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Damian Mills

Damian Mills (15 July 1979 – 17 November 2003) was a Canadian international cricketer. He was a right-handed opening batsman and right-arm medium bowler.

Early life
Damian Mills was born on 15 July 1979, in Winnipeg, Manitoba, the son of Dr. Barry Mills and Rona Mills. He had two sisters, Cresida and Eleanor. His enthusiasm for cricket started in 1985 during a family visit to England, when he saw his first cricket match. Before the family returned from their vacation Damian's father presented him with a size-2 junior cricket bat. Dr. Mills strongly encouraged young Damian's interest in cricket.

Club
Mills started to play organized cricket in 1986 at age seven at Lincoln Elementary School. In 1989 he joined the Manitoba Cricket Association Junior League. In 1992 he made his first appearance in the MCA Senior League. He was a member of the Winnipeg Juniors Cricket Club(WJCC) but played only two league games that year. During 1993 he became a regular member of the WJCC, mainly as a bowler. Due to injuries he gave up bowling and concentrated on his batting, which made his mark in cricket.

Representative
In 1992, days before his 13th birthday, Damian became a member of The Manitoba Junior Provincial Team and for the first time tried out for The Canadian National Youth Team in Toronto. Damian was amongst the youngest athletes at the trials and whilst he did not make the team, he gained experience. On the first day of the tournament during the morning practice session he was hit very hard in the head by a ball, and spent the rest of the day in the emergency room of a Toronto hospital. The next day he played very hard throughout the tournament, despite his injury.

In 1994, Mills was invited by the Manitoba Cricket Association (MCA) to the MCA Senior Training Camp. The camp took place during the winter months.

In 1995, Mills first represented Manitoba on the Senior Provincial Team in the Western Provincial Championship, when he opened the batting against British Columbia and scored 42 runs. Returning from this competition at age 16 he scored his first century in the MCA Senior League: 111 runs not out. Since that time, Damian was an integral member of the Manitoba Senior Provincial Team.

International cricket
Mills represented Canada for the first time in 1997 in the final International Youth Tournament in Bermuda. He again represented Canada in 1998 at The NorTel West Indies Youth Tournament in Trinidad and Tobago.

In 1999, Mills was selected for two Canadian teams: Canada Under-23; and the Canadian National Senior Team. He played for Canada in the West Indies Cricket Board’s Red Stripe Bowl competition in Antigua from October 1999 and again in 2000.

Also in 2000, Damian was selected by Ilford Cricket Club from England for a tour to India. He spent one winter playing in New Zealand.

Cricket
Mills was dedicated to the promotion of the sport and the development of youth cricketers. He was a coach at junior camps, schools, community centers and tournaments. He also made time to be an administrator of the sport. He was committed to an increasingly strong cricket program in Manitoba.

Study
Mills started studies toward a Degree in Business Studies in 1997. Due to competing demands from cricket, he was expected to have graduated in April 2005 from the University of Manitoba.

Religion
Mills was a church altar server from 8 to 21 years of age. During this time he helped to train young servers.

Death
Mills died unexpectedly in his sleep on Monday 17 November 2003, at the age of 24. He had not been ill and there was no undetected medical condition.

Legacy
The Damian Mills Junior Cricket Foundation was established in Mills' honor. The fund's purpose is to continue Damian's work in promoting the sport of cricket and to serve as a source of encouragement and inspiration to young cricketers.

Teams

 * Canada
 * Canada U-23
 * Canada U-19
 * Manitoba, Manitoba U-25
 * The Winnipeg Juniors Cricket Club
 * Lincoln Elementary School

Major Tours

 * 1995: Western Canada Provincial Tournament, Vancouver
 * 1997: International Youth Tournament, Bermuda
 * 1998: Nortel West Indies Youth Tournament, Trinidad and Tobago
 * 1999: Canada U-23 vs Bermuda, Toronto
 * 1999: WICB Red Stripe Bowl, Antigua
 * 1999: Four month training tour in New Zealand
 * 2000: WICB Red Stripe Bowl, Jamaica
 * 2000: Ilford Cricket Club (England) tour of India
 * 1996–2003: Western Canada Under-25 Provincial Championship, Edmonton

Accomplishments

 * In 1997, Mills scored the most runs in the Manitoba Senior League, repeating this performance five more times; in 1998, 1999, 2001, 2002 and in his final season, 2003.
 * He was rated Best Batsman of the MCA League: 1999, 2001, 2003
 * He scored the most runs in the MCA League: 1997, 1998, 1999, 2001, 2002, 2003
 * He was the Most Outstanding Canadian Junior Cricketer of 1998, and the Outstanding Manitoba Junior Cricketer: 1996, 1997
 * Mills also won many batting awards at the Western Canada Provincial U-25 Championships, MCA Indoor League and shares a Canadian Junior Record for highest opening partnership of 143 runs from the 1997 IYT in Bermuda.

title: Damian Mills


text: User talk:81.129.0.121

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

title: User talk:81.129.0.121


text:
File:Mclemoreavenue album.jpg

Licensing
Cover of the 1970 album "McLemore Avenue" by Booker T. and the M.G.'s.

title: File:Mclemoreavenue album.jpg


text:
Ernest Lluch

Ernest Lluch Martín (21 January 1937 – 21 November 2000) was a Spanish economist and politician, member of the Socialists' Party of Catalonia (PSC). He was Minister of Health and Consumption from 1982 to 1986 in the first Spanish Socialist Workers' Party (PSOE) government of Felipe González. He was assassinated in 2000 by the Basque separatist organisation, ETA.

Background
Lluch was born in Vilassar de Mar, Barcelona province. He earned a PhD in Economic Sciences at the University of Barcelona (UB), and studied further at the Sorbonne in Paris. While he was a lecturer at the UB, he was arrested on several occasions and expelled from the university because of his anti-francoist political activity. From this position, he published seminal works on Spanish political economy. He held the Chair of Economics at the University of Valencia (1974) and the Chair of History of Economic Doctrines at the UB. His last official position was as Director of the Menéndez Pelayo International University in Santander, from 1989 to 1995.

Career
In April 1980 he was chosen as spokesman of the Socialists' Party of Catalonia (PSC) to the Congress of Deputies, and, two years later, in the 1982 general election, he was elected member of the Lower House in representation of Barcelona. Felipe González appointed him as Minister of Health and Consumption in his first government. He held the post until 1986.

In May 1986 he retired from politics to resume the chair of History of Economic Doctrines of the University of Barcelona. On 2 January 1989 he took up his position as Director of the Menéndez Pelayo International University in Santander.

Death
On November 21, 2000, Lluch was assassinated by ETA, who shot him twice in the head at his home in Barcelona. The crime was claimed by the ETA's so-called Comando Barcelona, formed by Fernando García Jodrá, alias 'Txomin', Liarni Artmendaritz and José Antonio Krutxaga. In 2002, the three members of the Commando were arrested and sentenced by the Spanish National High Court to 33 years in prison for the murder.

title: Ernest Lluch


text:
Talk:Maciej Giertych

Untitled
For Rada Konsultacyjna see : http://polityka.onet.pl/162,1215008,1,0,2490-2005-06,artykul.html http://www.myslpolska.icenter.pl/index.php?menu=kraj&parStrona=1&nr=2005071718266 --Molobo 16:01, 22 July 2005 (UTC)

 * Molobo, could you explain what "homosexualism" is (as opposed to homosexuality)? I take it its something similar to "moral relativism"? Or the opposite of "creationism"? (as in "Giertych opposes homosexualism, but adheres to creationism"?) Please do enlighten me some time. I am also curious to learn about any "ban on purchase of land in Poland by the Germans". --Thorsten1 18:41, 22 July 2005 (UTC), updated --Thorsten1 11:49, 23 July 2005 (UTC).
 * PS: I will clean up after you, but not now.

The ban in question is a fact-currently foreigners are prohibited from buying land in western regions of Poland.As to homosexuality you can discuss this on its page.--Molobo 12:03, 23 July 2005 (UTC)
 * "The ban in question is a fact-currently foreigners are prohibited from buying land in western regions of Poland." That is what I wanted to hear from you! For "Germans" read "foreigners", for "Poland" read "western regions of  Poland". It is possible that Giertych proposes to extend the ban to all of Poland (not just the western and northern regions) for Germans (but not for other foreigners), although this would be news to me. At the moment, however, there is no such ban. You might want to consider changing your wording accordingly in order to present Giertych's views correctly.
 * "As to homosexuality you can discuss this on its page". Why should I? "Homosexualism" does not have any page on its own, it just redirects to homosexuality. The word itself occurs neither on this page nor on its talk page; neither did you contribute to it. Quite apart from that, I was asking you a question, regarding your use of a particular word on this page - not regarding other people's uses of other words on other pages. If you refuse to provide a plausible explanation, your edits will be removed or edited towards NPOV. --Thorsten1 12:47, 23 July 2005 (UTC)

Why should I? " Because it deals with this topic, basic knowlegde is enough to acknowledge it should be discussed there.I changed the word to satisfy you.However you demands were quite silly as neither did I put the word in the first place nor did I edit it.Furthermore your statements about changing the subject to NPOV are quite ridiculous since you have expressed your obsession about the enviroment LPR exists in on several occasions.--Molobo 13:18, 23 July 2005 (UTC)
 * "Because it deals with this topic, basic knowlegde is enough to acknowledge it should be discussed there." I'm afraid I am not sure I know what you mean. It does not matter to me whether or not you originally put in "homosexualism" - what counts is that you reverted my change from "homosexualism" to "homosexuality", and also removed the quotes I put around "homosexual lobby". Whoever came up with the word in the first place - I grant they were simply under the influence of some lingual interference, as homoseksualizm is a perfectly correct Polish word. In English, however, "homosexuality" is the neutral term, whereas "homosexualism" has a tangible homophobic connotation - which is why I challenged you to clarify your point. Anyway, thank you so much for cooperating.
 * Regarding my alleged "obsession about the enviroment LPR exists in": I confess to having an obsession regarding correct and neutral information on Wikipedia. As I explained earlier on - I suppose that is what you are referring to - for me, on Wikipedia ratio should come first, everything else, including fides and patria, afterwards. If this clashes with what LPR supporters or other "faith-based" editors happen to believe - too bad for them, really. --Thorsten1 13:56, 23 July 2005 (UTC)

 * Follow-up: Molobo, it seems I was thanking you prematurely. I'm wondering why you said "I changed the word to satisfy you", when after your recent edit the article still says: "Maciej Giertych opposes lifting the ban on purchase of land in Poland by the Germans, homosexualism"? I thought we had agreed that
 * the proper word is "homosexuality", not "homosexualism";
 * unlike your wording suggests, the ban on on land acquisition applies to foreigners in general, not just Germans in particular; and it does not apply to Poland as a whole, but to a part of Poland.
 * By keeping your promise, even if belatedly, to un-NPOV your above wording, you can demonstrate that you do not intend to contaminate Wikipedia with false and/or biased information. My advice is to use this chance. --Thorsten1 16:45, 23 July 2005 (UTC)

Frankly I never experienced word homosexualism as "homophobic" so please point me to a neutral article will show it as vulgar and offensive word.As to ban on sale of land the issue is Maciej Giertych's views on the subject not the discussion of present law.You are welcome to start an article on law itself and reasons for its existance.I would advise thought to keep neutral instead of presenting a biased view.--Molobo 15:57, 24 July 2005 (UTC) Wikipedia btw lists "homosexualism" as  synonym of homosexuality although rarely use, and by all means not offensive. http://en.wikipedia.org/wiki/Homophobia --Molobo 16:02, 24 July 2005 (UTC)
 * Frankly, I am not surprised you "never experienced word homosexualism as "homophobic" because evidently you were not much exposed to the English language yet. As your language skills improve, you might find out that the "ism" suffix is commonly associated with an ideology - in this case the alleged "ideology of homosexuality". Thus, the conscious choice of "homosexualism" over the much more common and undisputably neutral "homosexuality" usually indicates criticism of homosexuality. This does not stop some people, who may or may not be aware of its connotation, from using the word "homosexualism" as a mere synonym of "homosexuality"; but as you say yourself, this happens very rarely. Most people who use "homosexualism" use it more or less in this way: "An ideology that holds that homosexuality is a permissible and desirable portion of a wide range of different types and equally valid expressions of human sexuality; a belief system that advances special rights for homosexuals, such as the right to perform homosexual acts in public view" . BTW, thanks for pointing me to the mistake on homophobia - I might see to that some time.
 * On the other issue - so you are saying that, as per my above wording, "Giertych proposes to extend the ban to all of Poland (not just the western and northern regions) for Germans (but not for other foreigners)"? Even if that were the case - I wouldn't be too surprised, although I haven't heard about it yet - this simply isn't what your wording in the article says. It says Giertych "opposes lifting the ban on purchase of land in Poland by the Germans". This means a) that there is a ban on land purchase in Poland concerning Germans in particular, and b) that Giertych opposes lifting that ban. This, however, is not the truth. If it is not what you mean to say, I urge you again to correct your statement accordingly - otherwise you expose yourself to criticism that you are shlepping in information that is not only clearly POV, but just plain wrong. --Thorsten1 19:51, 24 July 2005 (UTC)

Then I see nothing wrong in stating that Giertych opposes homosexualism.You claims aren't really about linguistic ability but about your POV which not everybody shares.--Molobo 20:20, 24 July 2005 (UTC)

Removed the part of opposition against Polish-USA ties.Maciej Giertych supports such relations :http://ks.sejm.gov.pl:8009/kad4/040/40402009.htm "Stosunki ze Stanami Zjednoczonymi mają miejsce szczególne. Uważam za bardziej prawdopodobne to, że to USA będzie nas bronić, niż to, że będą to robić Niemcy czy Francja." Relations with United States have a special place.I consider it more probable that USA will defend us then Germany or France.

Spanish Civil War
As Professor Giertych's EP speech about the Spanish Civil War is misrepresented (see external link http://www.europarl.europa.eu/sides/getDoc.do?pubRef=-//EP//TEXT+CRE+20060704+ITEM-004+DOC+XML+V0//EN&language=EN&query=INTERV&detail=2-016), I am re-wording that part.--Chanza 00:46, 14 November 2006 (UTC)

Sub-heads and text added
I have broken Giertych's views on politics and creationism out into sub-heads, as distinct from his biography, and have organized each section in chronological order. I have also added text and references brought to this page when they were deemed "off-topic" in the page on the Daylight Origins Society, which is up for AfD. The text was too important to lose if the D.O.S. page were to be deleted from Wikipedia, and it is actually more on-topic here. Cordially, cat yronwode 64.142.90.33 (talk) 02:39, 9 September 2008 (UTC)

Blanking Removal of long-tagged unsourced material
[Moved from User talk:Hrafn ]

Please do not replace Wikipedia pages with blank content. Blank pages are harmful to Wikipedia because they have a tendency to confuse readers. If it is a duplicate article, please redirect it to an appropriate existing page. If the page has been vandalised, please revert it to the last legitimate version. If you feel that the content of a page is inappropriate, please edit the page and replace it with appropriate content. If you believe there is no hope for the page, please see the deletion policy for how to proceed. - Darwinek (talk) 09:27, 17 April 2011 (UTC)

Also, give me the time to add the sources and do not just remove half of the article, okay? I am currently editing the article. - Darwinek (talk) 09:27, 17 April 2011 (UTC)

HrafnTalkStalk(P) 09:34, 17 April 2011 (UTC)
 * 1) Discussion of articles belongs on article talk.
 * 2) Removal of unsourced material (particularly long-tagged unsourced material) is not WP:BLANKing. such an accusation is a violation of WP:AGF.
 * 3) Reinsertion of tagged, unsourced material is in violation of WP:V at WP:BURDEN: "The burden of evidence lies with the editor who adds or restores material."

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Óscar Pereiro

Óscar Pereiro Sío (born 3 August 1977) is a Spanish former professional road bicycle racer. Pereiro was declared the winner of the 2006 Tour de France, after the original winner Floyd Landis was disqualified for failing a doping test after his stage 17 victory. Pereiro is a former member of Porta da Ravessa (2000 to 2001), Phonak Hearing Systems (2002 to 2005), (2006 to 2009), and the  cycling team (2010). After retiring from cycling in 2010, Pereiro joined his local part-time football club Coruxo FC of the Segunda División B.

Early career
Pereiro placed tenth in the 2004 Tour de France, 22 minutes 54 seconds behind original winner Lance Armstrong, who was subsequently disqualified. He was awarded the Most Aggressive Rider Award in the 2005 Tour de France after powering the winning breakaways in Stages 15, 16 and 19. He was the Stage 16 winner - just edging out Spain's Xabier Zandio, Italy's Eddy Mazzoleni and Australia's Cadel Evans. His efforts on Stage 15, the toughest stage of the Tour, were highly admired by the peloton. He finished second that day to Discovery Channel's George Hincapie after "pulling" for most of the final climb up the Pla D'Adet. In January 2014, Pereiro confessed on a radio show he sold this stage to Hincapie, making the deal some kilometers before arriving to the finish line.

Pereiro was considered a leader on Phonak along with Floyd Landis and Santiago Botero in 2005 - his last year riding for the team.

2006 Tour de France
His breakaway Stage 13 second-place finish (just behind Germany's Jens Voigt) gained him almost 30 minutes on most of the General classification leaders and propelled him into an unexpected yellow jersey. He traded the overall lead back and forth with Floyd Landis over the next few days before finally losing it to him for good on the second to last day of the Tour.

After hearing of Landis' positive "A" test, Pereiro stated that it was only an initial, unconfirmed result and he would not yet consider Landis guilty or himself the Tour winner. "I have too much respect for Landis to do otherwise", he said. After hearing that the Landis "B" test also came back positive, Pereiro stated that he now considers himself Tour champion and the Landis scandal should not diminish his own achievement. "Right now I feel like the winner of the Tour de France", Pereiro said. "It's a victory for the whole team."

On 20 September 2007 Landis was found guilty of doping and ordered that he forfeit his 2006 Tour de France victory, making Pereiro the official winner, but not before Pereiro had his own small doping issue (see the next section for more details).

Landis' allegations of doping by Pereiro
In his 2010 interview with cycling journalist Paul Kimmage, Landis alleged Pereiro had engaged in doping both during the 2006 race and the year prior, when they raced in the same team. Explaining to Kimmage his satisfaction with his performance in the Stage 17 breakaway, he said, "I haven’t said this before because no one has asked, but if I had any reason to believe, and didn’t have specific knowledge that Pereiro was also doped, then I would have felt like I was cheating somebody - but I knew it, I had seen it first hand." He also told Kimmage that ahead of the penultimate stage of the 2006 Tour, a time trial, Pereiro had admitted to him about his upcoming planned blood transfusion for the race: "I know Pereiro, and I know he wasn’t going to have any new tricks that he hadn’t already tried so… I had talked to him about it, and he told me that he had another blood transfusion to do, but I still wasn’t concerned because I was a better time triallist than him regardless."

Doping investigation
On 18 January 2007, French newspaper Le Monde reported that Pereiro had returned an "Adverse Analytical Finding" (AAF) during the 2006 Tour de France. It is alleged that a concentration of salbutamol in excess of the threshold of the allowed therapeutic use was found in two urine samples, produced after stages 14 (Montélimar - Gap, in which Pereiro finished 26th) and 16 (Bourg-d'Oisans - La Toussuire, 3rd place). In the latter stage, Pereiro retook the yellow jersey from Landis.

Salbutamol is commonly used to treat asthma symptoms, and is allowed to be used in cycle racing if the cyclist can provide a medical prescription for the substance. It is alleged that the International Cycling Union gave Pereiro retroactive permission to use the substance on medical grounds after the positive tests. The French anti-doping agency questions the veracity of the medical grounds. It demanded that Pereiro verify the grounds for the use of salbutamol within a week.

On 25 January 2007, France's anti-doping agency dropped its investigation, saying Pereiro provided sufficient justification for use of the asthma medication.

Crash in 2008 Tour de France
On 20 July, during the 15th stage of 2008 Tour de France, Pereiro crashed at the 89 kilometre mark over a guardrail just prior to a hairpin turn during the descent of the Col Agnel landing on the other side of the turn, which meant the end of the Tour for him. Initially, he was thought to have broken his femur and arm, but later it was learned that this was not the case. He suffered a broken arm but never lost consciousness and was taken to a nearby hospital in Cuneo. During this Tour, Pereiro was working for team captain Alejandro Valverde but when it became clear in the Pyrenees that Valverde had lost too much time, he and Valverde managed to maintain placings in the top 20 riders.

Football career
In December 2010 Pereiro announced that he signed with Segunda División B club Coruxo FC. He said that it was his childhood dream to become a professional footballer. Playing as a winger, he made two appearances for the team that season, scoring twice.

Major results

 * 1998
 * 1st 🇪🇸 U23 Cyclo-Cross Champion

 * 1999
 * 1st 🇪🇸 U23 Cyclo-Cross Champion

 * 2001
 * 1st Stage 3 Grande Premio

 * 2002
 * 1st Stage 5 Setmana Catalana de Ciclisme

 * 2003
 * 1st Stage 6 Tour de Suisse

 * 2004
 * 1st Classique des Alpes
 * 10th Overall Tour de France

 * 2005
 * 1st Prologue Tour de Romandie
 * 10th Overall Tour de France
 * 1st Stage 16
 * Jersey red number.svg Combativity award Overall

 * 2006
 * 1st Jersey yellow.svg Overall Tour de France

 * 2007
 * 1st Stage 1 (TTT) Volta Ciclista a Catalunya
 * 2nd Overall Tour du Limousin
 * 10th Overall Tour de France

 * 2008
 * 3rd Road race, National Road Championships

Grand Tour general classification results timeline
* After the disqualification of Floyd Landis

title: Óscar Pereiro


text:
Sleeping Beauty (1959 film)

Sleeping Beauty is a 1959 American animated musical fantasy film produced by Walt Disney Productions and released by Buena Vista Distribution. Based on Charles Perrault's 1697 fairy tale, the production was supervised by Clyde Geronimi, and was directed by Wolfgang Reitherman, Eric Larson, and Les Clark. Featuring the voices of Mary Costa, Bill Shirley, Eleanor Audley, Verna Felton, Barbara Luddy, Barbara Jo Allen, Taylor Holmes, and Bill Thompson, the film follows Princess Aurora, who was cursed by the evil fairy Maleficent to die from a prick from the spindle of a spinning wheel. She is saved by three good fairies, who alter Aurora's curse so that she falls into a deep sleep and will be awakened by true love's kiss.

Sleeping Beauty began development in 1950. The film took nearly a decade and $6 million to produce, and was Disney's most expensive animated feature at the time. Its tapestry-like art style was devised by Eyvind Earle, who was inspired by pre-Renaissance European art; its score and songs, composed by George Bruns, was based on Pyotr Tchaikovsky's 1889 ballet. Sleeping Beauty was the first animated film to use the Super Technirama 70 widescreen process and was the second full-length animated feature filmed in anamorphic widescreen, following Lady and the Tramp (1955).

It was released in theaters on January 29, 1959, to mixed reviews from critics who praised its art direction and musical score and criticized its plot and characters. The film was a box-office bomb in its initial release, grossing $5.3 million, and losing $900,000 for the distributor and many employees from the animation studio became layoffs. Sleeping Beauty re-releases have been successful, and it has become one of Disney's most artistically acclaimed features. The film was nominated for the Academy Award for Best Scoring of a Musical Picture at the 32nd Academy Awards.

Maleficent, a live-action reimagining of the film from Maleficent's perspective, was released in 2014, followed by a sequel, Maleficent: Mistress of Evil, in 2019. The latter year, Sleeping Beauty was selected for preservation in the United States Library of Congress' National Film Registry as "culturally, historically, or aesthetically significant".

Plot
King Stefan and Queen Leah welcome their newborn daughter, Aurora, and proclaim a holiday for their subjects to pay homage to the princess. At her christening, she is betrothed to Prince Phillip, the son of Stefan's friend King Hubert, in order to unite their kingdoms. The three good fairies, Flora, Fauna, and Merryweather, each bless Aurora with one gift. After Flora and Fauna give her beauty and song, the evil fairy Maleficent appears, angry at not being invited. She places a curse on Aurora: before the sun sets on her sixteenth birthday, she will prick her finger on the spindle of a spinning wheel and die. Merryweather uses her gift to weaken the curse; Aurora will instead fall into a deep sleep until true love's kiss breaks the spell.

Still fearful, Stefan orders all the kingdom's spinning wheels burned. Flora, Fauna, and Merryweather devise a plan to hide Aurora in a secluded location and raise her themselves until her sixteenth birthday, to which Stefan and Leah reluctantly agree. The fairies move into a forest cottage, giving up magic and living as peasants, and rename Aurora to Briar Rose.

On Aurora's sixteenth birthday, the fairies send her to gather berries so they can prepare a surprise party. In the forest, Aurora sings to the animals, drawing the attention of Phillip, now a handsome young man. They fall in love without revealing their names, and Aurora invites Phillip to the cottage that evening. Meanwhile, Flora and Merryweather's argument about the color of Aurora's birthday gown attracts the attention of Maleficent's pet raven, Diablo. Aurora returns and tells her guardians that she has fallen in love. They reveal her true identity, which Diablo overhears, and tell her she cannot see the man again. Meanwhile, Phillip tells his father about the peasant girl he met and wants to marry, unaware she is the princess to whom he is betrothed. King Hubert unsuccessfully tries to dissuade him.

Shortly before sunset, the fairies bring Aurora to the castle for her birthday celebration. Maleficent appears and lures her to a tower room, where she pricks her finger on a spinning wheel that Maleficent conjures. The fairies place the sleeping Aurora in the highest tower, and put the entire kingdom to sleep until Aurora is awakened. While doing so, the fairies overhear a conversation between Hubert and Stefan, and realize that Phillip is the man that Aurora met. They rush to the cottage, only to discover that Phillip has been abducted by Maleficent.

At her domain, the Forbidden Mountain, Maleficent reveals Aurora's identity to Phillip. She plans to lock him away until he is an old man on the verge of death before releasing him to meet Aurora, who will not have aged a single day. The fairies rescue Phillip and arm him with the magical Sword of Truth and the Shield of Virtue. Maleficent surrounds Stefan's castle with a forest of thorns, but Phillip breaks through it. Outraged, she transforms into a giant, fire-breathing dragon. In the ensuing battle, Phillip kills Maleficent by thrusting his sword into her heart.

Phillip finds Aurora and awakens her with a kiss, bringing the rest of the kingdom out of their slumber. The two descend to the ballroom, where Aurora reunites with her parents and happily dances with Phillip as the good fairies look on with joy.

Voice cast

 * Mary Costa as Princess Aurora, also known as Briar Rose and Sleeping Beauty, an innocent and romantic daughter of King Stefan and Queen Leah who is cursed by Maleficent.
 * Bill Shirley as Prince Phillip, Aurora's bold and spirited "true love" to whom she was betrothed and King Hubert's son.  He is occasionally accompanied by his horse, Samson.
 * Eleanor Audley as Maleficent, a powerful evil fairy and self-proclaimed "Mistress of All Evil" who casts a curse on Aurora and is responsible for all misfortune in King Stefan's kingdom.
 * Verna Felton as Flora, the domineering and responsible self-appointed leader of the Three Good Fairies. Her signature color is red.
 * Barbara Luddy as Merryweather, a feisty and impulsive good fairy who challenges Flora's leadership. Her signature color is blue.
 * Barbara Jo Allen as Fauna, a sweet and affectionate good fairy who is a peacemaker between Flora and Merryweather. Her signature color is green.
 * Taylor Holmes as King Stefan, Aurora's placid and dignified father.
 * Bill Thompson as King Hubert, Phillip's jovial and bombastic father.

Candy Candido, Pinto Colvig, and Bob Amsberry voiced the Goons, Maleficent's bumbling but loyal henchmen. Candido also voiced Diablo, Maleficent's pet raven. Dallas McKennon voiced the Owl, one of Aurora's animal friends, with Purv Pullen providing the sounds of other forest animals. Marvin Miller was the film's narrator.

Story development
Walt Disney first considered making an animated version of Charles Perrault's 1697 fairy tale "Sleeping Beauty" in 1938. Preliminary artwork was submitted by Joe Grant, but the project did not move forward. Disney registered Sleeping Beauty as a planned production title with the Motion Picture Association of America on January 19, 1950, after a preview audience's positive response to Cinderella. By November of that year, the Los Angeles Times officially confirmed the film's development. Disney envisioned Sleeping Beauty as the pinnacle of his studio's achievements in animation, and was willing to pool all resources needed to achieve that. Recognizing the difficulty of producing another fairy-tale feature which would not be too reminiscent of his previous films, notably Snow White and the Seven Dwarfs (1937) and Cinderella (1950), he repeatedly told his staff during production that it had to be different.

Key story work was done by Ted Sears, Winston Hibler, Bill Peet, and Ralph Wright, who were joined by other story artists as production continued. They decided to discard the second half of the original Perrault story, which describes a sleeping beauty married to a strange prince, and focus on its first half to develop a more convincing relationship between the characters. The earliest known story outline was written by April 1951, featuring a climactic wake-up kiss and the encounter between prince and princess before she succumbs to the curse. It also included the names of the fairies, who had been reduced from eight to four, and their corresponding magical abilities: Tranquility, the Fairy of Dreams; Fernadell, the Fairy of the Forest; Merryweather, the Fairy of the Elements; and Maleficent, the Fairy of Darkness. The story artists expanded the fairies' roles, turning the good fairies into comical guardians of the princess, and the evil fairy into a more powerful villain. In this version of the story, Maleficent would conjure an indestructible spinning wheel, which the king and queen would unsuccessfully try to get rid of; they would be forced to hide their daughter in the castle walls and never let her out. The princess was envisioned as a "poor little rich girl", burdened with her royal lineage and dreaming of exploring the world outside the castle. Shortly before her sixteenth birthday, the princess was to switch clothes with her maidservant and secretly escape to a nearby forest (or country fair) where she would meet and fall in love with the prince. He would travel to a faraway land and return a few years later to fight Maleficent with the help of the good fairies, find the sleeping princess and wake her up with the kiss. Story ideas of that period also included the good fairies attempting to surround the castle with a protective circle and Maleficent having a comically-incompetent vulture sidekick, although the earlier outline depicted him as a sinister falcon.

By June 1952, the full storyboard of Sleeping Beauty was completed, but Disney rejected it, stating that its approach was too similar to his studio's earlier films. The story artists discarded the original version and started from scratch, deciding to retain several ideas from earlier suggestions, such as the prince's acquaintance with the princess before the curse is fulfilled, and a shorter sleep. The story team initially developed a sequence in which the characters meet during a treasure hunt, but later abandoned it, feeling it drifted too far from the central storyline. Instead, it was written that the prince and princess would meet in the forest by chance, which had been introduced in the 1951 outline. Striving for more serious storytelling, Disney decided to cut several gags involving the Three Good Fairies, which he felt were more appropriate for Donald Duck shorts. In one, the fairies (who had been renamed Flora, Fauna, and Merryweather) try to bake a birthday cake for the princess and accidentally blow up the oven. The good fairies were originally intended to rule the domains indicated by their names: Flora would be in charge of flowers and plants, Fauna would oversee the animals and birds, and Merryweather would control the climate. Disney discarded this idea as well, feeling that it did not advance the central storyline.

Part of the difficulty in production was in differentiating the studio's third princess, who had been named Aurora, from Snow White and Cinderella. The story artists came up with an idea of the fairies raising her in a forest cottage, with Aurora unaware of her background or the danger she faced. She was also given a different personality – "a freshness and a modern sensibility" – to make her more appealing to audiences. In earlier versions of the story, Aurora would encounter Maleficent, who would trick her into pricking her finger on the spindle, but Disney felt that the "eerie, haunting presentation of a victim powerless in the hands of evil" would be a stronger choice, so the scene was rewritten to have Maleficent lure Aurora with hypnosis. The improvement of his animators' skill in drafting a realistic male figure prompted Disney to expand the role of the prince, who had been named Phillip. To establish him as Aurora's "true love", the story artists developed a plot in which Maleficent kidnaps Phillip and plans to keep him prisoner in her castle for a century (which was also a reference to the 100-year slumber in Perrault's story). Several story elements originated from discarded ideas for Snow White and the Seven Dwarfs (1937) and Cinderella (1950), including the prince and princess dancing on a cloud (Disney's favorite concept) and Phillip's escape from Maleficent's domain.

Casting
Walt Disney spent three years searching for a voice for Princess Aurora, and considered shelving the project entirely before Mary Costa was cast by June 1952. She was invited to audition by Walter Schumann (the film's composer at the time), who heard her singing at a dinner party for the entertainment industry. Born in Knoxville, Tennessee, Costa had a strong Southern accent, which nearly prevented her from being cast until she proved that she could sustain a British accent. Disney personally contacted Costa within hours of her audition to confirm that she had the role. Before Costa was cast, LP records by forty female singers were heard by the story artists, and fifteen of them auditioned. Costa recorded her lines for three years, from 1952 to 1955. Twenty singers auditioned for the role of Prince Phillip, and Bill Shirley, who had a high baritone voice and experience in light opera, was the final choice. Before he and Costa were selected, they made audition records together to determine if their voices complemented each other. Disney was convinced that they did, and approved the casting.

Disney personally suggested Eleanor Audley for the role of Maleficent. Audley initially refused, since she had tuberculosis and was unsure if she would be strong enough for recording sessions, but reconsidered when she began feeling better. Regarding her voice work for the character, Audley later said that she "tried to do a lot of contrasting to be both sweet and nasty at the same time." Disney chose Barbara Jo Allen for Fauna, who had been frequently compared by the story artists to Vera Vague (Jo Allen's character in The Bob Hope Show), and Barbara Luddy for Merryweather. Many actors auditioned for the role of King Stefan, including Hans Conried, before Taylor Holmes was cast because of his "bemused, but dignified" voice. This was Holmes' final film role before his death in September 1959, eight months after the film's release. Several of the studio's voice regulars were cast in the film, including Verna Felton as Flora and Bill Thompson as King Hubert. Felton is also believed to have been the voice of Queen Leah, but the studio has no saved records of who voiced the character.

Production delays
By mid-1952, Walt Disney had planned to release Sleeping Beauty in 1955. Production began in July 1953, when supervising director Wilfred Jackson recorded the dialogue, assembled a story reel, and was to begin preliminary animation for a pilot scene in which Aurora and Phillip meet in the forest. Disney was dissatisfied with the original version of the scene, and Jackson (along with Ted Sears and two other story artists) had to extensively rewrite it over the next few months before Disney approved the revised version. In December 1953, Jackson had a heart attack and was replaced by Eric Larson, whose unit would animate the forest scene. The film was scheduled for a February 1957 release by April 1954, and was later postponed to Christmas 1957. By July 1954, Disney began building his own theme park and developing a number of television series (such as The Mickey Mouse Club), and most of the studio personnel working on Sleeping Beauty at the time were assigned to develop those projects. The film's production was suspended, although the castle at Disneyland was named Sleeping Beauty Castle to promote it.

During its dormancy, Sleeping Beauty was given to Erdman Penner and Joe Rinaldi for further development, and the full storyboard was completed and to be discussed with Walt Disney by early 1955. The film's production resumed in December 1956, with its release rescheduled for Christmas 1958. Although Disney insisted on overseeing every aspect of the film, he remained focused on Disneyland, and animators (such as Milt Kahl) blamed him for the delays. 2,500 feet of animation had been completed by January 1957, with 3,775 feet to be done. According to studio executive Harry Tytle, after the screening of the finished footage on August 22 of that year, Disney expressed disinterest in Sleeping Beauty, and "didn't give this the treatment he would have in years past, where he'd go in for a couple of days and fine-tooth comb the whole picture." Production delays led to an increase in the film's budget: the $10,000 forest scene, which took several years to complete, exceeded its budget and displeased Disney. Relatively late in production, he replaced supervising director Eric Larson with Clyde Geronimi. A quota system was introduced to keep costs down, requiring animators to create a specified number of drawings per day.

Art direction
To distinguish Sleeping Beauty from his previous features, Walt Disney decided to take a different approach to the film's visual design. After one of the story meetings, he told Larson that he needed a "moving illustration", and did not care how long it would take. By December 1952, Kay Nielsen was the first to create styling sketches for the film, suggesting an "ethereal depiction of the Middle Ages". Although he was impressed with his artwork, the film's production designer Ken Anderson felt that Nielsen's pastel paintings would be difficult to translate into animation. Disney tasked John Hench to help interpret Nielsen's artwork with opaque cel paint, but Nielsen left the studio by April 1953. The film's tapestry-like style developed after Hench's visit to the Cloisters, where he saw the Unicorn Tapestries series. Hench brought reproductions of the tapestries back to the studio, and made sketches inspired by the museum visit, suggesting them as a visual template for the film's design. Disney approved the idea, and background artist Eyvind Earle made trial paintings based on Hench's sketches. Wanting Sleeping Beauty to have a unified look from beginning to end, Disney made Earle both the film's color stylist and its artistic director, giving him unprecedented control of the film's visual appearance. Sleeping Beauty was the first film of the studio in which background paintings defined its art direction.

Earle's main inspiration for Sleeping Beauty was the illuminated book of hours by Herman and Jean Limbourg, Très Riches Heures du Duc de Berry, from which he took key colors such as the yellow-green for Maleficent's flames, and the pink and blue for Aurora's royal dress. He was also influenced by the pre-Renaissance Northern European art (including the works of Pieter Bruegel, Albrecht Dürer, Huybrecht van Eyck, Giotto di Bondone, and Sandro Botticelli), as well as by Gothic and Persian art, medieval tapestries, and Japanese prints. In his five years of working on the film, Earle created about three hundred visual-development paintings, hundreds of thumbnail scene sketches, and dozens of key background paintings, some fifteen feet long. Over eight hundred other backgrounds in the film were created by Frank Armitage, Thelma Witmer, Al Dempster, Walt Peregoy, Bill Layne, Ralph Hulett, Dick Anthony, Fil Mottola, Richard H. Thomas, and Anthony Rizzo, who worked under Earle's supervision and followed his style to maintain consistency in the film's design.

Although the layout artists and animators were impressed with Earle's paintings, they became discouraged by working in a style which many considered "too cold, flat, and modernist" for a fairy-tale feature. Animators struggled to make the characters (which had to be stylized to match Earle's design) stand out against his detailed background paintings, with their design and color styling hindering character animation. At one point, Frank Thomas and Milt Kahl rebelled and went to Disney's office to complain, but Disney insisted on the visual design, saying that past inspirational artwork he had commissioned (such as Mary Blair's) had always been homogenized by the animators. Earle's design prompted Walt Disney to film Sleeping Beauty in Super Technirama 70 as the first animated film in this format. This decision presented additional difficulties for animators and layout artists, who had to work with very large sheets of paper, and create twice as much art to fill the frame. Sleeping Beauty was the last hand-inked Disney animated feature film before the studio switched to the Xerox process with One Hundred and One Dalmatians (1961). Xerox was partially used in Sleeping Beauty to animate the forest of thorns in the final battle scene.

When Clyde Geronimi became the supervising director, he had creative differences with Earle, feeling that Earle's paintings "didn't have the mood ... All that beautiful detail in the trees, the bark, and all that, that's all well and good, but who the hell's going to look at that? The backgrounds became more important than the animation. He'd made them more like Christmas cards". By that time, Disney felt that too much focus was on the film's design at the expense of its story. In March 1958, before Sleeping Beauty was completed, Earle left the Disney studio for John Sutherland Productions. Geronimi then had the background paintings softened with an airbrush so they did not compete with the animation.

Live-action reference
Before animation began, a live-action reference version with actors in costumes as models was filmed for the animators to study. Walt Disney insisted on this because he wanted the characters to be "as real as possible, near flesh-and-blood". Several animators however, such as Milt Kahl, objected to this method, stating that "anyone worth his salt in this business ought to know how people move." By March 1954, Helene Stanley was hired to provide live-action references for Princess Aurora, and several scenes of the Three Good Fairies. She was chosen from over three hundred candidates interviewed for the role. Stanley's costume for Aurora's woodland disguise, Briar Rose, was created by Alice Estes at the behest of Marc Davis as her first job assignment for the Disney studio.

Prince Phillip was modeled by Ed Kemmer. For a few scenes in the final battle scene, Kemmer had to ride a wooden wagon imitating a horse which was controlled by the animators. Cubby O'Brien was a model for young Phillip. The live-action reference for Maleficent was provided by her voice actress, Eleanor Audley, and dancer Jane Fowler. Among the actresses who appeared in reference footage for the Three Good Fairies were Spring Byington, Madge Blake, and Frances Bavier. Hans Conried and Don Barclay were live-action references for King Stefan and King Hubert. The lackey who serves wine to the kings in the "Skumps" scene was modeled by Franklin Pangborn.

Character animation
Tom Oreb, whose designs employed a "straight-against-curve" motif similar to Earle's backgrounds, was the film's character stylist. Oreb was the first Disney artist to receive a credit in that capacity. He worked closely with Earle (who also had decision-making capability in character designs and color schemes), and created preliminary sketches for most of the characters, incorporating strong horizontal and vertical planes of the background paintings into the designs. The studio's ink and paint department made finished cels of Oreb's sketches, which were placed over Earle's backgrounds to ensure that they would match the film's style. The animators complained that Oreb's designs, like Earle's styling, were too rigid to animate. According to Ken Anderson, the characters became "really, unfortunately, quite stiff. In order to fit this mannered background, they, too, took on a sort of cylindrical, geometrical shape that didn't lend itself as well to the ... Well, you might say, the Bambi type of animation. It wasn't really possible just to make the characters fit the style and still be quite as attractive."

Marc Davis, who embraced Earle's style, was the supervising animator of Princess Aurora. Collaborating with Oreb, he created a "leading lady of elegance", whose earlier designs were influenced by Audrey Hepburn. Stylizing the character to match the backgrounds, Oreb incorporated vertical lines into the folds of her costumes and two-dimensional swirls into her hair, while Davis sharpened her features and clothes, adding Art Nouveau and Art Deco style to her curls. Aurora's final design was more refined than those of previous Disney heroines, and therefore required more attention to detail than any animated character before. Iwao Takamoto, who was quality control animator of Aurora, called working with her animation drawings a "laborious job" which limited in-betweeners such as himself to completing only six or seven drawings per day, where twenty-four were required for each second of film.

Davis was also tasked with supervising Maleficent's animation and design, which was influenced by a painting in a Czechoslovakian art book that he found in his home library. Although Davis' original designs had red trim on Maleficent's costume to highlight its flame-like shape, Earle asked to change it to lavender because red would appear too strong. Davis also added horns and a collar resembling bat wings to give the character a more diabolic look, and endowed her costume with a reptilian quality to foreshadow her dragon form. Animating Maleficent was challenging for Davis because of the character's tendency to soliloquize and her lack of physical contact with other characters. This was resolved with the introduction of Diablo, Maleficent's raven, whom Davis also designed and animated. Maleficent's dragon form was animated by Eric Cleworth, who based its head movements on those of a rattlesnake.

Frank Thomas and Ollie Johnston, who struggled the most to adapt to Earle's style, were the supervising animators of Flora, Fauna, and Merryweather. Walt Disney initially urged that the characters be homogeneous, but Thomas and Johnston objected, feeling that it would be more interesting for each fairy to have a distinct personality. Oreb's earlier designs portrayed the characters in a stricter geometric style, reflecting the three primary shapes (square, triangle, and circle), but this was too difficult to animate, and was discarded. The final design was set after Don DaGradi created preliminary drawings suggesting a "lighter and more delicate" look for the fairies, although they retained angularity in their capes and headdresses to match the background styling. Thomas and Johnston studied the movements of old women they saw at wedding receptions and grocery stores for help in animation, and the fairies' costume design was influenced by wardrobe books for medieval Scandinavian and German-style attire.

Milt Kahl animated Prince Phillip, but was displeased with the character's limited emotional range. He also animated Phillip's horse, Samson (whose design was influenced by the works of Ronald Searle), King Stefan, and King Hubert. Kahl's characters were co-animated by John Lounsbery, who also worked on Aurora's forest-animal friends and the pig-like leader of Maleficent's goons. Among other animators working on the film were Wolfgang Reitherman, who directed the climactic dragon battle sequence; Les Clark, who directed the opening scene in which the townspeople march to the castle for Aurora's christening; and John Sibley, who animated the lackey.

Music
The use of music from Pyotr Tchaikovsky's 1889 ballet The Sleeping Beauty was discussed early in the film's development, but the idea was initially discarded due to the potential difficulty of adapting Tchaikovsky's ballet as a film score. Jack Lawrence and Sammy Fain were signed to write the film's original songs in April 1952, and Walter Schumann was the composer. A song score was produced by late summer of that year, which included the main title song and its reprise by Fain and Victor Young; the opening number, "Holiday", sung by the royal subjects celebrating Princess Aurora's birth, followed by "It Happens I Have a Picture", in which King Stefan and King Hubert discuss the virtues of their respective children; "Sunbeams (Bestowal of Gifts)", sung by the Three Good Fairies and Maleficent as they bestow gifts on Aurora; "Where in the World", Aurora's solo, followed by the love song "Once Upon a Dream", in which she meets Prince Phillip; and "Mirage (Follow Your Heart)", in which Aurora is lured to the spinning wheel.

After Eyvind Earle became the film's artistic director the following year, Walt Disney returned to the idea of using Tchaikovsky's ballet score, feeling that Lawrence and Fain's Broadway-type songs would clash with Earle's stylized design. Schumann unsuccessfully tried to create new arrangements for the songs which would give them a "Tchaikovsky sound", but the original song score was unusable except for "Once Upon a Dream" (which was based on the ballet's "Garland Waltz" theme). Schumann later left the project due to creative differences with Disney, and Ward Kimball recommended that George Bruns replace him. Sleeping Beauty was Bruns' first collaboration with the Disney studio, and his first experience as a film composer.

Working closely with animators, directors, and story artists, Bruns studied and experimented with Tchaikovsky's music for three years to make it work as a film score. The opening number, "Hail to the Princess Aurora" (sung by the royal subjects going to the castle for Aurora's christening), was based on a march in the ballet's prologue. The third strain of the "Garland Waltz" became "I Wonder", sung by Aurora as she walks through the forest with her animal friends. For the scene in which Maleficent lures Aurora to the spinning wheel, Bruns used the "Puss in Boots" theme from the ballet's third act due to its "ominous quality that fitted perfectly into the needs of the suspense sequence." He made several attempts to create a song from the "Silver Fairy" theme, resulting in "Riddle, Diddle, One, Two, Three" (sung by Flora, Fauna, and Merryweather as they prepare birthday presents for Aurora). The song was eventually cut, but its melody remained in the scene. Among other deleted songs were "Evil—Evil", which would have been sung by Maleficent and her goons, and "Go to Sleep", in which the Three Good Fairies put a sleeping spell on the castle.

Four of Bruns' songs based on the ballet score were used in the film: "Hail to the Princess Aurora", "The Gifts of Beauty and Song", "I Wonder", and "Sleeping Beauty". For "Skumps", sung by King Stefan and King Hubert as they toast their children's upcoming wedding, Bruns composed his own tune in Tchaikovsky's style because he could not find anything suitable in the ballet. The song lyrics were written by Tom Adair, Erdman Penner, Winston Hibler, and Ted Sears; most have the same placement and purpose in the plot as Fain and Lawrence's original songs. Recording of the music began in the United States, but due to a musicians' strike, Bruns was sent to a state-of-the-art studio in Berlin which permitted a new stereo sound system for the film. Sleeping Beauty score was the first true-stereo soundtrack. It was recorded with the Graunke Symphony Orchestra from September 8 to November 25, 1958.

Original theatrical run
Sleeping Beauty premiered at the Fox Wilshire Theater in Los Angeles on January 29, 1959, and was simultaneously released in theaters with the documentary short Grand Canyon (1958). It was shown in selected theaters which were specially equipped to project the film in large-format Super Technirama 70 with six-track stereophonic sound. To promote the film, a Disneyland episode "The Peter Tchaikovsky Story" was aired on ABC on January 30, 1959. The episode, which included a loose version of Tchaikovsky's life, Walt Disney's explanation of the Super Technirama 70 process, and clips from Sleeping Beauty, was the first television show simulcast in stereo.

With a production budget of $6 million, Sleeping Beauty was the most expensive Disney film at the time, and was over twice as expensive as each of the preceding three Disney animated features: Alice in Wonderland (1951), Peter Pan (1953), and Lady and the Tramp (1955). During its original release, the film grossed approximately $5.3 million (the distributor's share of the box office gross) in the United States and Canada. It was considered a box-office bomb, and Buena Vista Distribution (Disney's distribution division) lost $900,000. Eric Larson blamed the studio's publicity department for the film's underperformance, feeling that The Shaggy Dog (released later that year) had a far more extensive and successful advertising campaign. The production costs and box office failure of Sleeping Beauty, coupled with the underperformance of much of the studio's 1959–1960 release slate, caused Walt Disney to lose interest in animation. His company posted an annual loss of $1,300,000 for fiscal year 1960 (its first in a decade), and there were massive layoffs throughout the animation department.

Re-releases
Sleeping Beauty was first re-released theatrically in 1970 on standard 35 mm film, earning $3.8 million. It was re-released in May 1979 in the original 70 mm format for a ten-week test engagement at Seattle's Crest Theatre before a wider release later that year in 70 and 35 mm, with stereo and mono sound. The film was re-released in 1986, grossing $40 million in the United States and Canada and in 1995. With a lifetime gross in the United States and Canada of $51.6 million from all releases, Sleeping Beauty is the second-most successful film released in 1959, just behind Ben-Hur. Adjusted for ticket-price inflation, the domestic total gross is nearly $681 million, making it one of the top 40 highest-grossing films.

Home media
On October 14, 1986, Sleeping Beauty was released on VHS, Betamax, and LaserDisc as part of the Walt Disney Classics collection; over one million videocassettes were sold. The film began a moratorium on March 31, 1988. Digitally restored in 1997, it was released on VHS and LaserDisc in both fullscreen and widescreen as part of the Walt Disney Masterpiece Collection on September 16 of that year. To commemorate the release, Mary Costa (the voice of Princess Aurora) hosted a special theatrical screening of the film in her hometown of Knoxville, Tennessee.

Sleeping Beauty was released on VHS and in a two-disc Special Edition DVD on September 9, 2003. The DVD edition featured widescreen (formatted at 2.35:1) and fullscreen versions of the film. It also included a making-of featurette from the 1997 VHS, including: the Grand Canyon short documentary film; the life-of-Tchaikovsky segment of the Disneyland episode "The Peter Tchaikovsky Story"; a 1951 story outline of the film; live-action reference clips; a virtual gallery of concept art, layout and background designs; three trailers; and audio commentary by Mary Costa, Eyvind Earle, Ollie Johnston, and others. The release ended on January 31, 2004.

On October 7, 2008, a Platinum Edition of Sleeping Beauty was released as a two-disc DVD and on Blu-ray. It was the first installment in the Platinum line released in high-definition video. This release was based on the 2007 restoration of the film from its original Technicolor negatives (interpositives, several generations removed from the original negative, were used for other home-video releases) in its full-negative aspect ratio of 2.55:1, which is wider than both prints shown at the film's original Technirama engagements (2.20:1), and the CinemaScope-compatible reduction prints for general release at 2.35:1. It included an online feature BD-Live; a new behind-the-scenes documentary Picture Perfect: The Making of Sleeping Beauty; a virtual recreation of the Sleeping Beauty Castle Walkthrough at Disneyland; an alternate opening of the film; four deleted songs; and bonus features from the previous DVD release. The set returned to the Disney Vault on January 30, 2010.

Sleeping Beauty was re-released on Diamond Edition Blu-ray and DVD and on Digital HD on October 7, 2014, including the documentary short Art of Evil: Generations Of Disney Villains (dedicated to animators and the legacy of villains in Disney features), three deleted scenes from the film, karaoke, and extras from the Platinum Blu-ray release. For its 60th anniversary on September 24, 2019, Sleeping Beauty was re-released for HD digital download and on Blu-ray as part of the Walt Disney Signature Collection.

Lawsuit
In May 1989, Mary Costa sued the Walt Disney Company for royalties of $2 million owed to her since the 1986 home-video release of Sleeping Beauty. Costa said that her contract with the studio prevented it from producing "phonograph recordings or transcriptions for sale to the public" without her permission. The case had been settled out of court by June 1991, with Costa receiving an undisclosed sum.

Critical response
Sleeping Beauty initially received mixed reviews from critics, with many praising its art direction, voice acting, and musical score, but criticizing its plot and characters. Ren Grevatt of Billboard called the film a "Disney best", and complimented its score, colors, and the final battle scene, which he described as a "hair-raiser for the youngsters and grown-up alike." Variety praised the vocal work of Mary Costa and Bill Shirley, and called the scenes involving the Three Good Fairies "some of the best parts of the picture." For The New York Daily News, Kate Cameron wrote that the film "will charm the young and tickle adults" and praised its story, voice acting, and character animation. George Bourke of the Miami Herald described the film as a "magnificent achievement, offering suspense, action and happy humor, in a truly giant-size package." Lorna Carroll, writing for the St. Petersburg Times, called the film a "masterpiece and the last word in the art of animation"; however, although Sleeping Beauty is "far more magnificent, far more advanced, it does not touch the heart as did Snow White." Henry Ward of The Pittsburgh Press praised the film's art direction, and said that children "undoubtedly will find the film completely enchanting", adding that a more-mature audience "may find this new effort somewhat of a carbon copy" of previous Disney animated features.

Bosley Crowther wrote for The New York Times that "the colors are rich, the sounds are luscious and magic sparkles spurt charmingly from wands", but felt that the film's plot and characters were too similar to Snow White and the Seven Dwarfs (1937). Philip K. Scheuer of Los Angeles Times praised the film's visual design, animation quality, and the Three Good Fairies and Maleficent, but criticized its "stereotyped" human characters and found himself more impressed by the accompanying short film Grand Canyon (1958). In the Pittsburgh Post-Gazette, Harold V. Cohen praised the film's "sharp and unmistakable" art style and animation, but found the characters underdeveloped and "not exactly memorable". Harrison's Reports also noted the film's similarity to Snow White and the Seven Dwarfs (1937), saying that although Sleeping Beauty is "unquestionably superior from the viewpoint of the art of animation", it lacked the "unforgettable" characters, songs, and the overall entertainment appeal of Snow White. Time harshly criticized the film, particularly its design: "Even the drawing in Sleeping Beauty is crude: a compromise between sentimental, crayon-book childishness and the sort of cute, commercial cubism that tries to seem daring but is really just square."

Among contemporary reviews, Dave Kehr of the Chicago Reader described Sleeping Beauty as "the masterpiece of the Disney Studios' postwar style". Kehr praised its use of the Super Technirama 70 process, particularly in the final battle scene. Charles Solomon wrote for the Los Angeles Times that the film "represents the culmination of Walt Disney's effort to elevate animation to an art form". Solomon praised its visual design, the character of Maleficent, and the finale battle scene, but felt that it lacks "the strong story line of the other Disney features" (particularly the "not very interesting" romance between Aurora and Phillip). Ed Gonzalez of Slant Magazine praised the film's "limber, giddy" art style, calling it "one of [Disney's] studio’s most under-cherished works." A Time Out reviewer wrote that although Sleeping Beauty "rarely achieves the heights of classics like Snow White and Dumbo, it still has its moments", highlighting its "polished if sometimes stodgy" animation, soundtrack, and the final confrontation between Maleficent and Phillip.

In his book, The Disney Films, Leonard Maltin praised the film's design: "The fantastic effort and phenomenal expense do show up on the screen; it is unquestionably Disney’s most elaborate cartoon film." Its animators, Frank Thomas and Ollie Johnston, said on their website that Sleeping Beauty was "dazzling in color and design but lacked warmth." The review aggregator website Rotten Tomatoes reported that the film had approval rating based on  reviews, with an average rating of. According to its consensus, "This Disney dreamscape contains moments of grandeur, with its lush colors, magical air, [and] one of the most menacing villains in the Disney canon." On Metacritic, the film has a weighted average score of 85 out of 100 from 12 critics, indicating "universal acclaim".

Accolades
It has been recognized by the American Film Institute:
 * 2003: AFI's 100 Years...100 Heroes & Villains:
 * Maleficent – Nominated Villain
 * 2006: AFI's Greatest Movie Musicals – Nominated
 * 2008: AFI's 10 Top 10:
 * Nominated Animation Film

Legacy
Since its original release in 1959, Sleeping Beauty has become one of the most artistically-acclaimed animated films ever produced; its artistic direction, background and color styling, and character animation have been praised. It is considered one of the most influential Disney features by the animation industry, with animators such as Mike Gabriel and Michael Giaimo citing the film as inspiring them to enter the business. Sleeping Beauty background and color styling heavily influenced the design of the animated films, such as Pocahontas (1995), Frozen (2013), Frozen II (2019), and Wish (2023). Andreas Deja, Glen Keane, and Russ Edmonds were inspired by the film's design and animation for their characters in Aladdin (1992), Pocahontas (1995), and The Hunchback of Notre Dame (1996). In 2019, Sleeping Beauty was selected for preservation in the United States' National Film Registry as "culturally, historically, or aesthetically significant".

In 1955, while the film was still in production, Sleeping Beauty Castle opened at Disneyland as a symbol of the park and a promotional tool for the film. In 1957, Walt Disney and Shirley Temple opened an indoor walk-through exhibit with a series of dioramas depicting the story of Sleeping Beauty (designed by Eyvind Earle and Ken Anderson). The walk-through was redesigned in 1977, replacing the original hand-painted displays with three-dimensional sets and doll-like figurines. It was closed in 2001 due to declining attendance, although the September 11th attacks are also believed to be a factor. The exhibit, refurbished to recreate the original 1957 dioramas, reopened in 2008. The film's characters (particularly Princess Aurora and Maleficent) make regular appearances in the parks and parades, with Maleficent as a villain in the nighttime show Fantasmic! at Disneyland and Disney's Hollywood Studios.

Opened in 1992, Le Château de la Belle au Bois Dormant at Disneyland Paris is a variant of Sleeping Beauty Castle with a gallery of displays illustrating the story of Sleeping Beauty in tapestries, stained-glass windows and figures. The building also contains an animatronic version of Maleficent's dragon form, La Tanière du Dragon, in the lower-level dungeon. Hong Kong Disneyland opened in 2005 with a Sleeping Beauty Castle nearly replicating Disneyland's design. It was closed in 2018, redesigned as the Castle of Magical Dreams, and reopened in 2020.

DisneyToon Studios released a 2007 direct-to-video animated film, Disney Princess Enchanted Tales: Follow Your Dreams, featuring two new stories about Aurora and Jasmine from Aladdin (1992). Many of Sleeping Beauty characters make cameo appearances in the 2001–03 television series House of Mouse, as well as in the films Who Framed Roger Rabbit (1988) and The Lion King 1½ (2004). Flora, Fauna, and Merryweather are recurring characters in the 2013–18 Disney Junior series Sofia the First, and Aurora makes a guest appearance in the "Holiday in Enchancia" episode. With other Disney Princesses, Aurora appears in the 2018 film Ralph Breaks the Internet. Like other Walt Disney Animation Studios characters, Sleeping Beauty characters have cameo appearances in the short film Once Upon a Studio (2023).

A 2014 live-action adaptation of the film, Maleficent, tells the story from the perspective of the antagonist (played by Angelina Jolie). It was followed by a sequel, Maleficent: Mistress of Evil, in 2019. Live-action versions of Sleeping Beauty characters are featured in the 2011–18 fantasy television series Once Upon a Time (produced by Disney-owned ABC Studios), including Maleficent, Aurora, Prince Phillip, and King Stefan. Maleficent is a main villain in the 2015 television film Descendants, which follows the teenage children of Disney's iconic heroes and villains (including Mal, Maleficent's daughter, and Audrey, the daughter of Aurora and Phillip).

Maleficent is a recurring villain in the Square Enix/Disney Kingdom Hearts video-game series, and Aurora is one of the Princesses of Heart. The Enchanted Dominion, a world based on the film, appears in Kingdom Hearts Birth by Sleep. Aurora, Phillip, and the Three Good Fairies are playable characters in the world-builder video game Disney Magic Kingdoms, with Maleficent its main antagonist. An alternate version of Maleficent appears as a playable character in the video game Disney Mirrorverse (2022).

A retrospective exhibition, Awaking Beauty: The Art of Eyvind Earle, was presented at the Walt Disney Family Museum from May 18, 2017 to January 8, 2018. With over 250 works such as thumbnail paintings, concept artworks, and commercial illustrations, the exhibit reflected Eyvind Earle's biography and his work at the Walt Disney Studios (including his contribution to Sleeping Beauty). An exhibition catalog was published by Weldon Owen on August 8, 2017.

title: Sleeping Beauty (1959 film)


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Vahakn Dadrian

Vahakn Norair Dadrian (Վահագն Տատրեան; 26 May 1926 – 2 August 2019) was an Armenian-American sociologist and historian, born in Turkey, professor of sociology, historian, and an expert on the Armenian genocide.

Life
Dadrian was born in 1926 in Turkey to a family that lost many members during the Armenian genocide. Dadrian first studied mathematics at the University of Berlin, after which he decided to switch to a completely different field, and studied philosophy at the University of Vienna, and later, international law at the University of Zürich. He completed his Ph.D. in sociology at the University of Chicago. Dadrian understood many languages, including German, English, French, Turkish, Ottoman Turkish, and Armenian, and worked in the archives of different countries. Thomas de Waal suggests that Dadrian's research was motivated by a political agenda, noting that Dadrian wrote a 1964 letter to The New York Times asking: "on what conceivable grounds can the Armenians be denied the right to reclaim their ancestral territories which Turkey absorbed after massacring their  inhabitants?"

He was awarded an honorary doctorate degree for his research in the field of Armenian Genocide Studies by the Armenian National Academy of Sciences, and later, in 1998, he was made a member of the academy and honored by the President of Armenia, the republic's highest cultural award, the Khorenatzi medal. In 1999, Dadrian was awarded on behalf of the Holy See of Cilicia the Mesrob Mashdots Medal. The Harry Frank Guggenheim Foundation sponsored him as director of a large Genocide study project, which culminated with the publication of articles, mainly in the Holocaust and Genocide studies magazines. He was the keynote speaker at the centennial of the John Marshall Law School and delivered a lecture to the British House of Commons in 1995. He also received the Ellis Island Medal of Honor. He has lectured extensively in French, English and German in the Free University of Berlin, the Universities of Munich, Parma, Torino, Zürich, Uppsala, Frankfurt am Main, Cologne, Bochum, Münster, Amsterdam, Utrecht, Geneva, Brussels and UNESCO’s Paris center.

In 1970–1991 Dadrian was a professor of sociology at State University of New York-College at Geneseo.

Dadrian was the director of Genocide Research at Zoryan Institute.

Death
Dadrian died on 2 August 2019, at the age of 93. After his death, the President of Armenia Armen Sarkissian sent a letter of condolences to Dadrian's family and friends. In accordance with his wishes, his remains were cremated and transported to Armenia for burial. Dadrian was buried in Tokhmakh Cemetery in Yerevan, Armenia after a state ceremony and visitation at the Armenian National Academy of Sciences.

In August 2022, Dadrian's former student and colleague Taner Akçam and others brought attention to the fact that the historian's grave in Yerevan's Tokhmakh Cemetery had been left unmarked and untended. The grave was then cleaned up and a temporary marker was placed. A state burial commission had been established by the Armenian government in 2019 to attend to Dadrian's funeral. The spokesperson of the Ministry of Foreign Affairs of Armenia explained on Twitter that work on Dadrian's gravestone had been delayed due to "objective reasons" such as the COVID-19 pandemic and the 2020 Nagorno-Karabakh War, but would resume soon.

Reception
Roger W. Smith praised Dadrian's book The History of the Armenian Genocide as a "rare work, over 20 years in the making, that is at once fascinating to read, comprehensive in scope, and unsurpassed in the documentation of the events it describes." According to William Schabas, the president of the International Association of Genocide Scholars, "Dadrian's historical research on the Armenian Genocide is informed by a rich grasp of the legal issues", and "his contribution both to historical and legal scholarship is enormous."

"A specialist on the Armenian Genocide of 1915–23, his many contributions to the investigation of that event, through multilingual original research in a number of archival collections throughout the world, has stamped him as one of foremost thinkers on the nature of the Armenian Genocide and how it was carried out."

According to David Bruce MacDonald, Dadrian is a "towering figure in the field of Armenian genocide history". Taner Akcam writes that by employing Justin McCarthy's own method of calculating population figures and classifying individuals, Dadrian has shown the ridiculousness of the claim that "the events of 1915 were in fact a civil war between the Armenians and Turks". German Swiss scholar Hans-Lukas Kieser writes that the documents related to fifteen Turkish ministers published by V. Dadrian show best the ministers' conception of their responsibility in the "abuses" committed against Ottoman Armenians.

De Waal states that "The analysis that Dadrian presents comes across today as rather Orientalist, a more sophisticated version of the postwar Allied Turcophobic literature." De Waal as well as Malcolm E. Yapp of London University, state that Dadrian's work more closely resembles a prosecutor's argument than analytic history. Dadrian's theory that the genocide resulted from prewar patterns, was caused by Islam and "the repressive and sanguinary aspects of Ottoman culture" has been rejected by the majority of 21st century historians, although expounded in the 2019 book The Thirty-Year Genocide. Ronald Suny explains the shift away from the previous historiography: "neither Dadrian nor Balakian explain why religion should have led to genocidal violence in the first year of the World War but not throughout Ottoman and Islamic history".

According to Donald Bloxham, the accusations leveled by Dadrian "are often simply unfounded", especially "the idea of a German role in the formation of genocidal policy". Bloxham states that while Dadrian supports the authenticity of the so-called "Ten Commandments", on the other hand, "Most serious historians accept that this document is dubious at best, and probably a fake." According to German historian Tessa Hofmann, "Dadrian’s inconsistencies have been abundantly criticized by scholars".

Mary Schaeffer Conroy, professor of Russian history at University of Colorado Denver, and Hilmar Kaiser criticize Dadrian's tone, and failure to use Turkish archival sources.

Sexual misconduct
Soon after he settled to United States, on 4 January 1955, he was arrested in Chicago on sex crime charges involving a 10-year-old boy. According to the report in Chicago Daily Tribune, Dadrian was arrested in his home by a police officer on complaint of the boy's father and charged with crime against nature and crime against a child. The child told police that Dadrian had stopped him on the street and persuaded to go to Dadrian's home, asking the boy to carry a package.

In 1979, Dadrian was reported by five students at SUNY Geneseo for sexual harassment. In 1981, an arbitrator found Dadrian guilty on four charges but dismissed some others. He ruled that Dadrian should be suspended for one month without pay. Following this decision, members of the university community formed the group Geneseo Committee Against Sexual Harassment and hundreds of people signed a petition urging college administrators to "protect students from further harassment by Professor Dadrian". Dadrian was relieved from his position in 1991 following new allegations of sexual harassment. On April 24, 1990, Dadrian returned to college after attending several international conferences on genocide studies and began harassing his 18-year-old student. The college administration offered the 64-year-old professor voluntary resignation, but Dadrian appealed the decision and lost.

Awards
Awards granted to Dadrian include:
 * Citation of Merit on the 80th Anniversary of the Armenian Genocide (1995)
 * Movses Khorenatsi medal (1998)
 * Nagorno-Karabakh Republic, Atayan Memorial Gold Medal (2000)
 * John Marshall Law School, 100th Anniversary Lifetime Achievement Medal April (2000)
 * Veritas Gold Medal of Harvard University (2001)
 * Ellis Island Medal of Honor
 * International Association of Genocide Scholars, Lifetime Achievement Award (2005)
 * U.S. Congress Medal of Esteem for Scholarship (2005)
 * St. Sahag and St. Mesrob Medal and Encyclical from Karekin II, Catholicos of All Armenians (2005)
 * President of the Republic Prize Gold Medal of Armenia (2009)

title: Vahakn Dadrian


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Paroreio

Paroreio (pronounced Parori by locals) (Παρόρειο, before 1926 - Bitusha (Битуша, Битуша, Bituša/Bitusha, Μπίτουσα) is a small village located about 15 kilometres north of Florina, the capital of the regional unit of Florina in northwestern Greece. It is on the ridge of Baba Mountain on the periphery of the Pelagonia plain. Today, Paroreio is inhabited by only a small number of full-time residents. At its peak in the 1930s, the village reached about 600-700 inhabitants, mostly families looking for a piece of fertile land to cultivate and farm in the nearby valley. The residents were employed in agriculture, raising livestock, timber getting and other trades and necessary occupations.

History
Little of history was known between the Medieval and the Balkan Wars but during that time it was called Bitusha (Битуша, Bitousa in Greek). It was annexed to Greece in 1913 and many inhabitants moved northeast, some to Eastern Thrace and Asia Minor. In 1926 the Greek government renamed the village to Parori, and in 1940 to Paroreion. in an effort to Hellenize Macedonia.

The region saw a military presence during World War I and World War II, with French and other ally troops establishing small bases in the area. Border towns like Parorio were at risk of invading parties from the Balkans to the North, who were looking for any point of entry into Greece and access to its important sea routes. The area also saw a brutal conflict when the Greek Civil War emerged following World War II. Many were forced out of their homes and much hardship and tragedy took place at this time.

Following the Civil War, the region saw a mass exodus of people migrating to North America, Australia, and even parts of Africa, where opportunity and a better way of life existed.

Today, the area is sparsely inhabited, but is experiencing a slight rejuvenation in the agriculture industry, as part of a plan funded by the European Union. Some of Greece's most fertile land lies in the area that surrounds the region.

title: Paroreio