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Walt Disney Studios Motion Pictures

Walt Disney Studios Motion Pictures is an American film distributor within the Disney Entertainment division of the Walt Disney Company. It handles theatrical and occasional digital distribution, marketing and promotion for films produced and released by the Walt Disney Studios, including Walt Disney Pictures, Walt Disney Animation Studios, Pixar, Marvel Studios, Lucasfilm, 20th Century Studios, and internationally Searchlight Pictures; which operates its own autonomous theatrical distribution and marketing unit in the United States.

The company was originally established by Walt Disney in 1953 as Buena Vista Film Distribution Company Inc (later renamed Buena Vista Distribution Inc and Buena Vista Pictures Distribution Inc). It took on its current name in late 2007.

History
Before in 1953, Disney's productions were previously distributed by:
 * M.J. Winkler Pictures (1924–1926),
 * Film Booking Offices of America (1926–1927),
 * Universal Pictures (1927–1928),
 * Celebrity Productions (1928–1930),
 * Columbia Pictures (1930–1932),
 * United Artists (1932–1937, and 1943),
 * RKO Radio Pictures (1937–1953 [films]; 1937–1956 [shorts]).

Buena Vista
A dispute with RKO Pictures in 1953 over the distribution of The Living Desert, Disney's first full-length film in the True-Life Adventures series, led Walt and his older brother Roy O. Disney to form its wholly owned subsidiary, the Buena Vista Film Distribution Company, Inc. (BVDC), to handle North American distribution of their own products. RKO refused to distribute the film. The name "Buena Vista" came from the eponymus street in Burbank, California, where the Walt Disney Studios was located (and remains to this day). Buena Vista's first release was the Academy Award-winning live-action feature The Living Desert on November 10, 1953, along with Toot, Whistle, Plunk and Boom, Buena Vista's first animated release. Notable subsequent releases included the Austrian film Victoria in Dover, the Japanese Daiei film Princess Yang Kwei Fei (Most Noble Lady), released in US theaters in September 1956,  The Missouri Traveler in March 1958, and The Big Fisherman in July 1959 (the first third-party production financed by Disney).

By July 5, 1957, RKO Japan, Ltd. was sold to Disney Productions and British Commonwealth Film Corporation. In allocating the foreign film licenses to the company, Disney would use 5 and Commonwealth 8.

In April 1960, the company dropped "Film" from its name. In 1961, Disney incorporated Buena Vista International (BVI), distributing its first PG-rated film, Take Down, in January 1979. The low-budget movie was not produced by the Disney studios and was acquired from an independent studio, making The Black Hole the first PG-rated Disney film. In July 1987, Buena Vista changed its name to Buena Vista Pictures Distribution, Inc. (BVPD).

Late in the 1980s, Disney purchased a controlling stake in one of Pacific Theatres' chains leading to Disney's Buena Vista Theaters and Pacific to renovate the El Capitan Theatre and the Crest by 1989. The Crest was finished first while El Capitan opened with the premiere of The Rocketeer film on June 19, 1991.

In 1992, Buena Vista made production loans totaling $5.6 million to Cinergi Pictures for its film Medicine Man and its 1994 films Renaissance Man and Color of Night and were distributing Cinergi's films. The corporation purchased a 12.8% share in Cinergi with its initial public offering in 1994. Soon, BVPD signed a 25 picture distribution deal with Cinergi.

The Gaumont Film Company and Disney formed Gaumont Buena Vista International, a joint venture in French distribution, in 1993. In August 1996, Disney and Tokuma Shoten Publishing agreed that Disney would distribute Studio Ghibli animated films and provide 10% of the production cost of the studio's current in-production film, Spirited Away. Disney would go on to produce the English dubs and distribute 15 of Ghibli's films, through the Walt Disney Pictures, Buena Vista Home Video, Miramax and Touchstone Pictures banners.

In September 1996, following Disney's acquisition of Capital Cities/ABC, Buena Vista Pictures Distribution, Inc. was merged into ABC, Inc., the parent company of that group.

For the November 1995 premiere of Toy Story, Disney rented the Hollywood Masonic Temple—adjacent to the El Capitan Theatre—for Totally Toy Story, a multimedia funhouse and a promotional event for the movie. On July 17, 1998, Buena Vista Pictures Distribution purchased the Hollywood Masonic Temple building to continue using it as a promotional venue.

By 1997, BVPD's share in Cinergi dropped to 5%. After nine films were delivered under the agreement, Cinergi sold Disney on November 22, 1997; all of its 12-film library except for Die Hard with a Vengeance plus $20 million in exchange for Disney's Cinergi share holdings, production advances of $35.4 million and other loans. In 2002, Disney signed a four animated film deal with Vanguard Animation; however, only one film was released under that negotiation.

In 2004, BVI and Gaumont dissolved their French distribution joint venture, Gaumont Buena Vista International. Buena Vista International agreed to a distribution deal with MegaStar Joint Venture Company Limited in April 2006 for the Vietnam market.

Walt Disney Studios Motion Pictures
On April 25, 2007, Disney discontinued the usage of the Buena Vista brand in its distribution branding.

In early 2009, Disney entered a distribution agreement with a reorganized DreamWorks; the deal called for an estimated 30 films over a five-year period from DreamWorks and they would be released through the Touchstone banner. In 2011, GKIDS acquired the North American theatrical distribution rights of the Ghibli films, with Walt Disney Studios Home Entertainment retaining the home video rights until July 2017 when Shout! Factory took over the home video rights. However, Disney only handles home video distribution of the company's films in Japan and formerly Taiwan and China.

Disney's distribution deal with DreamWorks expired in August 2016, after the two studios decided to not renew their agreement on December 16, 2015, with Universal Pictures replacing Disney as DreamWorks' distributor. By the end of the deal, Disney had distributed 14 of DreamWorks's original 30-picture agreement; thirteen through Touchstone and one through Walt Disney Pictures. Disney took complete ownership rights of those 14 DreamWorks films from Amblin Partners in exchange for loans made to that company. The Light Between Oceans, the final film in that distribution deal, was also the last film released under the Touchstone banner.

On December 14, 2017, the Walt Disney Company announced plans to purchase 21st Century Fox, which included 20th Century Fox and Fox Searchlight Pictures. On March 20, 2019, the acquisition of 21st Century Fox was completed. Following the reorganization and renaming of the acquired film units, Walt Disney Studios Motion Pictures began distributing 20th Century Studios films in the United States while WDSMP's Buena Vista International is distributing the studio's films internationally (along with Searchlight), while Searchlight Pictures continued to operate their autonomous distribution unit. in 2025 Walt Disney Studios Motion Pictures will worldwidley distributes 20th Century Studios and Searchlight Pictures movies in theatrically.

In late 2020 and early 2021, Disney reorganized the studio, placing it under the Disney Media and Entertainment Distribution unit which also oversees distribution to Disney+. Under this structure, the Theatrical Distribution unit oversaw the domestic and international films produced by all the studios within the Walt Disney Studios umbrella. In February 2023, returning CEO Bob Iger reversed this decision and reorganized the studio again, returning it as a division under the purview of The Walt Disney Studios.

Distribution
Walt Disney Studios has produced or distributed 35 films that have received nominations for the Academy Award for Best Picture: fifteen from its former Miramax division, six from Touchstone Pictures, five from Searchlight Pictures, four from Walt Disney Pictures, three from 20th Century Studios, two from Hollywood Pictures, and one from Marvel Studios. Of those nominated films, five films—Miramax's The English Patient, Shakespeare in Love, Chicago, No Country for Old Men, and Searchlight's Nomadland—have won Best Picture.

Walt Disney Studios Motion Pictures currently distributes films from across all units of Walt Disney Studios with the exception of Searchlight Pictures, which maintains its own autonomous distribution and marketing operations for releases in select markets. Other Disney film units and some third-party studios including:

International distribution
Walt Disney Studios Motion Pictures International was formed in 1961 as Buena Vista International. On May 4, 1987, despite being industry rivals, Disney signed a theatrical distribution agreement with Warner Bros. International for the release of Disney and Touchstone films in many overseas markets except in Australia and New Zealand, where distribution went through Roadshow Distributors instead (due to Roadshow also theatrically distributing Warner films as well during this period), with Disney retaining full control of all distribution and marketing decisions on their product (one notable practice in this policy is obscuring Warner references in posters and it is credited only in very small text with the exception of some UK posters where sometimes the full logo is shown). Warner previously had an overseas distribution partnership with Columbia Pictures, but it was dissolved in 1988.

In 1992, Disney opted to end their joint venture with Warner Bros. to start autonomously distributing their films in these aforementioned overseas markets beginning with Aladdin, inspiring Warner Bros. to establish the Family Entertainment label to self-distribute family-friendly films under the Warner umbrella at the same period. In those territories from 1993 to 2007, Disney reactivated the Buena Vista International name, and also sent distribution under it in countries that did not have any current arrangements with other companies. Disney would then continue its overseas film distribution relationship with Warner Bros. through a home video distribution deal in Europe and Australia in which Warner Home Video distributed select Disney material on DVD from 1999 to 2002, when Disney opted to self-distribute DVDs in these aforementioned territories.

Italia Film, a Lebanese film distribution and production company, is Disney's exclusive theatrical film distribution partner for various Middle East and North Africa (MENA) markets since 1993, after making a deal directly with Buena Vista International at the time. Prior to this, Warner Bros. originally handled said MENA markets except in Israel where Buena Vista handled theatrical distribution by themselves.

In Taiwan, MGM first handled Disney's distribution, with 20th Century Fox and Warner Bros. later taking over. A local distributor called Era Communications took over distribution from 1992 to 1995. At that time, Buena Vista began its Taiwanese operations. Columbia ended its joint distribution unit with Fox and switched to Buena Vista in 1999.

Rights to Disney's films in West Germany were originally released by MGM (under CIC in the early 1970s) and later to 20th Century Fox, and then to United International Pictures before the Warner Bros. joint venture. In September 2004, Buena Vista International announced they would begin to start theatrically distributing certain films from Universum Film in Germany and Austria beginning in February 2005, replacing a previous deal with United International Pictures. The deal ended in late 2019 after Universum was sold by the RTL Group to Tele München Group, who began to self-distribute releases afterwards under the Leonine Distribution name.

In Spain, Filmayer S.A. originally released Disney's movies, with Warner Española S.A. later taking over.

In the United Kingdom, Disney's movies were released through a collaboration of Disney and 20th Century Fox known as UK Film Distributors Ltd. before the Warner Bros. joint venture.

In Italy and Brazil, Disney's movies were distributed by Cinema International Corporation and United International Pictures before the Warner Bros. joint venture.

In Australia and New Zealand, Disney's movies were distributed initially by Metro-Goldwyn-Mayer, before distribution switched to British Empire Films (later Greater Union Film Distributors) following the merger of the Australian MGM cinema chains until the latter merged with Village Roadshow in 1987 and Roadshow Films took over distribution. The company begin distributing films in Australia and New Zealand in 1999 after its own distribution deal with Roadshow expired in 1998.

In some other countries in Europe, such as Poland, Hungary and the Czech Republic, Disney's movies were instead released through local distributors, such as Filmoteka Narodowa in Poland, InterCom Zrt. in Hungary and Guild Film Distribution in the Czech Republic respectively.

Disney and Sony Pictures formed in 1997 a film distribution joint venture in Southeast Asia. By December 2006, 14 joint distribution ventures with Sony Pictures Releasing International were formed and exist in countries including Brazil, Mexico, Singapore, Thailand and the Philippines. In January 2007, their fifteenth such partnership began operations in Russia and CIS. In February 2017, Sony starting leaving the Southeast Asia venture with the Philippines. On August 14, 2017, Sony terminated the joint venture agreement for their own operations. On January 31, 2019, in anticipation of the then-pending acquisition of the most 21st Century Fox assets (which includes 20th Century Fox), Disney agreed to sell its stake in the Mexican joint venture named Walt Disney Studios Sony Pictures Releasing de México to Sony Pictures Releasing.

In Greece and Cyprus, Disney's movies are distributed through local distributor Feelgood Entertainment, which also distributes Sony Pictures films in those territories.

In Japan, to adapt Japan's theatrical and home media distribution model, Walt Disney Studios Motion Pictures Japan and Walt Disney Studios Home Entertainment Japan were merged as Walt Disney Studios Japan on March 1, 2010, the distribution unit was renamed Walt Disney Japan on November 22, 2016.

In China, due to its regulated policies on international film distribution, all of Disney's films in China are distributed by China Film Co., Ltd. and/or Huaxia Film Distribution, but Disney still hold all promotional rights of their films unless it's sold to third-party companies.

Disney distributed the 2008 Indian Tamil film Dasavathaaram in Canada under the Buena Vista International banner.

The Australian-produced film Subdivision was released in the Australian and New Zealand theaters on August 20, 2009, by Walt Disney Studios Motion Pictures under the Buena Vista International label in Australia with Lightning Entertainment handling the international distribution.

On October 3, 2017, it was announced that Disney would be handling international distribution of M. Night Shyamalan's Glass, released in early 2019, through the Buena Vista International banner. The film is a sequel to his earlier films Unbreakable (distributed by Disney through Touchstone) and Split (distributed by Universal Pictures). Through an arrangement made with Disney, Universal retained domestic rights to the film, while Disney distributed in international territories under the label. The UK-produced film Patrick was also released in 2018 by Disney under the Buena Vista International label in the UK. Missing Link was also released by Disney under Buena Vista International in Latin America, Russia and some countries in Asia.

Since 2020, and in the UK from 2020 to 2023, Buena Vista International is the international distributor of 20th Century Studios and Searchlight Pictures films outside the United States as in North America the 20th Century films are distributed by Walt Disney Studios Motion Pictures and Searchlight films are distributed by Searchlight Pictures itself. Starting with The Boogeyman and Theater Camp, 20th Century and Searchlight films are now distributed in the UK through Walt Disney Studios Motion Pictures International, replacing Buena Vista International. However, BVI continues to distribute 20th Century and Searchlight films elsewhere (particularly in Europe).

On February 11, 2022, the Latin American branch of Buena Vista International was renamed Star Distribution, as the Star branding replaced the Buena Vista brand company-wide in the Latin American region by Disney Latin America.

On November 3, 2022, the Brazilian branch of Buena Vista International was also renamed Star Distribution following the dropping of the Buena Vista brand in the Latin American region on February 11, 2022. However, the Buena Vista International name is still used on Latin American and Brazilian prints of 20th Century/Searchlight titles.

Highest-grossing films
Walt Disney Studios Motion Pictures has released the most films that have crossed the $1 billion mark (twenty-seven, in worldwide grosses among major Hollywood studios), with thirteen of the twenty highest-grossing films of all time being distributed by Disney; including the highest-grossing film in North America (Star Wars: The Force Awakens) Of those thirteen films, four of them have crossed the $2 billion mark in worldwide grosses, the most for any studio. Disney has directly distributed three of the top five highest-grossing films in history (Avengers: Endgame, Avatar: The Way of Water, and Star Wars: The Force Awakens) and has owned the rights to the other two films (Avatar and Titanic) since their release.

In addition, Disney is the first of only three studios that have released at least two billion-dollar films in the same year (the others being Warner Bros. and Universal Pictures). Furthermore, Disney is the only studio that has achieved this seven times, in 2010, 2013, 2015, 2016, 2017, 2018, and 2019. 2016 included four $1 billion releases, and 2019 included seven $1 billion releases, both records for any studio. Eight of the top ten highest-grossing animated films have been released by Disney, as well as sixteen of the twenty highest-grossing G-rated films. In addition, four of the top five opening weekends were Disney releases. In 2015, Disney achieved its largest yearly box-office gross worldwide and in North America. In 2016, Disney surpassed $7 billion in worldwide yearly box-office gross—the first of any major studio—surpassing the previous 2015 record. In 2019, Disney became the first studio ever to have seven releases cross $1 billion each in a single year. In the same year, Disney broke the previous records by making an unprecedented $13.2 billion at the global box office.
 * {{legend|#b6fcb6|Indicates films playing in theaters in the week commencing .|text=}}

‡—Includes theatrical reissue(s)

title: Walt Disney Studios Motion Pictures


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Bad Boy Bubby

Bad Boy Bubby is a 1993 psychological absurdist black comedy film written and directed by Rolf de Heer, and starring Nicholas Hope, Claire Benito, Ralph Cotterill, and Carmel Johnson.

Hope stars as the titular character, a mentally challenged man who has been held captive in his home by his abusive mother for his entire life. The storyline follows his escape from confinement, and subsequent journey of self-discovery. The film was shot on a low budget in Adelaide, and is an international co-production between Australia and Italy.

Bad Boy Bubby premiered at the 50th Venice International Film Festival on 1 September 1993, where it won the Grand Jury Prize. It was released in Australia the following year, and was met with positive reviews. Although it was a box office failure, the film has gained a cult following.

Plot
In an industrial area of Adelaide, Bubby is a mentally challenged 35-year-old man who lives in a squalid house with his abusive and religious fanatic mother, Florence. He has never left the house, due to his mother convincing him that the air outside is toxic, and Jesus will strike him down should he leave. He and his mother regularly have incestuous sex, with his mother often encouraging Bubby to fondle her breasts. The two have no other company except for a pet cat, which Bubby accidentally kills with clingwrap.

One night, Bubby's father Harold returns, having abandoned Florence years earlier to pursue a career as a preacher. Harold did not know he had a son, but he quickly comes to disdain Bubby, and mocks him for his presumed mental disorder. Harold beats Bubby, and encourages Florence to do so as well. Tired of the abuse, Bubby suffocates his parents with clingwrap, and decides to venture outside for the first time.

Bubby is picked up by members of The Salvation Army, and wanders into the town centre. He is harassed by members of the public for his social ineptitude and strange behaviour. He is later given a lift by a group of men who perform in a rock band, and he helps the band set up a gig. The band take a liking to Bubby, but are also unnerved by his odd actions. After reading a newspaper that reports on the murder of Bubby's parents, the band members decide to send him to stay with their friend Dan.

Dan and Bubby go out for dinner, but Bubby fondles a woman and is arrested. He is sent to jail, but is unwilling to talk with the warden. As punishment, he sends Bubby into a separate cell, where he is raped by another inmate, "The Animal". The prison chief then deems him to be rehabilitated, and lets him go.

Bubby enters a church, and converses with a man there, "The Scientist", who tells Bubby that God does not exist, and it is the job of humans to "think God out of existence" and take responsibility for themselves. Bubby goes to a pub and fondles another woman, and is beaten by her friends. Overwhelmed, Bubby returns to his home as he believes that there is no place for him in the world. He dons his father's clothes and assumes the personality of "Pop".

With newfound confidence, Bubby returns to town and finds a stray cat, who he vows to take care of. He goes to the club where the rock band are performing, and joins them on stage, where he delivers a bizarre performance, repeating phrases he has heard from various people. His performance is a success with the crowd, and he goes back to feed the cat, but is distraught to see that it has been killed by local hoodlums.

Upset, Bubby encounters a nurse named Angel, who cares for people with physical disabilities. They return to the care centre, and Bubby becomes infatuated with her breasts, as they remind him of his mother's. Angel and Bubby become lovers, and Bubby returns to performing with the rock band, becoming a sensation with audiences.

Angel invites him to have dinner with her strict and religious parents. Angel's parents humiliate her by mocking her weight, enraging Bubby, who curses at God in retaliation, before her parents demand he leave. Bubby kills Angel's parents with clingwrap, and the two continue their relationship. Finally at peace with himself, Bubby and Angel later have multiple children.

Cast

 * Nicholas Hope as Bubby
 * Claire Benito as Mam (Flo/Florence)
 * Ralph Cotterill as Pop
 * Carmel Johnson as Angel
 * Paul Philpot as Paul (band singer)
 * Todd Telford as Little Greg (keyboards)
 * Paul Simpson as Big Greg (drummer)
 * Stephen Smooker as Middle Greg (bass)
 * Peter Monaghan as Steve (guitarist)
 * Mark Brouggy as Mark (roadie)
 * Bruce Gilbert as Dan
 * Michael Constantinou as The Animal
 * Alec Talbot as Prison Superintendent
 * Norman Kaye as The Scientist
 * Bridget Walters as Angel's Mother
 * Graham Duckett as Angel's Father
 * Grant Piro as Salesman

Production background
Shortly after graduating from film school, Rolf de Heer collaborated with Ritchie Singer on the idea of what would eventually become Bad Boy Bubby. For most of the 1980s, de Heer collected ideas and wrote them on index cards. In 1987, he took a hiatus from making Bubby index cards, but in 1989 he resumed work. In 1989 or 1990 he saw the short film Confessor Caressor starring Nicholas Hope (which would eventually be included on the bonus DVD when Bad Boy Bubby was first released on DVD in 2004) and tracked him down. In 1991, de Heer began work on the actual script.

After he heard a rumour about the reintroduction of the death penalty to Australia, de Heer was angered and rewrote the ending so that Bubby would be executed at the end of the film. This ending was scrapped when the rumour proved false.

Filming took place in Port Adelaide between 30 November 1992 and 16 January 1993.

The people with cerebral palsy Bubby meets are not actors, but actual disabled people. Hope, who was raised Catholic, found the scenes where Bubby curses God in front of Angel's parents difficult to film.

Audio and visual innovation
Director de Heer describes the film as one large experiment, especially in the method used to record the dialogue: binaural microphones were sewn into the wig worn by leading actor Nicholas Hope, one above each ear. This method gave the soundtrack a unique sound that closely resembled what the character would actually be hearing. The film also used 31 individual directors of photography to shoot different scenes. Once Bubby leaves the apartment a different director of photography is used for every location until the last third of the film, allowing an individual visual slant on everything Bubby sees for the first time. No director of photography was allowed to refer to the work of the others.

Animal cruelty allegation
When the film was released in Italy, a coalition of animal rights groups tried to set up a boycott of Australian products, alleging that Bubby's pet cat was wrapped in plastic wrapping and suffocated to death on film, but Rolf de Heer has said that none of that is true; the cat scenes were carefully filmed, with a veterinarian and animal cruelty inspector on set. Nicholas Hope, in an on-stage interview included on the DVD of the film, says there were two cats, one of which became a pet of a crew member. The other was a feral cat that was put down by a vet after filming (as with most feral cats that are caught in Australia). Film critic Mark Kermode left the screening due to the apparent animal abuse in the making of the film.

Release
The film first screened in Australian cinemas on 28 July 1994, and was released on VHS by Roadshow Entertainment early the following year.

On 23 April 2007, Eureka Entertainment released Bad Boy Bubby on DVD for the UK market with all scenes intact. On the Blue Underground DVD, director Rolf de Heer claims that Bubby was the second highest-grossing film in Norway in 1995. In the UK, it was cut for cruelty to a cat. The film was released on DVD in April 2005 in the United States by the Blue Underground company, and a special Two Disc Collectors' Edition was also released in Australia in June 2005 by Umbrella Entertainment. Umbrella reissued the film on Blu-ray in February 2021, newly remastered from the original negative. The Blu-ray contained all the special features from the 2005 DVD, plus a Q&A session with Nicholas Hope and Natalie Carr and a 25th anniversary commentary. The film had previously been released on Blu-ray in Australia in 2011, using the same transfer used for the 2005 DVD and containing all the special features from it.

Box office
Bad Boy Bubby grossed $808,789 at the box office in Australia.

Bad Boy Bubby became a big hit in Norway, second only to Forrest Gump with Hope an actor in demand there.

Reception
David Stratton, film critic for The Movie Show, praised Bad Boy Bubby. He awarded the film five stars out of five, remarking, "I really think this is one of the finest and most original of all Australian films that I've seen. I really think it's a milestone in Australian cinema". It also holds a 100% approval rating on the review aggregation site Rotten Tomatoes, based on 10 reviews, with a weighted average of 7.9/10.

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

title: Bad Boy Bubby


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Talk:Astropolis

Untitled
This page was voted on for deletion at Votes for deletion/Astropolis. dbenbenn | talk 16:14, 14 Feb 2005 (UTC)

Removed:

 * A city-sized space station or fleet of space stations, particularly in futurology and also in science fiction.
 * A region of planets linked by trade and commerce, particularly in science fiction.

You cannot throw such things in without specific references. Mikkalai 02:32, 7 Feb 2005 (UTC)

title: Talk:Astropolis


text: User talk:65.96.107.123

title: User talk:65.96.107.123


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Talk:Kimagure Orange Road

Master
I wrote that the Katakan used for Master's name are read as "Masutaa", but they're actually pronounced "Mastaa". Any suggestion on what we should use here? (DrZarkov 17:49, 29 November 2005 (UTC))

 * The katakana is fine and correct. --nihon 18:58, 29 November 2005 (UTC)

ESP
On the page there are links to ESP when the word ESPer is used. I think there are a few problems with this:

1. ESP itself is a list of possible acronyoms on the ESP page, so for someone who does not know what ESP stands for in this context, the link is not very helpful.

2. In the context of Kimagure Orange Road, ESP powers simply mean any superhuman/supernatural power, as opposed to perceptive power. I'm not sure if it's a general "lost in translation" with Japanese, or something very specific to the KOR show. But in any case, powers such as Telekenisis and Teleportation, which were the powers that the Kasuga clan exhibit most regularily, are not ESP in the regular English definition.

Therefore, anyone who follows the ESPer link, and actually correctly picked "Extra-sensory perception", would be reading an article that hardly relates to the ESPers of the Kasuga clan.

Recommendations: 1. De-link ESP from ESPer, and perhaps add a paragraph about the common types of powers the ESPers possess (telekenesis, teleportation, telepathy, and hypnotisism).

or

2. Add a section in the Extra-sensory perception article that talkes about what ESP means in Japan (assuming ESP stands for generic special powers in Japan). Changing the ESPer link to point directly to extra-sensory perception instead of ESP.

--(unsigned)

 * Agreed. Feel free to make the changes. I wouldn't know about any translation gaffes. mako 09:11, 9 Feb 2005 (UTC)

Revisions
Since we've been told this page is B-class, but given no idea how to proceed, I would like to suggest the addition of three sections: Translations - I already started this. A good overview of the way that KOR has been translated into other languages. Also will include a history of the translations prior to the official ones, for the sake of completeness. Production History - Where did KOR come from, how did Matsumoto Izumi come up with the idea? Logically, this should be the first subhearing, going in order of specification (each section getting more and more specific until we reach the end of the page) Reaction - both Japanese and in the English-speaking world. (DrZarkov 10:49, 5 August 2006 (UTC))

Languages other than English
I've removed the information about other languages as this will only snowball and is not important for the English Wikipedia. If people want to learn about the show in other languages, they can click on the interwiki links (as that's what they are for). ··· 日本穣 ? · Talk to Nihonjo e  01:21, 6 September 2006 (UTC)

It makes sense to remove it, but it was a shame that it took a re-edit of the section to make it more professional for someone else to take notice and get it bumped off the article, especially as the prior badly-formatted version was up there for so long. (Gounut 18:03, 6 September 2006 (UTC))

Removed the unsupported information about Animeigo's license expiring. Their license didn't expire due to the R2 box but due to the terms of their licensing contract ending (this series was an old license for them). Until anyone can show real evidence that they were unable to renew their license due to the R2 release I believe it shouldn't be in the article. 05:13 5 Febraury (UTC)

Character Changes
I made some changes to the various character descriptions. Most of the changes are either due to differences between the anime and manga characters, small corrections, or items that I thought might shed a little more light on certain characters. There were also some editing and formatting changes to the sections on Hikaru and Manami.

There were also some changes that I wanted to make to the section on Sayuri, but I thought it might be best to see if I could get some information on this first. Specifically -

In the past, Sayuri was deeply hurt by her boyfriend's callous dismissal of her. After their break-up, she decided to take her anger out on the entire male gender. ...

Oddly enough, Sayuri's revelation to Hikaru was accidental, since she assumed Hikaru already knew, and seenmed to feel genuine remorse during the fallout.

I don't recall mention in the manga of her background - just that she's incredibly cute and breaking hearts is her hobby. And I particularly don't recall any remorse in the manga (iirc she doesn't even appear after she mentions it to Hikaru). Does anyone know of a source for these two pieces of information? --Junior612 20:02, 26 February 2007 (UTC)

Soundtrack
I added the Soundtrack section, I consider it a huge part of KOR atmoshpere. Edits and updates are appreciated (unsigned)

 * I agree that the soundtrack information is something good to have. Thanks for posting it.  The only change I might suggest is if we could get the soundtrack albums, along with a track listing for each album, posted instead, and then have the Opening and Ending songs identified within the track lists.  At the very least, the movie songs should be added for completeness.  Finally, the bit at the start of the segment strikes me as a bit PoV-ish.  It might be best to remove that.  iirc, many of the songs in the KOR TV series did quite well on top ten lists, and mention of that in the opening paragraph (with proper referencing) might make a good replacement.  I think the Animeigo liner notes might have some information in that area.  --Junior612 21:14, 5 March 2007 (UTC)

 * ok I removed the last sentence at the intro (was that the one you were talking about as considering it PoV-ish?) Yes, I agree we need to add all albums, CDs, EPs, LPs later since there are a lot of releases. Probably I will work on it later. I will lay my hands on my own copy of Eternal Collection Sound Color box this weekend so can add photos later.--Svdubl 12:41, 6 March 2007 (UTC)

Source
''Akane is considered by many to be a lesbian, for her apparent obsession with Ayukawa and other female characters. Izumi Matsumoto has gone on record as saying that Akane's feelings towards Madoka are misinterpreted, and are nothing more than innocent hero worship typical from teenage girls. However, this is very difficult to accept for some fans, who consider Akane's feelings to be unambiguous.''

Then Izumi Matsumoto, the very creator of this excellent series, is a liar, and such declaration is done by the very fans of the series. Talk about insanity. Is there any source that assures that Akane is a real lesbian, and that regardless of the mangaka's acclarations, his own character is a lesbian? If there are no references, I will then remove the text in bold. Twicemost (talk) 21:36, 9 February 2008 (UTC)

 * Because no one answered, as a total of three weeks have passed since the request for references, I will try to remove the text; now, if someone can prove I am wrong (but please read carefully what I wrote), I invite you to be bold and make the text to be rewritten.--Twicemost (talk) 01:11, 2 March 2008 (UTC)

 * The above passage should likely have been kept in. Despite Matsumoto's statements, it IS true that most fans do not consider Akane's feelings to be ambiguous at all. The issue here is not what Matsumoto says. We know what he says. Rather this is a statement about the fandom itself and is clearly acknowledged as such from the above wording. For the record, I am one of the fans who believes that Matsumoto is backing away from a controversial aspect due to political pressures. Bluntly put, yes, I think he is lying, as much as I respect him. I teach at a Japanese junior high school, and I simply do not believe Akane's feelings are "hero worship typical from teenage girls." --Kionon (talk) —Preceding unsigned comment added by 220.46.202.105 (talk) 03:17, 23 November 2008 (UTC)

Twins
The main page describes Manami and Kurumi as fraternal twins, however in episode 30 of the TV series "A Tender Little Story! Kurumi's First Love Chapter "Hell"" Manami impersonates Kurumi explaining at the end of the episode that this is possible because they are twins. i.e. identical rather than fraternal. なつき (talk) 23:23, 28 August 2008 (UTC)

ABCB
The ABCB pub is clearly written あばかぶ (abakabu) in episode 6 (approximately 5 minutes in) hence the pronunciation is ah-bah-kah-bu not as written on the main page. なつき (talk) 21:00, 20 October 2008 (UTC)

TV Special?
The Anime Encyclopedia (2007 revised edition) mentions a 40 min "Tanabata Special" made in 1987. Anyone know anything about this or the Music Video OVA? CFLeon (talk) 22:18, 25 May 2009 (UTC)

 * It's an OVA compilation of episodes 13 & 14 but is not part of the listed OVAs. Mightyname (talk) 23:10, 21 November 2014 (UTC)

 * The "music video OVA" is "Orange Road Music Version- Futari no Koi no Repertoire" (ロード オレンジ・ロード・ミュージック・ヴァージョン~ふたりの恋のレパートリー), released e.g. on VHS (http://item.rakuten.co.jp/r-mediashop/10013216/), LD (http://www.lddb.com/laserdisc/16528/TLL-2126/) and in the 2010 KOR OVA DVD box, 34 minutes, 12 songs with video footage from TV episodes. Song list e.g. here: http://digilander.libero.it/SpazioAnimeManga/kor-faq/KORfaq-ita.txt

 * There are more "specials" than these two.--Bstard12 (talk) 16:23, 25 January 2016 (UTC)

Connections between works
There don't seem to be separate articles for the OVA, 'Summer Beginnings' or 'I Want to Return to that Day'; what is the relation between all of these? Are they straight sequels, interquels, reboots, what? --Gwern (contribs) 14:38 9 August 2010 (GMT)

'I want to return to that day' is a conclusion to the TV series storyline, where Kyousuke definitely breaks up with Hikaru and gets together with Madoka. 'Shin KOR: Summer beginnings' is a sequel that takes place some years later, as a definitive conclusion to the story as a whole, where IIRC Hikaru returns to Japan after living in the USA for a while and rekindles her friendship with Madoka and Kyosuke. Lunamaria (talk) 19:16, 15 August 2012 (UTC)
 * Also, the OVAs are extra stories that seem to take place during the time of the original series, but before the ending. But it's been quite a few years since I've seen them. Sometimes the end is only the beginning... (talk) 20:30, 9 October 2013 (UTC)

 * The OVA are no extra stories as they are part of the Manga. They were left out in the TV version, hence, they got re-inserted as OVA. Shin KOR is currently still a 3 novel continuation for adults after the end of the Manga. The movie is based on the first novel. Mightyname (talk) 23:10, 21 November 2014 (UTC)

Unencyclopedic Tone
"Teenage romance meets fantasy in this series" sounds a bit too much like advertising copy.

Anymouse1 (talk) 05:21, 13 April 2012 (UTC)

 * It actually is a great summary of what the series is about, so I'm not sure why this seems like advertising copy. Sometimes the end is only the beginning... (talk) 20:28, 9 October 2013 (UTC)

Impact section
I noticed that someone added Haruhi Suzumiya and Tatsuya Ishihara to the "see also" list, although neither of these had an influence in the production of the series 20 years prior. Perhaps there should be a paragraph about the impact of this series on the anime culture? It should have reviews or writings supporting the connections. AngusWOOF (talk) 16:05, 21 June 2012 (UTC)

 * It appears people at youtube seeing Madoka doing a concert (OVA 6) thought KOR was copying Haruhi Suzumiya. The only shows deserving mention in the same scope and with similar influence are Maison Ikkoku, Urusei Yatsura, Ranma 1/2 and Miyuki (manga). Mightyname (talk) 23:10, 21 November 2014 (UTC)

 * I think a see-also link is justified. I can't cite a direct admission from the author, but Haruhi and KOR don't just overlap in one episode, they overlap in, like, 8. Battle of the bands, okay, we've seen that lots of times. Couples suddenly isolated in an intimate location, happens in every romance. Beach trips and ski trips are pretty common, thought not necessarily both in the same series. Unexpected night-time visits while on holiday; happens in every romantic-comedy-farce. Anime is swimming ESPers. Protagonist narrator? Unusual in anime, but certainly a standard technique. But throwing a time-traveling protagonist down the stairs on Christmas? That's probably only happened twice in the history of literature. 2601:644:8780:3EF6:6575:CDFE:AD54:AE50 (talk) 17:01, 5 December 2017 (UTC)

The surnames
... I don't think Akane and Kazuya's surnames were EVER confirmed to be "Kasuga" in canon. I'm sure that detal was NEVER mentioned in the anime. Could someone else please confirm that info, and remove it if it turns out to be purely fanon? Lunamaria (talk) 19:08, 15 August 2012 (UTC)

 * In Japan it is common for men to take on the name of their wives when marrying into a more prestigious family as in the case of Takashi. Akane and Kazuya are pure-bloods in the Manga, hence, are more powerful than the Kasuga childrens. This implies they are Kasugas. This needs rechecking. I'm pretty sure it was explained once in the manga. Mightyname (talk) 23:10, 21 November 2014 (UTC)

Reviews
--Gabriel Yuji (talk) 23:13, 12 February 2014 (UTC)
 * ANN
 * manga
 * TV series
 * film
 * Animefringe
 * EX
 * New KOR review 1
 * New KOR review 2
 * Mania
 * Film
 * TV box set
 * New KOR
 * v1-12:, , , , , , , , , ,
 * T.H.E.M Anime Reviews
 * TV series
 * OVA
 * Special
 * New KOR
 * film
 * Otaku USA review of the manga --Gabriel Yuji (talk) 22:23, 19 April 2015 (UTC)

Genre: Harem?
While there is a love triangle, there isn't a collection of girls surrounding the main character. Also, typically in harem shows there's no clear idea of who the guy likes, just that the girls like him. I didn't want to make any changes myself, but I don't think KOR actually fits that genre. — Preceding unsigned comment added by 2600:8800:FF10:300:C095:B9E0:D79F:EA48 (talk) 00:27, 16 January 2017 (UTC)

No mention of Jingoro?
It has been decades since I watched this anime, and I must say the only thing that really stands out in my memory are the brief scenes of Jingoro, the esper family's long-suffering cat who tries his best to tolerate the supernatural goings-on around him, particularly when he is an unintentional target of the effects. He deserves a mention in the article as a minor character. ~Anachronist (talk) 03:33, 14 March 2024 (UTC)

title: Talk:Kimagure Orange Road


text:
List of timpani manufacturers

The following companies manufacture timpani.

Mass producers

 * Adams Musical Instruments
 * Ludwig Drums
 * Majestic Percussion
 * Premier Percussion
 * Yamaha Corporation

Historical
These companies no longer produce timpani, but their instruments are still widely used.

 * American Drum Manufacturing Company
 * Boosey & Hawkes
 * Rogers Drum Company
 * Slingerland Drum Company

title: List of timpani manufacturers


text: User talk:81.155.69.149

title: User talk:81.155.69.149


text:
Talk:Billy Preston

Monkees
Apparently he was an original Monkee too (on live/session recordings). So he was both a Monkee and a Beatle. http://www.huffingtonpost.com/2012/02/29/davy-jones-dead-singer-monkees_n_1310769.html?ref=mostpopular 216.227.108.69 (talk) 06:24, 3 March 2012 (UTC)

/* Singles */"You're So Unique" UK, "It Will Come in Time" UK and "One More Time for Love" US R&B
Re: Edit

Noticed an error/s which I have rectified. ---USUS R&B-UK "It Will Come in Time" (with Syreeta Wright) 	— 	— 	47 (corrected from 47 in US)

"One More Time for Love" (with Syreeta Wright) 52 	72	—  (added/included #72 in US R&B - confirmed with Syreeta Wright Wikipedia page)

Hope this helps.

Thanks. :)

PS Also noticed and corrected that The song "You're So Unique", did not reach #3 in the UK charts. In fact it failed to make the charts in the UK (which was a Top 50 at the time back in 1974).

What movie looks similar to Billy Preston?? — Preceding unsigned comment added by 70.119.242.172 (talk) 16:58, 6 April 2013 (UTC)

Associated Acts – George Harrison?
Should George Harrison not be included in the Associated Acts section of his side box? He played on many of his records and they were close friends as well as colleagues. City Feedback  talk  08:50, 22 September 2015 (UTC)
 * YES Preston also played with Harrison at the Concert for Bangladesh and the Dark Horse tour. Hotcop2 (talk) 12:34, 22 September 2015 (UTC)

Credits on Beatles records
"Preston was the only musician to be credited on a Beatles recording other than the group's four members: the group's number-one hit "Get Back" billed as "The Beatles with Billy Preston" There are several other musicians credited on Revolver and Mal Evans is credited on Rubber Soul. He may be the only musician credited on a Beatles single, unless you count Tony Sheridan.71.190.84.233 (talk) 23:40, 7 January 2017 (UTC)
 * On which single was Sheridan credited? Thanks. Martinevans123 (talk) 23:47, 7 January 2017 (UTC)
 * The article now says, "Preston was one of five musicians[2] credited on a Beatles recording other than the group's four members." What's this about? The reference says nothing so far as I can see, and I've no clear idea who the other four are. Anyone? — Preceding unsigned comment added by 2A02:C7D:3217:C400:95D5:28A:58F:37BA (talk) 08:23, 14 September 2019 (UTC)

 * This issue's become confused. Preston was the only musician to receive a joint artist credit on a Beatles recording, which is significant. The two session musicians named on Revolver, Mal Evans on Rubber Soul, etc were rare credits for outside contributors, but that's not the same as the recognition Billy received on the "Get Back" single. JG66 (talk) 13:57, 29 October 2020 (UTC)

I understand what JG66 means by "that's not the same as..." but that doesn't change the fact that the sentence in the article is misleading or false, given the credit accorded to Alan Civil and others.

"In April 1969, their single "Get Back" was credited to "The Beatles with Billy Preston", the only time such a joint credit had been given on an official Beatles-sanctioned release (as distinct from an unsanctioned reissue of some Hamburg-era recordings on which they were the backing group for Tony Sheridan)." Well, what about the original "My Bonnie" single, where Sheridan definitely was co-credited? Wasn't that record "Beatles-sanctioned"? Or is it supposedly disqualified because The Beatles were billed as "The Beat Brothers"? Jah77 (talk) 18:43, 22 October 2021 (UTC)

 * The original 1962 "My Bonnie" single was credited to Tony Sheridan & The Beat Brothers. ATCO and all the other labels put the Beatles name front and center after they became the greatest show on earth.Hotcop2 (talk) 23:07, 22 October 2021 (UTC)

 * Nitpicking, if you ask me. The "Beat Brothers" were The Beatles, and they shared a co-credit with Sheridan. Jah77 (talk) 09:50, 23 October 2021 (UTC)

 * "My Bonnie" was released in 1961, btw. Jah77 (talk) 09:55, 23 October 2021 (UTC)

 * From the article on Tony Sheridan's "My Bonnie" album: "The German import became popular in Liverpool and Epstein secured a British release on 5 January 1962, this time credited to Tony Sheridan and the Beatles." The source given is Mark Lewisohn's The Beatles: All These Years, Vol. 1, and the article even has a photo of said single, so I'd say that settles it; Preston wasn't the only person to get performer co-credit with The Beatles. Jah77 (talk) 16:10, 23 October 2021 (UTC)

 * Tony Sheridan and the Beat Brothers. Sheridan gave credit to the Beatles, it was his record.  Preston was given co-credit by the Beatles, not by a record company a couple of years after the fact.  It's not the same thing, but evidently this is important to you.  Enjoy. Hotcop2 (talk) 20:28, 24 October 2021 (UTC)

 * On the British version of the single, it's Tony Sheridan and The Beatles. "Co-credited" simply means that two or more artists receive joint credit, regardless of who "gave" credit to whom. Evidently it's important to you to prove that Preston's co-credit was more "important" than Sheridan's, but that is a subjective matter that doesn't belong in an encyclopedia. The Beatles and Tony Sheridan were co-credited on a single released before anyone knew who The Beatles were. That's a fact, and your opinion of its historical significance doesn't change that in any way. Jah77 (talk) 10:17, 25 October 2021 (UTC)

 * Here's the original 1961 single at 45Cat. Surely "The Beat Brothers" were The Beat Brothers? And the lead artist was Tony Sheridan? Martinevans123 (talk) 11:15, 25 October 2021 (UTC)

 * And what about the VJ album "The Beatles vs. The Four Seasons?" It's co-credited, and repackaged, just like Sheridan.  Hotcop2 (talk) 13:12, 25 October 2021 (UTC)

 * Sorry, what about it? Martinevans123 (talk) 13:23, 25 October 2021 (UTC) p.s. this one might be more relevant (Germany only again) where the main artists are given as "The Beatles".

 * And as I mentioned already, there's a picture here on Wikipedia of the British version: https://upload.wikimedia.org/wikipedia/en/8/88/My_Bonnie_%28Tony_Sheridan_and_the_Beatles_single_-_cover_art%29.jpg And Hotcop2, can you please stop blathering about "repackagings"? This has been about contemporary releases from the beginning. Jah77 (talk) 14:42, 25 October 2021 (UTC)

 * Yes, that's Polydor NH 66833, issued 5 Jan 1962, shown at 45Cat here. But The Beatles are not the main artist there, so they can't "give credit" to Tony Sheridan? At best it's a single entity with a & in the middle? Martinevans123 (talk) 14:52, 25 October 2021 (UTC)

The article reads: "...the only time such a co-credit had been given on a Beatles record". Where does it say the co-credit was "given" by The Beatles? If the idea was to refer exclusively to the post-Love Me Do era, reissues of earlier material would be irrelevant by definition and there would have been no need to mention Tony Sheridan in the first place. So either state explicitly that you're referring to a specific part of The Beatles' career and leave Sheridan out of it entirely, or acknowledge that in the early days, they shared a performer co-credit with another artist. The original wording was unclear on what kind of "co-crediting" was being referred to. If somebody wants the sentence to underline the uniqueness of Preston's contribution, I have no problem with that, as long as it's done in a way that makes it clear what exactly is meant by "co-crediting on a Beatles record". ("...the only time an artist was credited as a co-performer with The Beatles after the band started recording as independent artists", or whatever - something that unambiguously rules out Sheridan.) Jah77 (talk) 19:23, 25 October 2021 (UTC)
 * Yes, of course. It wasn't the Beatles' decision at that time. It was the record company, i.e. Polydor's, decision 100%. A bit later it would have been Epstein's. That suggested phrasing looks ok to me. Martinevans123 (talk) 21:32, 25 October 2021 (UTC)
 * The problematic bit about the original wording was the qualifier "official Beatles-sanctioned release", which wouldn't clearly rule out Sheridan. If no one objects, I'll be happy to change the wording to what I suggested above - or whatever variation of it is deemed appropriate. Jah77 (talk) 22:29, 25 October 2021 (UTC)

Regardless of all the debate above about Tony Sheridan, the statement about Billy Preston being the only musican credited on a Beatles record is just plain wrong. The French Horn player Alan Civil was given an explicit credit for For No One on the back cover of the original LP pressings of Revolver - example can be seen at https://fontsinuse.com/uses/58642/the-beatles-revolver-album-art

Jpmaytum (talk) 13:18, 14 May 2024 (UTC)

 * Is there a distinction to be made between credit on a cover and credit on a label? Thanks. Martinevans123 (talk) 13:32, 14 May 2024 (UTC)

Further digging reveals that five musicians have been credited on Beatles records: George Martin (several times, including Not a Second Time and on a couple of tracks on the back of Rubber Soul; likewise a credit for Mal ‘Organ’ Evans on Hammond for You Won't See Me also from Rubber soul ; Anil Bhagwat on Tabla for Love You To from Revolver as well as the Alan Civil credit for For No One.

Despite what the reference says, I would suggest rewording the article to say "one of the few musicians credited...."

Jpmaytum (talk) 13:30, 14 May 2024 (UTC)

 * Is there a distinction to be made between an album credit and a single credit? Thanks. Martinevans123 (talk) 13:33, 14 May 2024 (UTC)

Discography
Should Discography be a separate article? Thanks. Martinevans123 (talk) 21:17, 24 October 2021 (UTC)

Relationship and career with the Beatles
The story of George Harrison quitting the band during the Get Back sessions, going to see Ray Charles in concert and from there convincing Preston to join the Beatles sessions has been pretty well disproven. Ray Charles was not touring in the UK during January 1969. Billy Preston, however, was in fact in London recording a segment for a BBC show on the 19th of January...three days before joining the Beatles sessions. Unfortunately, the supporting source for the misinformation in this Wiki is a Washington Post article, so it's likely never to be changed. Projectorhead (talk) 11:16, 19 November 2021 (UTC)

Ok, new information has come to light. In the documentary The Beatles: Get Back it is now revealed that "Billy's just arrived in London to film a couple of TV appearances. He drops by to say 'hi' unaware that The Beatles need a keyboard player." We also see the actual footage of John Lennon telling Preston they need someone in on keyboards because they want to do the songs live, and saying "so if you'd like to do that you're welcome to." The incorrect story from the Washington Post should now be taken out, right? Projectorhead (talk) 11:34, 29 November 2021 (UTC)

 * I have removed it. But I guess we really need a secondary source to introduce the material from The Beatles: Get Back. Martinevans123 (talk) 12:46, 29 November 2021 (UTC)

Credit on Beatles record
I thought this was resolved, but the Beatles or Beat Brothers were given credit on Tony Sheridan's recording; Preston is the only musician credited by the Beatles on a Beatles record. Hotcop2 (talk) 00:52, 2 December 2023 (UTC)

title: Talk:Billy Preston


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title: User:Pilaf~enwiki/livepreview.js


text:
Thomas A. Birkland

Thomas A. Birkland (born 1961) is a political scientist specializing in the study of public policy. Books include An Introduction to Public Policy (2001, 2nd ed., 2005), After Disaster (1997) (winner of the Aaron Wildavsky Enduring Contribution Award), and Lessons of Disaster (2006). He began his career at the University at Albany, The State University of New York. From 2007 to 2017 he was the William Kretzer Distinguished Professor of Public Policy in the School of Public and International Affairs at North Carolina State University. His work continues to focus on public policy theory, primarily in the fields of disasters, accidents, and homeland security.

title: Thomas A. Birkland


text:
Hamdallah Mustawfi

Hamdallah Mustawfi Qazvini (1281 – after 1339/40) was a Persian official, historian, geographer and poet. He lived during the last era of the Mongol Ilkhanate, and the interregnum that followed.

A native of Qazvin, Mustawfi belonged to family of mustawfis (financial accountants), thus his name. He was a close associate of the prominent vizier and historian Rashid al-Din Hamadani, who inspired him to write historical and geographical works. Mustawfi is the author of three works; Tarikh-i guzida ("Excerpt History"), Zafarnamah ("Book of Victory") and Nuzhat al-Qulub ("Hearts' Bliss"), respectively. A highly influential figure, Mustawfi's way of conceptualizing the history and geography of Iran has been emulated by other historians since the 13th-century.

He is buried in a dome-shaped mausoleum in his native Qazvin, Iran.

Biography
Mustawfi was born in 1281 in the town of Qazvin, located in Persian Iraq (Irāq-i Ajam), a region corresponding to the western part of Iran. His family was descended from Arabs that had occupied the governorship of the town in the 9th and 10th-centuries, later to serve as mustawfis (high-ranking financial accountants) at the advent of the Ghaznavids. Mustawfi's great-grandfather Amin al-Din Nasr had served as the mustawfi of Iraq, which had since then been the moniker of the family. Amin al-Din Nasr, during his retirement, was killed in 1220 by raiding Mongols after the sack of Qazvin, during the Mongol invasion of Iran.

Regardless, Mustawfi's family still greatly served the Mongols and even rose to further prominence during this period; his older cousin Fakhr al-Din Mustawfi briefly served as vizier of the Ilkhanate, while his brother Zayn al-Din was an assistant of the prominent vizier and historian Rashid al-Din Hamadani. Mustawfi's family was thus amongst those many families from Persian Iraq who rose to prominence during the Mongol era. Rivalry soon arose between the Persian Iraqis and the already established Khurasanis, particularly between the Mustawfis and the Juvayni family, which is evident in Mustawfi's work, where mention of the Juvaynis are omitted in some cases. Mustawfi followed in the footsteps of his family, being in 1311 appointed as the financial accountant of his native Qazvin, as well as other neighbouring districts, including Abhar, Zanjan and Tarumayn. He had been appointed to this post by Rashid al-Din, who made him gain an interest in history, inspiring him to start writing the Zafarnamah ("Book of Victory") in 1320, as a continuation of Ferdowsi's Shahnameh ("Book of Kings"). He completed the work in 1334, consisting of 75,000 verses, reporting the history of the Islamic era up until the Ilkhanate era. Before that, he had also written a similar chronicle; the Tarikh-i guzida ("Excerpt History") in 1330, which was his first work. The chronicle, made for Rashid al-Din's son Ghiyath al-Din Muhammad, was a world history, narrating the events of the prophets, the pre-Islamic kings of Iran, and the Islamic world. Nothing is known of Mustawfi's life during the end of the Ilkhanate, except that he travelled between Tabriz and Baghdad.

In the summer of 1339, Mustawfi was at Sawa, working for Ghiyath al-Din Muhammad's son-in-law Hajji Shams al-Din Zakariya, who was the vizier of the Jalayirid ruler Hasan Buzurg ((r. 1336 – 1356)). There he tried to help with the management of the divan, but soon found himself unemployed after Hasan Buzurg's retreat to Baghdad due to a defeat by the Chobanid prince Hasan Kuchak. Mustawfi was ambivalent whether to return to his native Qazvin or flee to the much more secure southern Iran. He eventually choose to leave for the southern Iranian city of Shiraz to seek better fortunes, but was let down by the reception he received at the court of the Injuid ruler Amir Mas'ud Shah ((r. 1338 – 1342)).

Nevertheless, he remained there for ten months more, until he chose to leave due to the chaos that ensued during the Injuid dynastic struggle for the throne. He returned up north, where he was well received in Awa, Sawa, Kashan and Isfahan, finally returning to Qazvin at the end of 1340. He mentions the turmoil he went through during this period in several of his poems, and also went through illness (or possibly boredom), until he recouped after gaining sympathy from an unknown patron, possibly Hasan Buzurg. It was around this time that Mustawfi completed his cosmographical and geographical work Nuzhat al-Qulub ("Hearts' Bliss"). He died sometime after 1339/40 in Qazvin, where he was buried in a dome-shaped mausoleum.

Tarikh-i guzida
Mustawfi's first work was the Tarikh-i guzida ("Excerpt History"), a world history, narrating the events of the prophets, the pre-Islamic kings of Iran, and the Islamic world. Based on the then-incomplete Zafarnamah, the work was based on earlier sources, which are in a thorough manner credited by Mustawfi. Tarikh-i guzida contains important information after the death of the Ilkhanate monarch Ghazan in 1304. The political tale concludes in a positive tone, with Ghiyath al-Din Muhammad being appointed to vizierate of the Ilkhanate. The penultimate chapter contains describes the lives of distinguished scholars and poets, whilst the last describes Qazvin and gives a reportage of its history.

Zafarnamah
Mustawfi's second work was the Zafarnamah ("Book of Victory"), a continuation of Ferdowsi's Shahnameh ("Book of Kings"). Its name is a loan translation of the Middle Persian book Piruzinamak. He completed the work in 1334, consisting of 75,000 verses, reporting the history of the Islamic era up until the Ilkhanate era. Albeit the early part depends heavily on the work of Rashid al-Din (which Mustawfi also mentions), it is less noticeable compared to his Tarikh-i guzida. The work also has aspects which resemble that of the contemporary verse narrative, the Shahnameh-ye Chengizi, by Shams al-Din Kashani. Regardless, the Zafarnamah is a unique primary source for the reign of the Ilkhanate monarch Öljaitü ((r. 1304 – 1316)) and that of his successor, Abu Sa'id Bahadur Khan ((r. 1316 – 1335)). The importance of the work was acknowledged by the Timurid-era historian Hafiz-i Abru, who incorporated much of it in his Dhayl-e Jame al-tawarikh. Like the Tarikh-i guzida, the Zafarnamah has a positive conclusion, with Abu Sai'd Bahadur Khan successfully quelling a revolt, followed by peace. However, Mustawfi may have completed his work prematurely, possibly due to the chaotic events that followed during the disintegration of the Ilkhanate. This is supported by the fact he later composed a prose continuation of the Zafarnamah, which mentions Abu Sai'd Bahar Khan's death and the turmoil that followed in Iran.

Nuzhat al-qulub
Mustawfi's most prominent work is the Nuzhat al-Qulub ("Hearts' Bliss"), which is virtually the only source to describe the geography and affairs of the Ilkhanate era. The source gives vital information about the government, commerce, economic life, sectarian conflicts, tax-collection and other similar topics. Just like his Tarikh-i guzida and Zafarnamah, Mustawfi rejects to have expertise in the field, and states that he was encouraged by his friends to write the work. He also thought that an available source in Persian would be helpful, due to most geographical sources about Iran being in Arabic (such as the works of Abu Zayd al-Balkhi and Ibn Khordadbeh).

The work is also considered a substantial contribution to the ethno-national history of Iran. Mustawfi notably uses the term "Iran" in his work. Since the fall of the Iranian Sasanian Empire in 651, the idea of Iran or Iranzamin ("the land of Iran") as a political entity had disappeared. However, it did remain as an element of the national sentiment of the Iranians, and was occasionally mentioned in the works of other people. With the advent of the Ilkhanate, the idea experienced a resurgence. According to the modern historian Peter Jackson (2017), the reason behind this resurgence was the fall of the Abbasid Caliphate in 1258 and the "relative disenfranchisement of political Islam." Mustawfi describes the borders of Iran extending from the Indus River to Khwarazm and Transoxiana in the east to Byzantium and Syria in the west, corresponding to the territory of the Sasanian Empire. He defines the provinces of Iran in 20 chapters; Iraq ("Arab Iraq") or the "heart of Iranshahr", Persian Iraq, Arran, Mughan, Shirvan, Georgia, Byzantium, Armenia, Rabi'a, Kurdistan, Khuzestan, Fars, Shabankara, Kirman, Mukran, Hormuz, Nimruz, Khorasan, Mazandaran, Qumis, Tabaristan and Gilan. This way of conceptualizing the history and geography of Iran has been emulated by other historians since the 13th-century.

Beliefs
Hamdallah was reportedly a "convinced Shia", and there is much evidence that supports this claim, such as his detailed report of the history of the Twelve Imams in the Tarikh-i guzida, and that of the Shia neighborhoods in Iran in the Nuzhat al-Qulub. However, he disliked Shi'ites such as Sa'd al-Din Savaji, whom he refers to as a rafezi, and also the Shi'ite amir, Hajji al-Dilqandi, whom he condemned for omitting the first three caliphs in the khutba. The Iranologist Charles P. Melville suggests that Hamdallah may have in reality been a Sunni Shafi'ite, which was the predominant madhhab (school of thought) at the time in Qazvin, and also the school of thought of Rashid al-Din Hamadani.

title: Hamdallah Mustawfi


text:
User:Morajic

Well Since this is my first time using the wikpedia database, I figured a good article to start on would be one on myself. I'm not sure when it was that I discovered Wikipedia, but it wasn't until recently that I took a great interest in it's resources. I actively read the website daily, and am considering making my own contributions.

title: User:Morajic


text:
Alan Sked

Alan Sked (born 22 August 1947) is a British Eurosceptic academic. He founded the Anti-Federalist League (in order to oppose the Maastricht Treaty) and its successor the UK Independence Party (UKIP). He is Professor Emeritus of International History at the London School of Economics and has stood as a candidate in several parliamentary elections.

Early life
Sked was educated at Allan Glen's School in Glasgow, before going on to study Modern and Medieval History at the University of Glasgow, followed by a DPhil in Politics at Merton College, Oxford.

Academic career
Sked's doctoral supervisor at Oxford was A. J. P. Taylor, who was a major influence on him. In particular, Sked's writings on the Habsburg monarchy owe much to Taylor, although their interpretations are very different. He has also written texts on British political and European history. His books have been translated into German, Italian, Czech, Portuguese, Japanese and Chinese.

At the London School of Economics (LSE) he taught courses on US and modern intellectual history, and on the history of sex, race and slavery. He retired in 2015, and as of January 2018 is an Emeritus Professor in the LSE's Department of International History. Sked is a member of the British-American Project, which exists to promote Britain's political ties to the US.

Political career
In the 1970 general election he stood at Paisley as a candidate for the Liberal Party (which later combined with the SDP to form the Liberal Democrats), but later rejected the party's support because it favoured movement toward a European Union (EU). He served for ten years (1980–1990) as Convenor of European Studies, a postgraduate MSc programme at LSE, where he examined many theses on European history and served as joint chairman of LSE's European Research Seminar. He came to believe that the EC was corrupt and anti-democratic, and a liability to the British economy. He was a founding member of the Bruges Group and remained a member until 1991, when he was expelled by its executive committee. This was because in November 1991 he had founded the Anti-Federalist League (AFL), an anti-EC political party that ran candidates, including Sked, in the 1992 general election, when he contested Bath.

In 1993, Sked stood in two parliamentary by-elections: one at Newbury, where he shared a platform with Enoch Powell, who spoke in his support, and a second, soon afterward, at Christchurch. On both occasions he came fourth, behind the major parties (there were 19 candidates at Newbury and 14 at Christchurch). Encouraged by these results, the AFL changed its name that September to the UK Independence Party (UKIP). Sked, however, resigned the leadership shortly after the 1997 general election, citing party factionalism and the growing influence of radical, far-right opinion in the party's ranks, saying that it was "doomed to remain on the political fringes". He also opposed its plan to take up places in the European Parliament if seats should be won there, wanting all party efforts to be concentrated on the UK Parliament.

Shortly before each subsequent national election (European Parliament, 1999, Westminster, 2001 and European Parliament, 2004), he published articles accusing UKIP of extremism and incompetence. A few days before the 2004 election to the European Parliament, in which UKIP increased its representation from three to twelve seats, he criticised his former party in a national newspaper, saying, "They are racist and have been infected by the far-right." He went on record saying, "UKIP is even less liberal than the British National Party (BNP). Certainly, there is a symbiosis between elements of the parties," and, "UKIP's MEPs are a standing joke at Strasbourg, where their attendance record, even by the standards of most MEPs, is relatively poor and where, according to independent research by the European Studies centre at the London School of Economics, the three often vote in different ways on the same issue."

In 2003, just before the Iraq War, he wrote that opposition to the militaristic foreign policy of George W. Bush within Europe was not born of principle, but rather stemmed "largely from jealousy of the United States" and a purported knowledge that European countries, united or otherwise, "have no military, diplomatic, moral or economic resources with which to challenge the United States".

In September 2013, he founded New Deal, a political party described as "a new left-of-centre, anti-EU party which he hopes will challenge Labour", and appeared on the BBC TV Daily Politics show to discuss it. New Deal was de-registered in 2015, having never fielded a single candidate in any election.

After the 2014 European Parliament elections
Following the 2014 European elections, he further criticised UKIP as "Frankenstein's monster" and said that he intended to stand against the Labour leader Ed Miliband in the 2015 general election. He also described his former UKIP colleague Nigel Farage as a "dim-witted racist".

In an article dated 21 October 2015 for The National Interest, Sked wrote the following regarding Nigel Farage and the state of UKIP under his leadership,

"After I stepped down to return to academic life, however, the party came under control of a preposterous mountebank named Nigel Farage, who reoriented it to the far right. The clause about a lack of prejudices was abolished and all sorts of nasty statements were made against blacks, Muslims and gays. Former members of the National Front were allowed to work for the party or become candidates. The party itself has deliquesced into a cult around Farage, whose electoral failure in 2015 has made him an object of scorn in the media and prompted his financial backers to desert him. Farage has become a convenient figure with which to frighten moderate voters about the consequences of fulfilling my party’s original mission—withdrawal from the European Union."

Prosper UK
Sked announced in early December 2018 the founding of another political party, Prosper UK. The party split from UKIP following Tommy Robinson's admission as a special advisor to UKIP's then leader Gerard Batten, as a eurosceptic alternative in response to perceived radical elements growing within the party. Prosper UK was de-registered from the Register of Political Parties in August 2020.

All for Unity
In 2021, he was announced as a candidate for All for Unity, a new party led by George Galloway to contest the 2021 Scottish Parliament election.

Elections contested
UK Parliament elections

Partial bibliography

 * Sked, A. & Cook, C. (eds.) (1976) Crisis and Controversy: Essays in Honour of A.J.P. Taylor. (London: Macmillan) ISBN 0-333-18635-4.
 * Sked, A. & Cook, C. (1979) Post-war Britain: A Political History
 * Sked, A. (1979) The Survival of the Habsburg Empire: Radetzky, the Imperial Army and the Class War, 1848. (London: Longmans) ISBN 0-582-50711-1.
 * Sked, A. (1987) Britain's Decline: Problems and Perspectives. (Oxford: Basil Blackwell) ISBN 0-631-15084-6.
 * Sked, A. & Cook, C. (1993) Post-war Britain: a Political History (1945–1992). (4th ed.) (Harmondsworth: Penguin) ISBN 0-14-017912-7.
 * Sked, A. (2001) The Decline and Fall of the Habsburg Empire, 1815–1918. (2nd ed.) (London: Longman) ISBN 0-582-35666-0.
 * Sked, A. (2007), Metternich and Austria: An Evaluation. (London: Palgrave MacMillan) ISBN 1-4039-9114-6
 * Sked, A. (2011) Radetzky: Imperial Victor and Military Genius. (London: I.B. Tauris)
 * Sked, A. (2020) A Critical History of Scotland from Independence to the Present in 14 articles. (Think Scotland, Edinburgh)

title: Alan Sked


text:
Paul Sykes (businessman)

Paul Sykes (born 30 May 1943) is an English businessman and political donor. He opposed Britain's membership of the European Union and has donated to the UK Independence Party. He had previously supported the Conservative Party, but disagreed with its support of the Maastricht Treaty.

Business
Born in Barnsley on Sunday, 30 May 1943, Sykes was the son of coal miner Edmund Sykes. He failed his eleven-plus in 1954 and went to the Racecommon Road Secondary Modern, Barnsley, leaving school four years later with no qualifications. He had various manual jobs, working largely as a tyre fitter before setting up a business at the age of 18 to dismantle old buses and sell their engines to the Far East for use in fishing boats. He later dealt in buses, coaches and trucks across northern England. Sykes developed industrial, office and warehouse properties first in London Docklands and later Wakefield, Salford, Leeds and Rotherham. He built Meadowhall, then the country's biggest shopping centre. In 1999, Sykes sold Meadowhall for £1.17 billion. Planet Online was for a time Britain's largest internet service provider. In 1998 Sykes sold it for £85 million to Energis.

According to The Sunday Times Rich List in 2020, Sykes is worth £770 million.

Politics
Sykes entered politics in 1975, and was chairman of the Barnsley Conservative Party. He served on the Yorkshire Conservative Regional Council for many years.

Sykes left the Conservative Party in 1991 in a dispute with John Major and the party leadership over the Maastricht Treaty. Sykes is estimated to have donated £8 million opposing the Euro and to Eurosceptic campaigns.

In the 1997 general election he selectively funded Eurosceptic Conservative candidates, and in 1998 pledged to "use every means possible" to persuade British voters to say no in a referendum on the single currency, saying he would "raise hellfire to get the message across". The following year he began making large donations to the cross-party Democracy Movement, founded by Lady Annabel Goldsmith as a successor to the Referendum Party. He also donated £500,000 to Denmark's successful anti-euro campaign and £65,000 to the successful Irish No to the Lisbon Treaty campaign.

In 2000, Sykes supported the Conservative Party, led at the time by William Hague, but left the party because of a disagreement on not ruling out joining the Euro.

Sykes was an vehement opponent of the European Union and is noted for his belief that it represents an undemocratic, bureaucratic, super state in the making.

Sykes then donated almost £1,500,000 to UKIP for advertising during the 2004 elections to the European Parliament, making him the primary source of funding for the party. He subsequently admitted that UKIP's fourfold increase in seats at the election was a result of the party having "more loot" than the others. When Robert Kilroy-Silk, elected as one of UKIP's Members of the European Parliament (MEPs), criticised the leadership of Roger Knapman and expressed an interest in replacing him, Sykes announced his intention to cease funding of UKIP and appeared with Kilroy-Silk in a television interview to discuss the party and its leadership and made it clear that he would not support Kilroy-Silk.

On 17 November 2013, Sykes announced that he would do "whatever it takes" to help make the UK Independence Party (UKIP) be successful in the 2014 European Parliament elections. Sykes planned with Nigel Farage, a poster, leaflet and technology campaign across Britain costing Sykes £1.650,000 UKIP won the UK European Elections, electing 24 MEP's, which amounted to over 4 million votes, which was the first time in 100 years that an outside party had won a British Election. With the General Election approaching in 2015, the conservatives under David Cameron decided to give a national Referendum on the membership of the European Union.

In 2016, Sykes and Farage planned a nationwide poster and technology campaign, costing around £1,800,000, campaigning to Leave the European Union.

Philanthropy
After treatment for the disease at Johns Hopkins, Baltimore in 2000, he funded the construction of a specialist prostate cancer unit at St James's University Hospital, Leeds. Sykes donated over £1m to the restoration of the Royal Hall in Harrogate. He funded Sir Ranulph Fiennes' expeditions on the Eiger for the British Heart Foundation, as well as the Everest Challenge and Marathon des Sables for Marie Curie Cancer Care raising millions for the charity.

Sykes now spends most of his time on environmental issues including work with Durrell wildlife conservation trust which is an international body dealing with endangered species. He also has an interest in preventing deforestation.

Personal life
Sykes married Valeria Robinson in 1967; they divorced after 44 years of marriage. Sykes has vowed not to leave any of his fortune to his children, except for buying them houses, to encourage them to make their own way in the world.

Sykes lives in a property just outside Ripon, North Yorkshire.

title: Paul Sykes (businessman)