text:
Madelyne

Madelyne may refer to:

 * Madelyne Delcroix (born 1946), French aviator
 * Madelyne Pryor, fictional character in the Marvel Comics universe
 * Madelyne Woods, American television personality
 * Carlo Resoort, Dutch DJ, remixer and producer who has released tracks under the Madelyne alias

title: Madelyne


text:
Dipsea Race

The Dipsea Race is a trail running event in California, United States. It is the oldest cross-country trail running event and one of the oldest foot races of any kind in the United States. The 7.5 mile (12 km) long Dipsea Race has been held annually almost every year since November 19, 1905, starting in Mill Valley, and finishing at Stinson Beach, in Marin County. Since 1983, the race has been held on the second Sunday in June. The Dipsea celebrated its 111th running on Sunday, June 12, 2022.

History
In 1904, the Dipsea Inn opened on a sandspit north of  Willow Camp (later Stinson Beach), built in anticipation of tourists arriving on proposed rail extensions. After opening, it was visited by a group of Olympic Club members, including, Charles Boas, and Alfons Coney, who had a cabin near Muir Woods. Someone proposed racing from Mill Valley to the Inn. Coney and Boas, took up the challenge, setting off on a day in 1904, with bets placed by Club members (Fastest from the train depot at Lyton Square in Mill Valley, to the newly opened Dipsea Inn). Boas won.

On a rainy November 19, 1905, the first Dipsea Race was held, on a 7.4-mile course, with 110 runners, by members of the San Francisco Olympic Club, from the Mill Valley train depot   to the then-new Dipsea Inn, on a sand spit now called Seadrift, in the Bolinas Lagoon between Stinson Beach and Bolinas,     taking place annually, only being cancelled a few times in its history: 1932-1933 due to the race not being able to earn enough funds to be financially viable due to the Great Depression, 1942-1945 due to World War II, and 2020 due to the COVID-19 pandemic. In 1977, the race was almost cancelled as the previous year saw an overwhelming number of participants due to the running boom of the 1970s - the local government was worried about overcrowding and also did not want to close down nearby streets. The Marin County Board of Supervisors voted 3–2 to cancel the race until changes could be made. The race ended up being delayed and held in October instead. A “Women’s Dipsea Hike” (called a "hike" to avoid an AAU ban on women's long-distance races. ) took place 1918–1922. In 1907, the final run on the sand was eliminated. In 1983, the race date was changed to the second Sunday in June.

The course of the trail was listed on the National Register of Historic Places in 2010, as Dipsea Trail.

Due to the COVID-19 pandemic, the Race committee announced that the 2020 Dipsea Race would be cancelled for the first time since 1945. The committee later announced that the 110th race would be postponed from June to November 2021.

Course
The Dipsea is well known for its scenic course and challenging trails. The race starts on Throckmorton Avenue in Mill Valley, near Miller Avenue, in front of the old train depot (now a bookstore). After traversing a few blocks in Mill Valley's downtown, runners climb 688 stairs (now 700 stairs, after the renovation of the middle section in Nov 2017) leading up the side of Mount Tamalpais, and then pass through Muir Woods National Monument, Mount Tamalpais State Park, and the Golden Gate National Recreation Area. The Dipsea Trail is the most direct route connecting the town of Mill Valley, located near the northwestern shores of Richardson Bay, with the village of Stinson Beach, situated along the Pacific coast. Stinson Beach is a popular tourist destination, located about a 30-minute drive north of San Francisco on Highway 1, via the Golden Gate Bridge. The ascent over the southern shoulder of Mount Tam reaches its apex around the top of Cardiac Hill, about 4.5 miles into the race.

Among the challenges facing participants are the Dipsea Trail's uneven footing, single-track footpaths, and almost invariably steep terrain, featuring about 2,200-foot (671 m) elevation gain and loss over the course. The uniqueness of the Dipsea Race course owes largely to the opportunity for competitors to choose from any of several alternate routes on diverging and converging trails, adding a competitive premium for strategy, experience, and familiarity with the course.

Race details and champions
The Dipsea's handicapping system often produces younger or older winners, which adds to the unusual intrigue and suspense created by the race's permissible shortcuts, like 'Suicide' and 'The Swoop'. Most participants, with the exception of 'scratch' runners, are given a head start based on their age and gender. The oldest and youngest runners are given up to a 25-minute advantage over the fastest competitors, making it possible for virtually any age group to produce a race winner; previous winners include children as young as 8, and men and women as old as 72.

Because of the nature of the course, the field of competitors is limited to 1,500. It is a popular race, and thousands of people apply for entry every year. This makes it difficult for people, particularly those who have never run it before, to get accepted into the race.

As of June 2024, the defending champion is 53-year-old Chris Lundy. Previous champions include Paddy O'Leary (2023), Eddie Owens (2022), Mark Tatum (2021), Brian Pilcher (2019, 2016, 2015, 2009), Chris Lundy (2018, 2017), Diana Fitzpatrick (2013, 2014), Hans Schmid (2012), Jamie Rivers (2007, 2011), Reilly Johnson (age 8, 2010), Roy Rivers (2008), Melody-Anne Schultz (1999, 2003, 2006) Russ Kiernan (1998, 2002, 2005), Shirley Matson (2004, 2001, 2000, 1993) and Sal Vasquez (1982–1985, 1990, 1994, 1997).

Jack Kirk, known as the 'Dipsea Demon', holds the record of most consecutive competitions in the Dipsea, having finished 67 consecutive Dipseas from 1930 until 2002. (There was no official Dipsea Race in 1932 or 1933, due to economic reasons, nor in 1942–1945 due to World War II.) Kirk finished his last complete race in 2002. He started but did not finish in 2003, but did reach the highest elevation, at the top of "Cardiac Hill," at the age of 96. He is the oldest person to have competed in the race. Kirk died on January 29, 2007, at age 100. Kirk's story was documented in the 2004 film "The Dipsea Demon".

Other races on the Dipsea Trail
Two other races use the same course route: the Double Dipsea, held in late June, and the Quad Dipsea, an ultramarathon, which takes place in late November. Despite the use of the Dipsea name, these two races are not officially affiliated with the Dipsea Race.

Double Dipsea
The Double Dipsea is a 13.7-mile (22 km) run usually held on the Saturday thirteen days after the Dipsea. Now organized by the Dolphin South End Running Club, San Francisco icon Walt Stack put together the first Double Dipsea race in 1970.

Quad Dipsea
The Quad Dipsea is a 28.4-mile (45.7 km) trail ultra, held annually in November on the Saturday following Thanksgiving. The Quad starts and finishes in Mill Valley, following the Dipsea Trail westward to Stinson Beach, out-and-back twice over the same course as the Dipsea Race and the Double Dipsea. The race has 9,276 feet (2,827 m) of both climb and descent. First held in 1983 with only 8 runners, the race is now limited to about 250 runners.

In popular culture
The 1986 movie On the Edge, without using the name "Dipsea", revolves around a race that is unmistakably the Dipsea Race. It stars Bruce Dern as a runner obsessed with the race.

It is often described as the race where you are "either the hunter or the hunted" where mental toughness is required to overcome not only the 700 steps, the drop into Muir Woods, the Suicide shortcut, and Dynamite and Cardiac hills, but also the handicapped times.

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

title: Dipsea Race


text:
Bart Simpson's Escape from Camp Deadly

Bart Simpson's Escape from Camp Deadly is a 1991 platform video game for the Game Boy. Developed by Imagineering, it was published by Acclaim Entertainment in North America and Europe in 1991. The game was released in Japan in 1993. In Bart Simpson's Escape from Camp Deadly, the player controls Bart from the television series The Simpsons as he escapes from an unpleasant summer camp run by ruthless counselors. The plot is similar to that of The Simpsons episode "Kamp Krusty", although the game was released nearly a year before that episode aired. Critics gave the game mixed to negative reviews.

Plot and gameplay
Bart and Lisa go to spend the summer at a camp, which turns out to be the dangerous Camp Deadly run by Mr. Burns's nephew, Ironfist Burns. His intentions are to make sure that the children suffer and have as little fun as possible, refusing to allow them to leave until they are thoroughly miserable. In the first stage of the game, Bart and the other children play capture the flag in a forest, as part of the camp's morning activity. Bart is harassed by camp counselors and bullies Blindside Bill and Rebound Rodney, and must make his way through nests of angry bees and other obstacles. The second stage takes place during lunch break at the mess hall, where the counselors throw knives and forks at Bart. Bart can retaliate by throwing food, but if caught he will be made to eat his entire arsenal.

Another game of capture the flag follows in the next stage as the afternoon activity. While playing, Bart must avoid counselors, bullies, killer hornets and traps set out for the escaped Madman Mort. Bart will find Mort in a trap and choose to free him. The fourth stage is dinner break and is the same as the lunch break stage, albeit with increased difficulty. If Bart made the decision to free Madman Mort in the prior stage, he will reappear at a particularly difficult point in the dinner stage to come to Bart's aid. The following day, Bart and Lisa decide to escape from Camp Deadly, both because it is too dangerous and because they cannot stand it anymore. However, Ironfist overhears their plans. At night, in the next stage, they escape by climbing to the other side of a mountain called Mount Deadly. The game's final stage takes place in a forest on the other side. Partway through, Ironfist captures Lisa, and Bart later finds them both at a power station supplying the camp with power. Bart defeats him and frees Lisa. Together, they find and flip a switch at the station that shuts off the power at Camp Deadly and puts an end to their stay there. The end scene shows Bart and Lisa joyfully reunited with Maggie, Marge, and Homer.

Bart Simpson's Escape from Camp Deadly is a side-scrolling 2D platform game. It is single-player-only, and the player controls Bart. Lisa's role in the stages is giving Bart boomerangs to use against the various enemies. His default weapon is spit wads, and in the cafeteria stages, the barely edible food offered at the camp.

Development and release
The game was developed by Imagineering and published by Acclaim. While the game was still in development, Nintendo Power gave out a walkthough in its October 1991 issue. There are quite a few differences between the game's beta and final versions, in which the madman the player rescued in one part was "Madman Krimmel Krogan", whose appearance looked similar to Jason Voorhees from the Friday the 13th series before his design was changed to the long-haired, overall-wearing, maskless Madman Mort in the final version. Also, the Mount Deadly the player is scaling in another part was named "Mt. Milehigh" before its name was changed to make it more fitting in the final version (as well as the preceding dialogue between Bart and Lisa on how to escape Camp Deadly).

The game was released in 1991 in North America and Europe for the hand-held console Game Boy. The game was released in Japan under the name Bart's Survival Camp (バートのサバイバルキャンプ) on February 26, 1993. It was the first Simpsons game to be released on a portable console. The plot of Bart Simpson's Escape from Camp Deadly bears a strong similarity to the Simpsons episode "Kamp Krusty" in the sense that they both revolve around Bart and Lisa staying at an evil summer camp. However, that episode did not air until 1992, a year after the game was released.

Reception
Bart Simpson's Escape from Camp Deadly has received mixed to negative reviews. Nintendo Power gave it a 3.4/5 rating. UGO Networks gave the game a negative review, commenting that "this uninspired train wreck of a Game Boy title fails on nearly every level, but most of all simply because it's a snore-fest. It's your basic side-scrolling platformer with little to no connection to the source material and lasts only about few hours at best. During the game you come across bullies, camp counselors and even a few wild animals, battling them with spitballs, a boomerang and, in the lunchroom level, food. This one is for completists only." Matt Williamson of the Rocky Mountain News gave the game a C+ grade and commented that "Escape from Camp Deadly tries too hard to be a Nintendo game. It's hard, I know, to try to make game graphics more primitive, but please, guys, the more complex you make the graphics, the more confusing a game gets!" However, the Channel 4 video game programme GamesMaster gave the game an 89% rating. GamePro gave the game an average review, writing, "With just three lives and no continues, The Simpson's Escape from Camp Deadly [sic] is a tough nut to crack. Then again, Bart's never made anybody's life easy. If you're a Bart fan who loves a challenge, chances are you'll find yourself returning to this weird and wicked camp, time and time again." In Japan, Famitsu gave it a score of 19 out of 40.

In 2009, 1Up.com editor Bob Mackey reviewed the game in 1Up's official Retro Gaming Blog. He wrote: "Camp Deadly drops the limited adventure elements of Bart Vs. the Space Mutants in exchange for some much simpler platforming with vastly improved controls [...]. The simple jumping and shooting is nothing to write home about, but Camp Deadly would have at least been a semi-competent early Game Boy game if not for the interminable waves of enemies it constantly throws at you. Here we see a common problem with Game Boy titles: the developers were clearly designing Camp Deadly with a big-screen mindset. Enemies teleport in from the edge of the screen and, given how little space there is to actually maneuver, you sometimes have less than a second to react."

title: Bart Simpson's Escape from Camp Deadly


text:
Amber Room (disambiguation)

The Amber Room was chamber decorated in amber panels in the Catherine Palace of Tsarskoye Selo near Saint Petersburg.

Amber Room may also refer to:

 * The Amber Room, a 1992 novel by T. Davis Bunn
 * The Amber Room, a 1995 novel by Christopher Matthew
 * The Amber Room (novel), a 2003 novel by Steve Berry
 * The Amber Room, a 2005 book by Cathy Scott-Clark and Adrian Levy

title: Amber Room (disambiguation)


text:
Lobdell

Lobdell may refer to:

 * Lobdell, an unincorporated community in West Baton Rouge Parish, Louisiana
 * Jared Lobdell (1937–2019), American author
 * Joe Lobdell (born 1983), American football player
 * Scott Lobdell (born 1963), American comic book writer and screenwriter

title: Lobdell


text:
Talk:Gonzalez v. Raich

We might want to spend a little time discussing the majority and concurring opinions, instead of just O'Connor's dissent, and likewise some discussion of Thomas's separately filed dissent. Whig 06:40, 7 Jun 2005 (UTC)

title: Talk:Gonzalez v. Raich


text:
Talk:Infoshop.org

Google News
I think a small change could be made to the following text: "..archived by Google News.." Technically, Google News indexes news sites such as Infoshop News. Archiving means something different, which Google News isn't doing. Chuck0 (talk) 03:40, 10 April 2008 (UTC)
 * I changed it to "carried", which may be a more accessible term for readers. Newspapers carry wire reports, and the way Google republishes news sites appears comparable. Or is that wrong in this context? ·:· Will Beback  ·:· 04:06, 10 April 2008 (UTC)
 * That works. Chuck0 (talk) 00:55, 12 April 2008 (UTC)

Rewrite or Remove
Would it be possible for somebody to rewrite this article to remove the personal stuff about me? Infoshop is a collective project and this personal stuff is misleading. Otherwise I'm going to ask for removal of this page. Thanks. Chuck0 (talk) 18:00, 20 April 2010 (UTC)

 * The article gives no personal information about you. If there are diffs where someone posted personal info, have those revisions oversighted.  We are not removing encyclopedic content as it relates to your involvement with infoshop.org.  SchuminWeb (Talk) 19:53, 20 April 2010 (UTC)

 * The page "Chuck Munson" has already been redirected to this page and the above was previously explained to you at Talk:Chuck Munson. If you still wish to contact someone regarding removal of any content related to you, see this link. -- œ ™ 16:13, 28 June 2010 (UTC)

title: Talk:Infoshop.org


text:
Talk:SD

Why can't SD abbreviate Soft Drink?
Question: Why can't SD abbreviate Soft Drink? 68.170.0.238 06:42, 7 Jun 2005 (UTC)
 * Because it's not a generally accepted, widely used abbreviation for soft drink, just like the abbreviation isn't widely used for "soggy dog", "silly doofus", and "slappy dan." In fact, you're the only person i've ever heard use the phrase as an abbreviation for soft drink.  Jersyko    talk   18:45, Jun 7, 2005 (UTC)
 * Jersyko speaks for me as well. I've never seen "SD" used to abbreviate soft drink. — Knowledge Seeker দ 19:09, 7 Jun 2005 (UTC)
 * Then how, do you invent an abbreviation and make it recognized?? 68.170.0.238 05:09, 10 Jun 2005 (UTC)
 * You start using it, and see does anyone else. However, nobody is EVER going to use SD to mean soft drink. Except maybe you, it seems. Adding an abbreviaton nobody else uses is not on. --Kiand 13:07, 10 Jun 2005 (UTC)
 * Added a section header. [ sd ] 03:50, 22 June 2009 (UTC)
 * I will address this topic, tho I see it to be quite old, because I think it quite likely that sd, or S.D., is sometimes used as an abbreviation for soft drink, in specialized situations where reader and writer would both understand from context. That being said, the more applicable issue here would be WP:what wikipedia is not.  The purpose of the disambig  page is not to list every possible use of the two letters as an abbreviation.  That is known as WP:laundry-listing.  Also, the IP user mentions inventing an abbreviation.  This I believe to be a common misconception of new arrivals to Wikipedia, even after 17 years.  Since WP is crowd-sourced, at least somewhat, a newbie might assume that this is the place to invent.  See above, WP:what wikipedia is not.  rags (talk) 04:20, 23 June 2017 (UTC)

Untitled
stage direction?--68.193.135.139 (talk) 02:27, 18 May 2010 (UTC)

dgdh dhgshghhds — Preceding unsigned comment added by 82.214.84.48 (talk) 17:31, 16 March 2018 (UTC)

Why can't SD abbreviate social distancing?
Question: Why can't SD abbreviate social distancing? 107.77.205.172 (talk) 22:40, 20 May 2020 (UTC)
 * I don't see why not. I added that abbreviation. (Maybe back in May it wasn't yet popular). -- -- -- 07:19, 2 December 2020 (UTC)
 * PS. My edit has been reverted. User:Sro23 claims that we need to find a reliable source that the acronym is commonly used. -- -- -- 21:09, 2 December 2020 (UTC)

A pistol exists called the Smith & Wesson SD--formerly called the Sigma.
— Preceding unsigned comment added by 2600:8807:a700:10ca:5d8c:65b9:dd8:ab29 (talk) 00:45, 30/May/20 (UTC)

Software defined?
As in Software-defined radio (SDR). 150.227.15.253 (talk) 11:59, 23 August 2021 (UTC)

title: Talk:SD


text:
Talk:Popeyes

Popeyes is also in Pakistan
Here is link

https://popeyespakistan.com/index.php

Please add to Article. 103.137.24.238 (talk) 10:32, 26 April 2023 (UTC)

Popeyes will be soon in Czech Republic
Here is the source: https://www.e15.cz/byznys/obchod-a-sluzby/do-ceska-vstupuje-retezec-popeyes-restauraci-na-vaclavaku-otevre-v-listopadu-1399446 RákosníčekAnonim (talk) 19:16, 9 October 2023 (UTC)

Popeyes in Kazakhstan
As March 17th, Popeyes was also opened in Almaty, Kazakhstan in 8th March. Here is the official link a website: https://popeyes.kz/ru. It has 1 location, and there will be opening of a new location in 19th March. Ameke 111 (talk) 12:09, 17 March 2024 (UTC)

title: Talk:Popeyes


text:
Sanhe

Sanhe may also refer to these places in China:

 * Sanhe, Hebei (三河市), a county-level city of Hebei

Subdistricts

 * Sanhe Subdistrict, Fengdu County (三合街道), in Fengdu County, Chongqing
 * Sanhe Subdistrict, Sandu County (三合街道), in Sandu Shui Autonomous County, Guizhou
 * Sanhe Subdistrict, Chengdu (三河街道), in Xindu District, Chengdu, Sichuan

Towns

 * Sanhe, Feixi County (三河), in Feixi County, Anhui
 * Sanhe, Fuyang (三合), in Fuyang, Anhui
 * Sanhe, Huainan (三和), in Huainan, Anhui
 * Sanhe, Bishan District (三合), in Bishan District, Chongqing
 * Sanhe, Shizhu County (三河), in Shizhu Tujia Autonomous County, Chongqing
 * Sanhe, Hezheng County (三合), in Hezheng County, Gansu
 * Sanhe, Longnan (三河), in Longnan, Gansu
 * Sanhe, Dabu County (三河), in Dabu County, Guangdong
 * Sanhe, Taishan (三合), in Taishan, Guangdong
 * Sanhe, Guangxi (三合), in Pubei County, Guangxi
 * Sanhe, Bozhou District (三合), in Bozhou District, Zunyi, Guizhou
 * Sanhe, Renhuai (三合), in Renhuai, Zunyi, Guizhou
 * Sanhe, Heilongjiang (三河), in Suihua, Heilongjiang
 * Sanhe, Hubei (三合), in Yingcheng, Hubei
 * Sanhe, Jiangsu (三河), in Huai'an, Jiangsu
 * Sanhe, Longjing (三合), in Longjing, Jilin
 * Sanhe, Ningxia (三河), in Haiyuan County, Ningxia
 * Sanhe, Qinghai (三合), in Haidong, Qinghai
 * Sanhe, Shaanxi (三合), in Chenggu County, Shaanxi
 * Sanhe, Jiangyou (三合), in Jiangyou, Sichuan
 * Sanhe, Jianyang (三合), in Jianyang, Sichuan
 * Sanhe, Yilong County (三河), in Yilong County, Sichuan
 * Sanhe, Zhejiang (三合), in Tiantai County, Zhejiang
 * Sanhe, Yanling (三河), a town in Yanling County, Hunan, merged into Xiayang Town in 2015

Townships

 * Sanhe Township, Gansu (三合乡), in Jingning County, Gansu
 * Sanhe Hui Ethnic Township (三河回族乡), in Ergun, Inner Mongolia
 * Sanhe Township, Baicheng (三合乡), in Baicheng, Jilin
 * Sanhe Manchu and Korean Ethnic Township (三合满族朝鲜族乡), in Dongfeng County, Jilin
 * Sanhe Township, Kangding (三合乡), in Kangding, Sichuan
 * Sanhe Township, Tongjiang County (三合乡), in Tongjiang County, Sichuan
 * Sanhe Township, Xuanhan County (三河乡), in Xuanhan County, Sichuan
 * Heminghu, a town in Lindian County, Heilongjiang, known as Sanhe Township before 2015
 * Niubeishan, a town in Yingjing County, Sichuan, known as Sanhe Township before 2017

Villages

 * Sanhe, in Sanhe, Hubei

Historical regions

 * Sanhe (三河), a collective term for Henan, Hedong and Henei regions in ancient China

title: Sanhe


text:
The Simpsons: Bart vs. the Space Mutants

The Simpsons: Bart vs. the Space Mutants is a platform video game, the second based on the animated television series The Simpsons. It was released in 1991 for the Nintendo Entertainment System, Amiga, Amstrad CPC, Atari ST, Commodore 64, and ZX Spectrum, and in 1992 for Sega Genesis, Master System and Game Gear. It was published by Acclaim Entertainment on consoles and Ocean Software on computers, and developed by Imagineering and Arc Developments. In the game, the player controls Bart Simpson through five levels as he tries to ruin the aliens' plan to take over the world. Video game critics have given Bart vs. the Space Mutants mixed reviews, with criticism directed at the difficulty of the game, partly caused by restricted controls.

The Amiga and MS-DOS versions have an animated intro which resembles a digitized clip from an episode of the show.

Plot and gameplay
Bart vs. the Space Mutants is a 2D side-scrolling platformer. In the single-player game, Bart Simpson is the only one who knows of the aliens' secret plan (his X-ray specs allow him to identify aliens in human form, based on the sunglasses from the 1988 film They Live) and he has to stop them from collecting the items they need to build their "ultimate weapon" to take over the world. There are five levels, in which Bart must collect or destroy a certain number of these items (purple objects in the first level, hats in the second, balloons in the third, exit signs in the fourth, and nuclear rods in the fifth). If Bart loses a life he says "Eat my shorts!" Another objective of Bart vs. the Space Mutants is to help Bart convince the other members of the Simpson family about the aliens' existence so that they will help him during the levels. This is achieved when Bart defeats a disguised space mutant, whereupon he collects a letter. Should he spell out the first name of a family member, said member will aid him in the boss battle. The five stages are the streets of Springfield, the Springfield Mall, Krustyland Amusement Park, a natural history museum, and the Springfield Nuclear Power Plant. If Bart exhausts all his lives, an end scene will be shown depending on what stage it took place, where the aliens gloat over their victory and/or mock Bart. If Bart completes the game, an end scene will be shown where the enraged aliens vow never to return to Earth, but try to accept defeat graciously and do something to pay their respects to the boy who thwarted them. Six months later, the Simpsons are vacationing in South Dakota when they notice a fifth face on Mount Rushmore that looks like Bart's.

In order to get to some of the items and progress through the game, Bart must use equipment such as rockets and cherry bombs, which are bought with coins that can be collected by getting rid of aliens. Bart is controlled on foot and on a skateboard. To get rid of aliens, which are disguised as real humans, he needs to jump on their heads, although some are just regular humans. The game increases in difficulty with each level, and Bart meets up with a boss at the end of the first four. The levels use elements of The Simpsons and some of the television humor appears in the game: for example, in the first level Bart can make a prank call to the bartender Moe in order for him to run outside so that the player can spray paint his purple apron (an example of an item that the aliens need) into a red color that the aliens do not want. The game includes some minigames.

Development
Bart vs. the Space Mutants is the first video game based on the animated television series The Simpsons, and includes the theme song from the show. The game was designed by Garry Kitchen, who previously developed Keystone Kapers and Pressure Cooker for Activision.

Kitchen stated the game was offered to him by Greg Fischback of Acclaim a few days before the first episode aired, asking him to look into The Simpsons as a property to develop it into a game. Kitchen stated the biggest hurdle in development was time as Acclaim really wanted the game to be available before Christmas. According to Kitchen, the deadline was missed. Kitchen hired Barry Marx, a friend from Columbia University to come up with gags in the game that would be appropriate for Bart.

It was published in 1991 by Acclaim for the Nintendo Entertainment System and by Ocean Software for the Atari ST, Amiga, ZX Spectrum, Commodore 64, and Amstrad CPC. The game was published in 1992 for Mega Drive/Genesis, Master System, and the hand-held Game Gear console under Acclaim's Flying Edge label. A portable LCD toy of the game was also published by Acclaim in 1991. Imagineering developed Bart vs. the Space Mutants for the Nintendo Entertainment System, Atari ST, and Game Gear,  while Arc Developments developed the game for the ZX Spectrum, Commodore 64, and Genesis.

Reception
The game was a best-seller. It sold 1 million copies at $40 each.

Reviews of Bart vs. the Space Mutants have been mixed. Many critics have described the game as difficult. An author for the Italian newspaper la Repubblica said the levels are not easy, and the Swedish edition of Sega Force described the game as both difficult and boring. Nintendo Power (which rated the NES game 66/100) wrote: "Bart Simpson has finally made it to the NES from Acclaim. His adventure, though, is anything but a game for underachievers. This game is very challenging and could be frustratingly so to some players. The tasks that you must perform to complete the adventure require patience and skill."

The NES version of Bart vs. the Space Mutants received a B rating from Lou Kesten of Entertainment Weekly, who noted that "the biggest drawback of this game is its brutally difficult opening section. However, what makes it challenging are clever strategic puzzles rather than thumb-bruising acrobatics. Bart tests reflexes and imagination in a way all too rarely seen in video games."

James Leach of Your Sinclair gave the ZX Spectrum game a 92/100 rating, writing that "I'm really into this game. As far as I can see, it's got everything it should have. It's fast, it's easy in places and dead wicked in others and it's got a massive amount of variety. What more could you want? ... The graphics are very cartoony, as you'd expect, and there's pots of colour." Leach also noted that the idea of including minigames in Bart vs. the Space Mutants "is pretty inspired, and makes the game even more fun." A reviewer for Crash also gave the ZX Spectrum version a positive review, with a 91/100 rating. He praised the variety and gameplay of the game, and noted that "while it may sound pretty basic [...] it’s when you start discovering things, making use of objects, finding hidden treasures that it really comes alive. And achieving an objective is satisfying because the route to completion can be pretty tough (especially some of the platform elements)." The reviewer also noted that "if you’re a Simpsons fan the game’s incredibly appealing, the graphics all reflect Matt Groening’s cartoon very well. And how much of a fan you are dictates how much you’re really going to enjoy this [game]. Non-fans can still get loads of entertainment, but some parts may be frustrating if you’re not into the characters."

In 2009, 1UP.com editor Bob Mackey reviewed the NES game in 1UP.com's official Retro Gaming Blog. Although he liked the first level for "mixing an impressive amount of references from the show with gameplay that has a pinch of point-and-click adventure in", he expressed his dislike for the other levels: "Unfortunately, either due to lack of ideas or lack of time (most likely the latter), the rest of Bart vs. the Space Mutants doesn't quite live up to the promise or ambition of the first level; the remaining four stages devolve into a frustrating and generic exercise in platforming that lacks all of the little references that made the beginning of the game somewhat authentic." Mackey described the game's controls as "terrible".

Kitchen stated that he "thought the majority of the game played very well, challenging but not in an unfair way" while noting the later levels could use more tuning, but failed to get it due to scheduling. He stated that "building a game against a fixed ship date is never a good idea so I do believe the game's quality suffered a bit because of compromises we made in an attempt to get it done in record time."


text:
I've Heard the Mermaids Singing

I've Heard the Mermaids Singing is a 1987 Canadian comedy-drama film written and directed by Patricia Rozema and starring Sheila McCarthy, Paule Baillargeon, and Ann-Marie MacDonald. It was the first English-language Canadian feature film to win an award at the Cannes Film Festival.

Plot
Polly is a worker for a temporary secretarial agency. Polly serves as the narrator for the film, and there are frequent sequences portraying her whimsical fantasies. Polly lives alone, seems to have no friends and enjoys solitary bicycle rides to undertake her hobby of photography. Despite her clumsiness, lack of education, social awkwardness and inclination to take others' statements literally, all of which have resulted in scarce employment opportunities, Polly is placed as a secretary in a private art gallery owned by Gabrielle.

Ann-Marie MacDonald plays Mary, who is Gabrielle's former young lover, and also a painter. Mary returns after an absence, and she and Gabrielle rekindle their former relationship despite Gabrielle's misgivings that she is too old and Mary too young.

Polly, who's fallen a little bit in love with Gabrielle, is inspired to submit some of her own photographs anonymously to the gallery. She is crushed when Gabrielle dismisses her photos out of hand and calls them "simpleminded". Polly temporarily quits the gallery, and goes into a depression. She returns to the gallery, and revives a little when Mary notices one of her photos.

All the while, Mary and Gabrielle have been perpetrating a fraud. Gabrielle has been passing off Mary's work as her own. When Polly finds out, she becomes livid and tosses a cup of tea at Gabrielle. Believing she has done something unforgivable, Polly retreats to her flat in anguish.

Mary and Gabrielle later visit Polly at her flat, and realize that the discarded photographs were by Polly.

As the film ends, Gabrielle and Mary look at more of Polly's photographs and in a short fantasy sequence the three are transported together to an idyllic wooded glen, a metaphor for the beautiful world that supposedly plain and unnoticed people like Polly inhabit.

Cast

 * Sheila McCarthy as Polly Vandersma
 * Paule Baillargeon as Gabrielle St. Peres
 * Ann-Marie MacDonald as Mary Joseph
 * Richard Monette as Clive
 * John Evans as Warren
 * Brenda Kamino as waitress

Production
Producers Rozema and Alexandra Raffé had never directed or produced a feature film prior to their work on Mermaids, although they worked together on a previous short film.

Development
Patricia Rozema started writing film scripts in 1983 while working as an assistant producer on The Journal, but all of them were rejected until her short film Passion: A Letter in 16 mm received funding in 1985. During this time period, she also took a five-week class on 16 mm film production at Ryerson Polytechnical Institute in Toronto.

Although Passion won a Silver Plaque at the 1985 Chicago International Film Festival, it also received a very harsh review in The Globe and Mail. The negative criticism of Passion and the personal rejection felt by Rozema compelled her to make Mermaids with its strong anti-authority motif "which examines the merciless negative judgments of the Toronto elitist high art milieu".

Rozema started writing I've Heard the Mermaids Singing while working as third assistant director for The Fly. She showed the first draft to her friends, including Ann-Marie MacDonald. While writing the screenplay she received two grants from the Canada Council and Ontario Arts Council worth $48,000. Through the writing process, the film's working title changed from Polly to Polly's Progress to Polly's Interior Mind. When the script was submitted for grant funding in June 1986, the title was Oh, the Things I've Seen.

The film's title is taken from the poem The Love Song of J. Alfred Prufrock, Rozema's favorite poem by T. S. Eliot. It was the second film playing on the film festival circuit in 1987 that had a title taken from the same Eliot poem, following Eat the Peach (1986).

Rozema initially planned on making the film for television, but the script was 65 minutes long. Rather than cut the script, Rozema was advised by Debbie Nightingale from the then-new Ontario Film Development Corporation to expand the script by at least 15 minutes so it could be eligible for OFDC feature film funds.

Funding and budget
Rozema presented the script to the Ontario Film Development Corporation in June 1986. Her funding application received a letter of recommendations from David Cronenberg, Stuart Cornfeld, and "anyone I could think of who had any credibility in the industry" according to Rozema. Raffé requested $85,000 in funding. The OFDC's report stated that the organization should not fund the film. Jonathon Barker, the OFDC's legal affairs officer, opposed funding the film as it was "a piece of shit that would never do anything". However, Nightingale chose to fund the film and later increased the investment to $100,000.

Rozema and Raffé were hesitant to seek funding from Telefilm Canada as Peter Pearson was known for being "philosophically averse to low-budget, auteur-driven films", but decided that funding from Telefilm was essential for the film. Pearson reportedly stomped out of a meeting declaring that Telefilm "should not be financing these kind of minimalist, student films".

After many weeks of discussions, the agency finally agreed to fund the film after Rozema and Raffé brought on experienced film producer Don Haig in the role of executive producer who worked on the film for $7,000, as the other options were too expensive and Haig would not impede on their creative control. Also important to Telefilm's eventual funding was a contract with film distribution company Cinephile, which agreed to a $5,000 guarantee, representing the absolute minimum required by the funding agency.} Telefilm agreed to give them $163,000, but the final agreements with Telefilm were not completed until fall 1986, by which time the filming was already completed. In the interim, producer Raffé had taken a bank overdraft of $25,000.

The film's budget details vary by source. In her book about the film, scholar Julia Mendenhall wrote that the film had a budget of $362,000; one article in the Toronto Star said the budget was $350,000 plus another $40K to blow up the negative from 16 mm to 35 mm; a different Star article stated the budget was $325,000. American newspapers also reported different budgets for the film. A San Francisco Chronicle article says the budget was US$273,000 which translated into $350,000; an article in a Fort Lauderdale, Florida newspaper says the budget was US$262,000, which was the same amount cited in a New York Times film review. The newspaper USA Today reported the budget as less than US$300,000. Michael Posner stated that the film was made on a budget of $362,109.

Pre-production
Rozema says she and Raffé worked in pre-production full-time between February 1986 and September 23, 1986. For their financing applications, the producers named their company Vos Productions. Vos means "fox" in Dutch and was Rozema's mother's maiden name.

Casting
Casting director Maria Armstrong, who worked on Passion for free, was hired by Rozema and given a casting budget of $500 to help identify the actors for Mermaids. Armstrong submitted a list of six or seven names for the role of Polly, including Sheila McCarthy. It took several readings before Rozema decided to hire McCarthy. In the director's commentary on the DVD, Rozema said about the casting of McCarthy: "When she came into the audition, I thought 'oh, pleeease be able to act.' She looked so unbelievably perfect, like a little bird just hatched. Almost asexual with these gigantic, sympathetic eyes. And … a kind of sweetness of manner that seemed just so right."

Unlike McCarthy, who was unknown to Rozema prior to the making of the film, the director was already a friend of actress Ann-Marie MacDonald but Rozema still required her to audition for the role of Mary Joseph.

Filming
Mermaids was shot in Toronto between September 24 and October 24, 1986, using a 16 mm camera, later enlarged to 35 mm, as 35 mm and Super 16 mm were too expensive to film in. After principal filming was completed, Rozema, McCarthy and the first assistant director filmed additional location shots around Toronto for four or five days.

The filming of Polly's fantasy flying scene was accomplished with a $60 special effect.

Post-production
Rozema edited the film between the end of 1986 through January 1987. The National Film Board of Canada allowed her to use their editing studios free of charge. Later, the NFB offered to pay for the consulting services of professional editor Ron Sanders, which Rozema accepted. In the director's commentary, Rozema said that because the film had such a small budget, she didn't have the luxury of multiple takes of many scenes. Most of the filmed footage was included in the final version of the film.

Following a rough cut screening of the film in February 1987, Cinephile president Andre Bennett suggested that the film be entered in the Directors' Fortnight program at the Cannes Film Festival. Rozema initially rejected that idea because she didn't think the film was ready, as it was in the final stages of sound editing and still had to be mixed. However, after some positive reviews of these screenings, Rozema decided to submit the film to a selection committee that met in March. By the time Mermaids was selected for screening at Cannes, Rozema and her crew had less than six weeks to complete the film. They requested that Telefilm cover the $40,000 cost of blowing the film up to 35 mm for its showing at Cannes, but the organization refused and it was instead funded by deducting it from the foreign sales revenue of Films Transit.

Rofekamp also generated the marketing plan for the film's premiere at Cannes. Tasks included compiling a press kit, creating promotional posters and other materials, translating the script into French, creating a print with French subtitles, and placing advertisements in trade publications.

Rozema originated the concept for the film's poster, envisioning a René Magritte-like photograph of McCarthy's head floating over a body of water. She hired Toronto graphic artist Robbie Goulden to create the final product, with promises of payment if the film made a profit. The photograph of McCarthy used in the poster was a family picture taken by McCarthy's father. Eighty percent of all buyers of the film used the same image in their advertising, and it was used on the cover of both the American and Canadian DVD releases.

Music
The original plan was for singer-songwriter Jane Siberry to provide the voicings of the mermaids. But Siberry had a cold on the day those recordings were scheduled to take place, so her backing vocalist Rebecca Jenkins substituted instead.

The musical score was composed by Mark Korven, who had only two weeks to complete the work. The film's musical arranger was John Switzer, who was also Jane Siberry's bassist.

During the initial depiction of one of Polly's visions, the "Flower Duet" aria from Léo Delibes' opera Lakmé is heard as background music; portions of this aria are heard multiple times throughout the film. Near the end of the film, Polly has a vision of conducting a small orchestra, performing selections from Ludwig van Beethoven's Fifth Symphony.

Release
The film was distributed by Cinephile in Canada, Miramax in the United States, and Films Transit elsewhere. Bennett sold the film to First Choice for $150,000 and the CBC for $120,000.

Cannes premiere
I've Heard the Mermaids Singing made its world premiere on May 10, 1987, at the Cannes Film Festival, as part of the Directors' Fortnight program. At the conclusion of the screening, two thousand audience members gave the film a six-minute standing ovation. Four additional screenings of the film were added to the Cannes schedule, and all sold out.

The film almost wasn't screened at Cannes. When Pierre-Henri Deleau, the programmer for the Directors' Fortnight, received the film he mistakenly thought it was three hours long and would not preview it. A technician later discovered the film was less than 90 minutes, so Deleau watched it, liked what he saw, and invited Rozema to the festival.

Some distribution deals had been made prior to Cannes, but Rozema and Raffé had intentionally not sold the U.S. rights before the world premiere. After the film's selection for Cannes was announced in Variety, the producers received numerous calls from American distributors who wanted private previews, but those requests were turned down. Raffé said of that decision "We decided we wouldn't screen it for anybody. You would see it in the theatre with a big audience, and we would either win big or lose big."

Following the successful Cannes premiere, the producers negotiated the sale of American distribution rights. At least seven American companies vied for the rights, including Orion Classics, Spectrafilm, and the eventual winner of the bidding war Miramax, represented at Cannes by Harvey Weinstein and Mark Silverman. Weinstein initially offered US$100,000 for the U.S. rights, but Raffé and Rozema rejected that offer and several subsequent ones from Miramax until they finally settled on US$350,000, which was the biggest number the producers could think of, as it represented the film's production budget.

By the end of the Cannes Film Festival, Rofekamp, Rozema and Raffé had negotiated sales to 32 countries including France, Germany, and the U.K. as well smaller countries such as Norway, Greece, Singapore, and South Africa. Rofekamp and the producers had earned advances on royalties worth $1.1 million, which made the film commercially successful before it was released.

Other premieres
The first post-Cannes film festival showing was in Portugal at the Figueira da Foz Film Festival on September 7, 1987.

The film made its Canadian premiere at the Festival of Festivals (now the Toronto International Film Festival) on September 10, 1987,  and was honored by being screened at the festival's opening night gala, following upon the successful Cannes premiere.

The United States premiere and first theatrical screening took place on September 11, 1987, at the 68th Street Playhouse in New York City.

Film festival screenings
Mermaids was invited to 32 film festivals, including festivals in Moscow, Munich, Hong Kong, Jerusalem and Mexico.

Specific film festival screenings included:

 * Cannes Film Festival (10 May 1987)
 * Figueira da Foz Film Festival (7 September 1987)
 * Festival of Festivals (10 September 1987)
 * Boston Film Festival (17 and 20 September 1987)
 * Telluride Film Festival (September 1987)
 * Vancouver International Film Festival (16 October 1987)
 * London Film Festival (19 November 1987)
 * Istanbul Film Festival (April 1988)
 * Adelaide Film Event (July 1988)
 * Brno Gay and Lesbian Film Festival (16 November 2002)

Mainstream media reception
Reviews of the film in mainstream media following the Cannes premiere through its run in theaters were mixed, with some male reviewers initially less enthusiastic about the film than female reviewers. As time passed, the reviews became more positive.

The entertainment trade magazine Variety was given a private screening of the film in Toronto on 30 April 1987. Their official review, published on 20 May 1987 was very positive, stating that Mermaids is "an off-beat, power-packed first feature … bursting with confidence, with Rozema in full control in all capacities nearly every step of the way…. It has an obvious active life in the art market, on the fest circuit, and in subsequent tv and video playoff."

However, in Vincent Canby's review in The New York Times, the critic wrote that watching the film "is like being cornered by a whimsical, 500-pound elf" and that it "takes itself more seriously than the screenplay warrants".

Richard Corliss wrote in Time magazine that the film is "a fairy tale for feminist pre-teens" and said Rozema was working "entirely too hard to be ingratiating; her picture is a desperate audition for endearment".

John Richardson from the Daily News of Los Angeles gave the film a grade of C, stating that the film is "basically a student work, and not a particularly good student work at that. It's not film making, it's film musing." The reviewer went on to say the film represents "feminism with a smile face".

A San Francisco Chronicle article about the film described it as "a Cinderella story of major proportions".

A review by Rita Kempley in The Washington Post said the film is "rough around the edges, brimming with uncontrolled talent and confiding as a close friend. And like its protagonist Polly Vandersma, it is not as simple-minded as it first seems, for under all the whimsy, an allegory hides."

Film critic Molly Haskell wrote in Vogue magazine that the film was a "smashing commercial directorial debut" and described it as "a feminist fairy tale masquerading as a satire".

An article by Graham Fuller in The Guardian stated that the film "is one of the outstanding directorial debuts of the year".

In a December 1987 review, Bob Thomas from the Associated Press wrote that Rozema's "vivid and surprising imagination, coupled with a startingly original performance by Sheila McCarthy, help make the film a rare and unexpected delight".

In his March 1988 review of the film, critic Roger Ebert gave the film 3.5 out of 4 stars, and wrote that director Rozema "uses a seemingly simple style to make some quiet and deep observations". Ebert also described Sheila McCarthy's performance as "extraordinary" and said "she has one of those faces that speaks volumes, and she is able to be sad without being depressing, funny without being a clown".

As of September 2022, 94% of the 16 critical reviews compiled by Rotten Tomatoes are positive, with an average score of 7.2 out of 10. The film has no scores collected by Metacritic as of 2020.

Feminist analysis and criticism
Canadian film scholar Thomas Waugh described Rozema as "the most prominent of English Canadian lesbian filmmakers". In identifying a feminist approach to this film and understanding Rozema's artistic intentions, Rozema says in an interview from 1991 that she refuses to define her work as "distinctly feminist" and emphasizes that "gender is a category that does not interest her". However, in 1993, Rozema claimed that her films assume feminism, concluding that "it's in their foundation".

In Rozema's cinematic work, the main characters are predominantly women, in heterosexual or lesbian relationships, or single. Several of her film features portray or touch upon lesbian love, a theme quite apparently shown in Mermaids.

The critic Camille Paglia praised the film's "wonderful comedy and realism", commenting on the character Polly, "This girl's kind of aimless, yet plucky. It's the twentysomething problem with self-definition."

A November 1987 review of the film in the feminist newspaper Sojourner said that Mermaids "is a film that could only be made by a woman. It strikes deeply at the heart of women's experiences in a way that even serious and compassionate male directors never do." The review continues with "this film focuses on different kinds of love between women".

Yet within some gay and alternative media coverage, there was criticism that the film glossed over the lesbian relationship between two of the characters, as well as complaints that Rozema had made a "decision not to make a public declaration of her sexuality in interviews with the world press after Cannes".

In a September 1987 article about the film in the American newspaper Gay Community News, contributor Loie Hayes wrote "Why, when I love Patricia Rozema's film just as it is, why do I cringe when she says it's not 'about lesbianism'?" Hayes went on to describe the film as "an ambitious and thoroughly entertaining treatise on creativity and commercial success; it's an 'anti-authority' film with the nerd winning over the admiration of the elegant, rich, power-turkey".

In October 1987, Canadian journalist and lesbian activist Chris Bearchell wrote in a review of Mermaids that "Even if fairy tales sometimes come true, it seems that a truly dyke tale, fanciful or otherwise, will have to wait for an out-of-the-closet dyke to write it".

The first essay on Mermaids in a prominent academic journal by a highly credentialed feminist film scholar was written by Teresa de Lauretis in 1990. In her Screen article, de Lauretis "applied a political rubric that she called 'alternative women's cinema', and Mermaids failed her test". De Lauretis wrote that the recognition of Mermaids as "an exemplary film of women's cinema is ground for serious self-questioning by those of us who still want to claim the term for a feminist political project".

In her book about the film, scholar Julia Mendenhall claims that the de Lauretis article in Screen was the start of "the great divide in scholarly criticism" on Mermaids, although Mendenhall sided with the more positive reception of the film, writing:

"In the late 1980s, before the formation of highly visible and vocal queer activist groups and the academic institutionalization of queer theory, Mermaids' stealth activism was effective at getting its queer message across via its quiet, Canadian, indirect queer didacticism, with its shy 'Everywoman' Polly and her stolen camera and low-tech mic. This method got Rozema and her film into Cannes for a May '87, not a May '68, style of activism, where her quiet revolution of a film was embraced as the voice for its times."

Box office
According to Box Office Mojo, the film earned US$25,998 in its first weekend, playing in only one theater. Its widest release in the United States during its theatrical run was in 27 theaters, and this source said the film earned a total of $1,408,491 in the US.

For the beginning of its theatrical run in New York City, the distributor took out a full page advertisement in The New York Times, at a cost of US$25,000. After its first two weeks playing in New York, the film had earned more than $70,000.

The New York theatrical release led to a successful national roll-out, with the film eventually screening in approximately 50 American cities. It performed best in locations with dedicated art film audiences. Co-producer Raffé claimed that the film grossed about $2.5 million in the United States, despite Miramax's "inscrutable bookkeeping methods".

The film earned over $70,000 in the first ten days of its theatrical release in Ottawa and was played there for over three months. It was one of the top ten highest grossing films in Quebec in 1987. By May 1992, the film earned $644,000 in Canada with $264,965 coming from its theatrical release, $177,000 from pay television, $150,200 from free television, $41,000 from its video release, and $11,223 from non-theatrical. The film earned a net profit of $437,000 in Canada. According to Raffé, the film grossed over $10 million in worldwide receipts, earning more than twenty-five times its production costs.

Awards and honors
I've Heard the Mermaids Singing won seventeen awards worldwide by the end of its run at film festivals and theatrical release, including:

 * Cannes Film Festival, 1987: Prix de la Jeunesse [youth prize] (Directors' Fortnight), awarded to Patricia Rozema
 * Genie Award, 1988: Best Performance by an Actress in a Leading Role, awarded to Sheila McCarthy
 * Genie Award, 1988: Best Performance by an Actress in a Supporting Role, awarded to Paule Baillargeon

In addition to its Genie Award victories, it was also nominated for Best Picture, Best Director (Rozema), Best Supporting Actress (MacDonald), Best Screenplay (Rozema), Best Cinematography (Douglas Koch), Best Costume Design (Alexandra Z, Martine Matthews), and Best Overall Sound (Michelle Moses, Egidio Coccimiglio and Gordon Thompson).

In addition, the film garnered the following honors:

 * In 1993, the Toronto International Film Festival ranked the film ninth in its list of the Top 10 Canadian Films of All Time, with Rozema becoming the first female director to have a film on the list. The film did not appear on the updated 2004 or 2015 versions of the list.
 * Named a Top Ten Canadian Film of the 20th Century
 * Named as one of the Top 25 Films That Changed Our Lives by the Outfest Film Festival
 * Named as one of the Top Ten Canadian Feature Film Debuts Since 1968, in a poll conducted by the Canadian Film Centre
 * Included in a 10-week festival of New Canadian Cinema, aired in late 1989 on the United Kingdom's Channel 4 television network

Home media
Mermaids was first released on VHS tape in Canada by Norstar Home Video. It was released on VHS tape in the United States during the last week of March, 1988 by Charter Entertainment.

It was first released on DVD in the United States by Miramax Home Entertainment in 2000 and in Canada by Alliance Atlantis in 2002. Both DVD releases include a director's commentary by Patricia Rozema. The US DVD also contains other special features including a theatrical trailer, biographies, and a photo gallery. The film has also been released on VHS tape and DVD in other countries and in other years.

title: I've Heard the Mermaids Singing


text:
Kimmel Center for the Performing Arts

The Kimmel Center for the Performing Arts is a large performing arts venue at 300 South Broad Street and the corner of Spruce Street, along the stretch known as the Avenue of the Arts in Center City, Philadelphia, Pennsylvania. It is owned and operated by The Philadelphia Orchestra and Ensemble Arts Philly, which also manages the Academy of Music in Philadelphia, and, as of November 2016, the Miller Theater (formerly the Merriam Theater). The center is named after philanthropist Sidney Kimmel.

The center is the home of the Philadelphia Orchestra, one of America's "Big Five" symphony orchestras, as well as the Ensemble Presents Series, including a variety of jazz, comedy, rock, dance, speakers, and more. Ensemble Arts Philly's facilities are home to some of Philadelphia's premiere artistic organizations including the Chamber Orchestra of Philadelphia, Philadanco, the Philadelphia Chamber Music Society, Opera Philadelphia, Philadelphia Ballet, and Curtis Institute of Music.

History
In 1986, the Philadelphia Orchestra approved a plan to construct a new concert hall to replace the aging Academy of Music. It hoped to complete the new facility in time for its 1991 season. The desire to move the orchestra from its facilities in the Academy of Music emerged as early as 1908, however plans stalled due to the lack of consensus on the project's scope and funding. They were revived again in the 1920s only to be scuttled by the Great Depression. Plans emerged again shortly after World War II when performing arts centers were constructed in other cities such as New York, Washington and Los Angeles. Despite the 1986 commitment, the project languished until 1993 when Sidney Kimmel donated $12 million to the project and in 1995, Orchestra and community leaders met to help revitalize the concert hall and also discussed merging it with a venue to house other area organizations and visiting artists. The two projects were officially merged as the Regional Performing Arts Center in 1996 and construction began in 1998. In 2000, the center was named for Sidney Kimmel in recognition of his gift in 1993 and an additional $3 million donation in 1998. The concert hall was originally named Verizon Hall to recognize contributions totaling $14.5 million in cash, equipment and services from Verizon and the Verizon Foundation.

The architect of the center was Rafael Viñoly, and the acoustician was Artec Consultants. The Kimmel Center officially opened in an unfinished state on December 16, 2001. This followed a gala preview on December 14 featuring performances by André Watts, Denyce Graves, Frederica von Stade and Sir Elton John and the Philadelphia Orchestra premiere at Marian Anderson Hall on December 15. Numerous cost overruns and construction delays led to the filing of a lawsuit in 2005 by officials of the Kimmel Center against Viñoly. The lawsuit was settled for an undisclosed sum in 2006.

Performance and other facilities
A distinctive vaulted glass ceiling encloses the entire structure providing a large common lobby for all the facilities. The center is a popular attraction, keeping its doors open to the public seven days a week. It hosts thousands of visitors annually and offers free tours of the facility regularly.

 * Marian Anderson Hall (formerly Verizon Hall), with 2,500 seats, is the main performance auditorium. When first opened, it was named Verizon Hall; it was renamed in honor of contralto Marian Anderson, a native of Philadelphia, on June 8, 2024. It contains a pipe organ by Dobson Pipe Organ Builders, which is the largest mechanical action pipe organ in an American concert hall. The organ is Dobson's Opus 76 and is named for Fred J. Cooper. It has two consoles with four manuals, 97 ranks and 124 stops. Verizon Hall was dedicated as the Marian Anderson Hall on June 8, 2024, to honor the legendary contralto, civil rights icon, and Philadelphian.
 * Perelman Theater, with 650 seats, has a 75 ft-diameter turntable stage that permits the space to be used as a recital hall or a proscenium theater with a stage, fly-loft and orchestra pit.
 * Dorrance H. Hamilton Roof Garden located above the Perelman Theater.
 * SEI Innovation Studio, a 2688 sqft black box theater located on the lower levels of the Kimmel Center.
 * Smaller performance spaces and meeting rooms.

Other noteworthy programs
The Kimmel Center offers a variety of other programs besides concerts, specifically in the field of education. The Philadelphia Orchestra and Ensemble Arts presents a diverse array of educational offerings, including Jazz For Freedom, exploring social change through the history and traditions of Jazz; Musical Theater Program: Set The Stage, introducing middle school aged students to musical theater; a school ensemble program at KIPP West Philadelpha Preparatory Charter School, with instrumental, ensemble-based instruction for elementary and middle school students; Summer Arts Sessions, the performing arts summer camp; and so much more.

title: Kimmel Center for the Performing Arts


text:
User talk:Clintox

Welcome!

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title: User talk:Clintox


text:
1946 Chilean presidential election

Presidential elections were held in Chile on 4 September 1946. The result was a victory for Gabriel González Videla of the Radical Party, who received 40% of the popular vote and 75% of the Congressional vote.

Electoral system
The election was conducted using the absolute majority system, wherein a candidate had to secure more than 50% of the popular vote to be elected. In the event that no candidate obtained the required majority, both houses of the National Congress would convene to vote on the two candidates with the highest number of votes.

Gabriel González Videla
In early 1946, the Radical Party Congress took place in Valdivia from 24 to 27 January, during which the presidential candidate was to be chosen. An internal vote was planned to decide between Gabriel González Videla and Arturo Olavarría, who had the support of the Duhaldista faction. However, shortly before the vote on 28 April, the Duhaldista faction withdrew their backing for Olavarría and abstained. Consequently, he suffered a significant defeat at the hands of his opponent. The final results of the Radical Party's internal plebiscite were as follows: The Democratic Alliance, the successor of the Popular Front, held a convention on 20 July. The following day, they unanimously decided to support González, disregarding the candidacy of the communist Elías Lafertte. The results of the voting at the convention were as follows:

Bernardo Ibáñez
In light of González Videla's nomination as the Democratic Alliance candidate, the Socialist Party declared on 11 July that they would not endorse González and would instead field their own candidate. During a plenary session on 18 August, the Socialist Party officially announced the presidential candidacy of labor leader Bernardo Ibáñez.

Eduardo Cruz-Coke
The right-wing parties held their own convention starting on 6 July. Representatives from the conservative, liberal, and agrarian laborist factions attended the convention and presented the following candidates:

 * Conservatives: Eduardo Cruz-Coke.
 * Labor Agrarians: Jaime Larraín.
 * Liberals: Arturo Alessandri, José Maza Fernández, and Francisco Bulnes Correa.

However, none of the candidates were able to secure victory in the Convention. The election required 65% and then 60% of the delegates' support, but no candidate met these thresholds. As a result, the Convention was suspended on 14 July. The voting results from each day of the Convention were as follows: Numerous efforts to reach an agreement on a single candidate were unsuccessful, leading to the emergence of two main contenders: Eduardo Cruz-Coke, backed by conservatives, and Arturo Alessandri, supported by liberals and labor agrarians. Eventually, Cruz-Coke became the sole candidate supported by the conservatives, while the liberals, labor agrarians, and a faction of the Radicalism (Democratic Radical Party) continued to support Fernando Alessandri's candidacy. This situation occurred following the resignations of Arturo Alessandri and Vice President Alfredo Duhalde on 11 August and 13 August, respectively.

Fernando Alessandri
The Democratic Alliance's support for González led to the division of a faction within the radical movement that opposed the communist-radical alliance. This division resulted in the formation of the Democratic Radical Party, led by Julio Durán and Arturo Olavarría. The party endorsed Alfredo Duhalde as their candidate, with additional support from the Authentic Socialist Party. Duhalde accepted the nomination on 3 August, resigning from his position as Vice President of the Republic and handing over power to Vice Admiral Vicente Merino on the same day.

Subsequently, on 11 August, Arturo Alessandri withdrew his candidacy in favor of his son, Fernando Alessandri Rodríguez. Fernando became the representative for the coalition of liberals, democratic radicals, and authentic socialists of Marmaduke Grove. Two days later, on 13 August, Alfredo Duhalde resigned from his candidacy, reclaiming the vice presidency of the Republic that he had left earlier in the month to pursue his political campaign. On the same day, 13 August, the Agrarian Labor Party announced its support for Fernando Alessandri's candidacy.

Results
As none of the presidential candidates obtained an outright majority, as stipulated in the 1925 constitution, the responsibility fell on the Full Congress to choose between the two candidates who garnered the highest relative majorities.

These circumstances prompted the right-wing parties to pursue victory in the Full Congress after failing to achieve it at the ballot box. González Videla accused Eduardo Cruz-Coke of engaging in these maneuvers, which he claimed were aimed at disregarding the triumph of the left-wing candidacy, while simultaneously campaigning to secure the necessary support from different political groups in the Full Congress.

Utilizing his political acumen, González Videla successfully built a broad coalition of support. Following extensive deliberations, both Duhalde's supporters and the democratic radicals (except for Olavarría) decided to lend him their electoral backing. Subsequently, the National Falange joined the coalition, followed immediately by the agrarian and socialist parties, including both Grove and Bernardo Ibáñez factions.

Efforts to obtain support from the conservatives did not succeed. The communists also contributed their votes, and eventually, the liberals, who initially refused, opted to support him.

title: 1946 Chilean presidential election


text: Category:Transportation in Buenos Aires

title: Category:Transportation in Buenos Aires


text:
FINO

In computer science, FINO is a humorous scheduling algorithm. It is an acronym for first in, never out as opposed to traditional first in, first out (FIFO) and last in, first out (LIFO) algorithms. A similar acronym is "FISH", for first in, still here.

FINO works by withholding all scheduled tasks permanently. No matter how many tasks are scheduled at any time, no task ever actually takes place.

A stateful FINO queue can be used to implement a memory leak.

The first mention of FINO appears in the Signetics 25120 write-only memory joke datasheet.

title: FINO


text:
Fragmentation (reproduction)

Fragmentation in multicellular or colonial organisms is a form of asexual reproduction or cloning, where an organism is split into fragments upon maturation and the spilted part becomes the new individual.

The organism may develop specific organs or zones to shed or be easily broken off. If the splitting occurs without the prior preparation of the organism, both fragments must be able to regenerate the complete organism for it to function as reproduction.

Fragmentation as a method of reproduction is seen in organisms such as spirogyra, filamentous cyanobacteria, molds, lichens, sponges, acoel flatworms, some annelid worms and sea stars.

Fragmentation in various organisms
Molds, yeasts and mushrooms, all of which are part of the Fungi kingdom, produce tiny filaments called hyphae. These hyphae obtain food and nutrients from the body of other organisms to grow and fertilize. Then a piece of hyphae breaks off and grows into a new individual and the cycle continues.

Many lichens produce specialized structures that can easily break away and disperse. These structures contain both hyphae of the mycobiont and the algae (phycobiont) (see soredia and isidia). Larger fragments of the thallus may break away when the lichen dries or due to mechanical disturbances (see the section on reproduction in lichens).

Plants
Fragmentation is a very common type of vegetative reproduction in plants. Many trees, shrubs, nonwoody perennials, and ferns form clonal colonies by producing new rooted shoots by rhizomes or stolons, which increases the diameter of the colony. If a rooted shoot becomes detached from the colony, then fragmentation has occurred. There are several other mechanisms of natural fragmentation in plants.

 * Production of specialized reproductive structures: A few plants produce adventitious plantlets on their leaves, which drop off and form independent plants, e.g. Tolmiea menziesii and Kalanchoe daigremontiana. Others produce organs like bulbils and turions.
 * Easily lost parts that have high potential to grow into a complete plant: Some woody plants like the willow naturally shed twigs. This is termed cladoptosis. The lost twigs may form roots in a suitable environment to establish a new plant. River currents often tear off branch fragments from certain cottonwood species growing on riverbanks. Fragments reaching suitable environments can root and establish new plants. Some cacti and other plants have jointed stems. When a stem segment, called a pad, falls off, it can root and form a new plant. Leaves of some plants readily root when they fall off, e.g. Sedum and Echeveria.
 * Fragmentation is observed in nonvascular plants as well, for example, in liverworts and mosses. Small pieces of moss "stems" or "leaves" are often scattered by the wind, water or animals. If a moss fragment reaches a suitable environment, it can establish a new plant. They also produce gemmae, for example in the splash-cups of Marchantia polymorpha, that are easily broken off and distributed.

People use fragmentation to artificially propagate many plants via division, layering, cuttings, grafting, micropropagation and storage organs, such as bulbs, corms, tubers and rhizomes.

Animals
Sponges and coral colonies naturally fragment and reproduce. Many species of annelids and flatworms produce by this method. When the splitting occurs due to specific developmental changes, the terms orchiectomy, laparotomy, and budding are used. In 'architomy' the animal splits at a particular point and the two fragments regenerate the missing organs and tissues. The splitting is not preceded by the development of the tissues to be lost. Before splitting, the animal may develop furrows at the zone of splitting. The headless fragment must regenerate a completely new head. In 'paratomy', the split occurs perpendicular to the antero-posterior axis and the split is preceded by the "pregeneration" of the anterior structures in the posterior portion. The two organisms have their body axis aligned i.e. they develop in a head to tail fashion. Budding is similar to paratomy except that the body axes need not be aligned: the new head may grow toward the side or even point backward (e.g. Convolutriloba retrogemma an acoel flat worm).

Coral
Many types of coral colonies can increase in number by fragmentation occurring naturally or artificially. Reef aquarium enthusiasts fragment corals for various purposes including shape control; sharing with others; regrowth experiments; and minimizing damage to natural coral reefs. Both hard and soft corals can be fragmented. Genera highly tolerant of fragmentation include Acropora, Montipora, Pocillopora, Euphyllia, and Caulastraea among others. Most sea anemones reproduce through fragmentation via a variety of methods including longitudinal fission, where the original anemone splits across the middle forming two equal-sized anemones, and basal laceration, in which small parts of the animal split from the base to form new anemones.

Echinoderms
In echinoderms, the process is usually known as fissiparity (a term also used infrequently for biological fission in general). Some species can intentionally reproduce in this manner through autotomy. This method is more common during the larval editing stages.

Disadvantage of this process of reproduction
As this process is a form of asexual reproduction, it does not produce genetic diversity in the offspring. Therefore, these are more vulnerable to changing environments, parasites, and diseases.

title: Fragmentation (reproduction)


text:
User talk:Jameswilmot2000

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! Kingturtle 06:51, 7 Jun 2005 (UTC)
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title: User talk:Jameswilmot2000


text:
Brisbane City

Brisbane City may refer to:
 * Brisbane, the metropolis
 * City of Brisbane, the local government area at the centre of the metropolis
 * Brisbane City Council, which manages the City of Brisbane
 * Brisbane central business district, the central suburb of the City of Brisbane, officially called Brisbane City
 * Brisbane City (rugby union), rugby union club
 * Brisbane City FC, soccer club

title: Brisbane City


text:
User talk:Tinyfolk

Welcome!

Hello,, and welcome to Wikipedia! Thank you for your contributions. I hope you like the place and decide to stay. Here are a few good links for newcomers: I hope you enjoy editing here and being a Wikipedian! Please sign your name on talk pages using four tildes (~~); this will automatically produce your name and the date. If you need help, check out Where to ask a question, ask me on my talk page, or place  on your talk page and someone will show up shortly to answer your questions. Again, welcome! Kingturtle 06:53, 7 Jun 2005 (UTC)
 * The five pillars of Wikipedia
 * How to edit a page
 * Help pages
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 * How to write a great article
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title: User talk:Tinyfolk


text:
Sabah (film)

Sabah (صباح, Translation "Morning" ) is a 2005 film directed by Ruba Nadda and starring Arsinée Khanjian as Sabah, a traditional Muslim woman living in Toronto. She falls in love with Stephen, a non-Muslim Canadian man (played by Shawn Doyle). The film had the alternate title Coldwater.

Plot
Sabah is a 40-year-old single immigrant from Syria living in Toronto with her family. She is responsible for her mother's well-being. Since her father's death, her brother Majid has been the family authority figure.

Her niece, Souhaire, does not want him choosing her husband. His marriage is rocky, and he insists on tradition. Sabah decides to start swimming again; an activity not allowed by Majid. At a city swimming pool she meets Stephen; they are attracted to each other. Because he is not a Muslim, Sabah hides their friendship from her family.

With passage of time, their relationship gets deep and at one point they share a kiss. Sabah's niece teaches her belly dancing which Sabah enjoys. One day, while visiting Stephen at his carpenter workshop, she decides to stay overnight with him. Informing her mother that she will not be back that night, she dances and the two have sexual intercourse.

The next day, as she returns home, she faces her mother, brother, sister, sister-in-law and niece who are anxiously waiting for her. After some hesitation, she tells them the truth about her doings in the last few months. Majid responds by announcing that Sabah is no longer a part of the family, as Muslim traditions forbid marriage for Muslim women to non-Muslims. Sabah leaves and Majid decides to take care of their mother.

At Stephen's workshop, Sabah is met by her mother, sister and sister-in-law who insist that she speak to Majid. Majid tells her that the money their father left had run out eight years ago and he is supporting the family himself. Eventually both agree that the family must change. The women of the family are impressed by Stephen and his deep blue eyes.

The film ends with a feast at Sabah's family home. Stephen is mingling with his in-laws and everyone is having a good time.

Cast

 * Arsinée Khanjian as Sabah. Nadda stated that she asked Khanjian to perform the role because Khanjian was the only actress Nadda envisioned in the role of Sabah and because Nadda enjoyed Khanjian's work. As the film progresses, Sabah shows more confidence and begins loosening her manner of dress by showing more hair and wearing red clothing.
 * Shawn Doyle as Stephen Montpellier. Stephen, a White Canadian, is a carpenter from Sudbury, Ontario, who makes wooden crosses that he sells to churches. He is an atheist. Khanjian suggested using Doyle as the actor to portray Stephen. Young stated that Stephen's "natural reactions to the surprises in their relationship make him a measuring stick for [Sabah's] family's off-centeredness".
 * Jeff Seymour as Majid, Sabah's brother. Young stated that the "macho posturing" of Majid personifies the "harsh, conservative side of Islam". Shira Tarrant of Men Speak Out: Views on Gender, Sex, and Power noted that the viewer's perception of Majid changes as time goes on in the film since his vulnerabilities are revealed.
 * Fadia Nadda as Souhaire, Sabah's teenage niece. Souhaire acts as Sabah's mentor even though she is younger than Sabah. She refuses to take an arranged marriage with a man, but she later falls in love with the said man. Young describes her dismissal of an arranged marriage as a "breakaway" element within Islamic culture, and she described the sudden infatuation with the suitor as "more amusing than real".
 * Setta Keshishian as Umm Mouhammed, Sabah's mother
 * Kathryn Winslow as Amal, Majid's wife who has an affair with her Arabic teacher.
 * David Alpay as Mustafa, Souhaire's eventual boyfriend. She initially refuses an arranged marriage to him, but the two later fall in love after they meet at a nightclub.
 * Roula Said as Shaheera, Sabah's sister and Souhaire's mother.
 * Mary Lou Fallis as Opera Singer
 * Kaylen Christensen as Girlfriend
 * Aaron Abrams as Paramedic

Development
Ruba Nadda stated that she got the inspiration to make the film while she was a student at York University; she observed a veiled Muslim woman on a public bus and wondered how she would have dealt with her sexual feelings, and then, how she would have managed affairs if she became infatuated with a non-Muslim man. Nadda had the concept of a "very western looking man" and a woman wearing a hijab kissing "in the middle of the street." As the idea gestated, Nadda decided to use an older woman as the protagonist since such a character is limited by the already set-in-stone household roles and because such a woman may feel that a forbidden relationship would be her final chance for love; Nadda reasoned that the fear may tempt the woman into having an illicit affair.

Telefilm provided funding for the film, and Nadda enlisted the support of Atom Egoyan and Simone Urdl; the two became the film's executive producers in April 2002 after approving the script. Nadda spent two months in New York City to study film production.

According to Fadia Nadda, in the initial draft Stephen rescues Sabah during their first meeting; Fadia Nadda argued that having them meet in a more mundane manner was more realistic.

Sabah was filmed in Toronto over a three-week period during the summer; a heat wave occurred during the filming. Nadda stated that she wanted to portray Toronto as being a beautiful city, contrasting with a gritty depiction found in other works. Luc Montpellier served as the film's lenser. Deborah Young of Variety stated that the film has "an attractive, brightly colored look." Nadda intentionally omitted any references to the Israeli–Palestinian conflict, the September 11, 2001 attacks, other acts of terrorism, and any resulting sentiment and actions against Arab Canadians.

Each shot had the colour blue, with red and green also present in smaller amounts; the visuals received inspiration from paintings by Sir Frank Dicksee, Jean-Léon Gérôme, and Edward Hopper. The film uses water as a symbolism for rebirth and charting unknown territory.

Reception
In 2006, for her role in this film, Khanjian was nominated for "best actress" as part of the 2006 Genie Awards.

Deborah Young in a review for Variety stated that Sabah's family previously had "drawn" a "hard line" so the "[T]urnaround ending, though comically inevitable, seems dramatically forced".

Stephen Cole of The Globe and Mail gave the film three stars and stated that the film was "something special"; Cole argued that the side stories take too much time and that the conflict with Majid was not as dramatic as it was intended. Steve Erickson of Gay City News argued that the film's premise of "multi-cultural bliss" "feels mighty hollow" since this is "a world where tribal and ethnic tensions aren’t going away any time soon".

title: Sabah (film)


text:
User talk:Shauvik

Please do not add commercial links (or links to your own private websites) to Wikipedia. Wikipedia is not a vehicle for advertising or a mere collection of external links. You are, however, encouraged to add content instead of links to the encyclopedia. See the welcome page to learn more. Thanks. --W(t) 06:54, 2005 Jun 7 (UTC)

 * Shauvik, Wikipedia is not an advertising vehicle. Products, when notable enough for coverage in an encyclopedia (which I think Velasmooth is not), will receive a balanced view when enough material can be gathered. Advertising Dapoxetine by simply pasting another web page is in blatant violation of Wikipedia's copyright policies. If you continue, you may be blocked for using Wikipedia. JFW | T@lk  11:00, 8 Jun 2005 (UTC)

title: User talk:Shauvik