, grossing US$3.7 million and US$3.2 million respectively. It was screened in 1,003 venues during its first four weeks. After three months, it grossed about US$23 million in the United States, and placed 40th among 1985's major films; it brought in US$9,435,000 in rentals for the Goldwyn company. In Canada, the film was released by Astral Films and Criterion Pictures Corporation, and made C$1,845,000 by the end of 1985. It was the year's highest-grossing release in that market, followed by Disney's One Magic Christmas and a Quebec production called The Alley Cat (Le Matou).

Several months after The Care Bears Movie, Walt Disney Pictures released its animated feature The Black Cauldron. Costing US$25 million, it was the most expensive animated film of its time, but grossed less than Nelvana's production (US$21.3 million). As a result, The Care Bears Movie's performance alarmed animators at the Disney Studios; Don Bluth, a former recruit, dismissed the "public taste" factor that it demonstrated. Another animator, Ron Clements, later reflected on this: "Everyone was kind of scared about the future of Disney animation. It wasn't a good time. It was really a terrible time." This sentiment was echoed in Waking Sleeping Beauty, Disney's 2010 documentary on the revival of its animation unit. While comparing The Black Cauldron with The Care Bears Movie, Eleanor Ringel of The Atlanta Journal-Constitution singled out the "putrid pastels" of Nelvana's production and commented that they "don't even deserve to be mentioned in the same review." Months afterward, a re-issue of Disney's One Hundred and One Dalmatians surpassed both The Care Bears Movie and The Black Cauldron, with over US$30 million in sales.

Sometime after the film's release, Children's Video Library (a division of Vestron Video) picked up the video rights to The Care Bears Movie for US$1.8 million. It was released in the United States on July 10, 1985, in VHS and Betamax formats. On August 10, 1985, it debuted in 26th place on Billboard's Top Videocassette Rentals chart. It ranked fourth on the first edition of the magazine's Top Kid Video chart (on October 5). It was tracked by Video Insider's children's chart (on August 30, 1985), as one of five toy-related titles on tape (along with two compilations of Hasbro's Transformers series; another with Hallmark Cards' Rainbow Brite; and the last with Strawberry Shortcake). By 1988, Vestron's edition sold over 140,000 copies. In 1990, Video Treasures reissued it on videocassette; on October 10, 1995, Hallmark Home Entertainment published another VHS edition as part of a six-title package from Goldwyn and Britain's Rank Organisation.

On September 5, 2000, MGM Home Entertainment re-released the film on VHS under the MGM Family Entertainment label; the DVD edition premiered on August 6, 2002, and was packaged with the 1978 British family film The Water Babies. In 2003, the film was inducted into the MGM Kids line. In honour of the Care Bears' 25th anniversary, another DVD edition of the film was released on March 20, 2007, with restored picture quality; it contained the franchise's second Atkinson Film-Arts special, The Care Bears Battle the Freeze Machine, as an extra. American Greetings launched an official anniversary website and a Dodge Grand Caravan giveaway as part of the proceedings. By 2007, home video sales of The Care Bears Movie totaled over five million units. It was later re-released by 20th Century Fox Home Entertainment on DVD on March 5, 2013. To date, this is the only theatrical Care Bears movie from the 1980s to be known for being successfully reissued, outselling A New Generation, which had not been reissued after the 2003 DVD release.

The Care Bears Movie was scheduled to premiere on the US premium television network, Disney Channel, on June 28, 1986, but did so one month in advance. In September 1987, the film made its terrestrial broadcast premiere on the ABC network's Saturday morning schedule. It also aired on American Movie Classics on July 7, 1991, and on Showtime and The Movie Channel in the 2000s. The film aired on Starz Entertainment's Encore channel in September 2007, as part of its "Big '80s" Labour Day marathon, chronicling various releases from that decade. It was among the first films shown on Canada's Moviepix channel in October 1994.

International
Amid the US and Canadian success of The Care Bears Movie, Goldwyn took the film to the 38th edition of the Cannes Film Festival, where it was highly received; a group of costumed Care Bears strolled along the Croisette to promote the picture. Among its international distributors was Germany's Filmwelt, which released it on March 20, 1986, under the title Der Glücksbärchi Film. It sold 538,487 tickets in that territory, placing 47th among new releases, and grossed over DM4,013,000 (€2,051,600; US$2,868,000). The film was released on VHS in October 1986 by the local division of CBS/Fox Video, and aired on national broadcaster ARD during the 1988 Christmas season.

The Care Bears Movie was released in the United Kingdom by Miracle Films in August 1985, and did well in matinee-only engagements; a video edition from Vestron's local branch came out some months later. It was also released in Australia on December 12, 1985. In February 1986, the film was released by France's Artédis under the franchise name Les Bisounours; publishing rights were held by Hachette Livre. It opened on March 20, 1986, in the Netherlands as De Troetelbeertjes. On July 21, 1986, the Bermudez de Castro company opened the film in Madrid, Spain, as Los osos amorosos; it grossed over 23,728,000 Pts (€142,606; US$199,500) from 93,294 admissions. Among that country's Catalan speakers, it is known as Els Óssos Amorosos. The film was released in Czechoslovakia by Ústřední půjčovna filmů on December 1, 1988, as Starostliví medvídci. It was advertised in Italy as Orsetti del cuore, and in Poland as Opowieść o Troskliwych Misiach.

In Mexico, The Care Bears Movie was released on April 24, 1986, as Los ositos cariñositos. In Brazil, the film was promoted as As novas aventuras dos ursinhos carinhosos. Television airings occurred on Australia's Nine Network in 1987, and Malaysia's TV2 (in August 1993) and Disney Channel in April 2002.

Aftermath
As opposed to Rock & Rule (which Nelvana owned outright), the characters in The Care Bears Movie were the property of American Greetings, who paid Nelvana a service fee to work on the film. Nelvana, however, hardly received any profits from the production; this caused its founders to express regret about the situation. In The Nelvana Story, Patrick Loubert explained the catch-22 that they would face numerous times in the years to come: "We could have waived our fee and taken a big piece of the film. We were offered that deal. But if we had waived the fee, we couldn't have made the payroll. Once the picture was hugely successful, we thought we should have waived the fee. But we couldn't have." At the time of production, Nelvana had begun embarking on service work that other companies provided them, not only to help ease the debts the studio incurred after Rock & Rule, but also because it proved profitable in due time.

By 1989, The Care Bears Movie made over US$34 million worldwide, according to Maclean's magazine; this made it the highest-grossing animated feature film to come from Canada,  and the highest grossing animated film of 1985. It also became the highest-grossing animated film not produced by the Disney company, surpassing the US$11 million of Atlantic Entertainment Group's 1983 release The Smurfs and the Magic Flute; Don Bluth's An American Tail (1986) and The Land Before Time (1988) later took over this position. As of 2023, that title is held by Illumination Entertainment and Nintendo's The Super Mario Bros. Movie (2023), with US$1.288 billion. The film virtually saved a fledgling Nelvana from going out of business, and was the company's highest-grossing venture. It is also among the highest-grossing releases from either incarnation of Samuel Goldwyn.

Critical analysis
The Care Bears Movie received mixed reviews. During its original release, The Care Bears Movie had varying degrees of success with critics. The New York Times ' Richard Grenier wrote, "[The film] recalls vintage Walt Disney, both in substance and in the style of hand animation." Rick Lyman of Knight Ridder News Services said in his review: "Any movie—even an animated one—that has characters with names such as Funshine Bear, Love-a-lot Bear, and Lotsa Heart Elephant is obviously going to rank quite high on the cute meter. And this one sends the needle right off the chart. You've never seen such cuteness." Adele Freedman also gave it a positive review, commenting: "[It] has a lot going for it if you can tolerate the Bears." Edward Jones of Virginia's The Free Lance-Star praised it, but stated that "More comedy would have helped broaden [its] appeal to older youngsters." The Deseret News of Utah gave it three stars out of four (a "Good" grade) with this comment: "Sticky sweet, but a nice message."

Michael Blowen began his review of the film by stating that "[it] satisfies the primary obligation of a bedtime story—before it's half over the children will be fast asleep." He added that "this sugar-coated trifle could only satisfy the most ardent Care Bears fan", and that "the characters themselves lack definition". The Arkansas Democrat-Gazette said, "Who except a callous scrooge would carp about the fact that The Care Bears Movie espouses a psychopop philosophy of 'sharing our feelings' that seems drawn straight from the pages on one of those insufferable self-motivation tomes? No one, that's who." Paul Attanasio of The Washington Post wrote, "The best cartoons recognize the dark side of kids, their penchant for violence, their fearful fantasies. [This movie] just patronizes them. It even has a child chortling, 'Aren't parents great!' Well, they are and they aren't, and kids know that."

The animation in the film received mixed reviews as well. Adele Freedman praised the style and backgrounds, and called the special effects "stunning". Likewise, John Stanley wrote that "The style is cartoonish and cute" in his 1988 film guide, Revenge of the Creature Features. While complimenting it as "a harmless film diversion", Stephen Hunter said that "the movie has the lustrous, glossy look of the very best in children's book illustrations". "On the other hand," he added, "the producers obviously couldn't afford an expensive [multiplane] camera, the staple of the Disney product, and so the scenes have a depressing flatness to them. And the backgrounds, so brilliantly developed in Disney, tend to be blurry and hastily done." Jim Moorhead of Florida's The Evening Independent said, "[Nelvana's] animation is not the best. Far from it. Everything's in pastels, fine details are largely missing, mouth movements are minimal and the motions of the figures are scarcely better than some of those awful Saturday morning cartoons on TV." The staff at Variety magazine stated that the "style ... tends towards a primer reading level." Halliwell's Film Guide called it "sluggishly animated and narrated". As with the Atlanta Journal-Constitution, The New York Times' Janet Maslin found that the quality paled in comparison to Disney features (in this case, 1940's Pinocchio).

The Los Angeles Times' Charles Solomon (in his 1989 book Enchanted Drawings: The History of Animation), and Michael Janusonis of Rhode Island's Providence Journal, faulted the plot. The Evening Independent's Moorhead and Jim Davidson of the Pittsburgh Press noticed at least two parallel storylines in the film, one of which involved the magician Nicholas. The National Coalition on Television Violence counted at least 20 acts of violence throughout the picture.

Critics questioned its purpose as a feature-length advertisement for Care Bears merchandise; among them were Charles Solomon, Paul Attanasio, The Morning Call of Pennsylvania, and Bill Cosford of The Miami Herald. The Boca Raton News' Skip Sheffield commented, "I couldn't help being bothered by the blatant commercialism of this whole venture." The British magazine Films and Filming remarked: "The purpose of the film is presumably to sell more toys as it unashamedly pushes the message that without at least one Care Bear around life can be very lonely." Stoffman observed, "one of the youngest target audiences of any animated movie", as did the Halliwell's staff; film critic Leonard Maltin (in his Movie Guide); and Henry Herx (in his Family Guide to Movies on Video).

The 1986 International Film Guide called it "an elementary piece of animation lacking colour and character, with not much humour, quite lacking in charm, and indifferently scored". Maltin gave it two stars out of four in his Movie Guide; similarly, the Gale Group publication, VideoHound's Golden Movie Retriever, gave it two bones out of four in its 1997 edition. According to Derek Owen of Time Out Film Guide, "Adults forced to accompany three-year-olds to the movie would have had a little moment of satisfaction when the time came to shovel the Care Bears toys out of the house into landfill sites."

The mixed reception carried on in the years ahead: in her 1995 book Inside Kidvid, Loretta MacAlpine said of the film and its subsequent follow-ups, "If you can hack the sugarcoated attitudes of this group of cuddly bears, more power to you! There's nothing insidious about the Care Bears, but their overbearing sweetness may not appeal to all viewers." She cautioned parents of the merchandising aspect behind the tapes. Dave Gathman of Illinois' Courier-News wrote in 1998, "One Care Bears Movie ... can give all G-rated entertainment a bad name." In 2003 the Erie Times-News acknowledged its financial success, but commented on its "lack of a creative title". Animation expert Jerry Beck wrote in his 2005 book, The Animated Movie Guide, "It's a simple, serviceable adventure with several standout sequences. ... There's no doubt about it, this is a children's film aimed at the under-seven crowd. But it's one of the better animated children's films produced during this period."

Common Sense Media gave this movie some average reviews, as the group stated "The Care Bears Movie was made for young kids, but this movie's plot has some dark scenes and parents will want to be close at hand to comfort young viewers."

The Care Bears Movie holds a 43% rating on Rotten Tomatoes based on 7 reviews.

In the words of Jerry Beck, "[The Care Bears Movie's] box-office gross signalled to Hollywood a renewed interest in animated features, albeit for children. This is something The Secret of NIMH tried to accomplish but failed to do." A plethora of children's and family film entertainment followed in its wake, such as Sesame Street Presents: Follow That Bird from Warner Bros., and a re-issue of Universal Studios' E.T. the Extra-Terrestrial. Atlantic Releasing joined this movement by establishing Clubhouse Pictures, which showed G-rated films during 1986. Nelvana's film helped to bring back matinee engagements to prominence across North America.

Mentioning The Care Bears Movie as "the most recent example", Charles Solomon brought up the subject of feature-length toy adaptations in an April 1985 interview on Los Angeles' KUSC-FM. He spoke to Warner Bros. animator Chuck Jones, who replied: "I feel that it's proper—after all, that's the way Alice in Wonderland was written: the dolls were all made first, then they made the picture about the dolls, right?" In July 1985, Sarah Stiansen of United Press International (UPI) called The Care Bears Movie "another licensing innovation for TCFC", following the department's previous endeavours. UPI's Vernon Scott (in 1985), and Bruce A. Austin (in his 1989 book Immediate Seating), observed how the merchandising arrived in advance of the film's release. In forthcoming years, several media adaptations based on established toy lines would follow a similar marketing tactic. Examples included films based on Hasbro's Transformers (in 1986 and 2007) and My Little Pony (in 1986, 2017, and A New Generation); features with Tonka's GoBots (Battle of the Rock Lords) and Pound Puppies (Legend of Big Paw); and a television series and feature with Hallmark's Rainbow Brite.

In popular culture
The Care Bears Movie was parodied in "At the Movies", a 1991 episode of Nickelodeon and Klasky Csupo's animated series Rugrats. In that episode, the Pickles family goes to see The Land Without Smiles, starring the Dummi Bears.

Allusions
In his Christian Science Monitor review, David Sterritt observed that The Care Bears Movie was mostly influenced by The Sorcerer's Apprentice, a 1797 poem by German author Johann Wolfgang von Goethe, along with "a trace of H. P. Lovecraft "that probably wasn't intended". He went on to say, "I also noticed a subtle sexism at work. Why must it be the little girl [Kim] who dreams of being a nurse and the little boy [Jason] of being a jet pilot—and not the other way around, to stimulate young imaginations instead of echoing past patterns?" Blowen wrote that the two children both get turned "from cynics to idealists". Joe Fox of Ontario's The Windsor Star, and Stephen Hunter, compared the Bears' home of Care-a-lot to King Arthur's mythical castle of Camelot; Blowen commented that in this place, "altruism is king". Hunter noted that "the celestial physics are left vague", concerning Kim and Jason's trip from Care-a-lot to the Forest of Feelings. Critics compared at least two aspects of the film to Disney's Snow White and the Seven Dwarfs: the Spirit received similarities to the Magic Mirror and the Wicked Queen,   but Charles Solomon felt that the Bears lacked the individual qualities of the Dwarfs. Solomon noted that in animated features of that era, villains such as the Spirit "lacked motivation—if the viewer accepts their evil intentions, it's only because he's been told to". According to Tom Ogden (in his 1997 book Wizards and Sorcerers: From Abracabadra to Zoroaster), the Bears' Stare against the Spirit serves as a kind of white magic. "Such a non-violent solution," wrote Bruce Bailey in The Montreal Gazette, "should sit well with peace lobbyists". According to a 2005 article in The Times of London, an Internet reviewer called The Care Bears Movie "a fine example of Christian socialism".

Accolades
At the 1985 Genie Awards in its native Canada, The Care Bears Movie won the Golden Reel Award for being the country's highest-grossing film of the year. Ron Cohen, president of the Academy of Canadian Cinema and Television, presented the award to producers Hirsh, Loubert, and Smith. John Sebastian's "Nobody Cares Like a Bear" received a Genie nomination for Best Original Song; his performance was part of CBC's live telecast of the ceremony on March 20, 1986. The film received a Young Artist Award nomination for "Best Family Animation Series or Special", but lost to the CBS series The Charlie Brown and Snoopy Show. During its 21st annual award ceremony on October 17, 1985, Nashville's performance rights organization SESAC honoured Woodward and Bird for their songwriting efforts.

Follow-ups
After the release of The Care Bears Movie, DIC Entertainment produced a syndicated 11-episode television series featuring the title characters. Another series, Nelvana's The Care Bears Family, premiered on ABC in the US and Canada's Global in September 1986, and was subsequently broadcast in 140 countries. Nelvana followed the first film with another two theatrical installments, Care Bears Movie II: A New Generation (1986) and The Care Bears Adventure in Wonderland (1987); neither made as much of a critical or commercial impact. A New Generation, released by Columbia Pictures, made over US$8.5 million in North America and US$12 million worldwide Adventure in Wonderland was self-financed by Nelvana and released by Cineplex Odeon Films, and grossed US$2.608 million domestically, with worldwide earnings of US$6 million; it barely recovered its costs. Because of this, Michael Hirsh later declared, "It was just one sequel too many." The Bears returned for one more animated production, Care Bears Nutcracker Suite, which debuted on video and television in December 1988. The franchise's next feature film, 2004's Journey to Joke-a-lot, also premiered on video (via Lionsgate and Family Home Entertainment).

title: The Care Bears Movie


text:
Bill McKnight

William Hunter McKnight (July 12, 1940 – October 4, 2019) was a Canadian politician who served in the Canadian House of Commons from 1979 to 1993. During the government of Brian Mulroney, he served in various cabinet roles such as Minister of National Defence and Minister of Agriculture. He also served as the Treaty Commissioner for the Province of Saskatchewan.

Biography
Born in Wartime, Saskatchewan, he served as Minister of Agriculture, Minister of Indian Affairs and Northern Development, Minister of National Defence during the first Gulf War, Minister of Energy, Mines and Resources and Minister of Labour in the Progressive Conservative government of Brian Mulroney. He was sworn into the Queen's Privy Council for Canada on September 17, 1984. He was the Honorary Chief of the Muskeg Lake Cree Nation. A 36 acre parcel of commercial land in Saskatoon was named after McKnight by the Muskeg Lake Cree Nation in recognition of his role in creating federal policy for Land Claims Settlements. It is known as the McKnight Commercial Centre. McKnight died in Saskatoon on October 4, 2019, at the age of 79.

Airbus affair
McKnight testified on the first day of the Airbus Affair inquiry on March 30, 2009.

Honours
He was a Member of the Saskatchewan Order of Merit.

Archives
There is a William Hunter (Bill) McKnight fonds at Library and Archives Canada.

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

title: Bill McKnight


text:
User:Pavleck

Pavleck is Jeremy D. Pavleck, a long time netizen. Owner of the websites Pavleck.Com, Pavleck.Net, Pavtography.Com and many others. I am an IT professional (Network Engineer), 30, and he work s as a contractor in Minneapolis, MN. He got my start with an Amstrad PC6400 hundred in the mid-80s. Blazing 8086 speed and dual 5.25 floppies for whatever. He saved up for a year to buy his first Acoustic Coupler, and was hooked ever since.

He also enjoys writing, mainly stageplays, and is an avid photographer, usually found to take his Nikon Nikon_D50 with him everywhere.

Noteworthy Trivia: The spelling of "Pavleck" is a highly regionalized one, the typical spelling being Pavlik, Pavlick, Pavlek, and Pavlec. As such, it is almost certain that all individuals with the last name of Pavleck are related to each other, with the majority being in the Midwest

title: User:Pavleck


text:
Human Head Studios

Human Head Studios, Inc. was an American video game developer located in Madison, Wisconsin.

History
Human Head Studios was founded in October 1997 by a group of six developers formerly from Raven Software: Ben Gokey, Chris Rhinehart, Paul MacArthur, Ted Halsted, James Sumwalt, and Shane Gurno—later joined by game producer Tim Gerritsen as co-owner in June 1998. Regarding the origin of the studio's name, Gerritsen explained: "When the guys were thinking of leaving Raven Software, someone posted a message via e-mail that they had lost some money. This started people saying they had lost all sorts of things. One person posted that they had misplaced a bag of human heads and this gave the inspiration for the name." Their first game was Rune, a third-person Viking action game. The company also worked on the long-anticipated first-person shooter Prey, a game that was executive produced by 3D Realms.

On April 20, 2007, a news report indicated that the company's headquarters were partially destroyed in a fire. No injuries were reported. On October 1, 2007, the company moved back into their newly renovated offices. In 2014, Human Head announced that they have revived a multiplayer video game called Minimum from TimeGate Studios, which filed for bankruptcy in 2013. Their final major release was the infamous The Quiet Man, an action-adventure beat-em-up published by Square Enix which features full-motion video cutscenes.

On November 13, 2019, the studio announced its closure, immediately after the release of Rune II. The whole team subsequently formed a new studio, Roundhouse Studios, under ZeniMax Media. Chris Rhinehart of Human Head/Roundhouse stated that "Sadly, we had to wind down the business of Human Head Studios and close its doors", but had been able to reach out to ZeniMax to establish this new studio. Roundhouse Studios was closed in May 2024 and its team was moved to ZeniMax Online Studios.

Cancelled

 * Prey 2

title: Human Head Studios


text:
Jacob de Wit

Jacob de Wit (19 December 1695 – 12 November 1754) was a Dutch artist and interior decorator who painted many religious scenes.

Biography

Jacob de Wit was born in Amsterdam, and became famous for his door and ceiling paintings. He lived on the Keizersgracht in Amsterdam, and many of the buildings on the Keizersgracht still have door or ceiling paintings done by him. Since many of the families who lived in Amsterdam in those days had country villas, de Wit also painted in houses in the fashionable areas of Haarlem and the Vecht river. According to the RKD he was the pupil of Albert van Spiers in Amsterdam and Jacob van Hal in Antwerp where he became a member of the Guild of St. Luke in 1714. While in Antwerp, he made a series of watercolor sketches of the Rubens ceilings in the Carolus Borromeuskerk in Antwerp. After the church was struck by lightning in 1718 these became a historical document, and his pupil Jan Punt later engraved his sketches and published them in 1751. His pupils were Jan de Groot (painter from The Hague), Dionys van Nijmegen, Jan Punt, Pieter Tanjé, and the brothers Frans and Jacob Xavery. Jacob de Wit died in Amsterdam in 1754. Tako Hajo Jelgersma was his follower.

Major works

 * Baptism of Christ in the Jordan (1716) – Chalk and pen drawing
 * Adoration of the Shepherds (1726) – Oil on canvas
 * Holy Family and Trinity, also : The Return from Egypt (1726) – Oil on canvas
 * Allegory of Transience (1733) – Oil on canvas
 * Moses Elects Seventy Elders (1737) – Oil on canvas

Location of paintings

 * One of his paintings for a door in Heemstede now hangs in Uppsala, Sweden, in the Linnaeus museum.
 * A set of paintings of the four seasons depicting cherubs painted in a three-dimensional monochrome style now hangs at Hinton Ampner house in Hampshire.
 * Another of his three-dimensional monochrome style cherub paintings hangs in Kingston Lacy house in Dorset.
 * Old City Hall (The Hague)
 * Museum Willet-Holthuysen

title: Jacob de Wit


text:
Talk:Gilmore Girls

The Gilmore Girls in popular culture - unlisted occurrence in House MD S03E15
In episode 15 of season 3 of House MD there is a scene where Cameron wants to get some of his blood using her feminine charms. Cameron kisses House and while kissing she wants to draw some blood with a needle hidden in her pocket. Unfortunately House becomes aware of her plan before she can carry it out. In the discussion following her discovery he tells her to look up his patient files under some number and 'under the name of Luke and Lorelai'

This is my first time trying to contribute and I have no idea how it works, so I had the idea to post this bit of information here to inspire someone to post it in the real article that just wouldn't be complete without this tremendously important information. 212.17.73.75 (talk) 21:13, 7 February 2008 (UTC) Lily IP

 * Hello! This is the talk page for Gilmore Girls. I believe that you are discussing something different, despite the character parallels between Luke and Lorelai? Correct me if I am wrong! Imroberts (talk) 12:34, 30 January 2024 (UTC)

Cloversmom (talk) 20:57, 22 May 2021 (UTC)

He actually says 'under the name of Luke and Laura' which is presumably a reference to General Hospital.

Gilmore girls
I would be great to make more of the Gilmore Girls,the 4 episodes that was last made was interesting and being it was so popular why did they make anymore 2601:603:5181:9A80:1867:32AA:BA48:24F1 (talk) 18:38, 14 November 2023 (UTC)

Gilmore Girls
it would be great for them to make more of the Gilmore Girls being it was so popular and try to keep the same people in it as much as possible. 2601:603:5181:9A80:1867:32AA:BA48:24F1 (talk) 18:41, 14 November 2023 (UTC)

 * Do you feel that there is any missing information about any characters on this site? Any help would be greatly appreciated, thank you! Imroberts (talk) 17:45, 30 January 2024 (UTC)

Feminism
“Gilmore Girls” shows feminism and how it works and surrounds everyday lives, specifically of a single mother and her daughter. The show portrays a single mother, who is happy and more than capable of raising a daughter by herself, and her daughter who goes from private school into an ivy league institution. Both Lorelai and her daughter Rory are independent and although they date frequently through the show, their mother-daughter dynamic comes first. As opposed to having explicit statements of feminism throughout the show, it uses strong, independent, and supportive female characters to show how feminism impacts daily life. Virginia1234569 (talk) 00:48, 27 November 2023 (UTC)

 * Hello, thank you for this valuable insight! Do you feel that the Gilmore Girls Wiki page would benefit from a section on feminism as a central theme? Imroberts (talk) 17:48, 30 January 2024 (UTC)

title: Talk:Gilmore Girls


text: User talk:62.139.83.147

title: User talk:62.139.83.147


text:
Pars pro toto

 * ; ), is a figure of speech where the name of a portion of an object, place, or concept is used or taken to represent its entirety. It is distinct from a merism, which is a reference to a whole by an enumeration of parts; metonymy, where an object, place, or concept is called by something or some place associated with it; or synecdoche, which can refer both to pars pro toto and its inverse:.

In the context of language, pars pro toto means that something is named after a part or subset of it, or after a limited characteristic, which in itself is not necessarily representative of the whole. For example, "glasses" is a pars pro toto name for something that consists of more than literally just two pieces of glass (the frame, nosebridge, temples, etc. as well as the lenses). Pars pro toto usage is especially common in political geography, with examples including "Russia" or "Russians", referring to the political institution (both historially and contemporary) or its people; "Holland" for the Netherlands; and, particularly in languages other than English, using the translation of "England" in that language to refer to Great Britain or the United Kingdom. Among English-speakers, "Britain" is a common pars pro toto shorthand for the United Kingdom.

Geography
An example of a pars pro toto in geography is the use of the capital to refer generally to the country such as Washington for the United States, Beijing for China, or Moscow for Russia. When the capital is used to refer specifically to the country's government, the figure of speech is a metonymy rather than a pars pro toto.

Certain place names are sometimes used as synecdoches to denote an area greater than that warranted by their strict meaning:
 * "Aotearoa" for New Zealand
 * "Antigua" for Antigua and Barbuda
 * "Austria" for the former Austro-Hungarian Empire or the Habsburg-ruled lands
 * "The Balkans" to include historically related parts of southeastern Europe as well as the Balkan Peninsula, or for the countries that made up the former Yugoslavia
 * "Bohemia" for the former Czech lands, now the Czech Republic
 * "Bosnia" for Bosnia and Herzegovina
 * "Denmark" for the erstwhile Kingdom of Denmark–Norway
 * "Great Britain" for the United Kingdom
 * "Holland" for the Netherlands – see Netherlands (terminology)
 * Jawadwipa (Java), Swarnadwipa (Sumatra), and Sunda Islands (Java, Sumatra, Kalimantan, Bali, East & West Nusa Tenggara), for Indonesia (all of those and Papua & Maluku Islands)
 * Java, for the main island and the surrounding islands (Madura, Thousand Islands, and hundred others) under the jurisdiction of the 6 provinces in Indonesia
 * Sumatra, for the main island and the surrounding islands (Nias, Bangka, Belitung, etc.)
 * Kalimantan, Sulawesi, Papua, for the main islands and the surrounding islands
 * "Laurentia" for Canada
 * "Monte Carlo" for Monaco
 * "Muscovy" for Russia
 * "Naples" for the former Kingdom of the Two Sicilies
 * "Newfoundland" for what is now called Newfoundland and Labrador
 * "Patagonia" for the entirety of the Southern Cone
 * "Peru" for the former Inca Empire and the Viceroyalty or Kingdom of Peru
 * "Piedmont" or "Sardinia" for the former Kingdom of Sardinia
 * "Poland" for the former Polish–Lithuanian Commonwealth
 * "Prussia" for the former German Empire
 * "Russia" (or "Soviet Russia") for the former Soviet Union
 * "Saint Helena" for Saint Helena, Ascension, and Tristan da Cunha
 * "Saint Vincent" for Saint Vincent and the Grenadines
 * "São Tomé" for São Tomé and Príncipe
 * "Scandinavia" for the Nordic countries or Fennoscandia
 * "Serbia" (or "Yugoslav Serbia") for the former Yugoslavia or Serbia and Montenegro
 * "South America" for the partially overlapping concept of Latin America
 * "South Pole" for Antarctica
 * "Sweden" for the former Sweden-Norway
 * "Tahiti" for French Polynesia
 * "Taiwan" for the (Free area of the) Republic of China, which consists of Penghu, Kinmen, Matsu, and the island of Taiwan
 * "Tel Aviv" for Tel Aviv - Yafo
 * "Trinidad" for Trinidad and Tobago
 * "Turkey" for the former Ottoman Empire

Demonyms and ethnic groups

 * "Yankee" for all Americans (despite the original meaning of the word being of an inhabitant of New England)
 * "Franks" for all Western Europeans (used in the Muslim world throughout the medieval and early modern periods)
 * "Alemanni" for all Germanic peoples (used first by the Romans and later by the speakers of Romance languages)

Body parts for body
Body parts are often colloquially used to refer to the whole body, as in:
 * "skin" ("save your skin")
 * "hide" ("the teacher will have my hide")
 * "mouth" ("mouth to feed")
 * "head" ("head count")
 * "face" ("famous faces")
 * "hand" ("all hands on deck")
 * "eyeballs" (television audience)
 * "guts" ("hate someone's guts")
 * "back" ("get off my back")
 * "brain" for intelligence or a smart person, as in "the class brain" or "the brains of the operation" or "where's your brain"
 * "neck" ("save one's neck")
 * "butt" or "ass", used to indicate a person's entire self or body ("get your butt on a plane" or "the boss fired my ass")
 * "body" for a whole person, as in "can't a body have some peace and quiet?"
 * "soul", meaning a whole person, as "don't tell a soul"

Subdivisions of companies
The names of affiliates or subdivisions of large corporations are sometimes used to refer to the entire corporation:
 * Chevrolet, Holden (in Oceania), or Opel (in Europe) to represent the entirety of General Motors, where using the most common GM brand in each region represents the entirety of General Motors
 * Activision or Blizzard to refer to holding parent company Activision Blizzard

Others
Other examples include an individual object being used to refer to a larger object or group of which it is a part:
 * "bread" for food in general, as in "my job puts bread in my children's mouths"
 * "pork bellies" for commodities to be traded
 * "Big Ben" for Elizabeth Tower
 * "motor" for automobile (as in the corporation General Motors or the word "Motors" used in the name of a car dealership)
 * similarly, "wheels" for automobile, "jet" for jet(-propelled) airplane, "sail" for sailing ship
 * "gun" used to refer to the shooter as well as his firearm (e.g., "he was a hired gun")

title: Pars pro toto


text:
User:Ckelsh

So far I've expanded Brian Rosenworcel's entry.

title: User:Ckelsh


text:
Wikipedia:Articles for deletion/Raluca Mamarutza

 * Vanity? Newbie error? Certainly nothing in what is written here to suggest why this person is worthy of mention in an encyclopedia. -- Jmabel 23:26, Jul 28, 2004 (UTC)
 * Might very well be a newbie since there's a stub notice on it. If that's the case, someone at least read some of the rules.  How about making this into a new user page? - Lucky 6.9 00:35, 29 Jul 2004 (UTC)
 * New user page for whom? The article's anonymous creator, or the second anonymous user who stubified it?  Delete, I say.  --Ardonik 05:17, Jul 29, 2004 (UTC)
 * FWIW the original IP is Swiss-based, the second appears to be from the UK, and seems to have done the odd bit of clean up on other articles too.Ianb 08:53, 29 Jul 2004 (UTC)
 * Delete as vanity. Ianb 08:53, 29 Jul 2004 (UTC)
 * Two anon tweaks equal one delete vote. Lose this. - Lucky 6.9 16:28, 29 Jul 2004 (UTC)
 * Delete - vanity - Tεx  τ  urε  20:32, 29 Jul 2004 (UTC)
 * BTW, given that we seem to be headed for a delete, presumably remove her from List of Romanians as well. -- Jmabel 22:57, Jul 29, 2004 (UTC)


text:
Staples High School

Staples High School is a public high school in Westport, Connecticut, United States. It is named after Horace Staples, who founded the school on April 26, 1884. Westport is one of eight school districts in District Reference Group A (along with Darien, Easton, New Canaan, Redding, Ridgefield, Weston, and Wilton).

Campus
The school was first located at Riverside Avenue in a three-level red brick building. In 1958 Staples High School moved to its current location on a 9 acre campus at 70 North Avenue. As of 2020, the neighborhood around the high school is known as the Staples census-designated place.

History
Seeing the "town's lack of progress in education," Horace Staples, a wealthy businessman with interests in shipping, hardware sales, and banking, founded Staples High School. Initially Staples intended to fund the school via an interest left in his will; however, that interest became known while he was still alive, and led to the school's foundation being laid in 1884. On April 24, 1884, businesses closed early in Westport to celebrate the dedication of Staples High School. Connecticut Governor Thomas M. Waller attended the opening. In the first year of operation, commencing in the fall of 1884, Staples High School had 60 of the 807 students attending schools in Westport.

On June 24, 1887, Staples High School conferred its first high school diplomas to six female students who comprised its first graduating class.

In 1909, the town of Westport accepted control of Staples High School from the Horace Staples estate. From 1966 to 1969, Staples attracted some of the biggest names in music to perform in concert. The Animals, Cream, the Yardbirds, the Young Rascals, Sly and the Family Stone and Louis Armstrong to name a few. A short documentary was produced in 2017.

Inklings
The school newspaper, Inklings, has won the Columbia Scholastic Press Association gold medal every year since 2000 (in addition to a silver medal in 1999). The paper has also received the rank of First Place with "Special Honors" from the American Scholastic Press Association since 2001 and has been dubbed "the best school paper in the state" by the Hartford Courant.

Notable alumni

 * Lynsey Addario, photojournalist
 * Britt Baron, actress
 * Marilyn Briggs (1970), professionally known as Marilyn Chambers, model and adult film actress
 * Kevin Conroy, actor
 * John DiBartolomeo, American-Israeli basketball player for Maccabi Tel Aviv of the Israeli Basketball Premier League
 * Cynthia Gibb, actress
 * Luke Greenfield, director
 * Will Haskell, Connecticut State Senator
 * Win Headley, American football player
 * Tyler Hicks, photojournalist
 * Stew Leonard Jr., President and CEO of Stew Leonard's
 * Paul Lieberstein, screenwriter, actor and producer
 * Mariangela Lisanti, theoretical physicist
 * Christopher Lloyd (1957), Emmy Award winning actor
 * Pamela Sue Martin, actress
 * Mike Noonan, soccer coach
 * Justin Paul, of the team Pasek and Paul, is a Golden Globe and Academy Award-winning composer and lyricist.
 * Harry Rodrigues, record producer
 * Jane Yolen, children's book author

title: Staples High School


text:
Talk:Arthur Ashe

First person
Why the hell is this in first person?
 * That's what I was gonna say.

Shhhhh no one cares Faith Jones

Quotes
The quote that begins "When he received a letter from a fan which conveyed...." is sourced by a cached version of a user comment on a blog. Is that really an acceptable "source" to cite?

He is supposed to have said in the Washington Post 1992 Oct 11:
 * "The confusion for AIDS patients like me is that there is a growing school of thought that HIV may not be the sole cause of AIDS, and that standard treatments such as AZT actually make matters worse. That there may very well be unknown cofactors but that the medical establishment is too rigid to change the direction of basic research and/or clinical trials."

And had in Days of Grace:
 * "Some scientists believe that AZT, which relentlessly kills cells but cannot distinguish between infected and uninfected cells, is as harmful as AIDS itself. After all, HIV is present in only 1 of every 10,000 T-cells, which are vital to the immune system; but AZT kills them all."

Pity he was another who couldn't muster the nerve to tell the pillpeddlars what to do with their poisons. 142.177.24.141 23:28, 28 Jul 2004 (UTC)
 * It sort of lacks punch to see an anonymous poster talking about someone else's lack of nerve. Carptrash 05:42, 20 January 2006 (UTC)

How did he get aids? No info here. 2601:647:667F:8610:487C:5682:1E29:471B (talk) 23:40, 4 September 2023 (UTC)
 * Yes there is, under the health section. Fyunck(click) (talk) 03:40, 5 September 2023 (UTC)

Grammatical error
Under quotes, is the following:During his battle with AIDS, from the world over, he received letters from his fans, one of which asked: "Why does God have to select you for such a bad disease"?

The question mark should be inside the quotation marks. —The preceding unsigned comment was added by 141.150.96.96 (talk) 00:50, 28 February 2007 (UTC).

I don't know how to properly edit a Wiki page so I'm gonna put it here: "Arthur and Jeanne adopted one child together, a daughter, who was born on December 21, 1986. She was named Camera after her mother's profession. Camera was only six years old when her father died."

Is that statement accurate? I was reading about them and Jeanne Moutoussamy-Ashe's bio says: "In 1987, the couple celebrated the birth of their daughter, appropriately named Camera."

From: http://www.answers.com/topic/jeanne-moutoussamy-ashe —Preceding unsigned comment added by 66.57.43.100 (talk) 16:21, 9 January 2009 (UTC)

Those quotes
Hey, I think the "quotes" section of this page should be moved to Wikiquote with a reference to Wikiquote from here. It makes sense. --Heero Kirashami (talk) 17:58, 4 October 2008 (UTC)

AIDS

 * When he started AAFDA (Arthur Ashe Foundation for the Defeat of AIDS), doesn't it means that he was a spokeman for the education and defeat of AIDS? There wasn't any individual person who was appointed by a government agency to do so. There were many people who were advocates. Ucla90024 (talk) 23:29, 9 February 2009 (UTC)

 * That's merely an inference you're making. Find a source for it.  Tennis expert (talk) 05:45, 10 February 2009 (UTC)

 * Just like "elder spokesman". Ucla90024 (talk) 16:37, 10 February 2009 (UTC)

Errors in Arthur Ashes grand slam timeline
It would be great if you guys could ammend Arthur Ashe´s gradn slam timeline performance. Checking out the australian open finals I can see that it does not match the dates of the finals which were played by Arthur Ashe, it also does nos include his first grand slam tournaments played.190.25.236.76 (talk) 17:03, 6 May 2011 (UTC)

#1 World Ranking
The alleged #1 World Ranking of Ash is bogus. It's only based - see the source of the citation - on a comment of H. Hopeman (who at the time was the Australian Davis Cup team captain) in the newspaper Toledo Blade, where he was quoted, that for him Ash is the best tennis player in the world. 178.200.204.158 (talk) 22:01, 20 December 2014 (UTC)
 * Yes and no. "IF" that were the only case you would have a point. Remember that entry in the infobox was the first possible time he was number one. There are also many many sources having him No. 1 in 1975 such as Collins, Elian, Lorge, Tingay, and World Tennis Magazine. Steve Flink ranked Ashe No. 1 in 1975 and the ATP itself awarded Ashe "Player of The Year" contradicting its computer ranking in 1975. So while 1968 was iffy, 1975 was not. Fyunck(click) (talk) 22:37, 20 December 2014 (UTC)

Singles Titles updating in progress
I will be expanding his singles titles section over the next couple of days in addition to both tennis base and tennis archives as sources I will add in both newspaper and book sources as well for titles I have found that he has won before 1968 the 33 singles titles as shown by the ATP are not complete and therefore not reliable as the final statistics thanks. --Navops47 (talk) 16:02, 11 December 2017 (UTC)

title: Talk:Arthur Ashe


text:
Wikipedia talk:Hotel Wikipedia

This is the best thing I've seen all week (Which is a real comment on how interesting my weeks are)! -- Kwekubo 23:29, 28 Jul 2004 (UTC)

title: Wikipedia talk:Hotel Wikipedia


text:
Talk:Voltron/to do

 * Find more info on the 3-D Voltron Its been done Voltron: 3D
 * Name Voltrons weapons
 * Move character sections to their respective series It's been done List of Voltron characters
 * Get a screenshot of the voltron logo for the main page to put in the infobox
 * Research connection between Hesman and Voltron (was Hesman derived from Voltron or GoLion?)

title: Talk:Voltron/to do


text:
Programming Ruby

Programming Ruby is a book about the Ruby programming language by Dave Thomas and Andrew Hunt, authors of The Pragmatic Programmer. In the Ruby community, it is commonly known as "The PickAxe" because of the pickaxe on the cover. The book has helped Ruby to spread outside Japan.

The complete first edition of this book is freely available under the Open Publication License v1.0, and was published by Addison-Wesley in 2001. The second edition, covering the features of Ruby 1.8, was published by The Pragmatic Programmers, LLC in 2004. The third edition, covering Ruby 1.9, was published in 2010, with the fourth edition, covering Ruby 1.9 and 2.0 being published in 2013.

A fifth edition, updated for Ruby 3.3, was written by Noel Rappin, and published by Pragmatic Programmers, LLC in 2023.

title: Programming Ruby


text:
Wikipedia:Articles for deletion/Fågelkatt

I have a fair share of knowledge of Scandinavian folklore and Norse mythology, but this page is nonsense. I wish we had any real knowledge of Swedish folklore in the 4th century.--Wiglaf 23:35, 28 Jul 2004 (UTC) Also note that in the article it says that the creature is a mix between a bird and a cat, but sometimes has the appearence of a "dalahäst", which is a breed of horse. I find this article very implausible, and vote for delete, if no more documentation is forthcoming.--MaxMad 09:31, 29 Jul 2004 (UTC)
 * Delete: Unless that's just some weird mistake, the 4th c. in Sweden was pre-literate. We have to rely on scant reports from Romanized Britons for anything to do with them at all.  Perhaps this boogeyman is recorded much later and someone thinks it comes from the 4th c.?  Extremely unlikely all the way around.  (Her com tha fagelkatt in thaes tyd...?)  Geogre 01:03, 29 Jul 2004 (UTC)
 * Keep, but only if someone can verify its relevance in Norse mythology. --Ardonik 05:26, Jul 29, 2004 (UTC)
 * I am from Norway, and I have never heard of this. I checked both Norwegian and Swedish Google, the only hit being this Wikipedia clone:[Wordiq].

 * It is worse than that. A Dalahäst is a small wooden red horse that Swedes sell to tourists as souvenirs. The contributor, User:Obli, just wants to mock the Wikipedia concept by adding silly information. He is a troll. Regards.--Wiglaf 10:40, 29 Jul 2004 (UTC)

 * My Swedish is limited to "smorgasbord," "ABBA," "Volvo," "SAAB" and "willing Swedish masseuse."   That being said, if real Scandanavians say that this is real nonsense, it should be a speedy delete.  I maintain that these kinds of bogus articles are extremely dangerous to this project. - Lucky 6.9 23:02, 29 Jul 2004 (UTC)
 * Agree with Lucky. Mythology has included stranger creatures than this, but Wiglaf's comment makes me doubt the validity of the article.  Delete.  SWAdair | Talk  04:15, 30 Jul 2004 (UTC)
 * Delete as unverifiable. -- Cyrius|✎ 05:23, 30 Jul 2004 (UTC)
 * Delete. I am a Swede and this article is a mockery of Wikipedia. How long will it take before it is finally deleted?--Wiglaf 11:21, 31 Jul 2004 (UTC)
 * Well, 2.5 days since you posted it for deletion, 5 day VfD period... at least another 2.5 days depending on sysop laziness levels? -- Cyrius|✎ 14:50, 31 Jul 2004 (UTC)


text:
Emmanuel Milingo

Emmanuel Milingo (born June 13, 1930) is an excommunicated former Roman Catholic archbishop from Zambia. He was ordained in 1958; in 1969, aged 39, Milingo was consecrated by Pope Paul VI as the bishop of the Archdiocese of Lusaka. In 1983, he stepped down from his position as Archbishop of Lusaka after criticism for exorcism and faith healing practices that were not approved by church authorities. In 2001, when Milingo was 71, he received a marriage blessing from Sun Myung Moon, the leader of the Unification Church, despite the prohibition on marriage for ordained priests. In July 2006, he established Married Priests Now!, an advocacy organization to promote the acceptance of married priests in the Roman Catholic Church.

On September 24, 2006, Milingo consecrated four men as bishops (including American George Augustus Stallings Jr., who had established an independent denomination) without a papal mandate. Through that act alone, Milingo had incurred a latae sententiae excommunication, which was stated by the Holy See Press Office two days later. On December 17, 2009, the Holy See Press Office announced that Milingo had been reduced to the lay state, making him no longer a member of the Catholic clergy. Mlingo retired from ministry in his movement for married priests in March 2013, appointing Peter Paul Brennan to take his place.

Education and ordination
Born in 1930 in Mnukwa, Northern Rhodesia (now Zambia) to Yakobe Milingo and Tomaida Lumbiwe, he was educated at St Mary's Minor Seminary in Chipata. He attended the Kasina Seminary and Kachebere Seminary. He was ordained a priest in 1958. He served as the parish priest in Chipata from 1963 to 1966, and founded the Zambia Helpers' Society during this time. He was the secretary of Mass Media at the Zambia Episcopal Conference from 1966 to 1969 and founded the Daughters of the Redeemer.

Pope Paul VI consecrated him as bishop of the Archdiocese of Lusaka, the capital of Zambia. He served there from 1969 to 1983. In the 1970s, Milingo conducted public religious services of healing and exorcism, which attracted huge crowds. In 1999 and 2000 Milingo participated in mass-marriage ceremonies conducted by Sun Myung Moon's Unification Church in Japan and Korea, for which he received a severe written reprimand from Cardinal Angelo Sodano, Vatican Secretary of State.

In 1983, Pope John Paul II transferred Milingo to Rome because of his inappropriate use of his office of exorcism and his role in causing divisions in the Lusaka Archdiocese. He was barred from practicing as a priest and bishop in Zambia, but the Pope appointed Milingo a "special delegate" of the Pontifical Council for Migrants and Travelers.

In 1992, Milingo endorsed the book On the Eucharist, a Divine Appeal, a collection of messages said to have been given by Jesus Christ in an apparition and written from September 8, 1987, to 1991 by Sr. Anna Ali, DOJS. These messages were a traditional call to conversion and Eucharistic devotion, as well as expressing sadness over the current state of the Catholic priesthood. Although Milingo did not hold office as a diocesan bishop at the time, his name appears on the book's purported imprimatur, with the date March 17, 1992.

In the late 1990s, Milingo became well known in traditionalist and sedevacantist circles for a speech he gave at the Our Lady of Fatima 2000 International Conference on World Peace, organized by Canadian priest Nicholas Gruner and held November 18–23, 1996. He said that high-ranking members of the church hierarchy were "followers of Satan" or otherwise enabled evil: "The devil in the Catholic Church is so protected now that he is like an animal protected by the government; put on a game preserve that outlaws anyone, especially hunters, from trying to capture or kill it. The devil within the Church today is actually protected by certain Church authorities from the official devil-hunter in the Church—the exorcist. To the question, "Are there men of the [Roman] Curia who are followers of Satan?" Milingo responded, 'Certainly there are priests and bishops. I stop at this level of ecclesiastical hierarchy because I am an archbishop, higher than this I cannot go."

Marriage
In May 2001, Milingo said that the Roman Catholic Church should provide priests dispensation from the obligation of celibacy and should readmit married priests to the priestly ministry. To "set an example", at the age of 71, he and Maria Sung, a 43-year-old South Korean acupuncturist and Unificationist, married in a blessing ceremony in New York City, presided over by Sun Myung Moon and Hak Ja Han Moon. In July 2001, Cardinal Joseph Ratzinger (later Pope Benedict XVI), then prefect of the Congregation for the Doctrine of the Faith, issued a Public Canonical Admonition officially warning Milingo to separate from Moon and from contacts with the Unification Church. Milingo protested the order, saying, "How can I now leave my wife? For 43 years as a celibate priest I only knew God as a male. Now, through my union with Maria, I have come to see the other side of God's heart, which is female."

In a press conference organized by the Unification Church affiliate American Church Leadership Conference, Milingo said, "Celibacy has become a façade, secret affairs and marriages, raping of nuns, illegitimate children, rampant homosexuality, pedophilia and illicit sex have riddled the priesthood. Christ is mocked, the devil laughs."

In August 2001, Milingo met with Pope John Paul II, who appealed to him: "In the name of Jesus Christ, return to the Catholic Church." Milingo agreed to separate from Sung and went into seclusion. Sung went on a hunger strike and appeared outside of St. Peter's Basilica to protest their separation. In an interview on Italian television in 2002, Milingo said that he had spent a year in prayer and meditation in Argentina, at a Capuchin monastery. In November 2003, he made a trip to Africa over the objections of the Catholic bishops there. In 2004 and 2005, he kept a low profile and media accounts suggested that he was living in a monastery near Rome.

Organization for married priests
In late June or early July 2006, Milingo quietly left Italy and, on July 12, announced at a press conference at the National Press Club in Washington, D.C., his plans to "embark on an independent charismatic ministry to reconcile married priests with the Catholic Faith" as an advocate of the removal of the rule of celibacy for Latin Rite priests in the Catholic Church; the group is called Married Priests Now!. The sponsor of the press conference was MJT Television. Archbishop George Augustus Stallings, Jr., also an excommunicated priest, who had founded his own Imani Temple African-American Catholic Congregation and married in 2001 at the same mass event as Milingo, spoke as well.

Stallings said that Milingo "is not seeking to defy or divide the (Roman Catholic) Church, but is acting out of deep love for the Church and concern for its future." In August 2006 Milingo rejoined his wife. In January 2010 the Catholic News Agency reported that 20 priests in Uganda had formed a breakaway Catholic sect that accepts married priests. This was said to have been inspired by Milingo; the group claims to have around 12,000 members.

Excommunication
On September 24, 2006, Milingo consecrated four married men as bishops, each of whom were already ordained in the Old Catholic apostolic succession and serving as a bishop in their respective Independent Catholic churches. One of the four was Stallings. The other three were Archbishop Peter Paul Brennan of the Old Catholic Confederation; Archbishop Patrick E. Trujillo of the Old Catholic Church in America, and Archbishop Joseph J. Gouthro of Las Vegas, presiding bishop of the Catholic Apostolic Church International (CACI).

Two days after the consecration of the four Americans as bishops, on September 26, 2006, the Holy See's press office announced the excommunication of all five men in a statement that Milingo and the four men involved in the episcopal consecration had automatically incurred excommunication (see Latæ sententiæ) in accordance with canon 1382 of the 1983 Code of Canon Law. According to the dogma of sacramental character, while the four men were consecrated against Catholic canons, they were validly but illicitly consecrated. In October 2007, Milingo's Vatican passport was revoked. This ended his status as a person with diplomatic protection by the Vatican City State.

Reduction to the lay state
In December 2007, in Brazil, Milingo conferred episcopal ordination on Harold J. Norwood. On July 15, 2009, in Massa, Italy, he consecrated Vitaliy Kuzhelnyi as a bishop, a former priest of the Russian Orthodox Church and, later, of the Ukrainian Greek Catholic Church.

On December 17, 2009, the Holy See Press Office in a statement announced that Milingo had been dismissed from the clerical state. The statement explained the effect of the action as "loss of the rights and duties attached to the clerical state, except for the obligation of celibacy; prohibition of the exercise of any ministry, except as provided for by Canon 976 of the Code of Canon Law in those cases involving danger of death; loss of all offices and functions and of all delegated power, as well as prohibition of the use of clerical attire. Consequently, the participation of the faithful in any future celebrations organized by Archbishop Emmanuel Milingo is to be considered unlawful."

On June 11, 2011, the Pontifical Council for Legislative Texts issued a statement about illicitly consecrated bishops, pointing out the canons which provide for an automatic latae sententiae excommunication for both the consecrating bishop and those consecrated. Bishop Juan Ignacio Arrieta, Secretary of the Council, explained that the statement applied to the bishops consecrated by Milingo as well as to more recent cases.

Ecumenical Catholic Apostolic Church of Peace
In August 2010, Milingo was named Patriarch for Southern Africa of the new "Ecumenical Catholic Apostolic Church of Peace". He called for married former Catholic clergy to join the movement. In April 2011, he consecrated the Rev. Peter Njogu as a bishop in Nyeri, Kenya. In 2012, Milingo praised Sun Myung Moon for his work to promote religious unity. Milingo retired from ministry in 2013, appointing Archbishop Peter Paul Brennan as his successor. Later that year, he stated that he still considered himself a Roman Catholic.

Published works
Music albums:
 * Gubudu Gubudu (1995)
 * Milingo Experience (2007)

Animated cartoon:
 * Milingo the Spirit of Africa (1998), co-produced with the Italian cartoonist Mario Verger; music by Lucio Dalla, arrangements by the singer Ron and Aldo Azzaro.

Books: Milingo has written numerous books about healing and exorcism. They contain details about "the world in between" human beings and the divine, a world of evil and of good spiritual beings.

 * The Flower Garden of Jesus the Redeemer
 * Demarcations
 * Precautions in the Ministry of Deliverance
 * Make Joni (1972), illustrated by Arnold Chimfwembe (Lusaka: Neczam)
 * The World in Between: Christian Healing and the Struggle for Spiritual Survival (1984, London: Orbis Books),
 * Le mie preghiere non sono ascoltate ("My prayers are not heard") (1987),
 * Guaritore d'anime: la mia storia, la mia fede (with Renzo Allegri; Milan: Mondadori, 1997).
 * Confessioni di uno scomunicato ("Confessions of an Excommunicated Catholic") (2008), an autobiography

Literature

 * Gerrie ter Haar: Black Minds Matter. Archbishop Milingo and the Vatican. Leiden, 2021. ISBN 978-90-5548-190-4 Online edition
 * Gerrie ter Haar (International Institute of Social Studies): Spirit of Africa: The Healing Ministry of Archbishop Milingo of Zambia, London: Hurst, 1992; based on her 1991 Ph.D. thesis from Utrecht University.

title: Emmanuel Milingo


text:
The Pragmatic Programmer

The Pragmatic Programmer: From Journeyman to Master is a book about computer programming and software engineering, written by Andrew Hunt and David Thomas and published in October 1999. It is used as a textbook in related university courses. It was the first in a series of books under the label The Pragmatic Bookshelf. A second edition, The Pragmatic Programmer: Your Journey to Mastery was released in 2019 for the book's 20th anniversary, with major revisions and new material which reflects new technology and other changes in the software engineering industry over the last twenty years.

The book does not present a systematic theory, but rather a collection of tips to improve the development process in a pragmatic way. The main qualities of what the authors refer to as a pragmatic programmer are being an early adopter, to have fast adaptation, inquisitiveness and critical thinking, realism, and being a jack-of-all-trades.

The book uses analogies and short stories to present development methodologies and caveats, for example the broken windows theory, the story of the stone soup, or the boiling frog. Some concepts were named or popularized in the book, such as DRY (or Don't Repeat Yourself) and rubber duck debugging, a method of debugging whose name is a reference to a story in the book.

Publication history

 * The Pragmatic Programmer, Andrew Hunt and David Thomas, 1999, Addison Wesley, ISBN 0-201-61622-X.
 * The Pragmatic Programmer, 20th Anniversary Edition, David Thomas and Andrew Hunt, 2019, Addison Wesley, ISBN 978-0135957059.

title: The Pragmatic Programmer


text:
Frau musica nova

Frau Musica (nova) was a conference held in November 1998 at the Musikhochschule (music conservatory) in Cologne, focusing on historical and living women composers. The conference consisted of both academic paper sessions and concerts, including a newly commissioned work by Pauline Oliveros.

title: Frau musica nova


text:
Jagdpanther

The Jagdpanther (German: "hunting Panther"), '''Sd.Kfz. 173''', was a tank destroyer (Jagdpanzer, a self-propelled anti-tank gun) built by Germany during World War II. The Jagdpanther combined the 8.8 cm Pak 43 anti-tank gun, similar to the main gun of the Tiger II, with the armor and suspension of the Panther chassis.

It entered service in 1944 and served on the Eastern and Western Fronts. During the last stages of the war, limited German production resulted in small production numbers, shortage of spare parts, and shortened crew training periods of younger operators.

Development
The Jagdpanther was preceded by two attempts at mounting an 8.8 cm gun as a self-propelled anti-tank weapon; Ferdinand - also known as Panzerjäger Tiger (P) - using the ninety-one leftover Porsche-built VK 45.01 (P) chassis from the Tiger tank competition it lost to Henschel in 1942, and the Nashorn on the Geschützwagen III/IV (which used a combination of the Panzer III and Panzer IV components) chassis. Ferdinand proved to be too heavy, and Nashorn lightly armored and under-powered.

A heavy tank destroyer design based on the 8.8 cm Pak 43 gun and the Panther tank chassis was ordered in late 1942. The full-size model by Daimler-Benz was demonstrated in October 1943 before Hitler. MIAG-built prototypes followed in October/November 1943.

Production started in January 1944; in February, Hitler specified the simpler Jagdpanther name instead of its original "8.8 cm Pak 43/3 auf Fahrgestell Panther".

To accommodate the heavier-calibre gun, as on previous Jagdpanzer-style unturreted tank destroyers, the glacis plate and sloped hull sides of the Jagdpanther were extended up into an integral fixed casemate as part of the main hull to provide a roomy interior. The Jagdpanther had side plates armour thickness increased (to 50 mm) to offset the slightly reduced angle of the side plate to provide enough interior space. Lower frontal hull plate was reduced to 60 mm while upper hull frontal plate was kept at 80 mm. The chassis armour changes were also introduced on the main Panther tank assembly lines with the Panther Ausf. G in spring 1944.

It was armed with the long-barreled 8.8 cm Pak 43/3 L/71 gun, similar to the main gun of the Tiger II ("King Tiger"). The gun was mounted in a central mantlet, giving it a limited traverse of twelve degrees to each side. A single 7.92 mm MG 34 machine gun was in a ball mount on the right side of the front glacis plate. The machine gunner was also the radio operator. The driver sat on the left. The gunner had a rangefinder and a periscope telescopic sight. The periscope – linked to the gun mount – was under an armoured housing on the roof.

The Jagdpanther had a good power-to-weight ratio and a powerful main gun, enabling crews to destroy any type of Allied tank. Based on the established Panther Ausf G chassis, the vehicle encountered few mechanical problems. It was crewed by five: driver, radio operator/machine gunner, commander, gunner, and a loader.

Variants
There were two main variants. The earlier G1 1944 model has a small welded main gun mantlet, one-piece Pak 43/3 gun, a modified Panther A engine deck, and had two vision openings for the driver. The G2 Jagdpanther used a Panther Ausf. G engine deck, a larger gun mantlet bolted externally, and a two-piece KwK 43/4 L/71 gun. Some later G1 models had 'hybrid' G2 features such as the larger G2 mantlet as changes to the design were implemented. Zimmerit was applied to G1s up to September 1944, then was withdrawn to decrease production time. Early Jagdpanthers had two vision openings for the driver, whereas late versions had only one. The main gun originally had a monobloc gun barrel, but, May 1944-on, it was gradually replaced by an economical two-part barrel after crews determined barrel wear was uneven.

Reliability
Notes for the meeting with the Führer on 10.28.1944:

"According to an oral statement from H.Pz.Jg.Abt. 654 (currently in Grafenwöhr) Jagdpanther with modified lateral transmission gears (Leutnant Rosenfelder) travelled 400 - 500 km without suffering any damage. However, a great tension has been detected in the sprockets."Mike Gibb of the Weald Foundation being interviewed by historian James Holland, disagreed that the Jagdpanther was unreliable. He said that the Jagdpanther owned by the Weald foundation, which he had first hand experience with, had done hundreds of miles without any reliability issues normally raised about the tank. When the vehicle was properly maintained, and properly driven, it was reliable. Gibb theorised that claims about the tank being unreliable may have been with some crews who may have been young and inexperienced and not operated or maintained the vehicle properly.

Production and service
A total of 413 Jagdpanthers were produced from January 1944 by three manufacturers: MIAG in Braunschweig produced 268 from January 1944 until the end of the war, Maschinenfabrik Niedersachsen Hannover (MNH) produced 112 from November 1944, Maschinenbau und Bahnbedarf (MBA) in Potsdam produced 33 vehicles from December 1944. Planned production was between 100 and 200 a month, but the disruption to German manufacturing made this goal unachievable.

The last 'production' Jagdpanthers were produced at the factory by German staff just after the end of World War II under the supervision of the Royal Electrical and Mechanical Engineers (REME) during the American and British occupation of Germany. Nine Panthers and a dozen Jagdpanthers were produced, then shipped to England for evaluation. A complete Panther and a complete Jagdpanther produced this way are displayed at the Bovington Tank Museum, Dorset, with brass plates on them explaining their history.

Jagdpanther equipped heavy antitank battalions (schwere Panzerjäger-Abteilungen) and served mainly on the Eastern Front. In the West, they were encountered in very small numbers late in the Battle of Normandy; the German 654 schwere Panzerjäger-Abteilung ("654th Heavy Antitank Battalion") deployed about twelve Jagdpanthers against the British armed forces. Seven Jagdpanthers of the 1. Schwere Panzerjäger Bataillon 559 were involved in the Battle of Geel in September 1944. Later, significant numbers were concentrated in the West for the Ardennes Offensive.

Survivors
Four surviving Jagdpanthers are restored to running condition one each at the Deutsches Panzermuseum at Munster and the Wehrtechnische Studiensammlung (WTS) at Koblenz. The Weald Foundation in the UK restored one Jagdpanther to running condition and has a second undergoing restoration. The Imperial War Museum at Duxford, UK has restored a Panzerbefehlswagen Jagdpanther to running condition.

 * Seven surviving Jagdpanthers are displayed at:
 * Bovington Tank Museum, Dorset, UK. One of those assembled by the British Army Royal Electrical and Mechanical Engineers for trials, late production model.
 * Imperial War Museum Duxford, Cambridgeshire, UK. An early production Panzerbefehlswagen variant, with three shell holes on the right side of the engine compartment with the left side, sectioned and opened to public view. Provenance is uncertain but claimed to be one knocked out during the battle of Hechtel, Belgium by Hugh Griffiths, previously displayed at Imperial War Museum London.
 * Kubinka Tank Museum, Moscow, Russia
 * Musée des Blindés in Saumur, France
 * Sinsheim Auto & Technik Museum, Sinsheim, Germany
 * Panzermuseum Thun, Thun, Switzerland
 * U.S Army Armor & Cavalry Collection, Fort Moore (formerly Fort Benning), Georgia, USA
 * The Australian Armour and Artillery Museum, Cairns QLD, completed the restoration of a Jagdpanther from battlefield relics
 * The Wheatcroft Collection, Leicestershire, England owns sufficient parts to restore another but financial pressures have limited their capacity to pay for the restoration

title: Jagdpanther


text:
Tang (drink mix)

Tang is an American drink mix brand that was formulated by General Foods Corporation food scientist William A. Mitchell and General Foods Corporation chemist William Bruce James in 1957, and first marketed in powdered form in 1959. The Tang brand is currently owned in most countries by Mondelēz International, a North American company spun off from Kraft Foods in 2012. Kraft Heinz owns the Tang brand in North America.

Sales of Tang were poor until NASA used it on John Glenn's Mercury flight in February 1962, and on subsequent Gemini missions. Since then it has been closely associated with the U.S. human spaceflight program, which created the misconception that Tang was invented for the space program. Tang continues to be used on NASA missions in the present day, over 50 years after its introduction.

History
General Foods Corporation food scientist William A. Mitchell and chemist William Bruce James formulated and trademarked Tang in 1957. Tang entered test markets in 1958 and was available to the public beginning in 1959.

Tang was used by early NASA crewed space flights. In 1962, when Mercury astronaut John Glenn conducted eating experiments in orbit, Tang was selected for the menu; it was also used during some Gemini flights, and has also been carried aboard numerous space shuttle missions. Although many soda companies sent specially designed canned drinks into space with the crew of STS-51-F, the crew preferred to use Tang, as it could be mixed into existing water containers easily. In 2013, former NASA astronaut Buzz Aldrin said, "Tang sucks". In his autobiography, published forty years earlier, Aldrin had further clarified: "I can't speak for the other flights, but before (Apollo 11), the three of us dutifully sampled the orange drink, supposedly Tang, and instead chose a grapefruit-orange mixture as our citrus drink. If Tang was on our flight I was unaware of it."

The creator of Tang, William A. Mitchell, also invented Pop Rocks, Cool Whip, a form of instant-set Jell-O, and other convenience foods. Chemist William Bruce James also invented several Jell-O flavors.

Tang's advertising in the 1990s and early 2000s featured an orangutan as a mascot.

Nutritional facts
Tang is sold in powdered and liquid-concentrate form. The suggested serving size is two tablespoons, or 31 grams of powdered Original Orange flavored Tang per 8 USoz of water. A single suggested serving of Tang contains 29 g of sugar (representing 94% of the product's dry weight); 10% RDA of carbohydrates;  100% RDA of vitamin E;  100% RDA of vitamin C; 6% RDA of calcium and has a total of 120 calories (500 kJ).

Other versions
In 2007, Kraft introduced a new version of Tang which replaced half of the sugar with artificial sweeteners. The new packaging advertises "1/2 the sugar of 100% juice". The artificial sweeteners used in the new formulation are sucralose, acesulfame potassium and neotame. The new formula is more concentrated and distributed in smaller containers, with a 12.3 USoz (348 g) making 8 USqt.

According to the preparation instructions on the 20 oz (590 ml) Tang orange drink mix, 2 level tablespoons of the Tang drink mix can be combined with 1 cup or 8 fl oz (240 ml) of cold water for 1 serving of the beverage.

In 2009, another version of Tang emerged in 20 USoz containers making only 6 USqt.

Orange flavored Tang contributes to most sales worldwide; however, there are a wide range of flavors of Tang offered globally. Some of these flavors include grape, lemon, mango, pineapple, and many more.

Sales
Tang is sold in about thirty-five countries and is available in a variety of flavors depending on location. The top three markets for Tang around the world are Brazil, Argentina, and the Philippines.

In the Middle East, more than half of Tang's annual sales occur in just six weeks around Ramadan.

In June 2011, Kraft Foods announced that Tang has become its twelfth billion-dollar brand, with global sales nearly doubling since 2006. The brand in 2010 controlled a category-best 15.6% of the international powder concentrate market although, like other highly processed or sweetened beverages, demand in developed economies has stagnated or fallen in line with consumers increasing preference for lower calorie drinks. In 2018, Tang's manufacturer Mondelez reported a drop in sales following the introduction of tax on calorific sweetened beverages in the Philippines.

title: Tang (drink mix)


text: User talk:12.44.162.69

title: User talk:12.44.162.69