document_title: Wildlife management

question_text: who established game management as a profession in the united states

text: Wildlife management

text: History[edit]

text: Game laws[edit]

text: The history of wildlife management begins with the game laws, which regulated the right to kill certain kinds of fish and wild animal (game). In Britain game laws developed out of the forest laws, which in the time of the Norman kings were very oppressive. Under William the Conqueror, it was as great a crime to kill one of the king's deer as to kill one of his subjects. A certain rank and standing, or the possession of a certain amount of property, were for a long time qualifications indispensably necessary to confer upon any one the right of pursuing and killing game.

text: The Game Act of 1831 protected game birds by establishing close seasons when they could not be legally taken. The act made it lawful to take game only with the provision of a game licence and provided for the appointment of gamekeepers around the country. The purposes of the law was to balance the needs for preservation and harvest and to manage both environment and populations of fish and game.[8]

text: Early game laws were also enacted in the US; - in 1839 Rhode Island closed the hunting season for white-tailed deer from May to November.[9] Other regulations during this time focused primarily on restricting hunting. At this time, lawmakers did not consider population sizes or the need for preservation or restoration of wildlife habitats.[9]

text: Emergence of wildlife conservation[edit]

text: The late 19th century saw the passage of the first pieces of wildlife conservation legislation and the establishment of the first nature conservation societies. The Sea Birds Preservation Act of 1869 was passed in Britain as the first nature protection law in the world[10] after extensive lobbying from the Association for the Protection of Seabirds.[11]

text: The Royal Society for the Protection of Birds was founded as the Plumage League in 1889 by Emily Williamson at her house in Manchester[12] as a protest group campaigning against the use of great crested grebe and kittiwake skins and feathers in fur clothing. The group gained popularity and eventually amalgamated with the Fur and Feather League in Croydon to form the RSPB.[13] The Society attracted growing support from the suburban middle-classes as well as support from many other influential figures, such as the ornithologist Professor Alfred Newton.[12]

text: The National Trust formed in 1895 with the manifesto to "...promote the permanent preservation, for the benefit of the nation, of lands, ...to preserve (so far practicable) their natural aspect." On 1 May 1899, the Trust purchased two acres of Wicken Fen with a donation from the amateur naturalist Charles Rothschild, establishing the first nature reserve in Britain.[14] Rothschild was a pioneer of wildlife conservation in Britain, and went on to establish many other nature reserves, such as one at Woodwalton Fen, near Huntingdon, in 1910.[15] During his lifetime he built and managed his estate at Ashton Wold[16] in Northamptonshire to maximise its suitability for wildlife, especially butterflies. Concerned about the loss of wildlife habitats, in 1912 he set up the Society for the Promotion of Nature Reserves, the forerunner of The Wildlife Trusts partnership.

text: During the society's early years, membership tended to be made up of specialist naturalists and its growth was comparatively slow. The first independent Trust was formed in Norfolk in 1926 as the Norfolk Naturalists Trust, followed in 1938 by the Pembrokeshire Bird Protection Society which after several subsequent changes of name is now the Wildlife Trust of South and West Wales and it was not until the 1940s and 1950s that more Naturalists' Trusts were formed in Yorkshire, Lincolnshire, Leicestershire and Cambridgeshire. These early Trusts tended to focus on purchasing land to establish nature reserves in the geographical areas they served.

text: Wildlife management in the US[edit]

text: The profession of wildlife management was established in the United States in the 1920s and '30s by Aldo Leopold and others who sought to transcend the purely restrictive policies of the previous generation of conservationists, such as anti-hunting activist William T. Hornaday. Leopold and his close associate Herbert Stoddard, who had both been trained in scientific forestry, argued that modern science and technology could be used to restore and improve wildlife habitat and thus produce abundant "crops" of ducks, deer, and other valued wild animals.

text: The institutional foundations of the profession of wildlife management were established in the 1930s, when Leopold was granted the first university professorship in wildlife management (1933, University of Wisconsin, Madison), when Leopold's textbook 'Game Management' was published (1933), when The Wildlife Society was founded, when the Journal of Wildlife Management began publishing, and when the first Cooperative Wildlife Research Units were established. Conservationists planned many projects throughout the 1940s. Some of which included the harvesting of female mammals such as deer to decrease rising populations. Others included waterfowl and wetland research. The Fish and Wildlife Management Act was put in place to urge farmers to plant food for wildlife and to provide cover for them.

text: In 1937, the Federal Aid in Wildlife Restoration Act (also known as the Pittman-Robertson Act) was passed in the U.S.. This law was an important advancement in the field of wildlife management. It placed a 10% tax on sales of guns and ammunition. The funds generated were then distributed to the states for use in wildlife management activities and research. This law is still in effect today.

text: Wildlife management grew after World War II with the help of the GI Bill and a postwar boom in recreational hunting. An important step in wildlife management in the United States national parks occurred after several years of public controversy regarding the forced reduction of the elk population in Yellowstone National Park. In 1963, United States Secretary of the Interior Stewart Udall appointed an advisory board to collect scientific data to inform future wildlife management. In a paper known as the Leopold Report, the committee observed that culling programs at other national parks had been ineffective, and recommended active management of Yellowstone's elk population.[17]

text: Elk overpopulation in Yellowstone is thought by many wildlife biologists, such as Douglas Smith, to have been primarily caused by the extirpation of wolves from the park and surrounding environs. After wolves were removed, elk herds increased in population, reaching new highs during the mid-1930s. The increased number of elk apparently resulted in overgrazing in parts of Yellowstone. Park officials decided that the elk herd should be managed. For approximately thirty years, the park elk herds were culled: Each year some were captured and shipped to other locations, a certain number were killed by park rangers, and hunters were allowed to take more elk that migrated outside the park. By the late 1960s the herd populations dropped to historic lows (less than 4,000 for the Northern Range herd). This caused outrage among both conservationists and hunters. The park service stopped culling elk in 1968. The elk population then rebounded. Twenty years later there were 19,000 elk in the Northern Range herd, a historic high.

text: Since the tumultuous 1970s, when animal rights activists and environmentalists began to challenge some aspects of wildlife management, the profession has been overshadowed by the rise of conservation biology. Although wildlife managers remain central to the implementation of the Endangered Species Act and other wildlife conservation policies, conservation biologists have shifted the focus of conservation away from wildlife management's concern with the protection and restoration of single species and toward the maintenance of ecosystems and biodiversity.

text: Types of wildlife management[edit]

text: There are two general types of wildlife management:

text:
Manipulative management acts on a population, either changing its numbers by direct means or influencing numbers by the indirect means of altering food supply, habitat, density of predators, or prevalence of disease. This is appropriate when a population is to be harvested, or when it slides to an unacceptably low density or increases to an unacceptably high level. Such densities are inevitably the subjective view of the land owner, and may be disputed by animal welfare interests.
Custodial management is preventive or protective. The aim is to minimize external influences on the population and its habitat. It is appropriate in a national park where one of the stated goals is to protect ecological processes. It is also appropriate for conservation of a threatened species where the threat is of external origin rather than being intrinsic to the system. Feeding of animals by visitors is generally discouraged.

text: Opposition[edit]

text: The control of wildlife through killing and hunting has been criticized by animal rights and animal welfare activists.[18] Critics object to the real or perceived cruelty involved in some forms of wildlife management.

text: Environmentalists have also opposed hunting where they believe it is unnecessary or will negatively affect biodiversity.[19] Critics of game keeping note that habitat manipulation and predator control are often used to maintain artificially inflated populations of valuable game animals (including introduced exotics) without regard to the ecological integrity of the habitat.

text: Game keepers in the UK claim it to be necessary for wildlife conservation as the amount of countryside they look after exceeds by a factor of nine the amount in nature reserves and national parks.[20]

text: Management of hunting seasons[edit]

text: Wildlife management studies, research and lobbying by interest groups help designate times of the year when certain wildlife species can be legally hunted, allowing for surplus animals to be removed. In the United States, hunting season and bag limits are determined by guidelines set by the United States Fish and Wildlife Service for migratory game such as waterfowl and other migratory gamebirds. The hunting season and bag limits for state regulated game species such as deer are usually determined by State game Commissions, which are made up of representatives from various interest groups, wildlife biologists, and researchers.

text: Open and closed season on deer in the UK is legislated for in the Deer Act 1991 and the Deer Act (Scotland) 1996

text: Open season[edit]

text: Open season is when wildlife is allowed to be hunted by law and is usually not during the breeding season. Hunters may be restricted by sex, age or class of animal, for instance there may be an open season for any male deer with 4 points or better on at least one side.

text: Limited entry[edit]

text: Where the number of animals taken is to be tightly controlled, managers may have a type of lottery system called limited. Many apply, few are chosen. These hunts may still have age, sex or class restrictions.

text: Closed season[edit]

text: Closed season is when wildlife is protected from hunting and is usually during its breeding season. Closed season is enforced by law, any hunting during closed season is punishable by law and termed as illegal hunting or poaching.

text: Type of weapon used[edit]

text: In wildlife management one of the conservation principles is that the weapon used for hunting should be the one that causes the least damage to the animal and is sufficiently effective so that it hits the target. Given State and Local laws, types of weapon can also vary depending on type, size, sex of game and also the geographical layout of that specific hunting area.


document_title: Book of Ruth

question_text: when did the book of ruth take place

question_tokens: when did the book of ruth take place

root

text: Book of Ruth

text: Structure[edit]

text: The book is structured in four chapters:[5]

tag: p

text: Act 1: Prologue and Problem: Death and Emptiness (1:1–22)

text:
Scene 1: Setting the scene (1:1–5)
Scene 2: Naomi returns home (1:6–18)
Scene 3: Arrival of Naomi and Ruth in Bethlehem (1:19–22)

tag: ul

text: Act 2: Ruth Meets Boaz, Naomi's Relative, on the Harvest Field (2:1–23)

text:
Scene 1: Ruth in the field of Boaz (2:1–17)
Scene 2: Ruth reports to Naomi (2:18–23)

text: Act 3: Naomi Sends Ruth to Boaz on the Threshing Floor (3:1–18)

text:
Scene 1: Naomi Reveals Her Plan (3:1–5)
Scene 2: Ruth at the threshing-floor of Boaz (3:6–15)
Scene 3: Ruth reports to Naomi (3:16–18)

text: Act 4: Resolution and Epilogue: Life and Fullness (4:1–22)

text:
Scene 1: Boaz with the men at the gate (4:1–12)
Scene 2: A son is born to Ruth (4:13–17)

text: Genealogical appendix (4:18–22)

text: Summary[edit]

text: During the time of the Judges when there was a famine, an Israelite family from Bethlehem – Elimelech, his wife Naomi, and their sons Mahlon and Chilion – emigrated to the nearby country of Moab. Elimelech died, and the sons married two Moabite women: Mahlon married Ruth and Chilion married Orpah.

text: After about ten years, the two sons of Naomi also died in Moab (1:4). Naomi decided to return to Bethlehem. She told her daughters-in-law to return to their own mothers and remarry. Orpah reluctantly left; however, Ruth said, "Intreat me not to leave thee, [or] to return from following after thee: for whither thou goest, I will go; and where thou lodgest, I will lodge: thy people [shall be] my people, and thy God my God: Where thou diest, will I die, and there will I be buried: the LORD do so to me, and more also, [if aught] but death part thee and me." (Ruth 1:16–17 KJV)

text: The two women returned to Bethlehem at the beginning of the barley harvest, and in order to support her mother-in-law and herself, Ruth went to the fields to glean. As it happened, the field she went to belonged to a man named Boaz, who was kind to her because he had heard of her loyalty to her mother-in-law. Ruth told Naomi of Boaz's kindness, and she gleaned in his field through the remainder of barley and wheat harvest.

text: Boaz was a close relative of Naomi's husband's family. He was therefore obliged by the Levirate law to marry Mahlon's widow, Ruth, in order to carry on his family's inheritance. Naomi sent Ruth to the threshing floor at night and told her to go where he slept, and "uncover his feet, and lay thee down; and he will tell thee what thou shalt do" (3:4). Ruth did so. Boaz asked her who she was, and she replied: "I [am] Ruth thine handmaid: spread therefore thy skirt over thine handmaid; for thou [art] a near kinsman." (3:9) Boaz blessed her and agreed to do all that is required, and he noted that, "all the city of my people doth know that thou [art] a virtuous woman." (3:11) He then acknowledged that he was a close relative, but that there was one who was closer, and she remained in submission at his feet until she returned into the city in the morning.

text: Early that day, Boaz went to the city gate to meet with the other male relative before the town elders. The relative is not named: Boaz addresses him as "Friend", ploni almoni, literally "so and so".[6] The Expanded Bible's editors comment that "the man is not named, perhaps ironically because he refused to preserve Naomi’s family name".[7]

text: The unnamed relative was unwilling to jeopardize the inheritance of his own estate by marrying Ruth, and so relinquished his right of redemption, thus allowing Boaz to marry Ruth. They transferred the property and redeemed it, ratified by the nearer kinsman taking off his shoe and handing it over to Boaz. Ruth 4:7 notes for later generations that:

text: Boaz and Ruth were then married and have a son. The women of the city celebrate Naomi's joy, for Naomi found a redeemer for her family name, and Naomi takes the child and places it in her bosom.

text: The child is named Obed, who we discover is "the father of Jesse, the father of David" (Ruth 4:13–17), that is, the grandfather of King David.

text: The book concludes with an appendix which traces the Davidic genealogy all the way back from Perez, "whom Tamar bore to Judah", through to Obed, down to David.

text: Composition[edit]

text: The book does not name its author.[8] It is traditionally ascribed to the prophet Samuel, but Ruth's identity as a non-Israelite and the stress on the need for an inclusive attitude towards foreigners suggests an origin in the fifth century BCE, when intermarriage had become controversial (as seen in Ezra 9:1 and Nehemiah 13:1).[9] A substantial number of scholars therefore date it to the Persian period (6th–4th centuries BC).[10] The genealogy that concludes the book is believed to be a post-exilic Priestly addition, as it adds nothing to the plot; nevertheless, it is carefully crafted and integrates the book into the history of Israel running from Genesis to Kings.[11]

text: Themes and background[edit]

text: Levirate marriage and the "redeemers"[edit]

text: The Book of Ruth illustrates the difficulty of trying to use laws given in books such as Deuteronomy as evidence of actual practice.[10] Naomi plans to provide security for herself and Ruth by arranging a Levirate marriage with Boaz. Her plan is overtly sexual: Ruth is to go to the threshing floor (a place associated with sexual activity), wait until Boaz has finished eating and drinking (a possible allusion to the story of Lot and his daughters, ancestors through incest of the Moabites), and to lie at his uncovered "feet" (a euphemism for genitals).[12][Note 1] Since there was no heir to inherit Elimelech's land, custom required a close relative (usually the dead man's brother) to marry the widow of the deceased in order to continue his family line (Deuteronomy 25:5–10). This relative was called the go'el, the "kinsman-redeemer". As Boaz is not Elimelech's brother, nor is Ruth his widow, scholars refer to the arrangement here as "Levirate-like".[13] A complication arises in the story: another man is a closer relative to Elimelech than Boaz and has first claim on Ruth. It is resolved through the custom that required land to stay in the family: a family could mortgage land to ward off poverty, but the law required a kinsman to purchase it back into the family (Leviticus 25:25ff). Boaz meets the near kinsman at the city gate (the place where contracts are settled); the kinsman first says he will purchase Elimelech's (now Naomi's) land, but, upon hearing he must also take Ruth as his wife, withdraws his offer. Boaz thus becomes Ruth and Naomi's "kinsman-redeemer."[13]

text: Mixed marriage[edit]

text: The book can be read as a political parable relating to issues around the time of Ezra and Nehemiah (the 4th century BCE).[5] The fictional nature of the story is established from the start through the names of the participants: the husband and father is Elimelech, meaning "My God is King", and his wife is Naomi, "Pleasing", but after the deaths of her sons Mahlon, "Sickness", and Chilion, "Wasting", she asks to be called Mara, "Bitter".[5] The reference to Moab raises questions, since in the rest of the biblical literature it is associated with hostility to Israel, sexual perversity, and idolatry, and Deuteronomy 23:3–6 excluded an Ammonite or a Moabite from "the congregation of the LORD; even to their tenth generation".[5] Despite this, Ruth the Moabitess married a Judahite and even after his death still regarded herself a member of his family; she then married another Judahite and bore him a son who became an ancestor of David.[14] Contrary to the message of Ezra-Nehemiah, where marriages between Jewish men and non-Jewish women were broken up, Ruth teaches that foreigners who convert to Judaism can become good Jews, foreign wives can become exemplary followers of Jewish law, and there is no reason to exclude them or their offspring from the community.[14]

text: Contemporary interpretations[edit]

text: Scholars have increasingly explored Ruth in ways which allow it to address contemporary issues. Feminists, for example, have recast the story as one of the dignity of labour and female self-sufficiency, and even as a model for lesbian relations, while others have seen in it a celebration of the relationship between strong and resourceful women. Others have criticised it for its underlying, and potentially exploitative, acceptance of a system of patriarchy in which a woman's worth can only be measured through marriage and child-bearing. Others again have seen it as a book that champions outcast and oppressed peoples.[15]

text: Genealogy: the descent of David from Ruth[edit]

text:
Elimelech

Naomi

Boaz

Ruth

Mahlon

Orpah

Chilion

Obed

Jesse

David

tag: table


document_title: List of Dallas Cowboys seasons

question_text: when's the last time dallas cowboys won a playoff game

question_tokens: when 's the last time dallas cowboys won a playoff game

text: List of Dallas Cowboys seasons

text: This article is a list of seasons completed by the Dallas Cowboys American football franchise of the National Football League (NFL). The list documents the season-by-season records of the Cowboys' franchise from 1960 to present, including postseason records, and league awards for individual players or head coaches. The Cowboys franchise was founded in 1960 as an expansion team.[1] The team has earned 31 postseason appearances, tied for second place with the Pittsburgh Steelers, the longest consecutive streak of winning seasons with 20, the second-most appearances in the NFC Championship Game (14, behind the San Francisco 49ers' 15) and the second-most Super Bowl appearances (8 with the Denver Broncos and Steelers). The Cowboys have played for 10 NFL Championships and have won 5, all five being Super Bowls.[2]

text: The Cowboys won Super Bowl VI, XII, XXVII, XXVIII and XXX. They also played in and lost Super Bowl V, X, and XIII.[2]

text: The franchise has experienced two major periods of continued success in their history. The first period of success came from 1966–1985 when the Cowboys played in the postseason 18 times.[3] During this period, they played in two NFL Championships and five Super Bowls, winning two of them, winning a total of 20 playoff games.[3] The second period of success was between 1991–1996 when the Cowboys captured five straight NFC East Division titles and won three Super Bowls going 11–2 in the postseason.[3]

text: The Cowboys have also experienced failure in their history. The most notable period of failure was from their 1960 inaugural season to 1965, during which the Cowboys did not have a single postseason appearance.[4] They did not win a single game during their first season, compiling an 0–11–1 record that is still the worst in franchise history.[4] Also, they did not have a single winning record in this period.[4] Between 1986 and 1990 the Cowboys had losing records in each season as veteran coach Landry retired and the team was radically overhauled, with the low point being the NFL's second 15-loss season (after the 1980 Saints) in 1989. After losing a Divisional playoff Game in 1996, the Cowboys between 1997 and 2008 lost five consecutive playoff games, one after a franchise-record 13–3 season in 2007, during which most predicted the Cowboys would break this streak.[5] This streak finally came to an end when the Cowboys finally beat their bitter rival, the Philadelphia Eagles 34–14 after an 11–5 season in 2009.[5]

text: Seasons[edit]

text:
NFL Champions (1920–1969)
Super Bowl Champions (1970–present)
Conference Champions
Division Champions
Wild Card Berth

text:
Season
Team
League
Conference
Division
Regular season
Postseason Results
Awards
Head coaches

Finish
Wins
Losses
Ties

1960
1960
NFL
Western

7th
0
11
1

Tom Landry

1961
1961
NFL
Eastern

6th
4
9
1

Tom Landry

1962
1962
NFL
Eastern

5th
5
8
1

Tom Landry

1963
1963
NFL
Eastern

5th
4
10
0

Tom Landry

1964
1964
NFL
Eastern

5th
5
8
1

Tom Landry

1965
1965
NFL
Eastern

2nd
7
7
0

Tom Landry

1966
1966
NFL
Eastern

1st
10
3
1
Lost NFL Championship Game (Packers) 34–27
Tom Landry (COY)
Tom Landry

1967[6]
1967
NFL
Eastern
Capitol
1st
9
5
0
Won Conference Playoffs (Browns) 52–10
Lost NFL Championship Game (Packers) 21–17

Tom Landry

1968
1968
NFL
Eastern
Capitol
1st
12
2
0
Lost Conference Playoffs (Browns) 31–20

Tom Landry

1969
1969
NFL
Eastern
Capitol
1st
11
2
1
Lost Conference Playoffs (Browns) 38–14
Calvin Hill (OROY)
Tom Landry

1970
1970
NFL
NFC
East
1st
10
4
0
Won Divisional Playoffs (Lions) 5–0
Won Conference Championship (49ers) 17–10
Lost Super Bowl V (Colts) 16–13
Chuck Howley (SB MVP)
Tom Landry

1971
1971
NFL
NFC
East
1st
11
3
0
Won Divisional Playoffs (Vikings) 20–12
Won Conference Championship (49ers) 14–3
Won Super Bowl VI (1) (Dolphins) 24–3
Roger Staubach (SB MVP)
Tom Landry

1972
1972
NFL
NFC
East
2nd
10
4
0
Won Divisional Playoffs (49ers) 30–28
Lost Conference Championship (Redskins) 26–3

Tom Landry

1973
1973
NFL
NFC
East
1st[7]
10
4
0
Won Divisional Playoffs (Rams) 27–26
Lost Conference Championship (Vikings) 27–10

Tom Landry

1974
1974
NFL
NFC
East
3rd
8
6
0

Tom Landry

1975
1975
NFL
NFC
East
2nd
10
4
0
Won Divisional Playoffs (Vikings) 17–14
Won Conference Championship (Rams) 37–7
Lost Super Bowl X (Steelers) 21–17

Tom Landry

1976
1976
NFL
NFC
East
1st
11
3
0
Lost Divisional Playoffs (Rams) 14–12

Tom Landry

1977
1977
NFL
NFC
East
1st
12
2
0
Won Divisional Playoffs (Bears) 37–7
Won Conference Championship (Vikings) 23–6
Won Super Bowl XII (2) (Broncos) 27–10
Tony Dorsett (OROY)
Harvey Martin (DPOY, SB MVP)
Randy White (SB MVP)
Tom Landry

1978[8]
1978
NFL
NFC
East
1st[9]
12
4
0
Won Divisional Playoffs (Falcons) 27–20
Won Conference Championship (Rams) 28–0
Lost Super Bowl XIII (Steelers) 35–31

Tom Landry

1979
1979
NFL
NFC
East
1st[10]
11
5
0
Lost Divisional Playoffs (Rams) 21–19

Tom Landry

1980
1980
NFL
NFC
East
2nd[11]
12
4
0
Won Wild Card Playoffs (Rams) 34–17
Won Divisional Playoffs (Falcons) 30–27
Lost Conference Championship (Eagles) 20–7

Tom Landry

1981
1981
NFL
NFC
East
1st
12
4
0
Won Divisional Playoffs (Buccaneers) 38–0
Lost Conference Championship (49ers) 28–27

Tom Landry

1982[12]
1982
NFL
NFC

2nd
6
3
0
Won Wild Card Playoffs (Buccaneers) 30–17
Won Divisional Playoffs (Packers) 37–26
Lost Conference Championship (Redskins) 31–17

Tom Landry

1983
1983
NFL
NFC
East
2nd
12
4
0
Lost Wild Card Playoffs (Rams) 24–17

Tom Landry

1984
1984
NFL
NFC
East
4th
9
7
0

Tom Landry

1985
1985
NFL
NFC
East
1st[13]
10
6
0
Lost Divisional Playoffs (Rams) 20–0

Tom Landry

1986
1986
NFL
NFC
East
3rd
7
9
0

Tom Landry

1987[14]
1987
NFL
NFC
East
4th
7
8
0

Tom Landry

1988
1988
NFL
NFC
East
5th
3
13
0

Tom Landry

1989
1989
NFL
NFC
East
5th
1
15
0

Jimmy Johnson

1990
1990
NFL
NFC
East
4th
7
9
0

Emmitt Smith (OROY)
Jimmy Johnson (COY)
Jimmy Johnson

1991
1991
NFL
NFC
East
2nd[15]
11
5
0
Won Wild Card Playoffs (Bears) 17–13
Lost Divisional Playoffs (Lions) 38–6

Jimmy Johnson

1992
1992
NFL
NFC
East
1st
13
3
0
Won Divisional Playoffs (Eagles) 34–10
Won Conference Championship (49ers) 30–20
Won Super Bowl XXVII (3) (Bills) 52–17
Troy Aikman (SB MVP)
Jimmy Johnson

1993
1993
NFL
NFC
East
1st
12
4
0
Won Divisional Playoffs (Packers) 27–17
Won Conference Championship (49ers) 38–21
Won Super Bowl XXVIII (4) (Bills) 30–13
Emmitt Smith (MVP, SB MVP)
Jimmy Johnson

1994
1994
NFL
NFC
East
1st
12
4
0
Won Divisional Playoffs (Packers) 35–9
Lost Conference Championship (49ers) 38–28

Barry Switzer

1995
1995
NFL
NFC
East
1st
12
4
0
Won Divisional Playoffs (Eagles) 30–11
Won Conference Championship (Packers) 38–27
Won Super Bowl XXX (5) (Steelers) 27–17
Larry Brown (SB MVP)
Barry Switzer

1996
1996
NFL
NFC
East
1st[16]
10
6
0
Won Wild Card Playoffs (Vikings) 40–15
Lost Divisional Playoffs (Panthers) 26–17

Barry Switzer

1997
1997
NFL
NFC
East
4th
6
10
0

Barry Switzer

1998
1998
NFL
NFC
East
1st
10
6
0
Lost Wild Card Playoffs (Cardinals) 20–7

Chan Gailey

1999
1999
NFL
NFC
East
2nd[17]
8
8
0
Lost Wild Card Playoffs (Vikings) 27–10

Chan Gailey

2000
2000
NFL
NFC
East
4th
5
11
0

Dave Campo

2001
2001
NFL
NFC
East
5th
5
11
0

Dave Campo

2002
2002
NFL
NFC
East
4th
5
11
0

Dave Campo

2003
2003
NFL
NFC
East
2nd
10
6
0
Lost Wild Card Playoffs (Panthers) 29–10

Bill Parcells

2004
2004
NFL
NFC
East
3rd
6
10
0

Bill Parcells

2005
2005
NFL
NFC
East
3rd
9
7
0

Bill Parcells

2006
2006
NFL
NFC
East
2nd
9
7
0
Lost Wild Card Playoffs (Seahawks) 21–20

Bill Parcells

2007
2007
NFL
NFC
East
1st
13
3
0
Lost Divisional Playoffs (Giants) 21–17
Greg Ellis (CBPOY)
Wade Phillips

2008
2008
NFL
NFC
East
3rd
9
7
0

Wade Phillips

2009
2009
NFL
NFC
East
1st[18]
11
5
0
Won Wild Card Playoffs (Eagles) 34–14
Lost Divisional Playoffs (Vikings) 34–3

Wade Phillips

2010
2010
NFL
NFC
East
3rd
6
10
0

Wade Phillips (1–7)
Jason Garrett (5–3)

2011
2011
NFL
NFC
East
3rd
8
8
0

Jason Garrett

2012
2012
NFL
NFC
East
3rd
8
8
0

Jason Witten (WP MOY)
Jason Garrett

2013
2013
NFL
NFC
East
2nd
8
8
0

Jason Garrett

2014
2014
NFL
NFC
East
1st
12
4
0
Won Wild Card Playoffs (Lions) 24–20
Lost Divisional Playoffs (Packers) 26–21
DeMarco Murray (OPOY)
Jason Garrett

2015
2015
NFL
NFC
East
4th
4
12
0

Jason Garrett

2016
2016
NFL
NFC
East
1st
13
3
0
Lost Divisional Playoffs (Packers) 34–31
Dak Prescott (OROY)
Jason Garrett (COY)
Jason Garrett

2017
2017
NFL
NFC
East
2nd
9
7
0

Jason Garrett

Total
493
367
6
All-time regular season record (1960–2016)

34
27
0
All-time postseason record (1960–2016)

527
393
6
All-time regular season and postseason record (1960–2016)

5 NFL Championships, 10 Conference Championships, 22 Divisional Championships

text: Footnotes[edit]

text:
Jump up ^ "1960 Dallas Cowboys". Dallas Cowboys' Official Website. Archived from the original on 2007-12-29. Retrieved 2008-01-12.
^ Jump up to: a b "Dallas Cowboys' Championship History". NFLTeamHistory.com. Retrieved 2008-01-12.
^ Jump up to: a b c "Dallas Cowboys Championship History". NFLTeamHistory.com. Retrieved 2008-01-28.
^ Jump up to: a b c "Dallas Cowboys History". CBS Sports. Retrieved 2008-01-27.
^ Jump up to: a b "Dallas Cowboys Franchise History". SportsEncyclopedia.com. Retrieved 2011-12-17.
Jump up ^ The 1967 NFL season marks the first season in the league's history where the league was divided into two conferences which were subdivided into two divisions. Up to 1967, the league was either divided into two divisions, two conferences, or neither.
Jump up ^ At the end of the 1973 season, the Cowboys and the Redskins finished the season with identical 10–4 records. Using the NFL's tie-breaking procedures, Dallas finished ahead of Washington in the NFC East based on better point differential in head-to-head games.
Jump up ^ For the 1978 season, the NFL expanded from a 14-game season to a 16-game season.
Jump up ^ At the end of the 1978 season, the Cowboys and the Los Angeles Rams finished the season with identical 12–4 records. Using the NFL's tie-breaking procedures, Los Angeles was the top NFC seed over Dallas based on a better head-to-head record.
Jump up ^ At the end of the 1979 season, the Cowboys and the Eagles finished the season with identical 11–5 records. Using the NFL's tie-breaking procedures, Dallas finished ahead of Philadelphia in the NFC East based on a better conference record.
Jump up ^ At the end of the 1980 season, the Cowboys and the Eagles finished the season with identical 12–4 records. Using the NFL's tie-breaking procedures, Philadelphia finished ahead of Dallas in the NFC East based on better net points in division games.
Jump up ^ The 1982 NFL season was shortened from 16 games per team to 9 games because of a players' strike. The NFL adopted a special 16-team playoff tournament; eight teams from each conference were seeded 1–8, and division standings were ignored.
Jump up ^ At the end of the 1985 season, the Cowboys, Redskins, and the Giants finished the season with identical 10–6 records. Using the NFL's tie-breaking procedures, Dallas finished ahead of New York and Washington based on a better head-to-head record.
Jump up ^ The 1987 NFL season was shortened from 16 games per team to 15 games because of a players' strike. Games to be played during the third week of the season were canceled, and replacement players were used to play games from weeks 4 through 6.
Jump up ^ At the end of the 1991 season, the Cowboys and the Bears finished the season with identical 11–5 records. Using the NFL's tie-breaking procedures, Chicago was the first NFC Wild Card based on better conference record than Dallas.
Jump up ^ At the end of the 1996 season, the Cowboys and the Eagles finished the season with identical 10–6 records. Using the NFL's tie-breaking procedures, Dallas finished ahead of Philadelphia in the NFC East based on better record against common opponents.
Jump up ^ At the end of the 1999 season, the Cowboys, Lions, and the Panthers finished the season with identical 8–8 records. Using the NFL's tie-breaking procedures, Dallas was the second NFC Wild Card based on a better record than Detroit against common opponents and a better conference record than Carolina.
Jump up ^ At the end of the 2009 season, the Cowboys and the Eagles finished with identical 11–5 records. Using the NFL's tie-breaking procedures, Dallas finished ahead of Philadelphia in the NFC East based on better head-to-head record.

tag: ol


document_title: Oz the Great and Powerful

question_text: who plays china girl in oz the great and powerful

text: Oz the Great and Powerful

text: Plot[edit]

text: In 1905 Kansas, Oscar Diggs works as a magician in a traveling circus. As a storm approaches, the circus strongman learns Oscar has flirted with his wife and threatens him. Oscar escapes in a hot air balloon, but is sucked into a tornado that takes him to the Land of Oz. There he encounters the beautiful yet naïve witch Theodora, who believes him to be a wizard prophesied to become King of Oz by destroying the Wicked Witch who killed the previous king; the idea of being an immensely wealthy monarch makes Oscar immediately accept. En route to the Emerald City, Theodora falls in love with Oscar, though he does not reciprocate her feelings. They encounter the flying monkey Finley, who pledges a life debt to Oscar when he saves him from a lion. Oscar reveals his deception to Finley, forcing him to maintain the lie that he is a wizard.

text: At the Emerald City, Oscar meets Theodora's beautiful older sister, Evanora, who tells him that the Wicked Witch resides in the Dark Forest and can be killed by destroying her wand. Oscar and Finley are joined en route to the forest by China Girl, a young, living china doll whose village and family were destroyed by the Wicked Witch. The three reach the forest and, upon retrieving the wand, discover the "Wicked Witch" is Glinda the Good Witch, who identifies herself as the late king's daughter and Evanora as the true Wicked Witch. Evanora sees this with her crystal ball and tricks Theodora into thinking he is trying to court all three witches at once. She offers Theodora a magic apple she says will remove her heartache; Theodora bites it and turns into a hideous green-skinned Wicked Witch.

text: Glinda brings Oscar's group to her domain to escape Evanora's army of Winkies and flying baboons. She confides in Oscar that she knows he is not a wizard, but still believes he can help stop Evanora. He reluctantly takes charge of an "army" of Quadlings, Tinkers, and Munchkins. Theodora enters Glinda's domain and angrily reveals her new, hideous appearance to Oscar before threatening to kill him and his allies with the Emerald City's well-prepared army. Oscar despairs at his chances of victory, but after telling China Girl about the exploits of his hero Thomas Edison, he conceives a plan that relies on trickery and makes preparations with Glinda and his group.

text: Glinda and her subjects mount a fake attack on the Emerald City using a pulley-rig army of scarecrow puppets hidden by thick fog. The witches are tricked into sending their flying baboons through a poppy field that puts them to sleep. However, two baboons manage to capture Glinda, who is brought to the city square and chained. Meanwhile, Oscar infiltrates the Emerald City with his allies, but appears to abandon them in a hot air balloon loaded with gold, which Theodora destroys with a fireball. As the wicked sisters prepare to execute Glinda, Oscar appears before his friends, having faked his betrayal and death. Using a hidden smoke machine and image projector, he presents a giant image of his face as his "true" form, and a fireworks display to intimidate the Wicked Witches. Evanora fearfully hides in her castle while Theodora flees on her broom, unable to hurt the "invincible" wizard; Oscar calls to Theodora, offering her to return should she overcome her wickedness, which is met with defiance from Theodora, who flies away to the West while cackling evilly, leaving Oscar saddened. China Girl frees Glinda, who engages Evanora in a magical duel. During the fight, Glinda destroys Evanora's emerald necklace, revealing she's an old hag, and banishes her. Evanora is carried off by the two remaining flying baboons as she vows revenge.

text: Oscar, now ruler of Oz, uses his projector to sustain the belief he is a powerful wizard. He also presents gifts to his friends: Master Tinker, who helped build his machines, receives Oscar's camping-tool jackknife; Knuck, the grumpy Munchkin herald, receives a mask with a smiley face; the long-suffering Finley receives Oscar's friendship along with his top hat; and China Girl accepts her friends as her new family. Finally, Oscar takes Glinda behind the curtains of his projector, thanking her for making him a better person, and they kiss.

text: Cast[edit]

text:
James Franco as Oscar Diggs, or "Oz", a philandering con artist, a stage magician, and a barnstormer[8] who is part of a traveling circus in the Midwest. He is whisked in a hot air balloon by a tornado to the Land of Oz, where he is believed to be a wizard destined to bring peace to the land, forcing him to overcome his dubious ethics to convince his peers he is the hero needed by the people of Oz. He eventually becomes what is known as the Wizard of Oz.
Michelle Williams as Glinda, the daughter of the late king. She rules and protects a peaceful kingdom in Oz inhabited by kind Quadlings, tinkers, and Munchkins. Oscar originally believed her to be the Wicked Witch responsible for terrorizing the land. She guides Oscar to achieve his destiny of defeating Evanora, becoming his love interest in the process.

Michelle Williams also plays Annie, an old flame of Oscar's and the future mother of Dorothy Gale.[9]

Rachel Weisz as Evanora, the protector of the Emerald City. Being the Wicked Witch of the East, she has a hideous form which she hides by wearing a necklace that gives her the appearance of a young woman. She deceives Oscar by framing Glinda for the King's murder and telling Oscar that Glinda is the Wicked Witch rather than herself.
Mila Kunis as Theodora, a naïve good witch who has the Land of Oz's best interests at her heart. She believes that Oscar is the wizard prophesied to defeat the seemingly evil Glinda from the Dark Forest, developing an attraction to him in the process. Evanora gradually manipulates Theodora into thinking Oscar has betrayed her for Glinda, ushering her transformation into the Wicked Witch of the West.[10]
Zach Braff as the voice of Finley, a winged monkey who pledges an irrevocable life debt to Oscar, believing him to be the prophesied wizard, for saving him from the Cowardly Lion.[11] He quickly regrets his decision when Oscar reveals he is not a wizard, but nonetheless becomes his loyal ally.

Braff also plays Frank, Oscar's long-suffering yet loyal assistant in Kansas.

Bill Cobbs as the Master Tinker, the leader of the tinkers who are ruled by Glinda. He would later build the Tin Woodman.
Joey King as the voice of China Girl, a young, living china doll from China Town where everything, including its inhabitants, is made of china. Her home is destroyed by Evanora, leaving her its only survivor when she is found by Oscar, with whom she forms a strong friendship after he uses glue to fix her legs.

King also plays a girl in a wheelchair visiting Oscar's magic show in Kansas.

Tony Cox plays Knuck, the quick-tempered herald and fanfare player of Emerald City who is allied with Glinda.

text: Stephen R. Hart and Bruce Campbell play Winkie guards at the Emerald City.[12] Abigail Spencer plays May, Oscar's temporary magic assistant in Kansas and one of his several fleeting loves in the film.[12] Tim Holmes plays the strongman who attacks Oscar for trying to court his wife (played by Toni Wynne), prompting Oscar to take the hot air balloon that sends him to the Land of Oz.

text: Raimi, who often casts friends and actor-regulars in cameo roles, cast his brother Ted Raimi as a small-town skeptic at Oscar's magic show who yells "I see a wire!", two of his former teachers—Jim Moll and Jim Bird—as Emerald City townspeople, and the three actresses from his 1981 directorial debut The Evil Dead—Ellen Sandweiss, Betsy Baker and Theresa Tilly— as Quadling townspeople.[13]

text: Continuity[edit]

text: Oz the Great and Powerful features several artistic allusions, homages, and technical parallels to Baum's novels and the 1939 Metro-Goldwyn-Mayer film, The Wizard of Oz.

text: The film's opening sequence is presented in black and white. When Oscar is caught up in the tornado, the audio switches from monaural to stereo and eventually surround sound.[14] The film shifts to full color when Oscar arrives in Oz; additionally, the aspect ratio gradually widens from 4:3 Academy ratio to 2.35:1 widescreen.[15][16] As in the 1939 film, Glinda travels in giant bubbles, and the Emerald City is actually emerald; in the novel, characters wear tinted glasses to make it appear so. However, during the battle preparations sequence Oz can be seen wearing emerald goggles. The iconic green look of the Wicked Witch of the West is closer to her look in the classic film, as the Witch is a short, one-eyed crone in the novel. The Wicked Witches are portrayed as sisters, an idea which originated in the 1939 film. Also from the 1939 film is that several actors who play Oz characters make cameos in the Kansas segments, such as Frank (Zach Braff), Oscar's assistant whom he refers to as his "trained monkey" (Frank's "Oz" counterpart is the winged monkey Finley) and a young girl in a wheelchair (Joey King) who serves as the Kansas counterpart to China Girl (in Kansas, Oscar is unable to make the wheelchair-bound young girl walk, and gets a chance to do so when he repairs China Girl's broken legs). Annie (Michelle Williams), a woman wearing a gingham dress who inspires Oscar to be a good and great person, informs him that she has been proposed to by John Gale, presumably hinting at Dorothy Gale's parental lineage (Annie's "Oz" counterpart, Glinda, also inspires Oscar to be a better person).[17] Theodora (Mila Kunis), who became the Wicked Witch of the West after suffering from a "broken heart" caused by Oscar's "betrayal", has no Kansas counterpart. However, an unnamed woman who worked as Oscar's assistant at the time and suddenly left after suffering from a "broken heart", may be a possible reference to the existence of Theodora's unknown counterpart. The character of Miss Almira Gulch, who did not exist in Baum's novel, is the Kansas counterpart of the Wicked Witch of the West in the 1939 film.

text: Other referenced characters include the Scarecrow, who is built by the townspeople as a scare tactic, and the Tin Woodman, whose creator is the Master Tinker that can build "anything".[11] Similarly, various other races of Oz are depicted besides the Munchkins; the Quadlings, the china doll inhabitants of Dainty China Country, and the Winkies (who went unnamed in the classic film). Similarly, Glinda is referred to by her title in the novel (the Good Witch of the South), unlike the 1939 film, where her character's title is "Good Witch of the North" (due to her character being merged with the Good Witch of the North). Glinda is also the daughter of the late King of Oz, though in the novels, Ozma is the King's daughter. Theodora's tears leave streaks of scars on her face, reflecting her weakness to water in the original novel/film. This can also be seen at the beginning of the film when a flying baboon chase both Oscar and Theodora and they hide in a cave behind a waterfall, you see a scene where Theodora's boots almost touch the water. Also, Oz is presented as a real place as it is in the novel, and not as a possible dream as the 1939 film implies.[18] Finally, the lion that attacks Finley but was warded off by Oz is a reference to the Cowardly Lion in the original novel/film.

text: Production[edit]

text: Disney's history with Oz[edit]

text: After the success of Snow White and the Seven Dwarfs in 1937, Walt Disney planned to produce an animated film based on the first of L. Frank Baum's Oz books. Roy O. Disney, chairman of the Walt Disney Productions, was informed by Baum's estate that they had sold the film rights to the first book to Samuel Goldwyn, who re-sold it to Louis B. Mayer in 1938.[19] The film was ironically approved due to the success of Snow White.[20] The project was developed by Metro-Goldwyn-Mayer into the well-known musical adaptation released the following year.

text: In 1954, when the film rights to Baum's remaining thirteen Oz books were made available, Walt Disney Productions acquired them[21] for use in Walt Disney's television series Disneyland which lead to the live-action film Rainbow Road to Oz, which was abandoned and never completed.[22] Disney's history with the Oz series continued with the 1985 film Return to Oz, which performed poorly, both critically and commercially,[23][24][25] but has developed a cult following since its release.[26][27] After Return to Oz, Disney lost the film rights to the Oz books and they were subsequently reverted to the public domain.[28]

text: Development[edit]

text: Screenwriter Mitchell Kapner was intrigued by the prospect of exploring the origins of the Wizard of Oz character which he discussed in many meetings. After Wicked came out, Kapner felt he missed his window of opportunity.[29] In 2009, Kapner met with Joe Roth, who turned down his current pitches, request any other ideas he had. The discussion turned to what Kapner was reading which he indicated he was reading the Oz series to his kids. Roth was interested as he only knew about the first book. Kapner went through the plot of the novels, when Roth stopped him on the sixth novel in the series, The Emerald City of Oz, which had some of back story of the Wizard.[30] Producer Joe Roth became involved for nearly the same reason as Kapner, stating that "... during the years that I spent running Walt Disney Studios -- I learned about how hard it was to find a fairy tale with a good strong male protagonist. You've got your Sleeping Beauties, your Cinderellas and your Alices. But a fairy tale with a male protagonist is very hard to come by. But with the origin story of the Wizard of Oz, here was a fairy tale story with a natural male protagonist. Which is why I knew that this was an idea for a movie that was genuinely worth pursuing."[30] Kapner and co-writer Palak Patel presented the idea to Sony Pictures but were turned down.[29] In 2009, the project was set up at Walt Disney Pictures when the studio's president of production, Sean Bailey commissioned Oz the Great and Powerful under the working title Brick during the tenure of then Walt Disney Studios chairman Dick Cook, who was succeeded by Rich Ross and later Alan Horn, a succession in management that a major studio release is rare to survive.[29] David Lindsay-Abaire was later hired to do a re-write.[28]

text: Roth initially sought out Robert Downey Jr. for the titular role of the Wizard in April 2010.[31] By summer of that year, Sam Raimi was hired to direct the film from a shortlist that reportedly included directors Sam Mendes and Adam Shankman.[31] In January 2011, Raimi met with Downey, but did not secure his casting.[29] With Downey's disinterest acknowledged, Johnny Depp was then approached due to his previous collaboration with the studio in the Pirates of the Caribbean franchise and Alice in Wonderland.[32] Depp liked the role but declined involvement, citing his commitment to another Disney tentpole film, The Lone Ranger.[29] The film was without a lead until February when James Franco entered final negotiations to star in the film (including a $7 million salary), five months before filming was scheduled to begin.[29] Franco and Raimi had previously worked together on the Spider-Man trilogy.[33] Franco received training with magician Lance Burton to prepare for the role.[29]

text: Screenwriter Kapner adopted information about the Wizard from L. Frank Baum's novels to conceptualize an original story. Raimi made sure that the film would also "nod lovingly" to the 1939 film and inserted several references and homages to that film.[34] Disney wanted to reduce the film's production budget to be approximately $200 million.[33] Casting calls were put out for local actors in Michigan.[35]

text: In June 2011, composer Danny Elfman was chosen to score Oz the Great and Powerful, despite Elfman and Raimi having had a falling-out over Spider-Man 2 (2004) and Elfman declaring that they would never again work together.[36]

text: Filming[edit]

text: Principal photography for Oz the Great and Powerful began July 25, 2011, at Raleigh Michigan Studios in Pontiac, Michigan, employing 3D cameras.[37]

text: Raimi opted to use practical sets in conjunction with computer-generated imagery during filming.[38] Physical sets were constructed so the actors could have a visual reference, as opposed to using green screen technology for every scene. Chroma key compositing was only used for background pieces.[37] Zach Braff and Joey King were on set, recording their dialogue simultaneously with the other actors, whenever their CG characters were present in a scene. Puppetry was employed for a physical version of the China Girl to serve as a visual key-point for actors to manipulate.[39] Braff wore a blue motion capture suit to create Finley's movements and had a camera close to his face for the flying sequences to obtain facial movements.

text: Art director Robert Stromberg, who worked on Avatar and Alice in Wonderland, drew inspiration from the films of Frank Capra and James Wong Howe to achieve the Art Deco design he envisioned for the Emerald City. Stromberg contrasted the colorful tonal qualities of Oz with the restrained appearance of Alice, affirming that although both films explore similar fantasy worlds, the overall atmosphere and landscape of each "are completely different."[40] In 2011, Stromberg and his team visited the Walt Disney archives during the pre-production phase to reference production art from Disney's animated films such as Pinocchio, Bambi, Fantasia, Cinderella, Sleeping Beauty, Alice in Wonderland, and Snow White and the Seven Dwarfs, drawing from designs and textures, in order to give certain settings in the film an affectionate nod to the classic Disney style.[41] Costume designer Gary Jones focused on authenticity with his wardrobe designs: "We started by doing a lot of research and having ideas of the ways (costumes) should look in order to be (historically accurate) but as we went on, we really began creating a whole new world."[42]

text:
My first instinct was, there are such iconic images in the Wizard of Oz movie, it would be wrong for us to re-create the Yellow Brick Road or the Emerald City in a different way. We had to go 180 degrees in the other direction. We're just going to have to make our own Oz.

Sam Raimi on recreating the Land of Oz under legalities.[29]

tag: div

text: The film was technically a prequel to the 1939 Metro-Goldwyn-Mayer film, The Wizard of Oz, but it was not allowed to be considered as such. The filmmakers had to toe a fine line between calling the film to mind but not infringing upon it. To that end, they had a copyright expert on set to ensure no infringement occurred. The production team worked under the constraint of abiding by the stipulations set forth by Warner Bros., the legal owner of the rights to iconic elements of the 1939 film (via its Turner Entertainment subsidiary which purchased the MGM film library in 1986), including the ruby slippers worn by Judy Garland. Therefore, Disney was unable to use them nor any character likenesses from that particular film.[43] This extended to the green of the Wicked Witch's skin, for which Disney used what its legal department considered a sufficiently different shade dubbed "Theostein" (a portmanteau of "Theodora" and "Frankenstein").[44] Additionally, the studio could not use the signature chin mole of Margaret Hamilton's portrayal of the Wicked Witch of the West, nor could they employ the yellow brick road's swirl design for Munchkinland.[39] The expert also ensured that the Emerald City was not too close in appearance to the Emerald City in the 1939 film.[citation needed]

text: While WB and Disney did not engage in copyright battle, they did file rival trademarks. Disney filed a trademark on "Oz the Great and Powerful." One week later, WB filed its own trademarks for "The Great and Powerful Oz." The US Patent and Trademark Office suspended WB's attempt at a trademark because Disney had filed basically the same one a week earlier.[citation needed]

text: In addition to the legal issues, the film was also faced with delays when several cast members went on hiatus due to unrelated commitments and circumstances. Rachel Weisz left halfway through the shoot to film her entire role in The Bourne Legacy, Michelle Williams was required to promote the release of My Week with Marilyn, and Franco's father died during production. Roth compared the task of managing overlapping schedules to "being an air-traffic controller."[29] Mila Kunis's makeup and prosthetics were supervised by Greg Nicotero and demanded four hours to apply and another hour to remove, with Kunis taking nearly two months to fully recover from the subsequent removal of the makeup from her skin.[29][45] Raimi had to edit the frightening nature of several scenes to secure Disney's desired PG rating from the MPAA.[29] Sony Pictures Imageworks was contracted to create the film's visual effects.[46]

text: Music[edit]

text: Composer Danny Elfman noted that the film's score was accessibly quick to produce, with a majority of the music being written in six weeks.[47] Regarding the tonal quality of the score, Elfman stated, "We're going to take an approach that's old school but not self-consciously old-fashioned. Let the melodrama be melodrama, let everything be what it is. I also think there's the advantage that I'm able to write narratively, and when I'm able to write narratively I can also move quicker because that's my natural instincts, I can tell a story in the music."[48]

text: American singer-songwriter Mariah Carey recorded a promotional Pop single called "Almost Home" written by Carey, Simone Porter, Justin Gray, Lindsey Ray, Tor Erik Hermansen, and Mikkel Eriksen (a.k.a. Stargate) for the soundtrack of the film. The single was released on February 19, 2013 by Island Records.[49]

text: Soundtrack[edit]

text: The original soundtrack to Oz the Great and Powerful was released digitally and physically by Walt Disney Records on March 5, 2013.[50] The physical CD release was in association with Intrada Records.[51]

text:
Oz the Great and Powerful (Original Motion Picture Soundtrack)

Film score by Danny Elfman

Released
March 5, 2013 (2013-03-05)

Recorded
2012

Studio
Sony Scoring Stage

Genre
Film score

Length
1:06:19

Label
Walt Disney

text: All music composed by Danny Elfman.

text:
No.
Title
Length

1.
"Main Titles"
2:57

2.
"A Serious Talk"
2:23

3.
"Oz Revealed"
1:58

4.
"A Strange World"
1:48

5.
"Where Am I?/Schmooze-A-Witch"
2:05

6.
"Fireside Dance"
1:19

7.
"Meeting Finley"
1:57

8.
"The Emerald Palace"
0:47

9.
"Amanece, Amanece / Dios de Pactos"
2:56

10.
"China Town"
3:07

11.
"A Con Job"
1:47

12.
"Glinda Revealed"
1:43

13.
"The Munchkin Welcome Song"
0:41

14.
"Bad Witch"
4:32

15.
"The Bubble Voyage"
2:48

16.
"Great Expectations/The Apple"
4:58

17.
"Meeting the Troops"
1:18

18.
"What Army"
0:29

19.
"Theodora's Entrance/Puppet Waltz"
1:51

20.
"A Threat"
2:07

21.
"Bedtime/The Preparation Montage"
7:00

22.
"Call to Arms"
2:13

23.
"Destruction"
2:38

24.
"Oz the Great and Powerful"
1:25

25.
"Fireworks/Witch Fight"
1:39

26.
"Time for Gifts"
5:54

27.
"End Credits from Oz"
1:59

Total length:
1:06:19

text: Release[edit]

text: In May 2011 before filming began, Walt Disney Studios Motion Pictures gave Oz the Great and Powerful a March 8, 2013 North American theatrical release date.[52] The film had its world premiere at the El Capitan Theater in Hollywood on February 14, 2013.[12] Disney opened the film in wide release in 3,912 theaters.[53]

text: To promote the film, Disney partnered with the IMAX Corporation and HSN to coordinate a hot air balloon campaign across the United States beginning in California at the Walt Disney Studios lot in Burbank, stopping at four locations; the El Capitan Theater during the world premiere, the Disneyland Resort in Anaheim, the Daytona International Speedway in Florida and Central Park in New York City.[54] Disney also promoted the film through its theme parks; Epcot's International Flower and Garden Festival featured a multi-purpose garden and play area themed to the film and Disney California Adventure hosted sample viewings inside the Muppet*Vision 3D theatre.[55][56] The estimated marketing campaign cost upwards of $100 million.[29]

text: Home media[edit]

text: Oz the Great and Powerful was released by Walt Disney Studios Home Entertainment on Blu-ray, Blu-ray 3D, DVD and digital download on June 11, 2013.[57] The film is Disney's first home media release to exclude a physical digital copy disc and instead provides only a digital code for the download.[58] Oz the Great and Powerful debuted at number one in its first week of home media release in overall disc sales with 46% of its first week sales from Blu-ray disc.[59] The film has earned $52 million in sales.[60]

text: Reception[edit]

text: Box office[edit]

text: Oz the Great and Powerful earned $234.9 million in the United States and Canada, and $258.4 million in other countries for a worldwide total of $493.3 million.[3] Worldwide, it was the thirteenth highest-grossing film of 2013.[61] Calculating in all expenses, Deadline.com estimated that the film made a profit of $36.4 million.[62] It topped the box office on its worldwide opening weekend with $149 million.[63] Before its theatrical release, several media outlets reported that Oz the Great and Powerful was expected to duplicate the box office performance of 2010's Alice in Wonderland.[64][65][66] However, Oz accumulated less than half of Alice's worldwide gross.[67]

text: Preliminary reports had the film tracking for an $80–$100 million debut in North America.[68] The movie earned $2 million from 9 p.m. showings on Thursday night.[69] For its opening day, Oz the Great and Powerful grossed $24.1 million, the fourth-highest March opening day.[70] During its opening weekend, the film topped the box office with $79.1 million, the third-highest March opening weekend.[71] Despite the film's solid debut, which was larger than nearly all comparable titles, it clearly lagged behind Alice in Wonderland's opening ($116.1 million). The film's 3-D share of the opening weekend was 53%. Females made up 52% of the audience. Surprisingly, though, families only represented 41% of attendance, while couples accounted for 43%.[71] The film retained first place at the box office during its second weekend with $41.3 million.[72]

text: Outside North America, the film earned $69.9 million on its opening weekend from 46 territories. Among all markets, its highest-grossing debuts were achieved in Russia and the CIS ($14.7 million), China ($9.06 million)[73] and France and the Maghreb region ($5.77 million).[74] The film's openings trailed Alice in Wonderland in all major markets except Russia and the CIS.[75] It retained first place at the box office outside North America for a second weekend.[76] In total grosses, Oz's largest countries are Russia and the CIS ($27.4 million), China ($25.9 million) and the UK, Ireland and Malta ($23.4 million).[74]

text: Critical response[edit]

text: On review aggregator Rotten Tomatoes, Oz the Great and Powerful received an approval rating of 59% based on 247 reviews, with an average rating of 6/10. The site's critical consensus reads, "It suffers from some tonal inconsistency and a deflated sense of wonder, but Oz the Great and Powerful still packs enough visual dazzle and clever wit to be entertaining in its own right."[77] On Metacritic the film holds a score of 44 out of 100, based on 42 critics, indicating "mixed to average reviews".[78] Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.[79]

text: Kim Newman, writing for Empire, gave the film 4 out of 5 stars and said, "If there are post-Harry Potter children who don't know or care about The Wizard Of Oz, they might be at sea with this story about a not-very-nice grownup in a magic land, but long-term Oz watchers will be enchanted and enthralled ... Mila Kunis gets a gold star for excellence in bewitchery and Sam Raimi can settle securely behind the curtain as a mature master of illusion."[80] Critic Alonso Duralde also admired the movie: "That Oz the Great and Powerful is so thoroughly effective both on its own terms and as a prequel to one of the most beloved movies ever made indicates that this team has magic to match any witch or wizard."[81] Leonard Maltin on IndieWire claimed that "No movie ever can, or will, replace 1939's The Wizard Of Oz, but taken on its own terms, this eye-filling fantasy is an entertaining riff on how the Wizard of that immortal film found his way to Oz."[82] IGN rated the film 7.8 and said, "The film is expansive and larger-than-life in scope and so are the performances, overall. Franco in particular hams it up and is often playing to the balcony ... The 3D is utilized just as it should be in a children's fantasy epic such as this – overtly, but with skill. Snowflakes, music boxes and mysterious animals all leap through the screen towards the audience as the story unfolds."[83]

text: Justin Chang of Variety had a mixed reaction, writing that the film "gets some mileage out of its game performances, luscious production design and the unfettered enthusiasm director Sam Raimi brings to a thin, simplistic origin story."[84] He also compared the film's scale with the Star Wars prequel trilogy adding, "In a real sense, Oz the Great and Powerful has a certain kinship with George Lucas' Star Wars prequels, in the way it presents a beautiful but borderline-sterile digital update of a world that was richer, purer and a lot more fun in lower-tech form. Here, too, the actors often look artificially superimposed against their CG backdrops, though the intensity of the fakery generates its own visual fascination."[84] /Film rated the film 7 out of 10, saying it had "many charms" while considering it to be "basically Army of Darkness: (Normal guy lands in magical land, is forced to go on quest to save that land.) But just when you see Raimi's kinetic, signature style starting to unleash, the story forces the film back into its Disney shell to play to the masses. We're left with a film that's entertaining, a little scarier than you'd expect, but extremely inconsistent."[85]

text: Richard Roeper, writing for Roger Ebert, noted the film's omnipresent visual effects but was largely disappointed by the performance of some cast members; "... to see Williams so bland and sugary as Glinda, and Kunis so flat and ineffectual as the heartsick Theodora ..."[86] Marshall Fine of The Huffington Post was unimpressed, writing, "Oh, it's exciting enough for a six-year-old; anyone older, however, will already have been exposed to so much on TV, at the movies and on the Internet that this will seem like so much visual cotton-candy. Even a sophisticated grade-schooler will find these doings weak and overblown."[87] Similarly, Todd McCarthy criticized the characterization, writing that the film's supporting cast "can't begin to compare with their equivalents in the original ... so the burden rests entirely upon Franco and Williams, whose dialogue exchanges are repetitive and feel tentative."[88] Entertainment Weekly agreed, giving the film a C+ and saying that the "miscast" Franco "lacks the humor, charm, and gee-whiz wonder we're meant to feel as he trades wisecracks with a flying monkey ... and soars above a field of poppies in a giant soap bubble. If he's not enchanted, how are we supposed to be?" and complaining that "while Raimi's Oz is like retinal crack, he never seduces our hearts and minds."[8] Alisha Coelho of in.com gave the movie 2.5 stars, saying "Oz The Great and Powerful doesn't leave a lasting impression, but is an a-ok watch."[89]

text: Accolades[edit]

text:
Awards

Award
Date of ceremony
Category
Recipient and nominees
Result

Costume Designers Guild[90]
February 22, 2014
Excellence in Fantasy Film
Gary Jones and Michael Kutsche
Nominated

Golden Trailer Awards[91]
May 5, 2013
Best Animation/Family
"Witches"
Nominated

Best Animation/Family TV Spot
"Super Hybrid"
Nominated

"Music Box"
Nominated

Kids' Choice Awards[92]
March 29, 2014
Favorite Movie

Nominated

Favorite Movie Actress
Mila Kunis
Nominated

MTV Movie Awards[93]
April 13, 2014
Best Villain
Mila Kunis
Won

People's Choice Awards[94]
January 8, 2014
Best Family Film

Nominated

Phoenix Film Critics Society
December 17, 2013
Best Live Action Family Film

Won

Best Production Design
Robert Stromberg
Nominated

Satellite Awards[95]
February 24, 2014
Best Visual Effects
James Schwalm, Scott Stokdyk, Troy Saliba
Nominated

Best Art Direction and Production Design
Nancy Haigh, Robert Stromberg
Nominated

Best Costume Design
Gary Jones
Nominated

Saturn Awards
June 2014
Best Fantasy Film

Nominated

Best Music
Danny Elfman
Nominated

Best Production Design
Robert Stromberg
Nominated

Best Costume
Gary Jones
Nominated

Teen Choice Awards
August 11, 2013
Choice Movie – Sci-Fi/Fantasy

Nominated

Choice Movie Actor – Sci-Fi/Fantasy
James Franco
Nominated

Choice Movie Actress – Sci-Fi/Fantasy
Mila Kunis
Nominated

Michelle Williams
Nominated

Visual Effects Society
February 12, 2014
Outstanding Animated Character in a Live Action Feature Motion Picture
Troy Saliba, In-Ah Roediger, Carolyn Vale, Kevin Souls for "China Girl"
Nominated

text: Sequel[edit]

text: On March 7, 2013, Variety confirmed that Disney has already approved plans for a sequel, with Mitchell Kapner and Joe Roth returning as screenwriter and producer respectively.[96] Mila Kunis said during an interview with E! News, "We're all signed on for sequels."[97] On March 8, 2013, Sam Raimi told Bleeding Cool that he has no plans to direct the sequel, saying, "I did leave some loose ends for another director if they want to make the picture," and that "I was attracted to this story but I don't think the second one would have the thing I would need to get me interested."[98] On March 11, 2013, Kapner and Roth have said to the Los Angeles Times that the sequel will "absolutely not" involve Dorothy, with Kapner pointing out that there are twenty years between the events of the first film and Dorothy's arrival, and "a lot can happen in that time."[99]


document_title: Rules of cribbage

question_text: who goes first after a go in cribbage

question_tokens: who goes first after a go in cribbage

text: Rules of cribbage

text: The deal[edit]

text: Cribbage uses a standard 52-card deck of cards. The jokers are removed; the suits are equal in status. The players cut for first deal, with the player cutting the lowest card (the ace counts as one, and is the lowest card) dealing first. If the cutters tie, the cards are re-shuffled and re-cut. The dealer shuffles, offers the deck to the player on his or her right to cut (required in tournament play), and deals cards singly to each player, starting with the player on the dealer's left. During the deal, if any card is exposed by the dealer or found face-up in the deck, cards must be redealt.[1]

text: Cards must be dealt so that each player ends up with four cards after the crib is formed, and the crib should also have four cards. For two players, each is dealt six cards (though some play with five cards dealt to each player and two to the crib). For three or four players, each is dealt five cards. In the case of three players, a single card is dealt face down in front of the dealer to start the crib.

text:
# of Players
# cards dealt to each player
# cards dealt to crib
# cards discarded by each player to crib

2 (standard)
6
0
2

2 (alternate)
5
2
1

3
5
1
1

4
5
0
1

text: The crib[edit]

text: Once the cards have been dealt, each player chooses four cards to retain, discarding the other one or two face-down to form the "crib" that will be used later by the dealer.[2] At this point, each player's hand and the crib will contain exactly four cards.

text: Example cribs[edit]

text: Two players[edit]

text:
Player
Cards dealt
Discarded
Hand

Alice
(dealer)

Bob

Crib

text: Three players[edit]

text:
Player
Cards dealt
Discarded
Hand

Claire
(dealer)

David

Eve

Crib

text: The starter[edit]

text: The player on the dealer's left cuts the undealt portion of the deck (leaving at least 4 cards), and the dealer reveals the top card, called the "starter" or the "cut", placing it on top of the deck face up. (It is illegal to peek at any other cards in the deck during this process.)[3] If this card is a Jack, the dealer scores two points for "his heels", also known as "his nibs", or simply "nibs". The game can end on a cut of a Jack for the dealer.

text: The play[edit]

text: The play (often called pegging) starts with the player on the dealer's left and continues clockwise. Each player lays one card in turn onto the table so that it is visible, stating the cumulative value of the cards played. (For example, the first player lays a 4 and says "four", the next lays a 7 and says "eleven", and so on). Face cards are worth ten; Aces are worth one. Play must not exceed 31, so a player who cannot lay a card without bringing the total above 31 passes by saying "Go". The other players continue to lay cards in turn without exceeding 31 until no cards can be played. If a player can lay a card they must do so. The last player to lay a card scores two points if 31 is reached exactly ("31 for two"); otherwise one point is scored, e.g., "29 for one", or "30 for one", etc. The one-point score is known as "One for the go",[4] or simply the "Go". The count is then reset to zero and play resumes, starting with the player to the left of the last card played. Players with cards remaining repeat this process until all players' cards have been played.

text: In addition to scoring one or two points for the last card, players score points according to the following rules:

text:
fifteen-twos

two points for a cumulative total of exactly fifteen ("fifteen two")

runs

three points for completing a run of three cards, regardless of the order in which they are laid (a 6, then a 4, then a 5 is a run of three even though they were not laid in order)
four points for completing a run of four
five points for completing a run of five
six points for completing a run of six
seven points for completing the run of seven; e.g. playing 2, 4, 6, A, 3, 5 and 7

pairs

two points for laying a card of the same rank as the previous card, thus completing a pair
six points for laying a third card of the same rank (a "pair royal" or "trips")
twelve points for laying a fourth card of the same rank (a "double pair royal" or "quad")

text: If a card completes more than one scoring combination, then all combinations are scored. For example, if the first three cards played are 5s, the third one scores eight points: two for making 15, and six for a pair royal. Card combinations cannot span a reset; once the total reaches 31 (or a Go has been scored) and counting has restarted at zero, cards already played cannot contribute to runs or pairs. During this phase of play run combinations cannot span a pair; in a play of 2, 3, 3, 4 the pair interrupts the run so only the pair is counted for points.

text: Players choose when to lay each card in order to maximise their score according to the scheme shown below. The first player to reach 121 wins the game.

text: Example plays[edit]

text: Two players[edit]

text:
Alice
(dealer)

Bob

text:
Player
Card
Cumulative
Score
Announced

Bob

10

"ten"

Alice

15
2 points (fifteen exactly)
"fifteen for two"

Bob

22

"twenty-two"

Alice

28
3 points (run: 5, 6, 7)
"twenty-eight for three"

Bob

"go"

Alice

30
1 point
"thirty for one"

Bob

6

"six"

Alice

10

"ten"

Bob

14
3 points (pair, last card)
"fourteen for three"

text: Three players[edit]

text:
Claire
(dealer)

David

Eve

text:
Player
Card
Cumulative
Score
Announced

David

7

"seven"

Eve

14
2 points (pair)
"fourteen for two"

Claire

21
6 points (three-of-a-kind)
"twenty-one for six"

David

26

"twenty-six"

Eve

31
4 points (pair, 31 exactly)
"thirty-one for four"

Claire

8

"eight"

David

18

"eighteen"

Eve

28
2 points (pair)
"twenty-eight for two"

Claire

"go"

David

"go"

Eve

31
2 points (31 exactly)
"thirty-one for two"

Claire

10

"ten"

David

14

"fourteen"

Claire

23
1 point (last card)
"twenty-three for one"

text: The show[edit]

text: Once the play is complete, each player in turn receives points based on the content of their hand. Starting with the player on the dealer's left, players spread out their cards on the playing surface and calculate their score based on these four cards and the starter card:

text:
fifteen-twos

two points for each separate combination of two or more cards totalling exactly fifteen

runs

three points for a run of three consecutive cards (regardless of suit)
four points for completing a run of four
five points for completing a run of five

pairs

two points for a pair of cards of a kind
six points for three cards of a kind (known as a "pair royal", comprising three distinct pairs)
twelve points for four cards of a kind (a "double pair royal", comprising six distinct pairs)

flush

four points for a flush, where all four cards in the hand are of the same suit, with an additional point if the starter card is also of that suit.
one point for holding the Jack of the same suit as the starter card ("one for his nob"[5] or "... his nobs"[6])

text: Common combinations are often scored as a group. For example, a run of three cards with an additional card matching one of the three in value, e.g., 2–2–3–4, is termed a "double run", and scores eight according to the above rules, three for each of the runs and two for the pair. Even more valuable are "triple runs" (three three-card straights including a three-of-a-kind, e.g., 2–2–2–3–4, that score fifteen) and "double-double runs" (four three-card straights including pairs, e.g., 2–3–3–4–4, that score sixteen). Combined runs may also include fifteen-twos. A 24 hand, the largest commonly seen, comprises a double-double run and four fifteen-twos. Two examples are 4–4–5–5–6 and 6–7–7–8–8.

text: The dealer scores his hand last and then turns the cards in the crib face up. These cards, in conjunction with the starter card, are scored by the dealer as an additional hand. The rules for scoring the crib are the same as scoring a hand, with the exception of the flush; a four-card flush in the crib is scored only if it is the same suit as the starter card (for a total of five points).

text: The highest possible score for a hand is 29 points: a starter card of a 5, and a hand of 5, 5, 5, J with the Jack being the same suit as the starter card. The score might be announced thus:

text:
Fifteen two, fifteen four, fifteen six, fifteen eight, [four J-5 combinations]
fifteen ten, fifteen twelve, fifteen fourteen, fifteen sixteen, [four 5–5–5 combinations]
twelve for pairs [four 5s] is twenty-eight,
and nobs makes twenty-nine.

text: Scores between 0 and 29 are all possible, with the exception of 19, 25, 26 and 27.[7] Players may colloquially refer to a blank hand (one scoring no points) as a "nineteen hand".

text: Example scores[edit]

text: Two players[edit]

text:
Starter
card

Alice
(dealer)

Bob

Crib

text:
Player
Cards
Score
Announced

Bob

2
"fifteen two"

2
"fifteen four"

4
"four for a run"

1
"and one for his nob"

Total
9

Alice

2
"fifteen two"

2
"fifteen four"

8
"and eight for a double run"

Total
12

Alice
(crib)

2
"fifteen two"

2
"fifteen four"

2
"and two for a pair"

Total
6

text: Three players[edit]

text:
Starter
card

Claire
(dealer)

David

Eve

Crib

text:
Player
Cards
Score
Announced

David

2
"fifteen two"

2
"fifteen four"

3
"and three for a run"

Total
7

Eve

2
"fifteen two"

2
"fifteen four"

2
"fifteen six"

2
"and two for a pair"

Total
8

Claire

2
"fifteen two"

3
"and three for a run"

Total
5

Claire
(crib)

2
"fifteen two"

3
"and three for a run"

Total
5

text: The end[edit]

text: After the dealer has scored the crib, all cards are collected and the deal passes to the player on the dealer's left. The next round starts with the deal.

text: Although the rules of cribbage do not require it (except in tournament play), the traditional method of keeping score is to use a cribbage board. This is a flat board, usually made of wood, with separate series of holes that record each player's score. It is usually arranged in five hole sections for easier scoring. Players each have two pegs that mark their current and previous scores, and all scoring is done by moving the back peg ahead of the front peg.

text: When a player reaches the target score for the game (usually 121), the game ends with that player the winner.

text: Match[edit]

text: A match (much like tennis) consists of more than one game, often an odd number (3 games, 5 games, 7 games etc.). The match points are scored on the cribbage board using the holes reserved for match points. On a spiral board, these are often at the bottom of the board in a line with 5 or 7 holes. On a traditional board, they are often placed in the middle of the board or at the top/bottom.

text: Two player game[edit]

text: In a two player game of cribbage a player scores one match point for each game won. Their opponent will begin the next game as first dealer. If a player skunks their opponent (reaches 121 points before their opponent scores 91 points) then that player scores one extra match point for that game (two match points in total). If a player double skunks their opponent (reaches 121 points before their opponent reaches 61), then they score two extra match points for the game (four match points in total). If a player triple skunks their opponent (reaches 121 points before their opponent reaches 31 points), they automatically win the match regardless of how many match points are needed to win. Double and triple skunks are not included in the official rules of cribbage play and are optional. There are several different formats for scoring match points.

text:
Match point scoring

Scoring Variation
Points for a normal win
Points for skunking opponent
Points for double skunking opponent
Points for triple skunking opponent

Official Tournament rules
2 points
3 points
no extra points
no extra points

Variation of Tournament rules
2 points
3 points
4 points
no extra points

Free play rules
1 point
2 points
4 points
no extra points

Free play rules with triple skunk
1 points
2 points
4 points
Automatic win of match

text: Three player game[edit]

text: Winner takes all[edit]

text: When playing a three player match in a winner takes all format, the winner scores two match points (just like in two-way cribbage) for each game won. If he/she skunks just the third opponent, they score an additional match point (3 total) with second place receiving one point. If he/she double skunks both opponents, he/she still scores three match points but second place would not receive any points at all.

text: Continued play[edit]

text: In continued play format, the winner of the match earns two match points for three player cribbage and four match points for five player cribbage (plus applicable match points if the player has skunked/double skunked their opponents). The remaining players play until there is a second winner, who scores one match point for three player cribbage and two match points for five player cribbage (with no extra points for skunking opponents). In five player cribbage, the remaining three players play until there is a third winner, who scores one match point (with no extra points for skunking opponents).

text: Variations[edit]

text:
Three players: Five cards are dealt to each player and one card directly to the crib, and each player then discards one card to the crib, as shown in the examples above. Three players can score individually, with the winner the first to reach 121, or in a "two against one" team format, where the two-player team must score 121 to win before the lone player reaches 61. Another variation of the "two against one" team format, is that prior to the cut, the lone player picks up the crib, examines all 8 cards, and then discards 4 cards to the crib. Both the team and lone player need to reach 121 to win.
Four players: Five cards are dealt to each player, each of whom discards one to the crib. The players can play as individuals or as two sets of partners.
Five-card cribbage (called the "old game"): Each of two players is dealt five cards, two of which are discarded into the crib. The crib thus consists of four cards but each hand only three. The non-dealer is given a three-point start and play is to 61.
Five players: Five cards are dealt to each player except the dealer, who has only four cards. The four non-dealers each discard one card to the crib.
Muggins: This is a scoring variant in which a player who fails to count all the points to which he is entitled in the play or the show loses the unclaimed points to an opponent who calls "muggins" or "cut throat".
Lowball (or "Loser's Crib"): This is a misère variant in which the normal rules apply but the aim is to avoid scoring. The loser is the first to 121.
Jokers: Jokers are fully wild, with their rank and suit decided only at the moment of play. The choice of card may even replicate a card already in play, allowing for 5 of a kind (20 points), 6 of a kind (30 points), etc. When a joker is cut as the starter, the dealer scores 2 for heels and each player may choose a different rank and suit for the joker when hands are scored.
Toss Fives: This is a variant in which players must discard any 5s they may have into the crib (even an opponent's crib).
Auction Cribbage:[8] In Auction Cribbage, any player may bid for the points in the box after the cards are dealt. Bidding continues in turn until no further bids are offered; the winning bidder then immediately deducts that number of points from their hand; the crib is scored at the usual time and its points awarded to the winning bidder for that round. If no bid is placed, the dealer retains the crib.
Null point penalty:[citation needed] When a player scores zero points during "the show", their opponent scores one point. This applies to both players hands as well as in the crib.
Back 10 (Backup Ten): The hand and the crib must contain points. If either hand does not, the owner of the hand must go back ten points.[9]


document_title: Julio César Chávez vs. Oscar De La Hoya

question_text: when did oscar de la hoya fight chavez

question_tokens: when did oscar de la hoya fight chavez

text: Julio César Chávez vs. Oscar De La Hoya

text:
"Ultimate Glory"

Date
June 7, 1996

Venue
Caesars Palace in Paradise, Nevada

Title(s) on the line
WBC/Lineal Super Ligthweight Championship

Tale of the tape

Boxer

Julio César Chávez
Oscar De La Hoya

Nickname

"J.C."
"The Golden Boy"

Hometown

Culiacán, Mexico
East Los Angeles, California

Pre-fight record

96–1–1
21–0

Height

5'7"
5'10"

Weight

139 lbs
139 lbs

Style

Orthodox
Orthodox

Recognition

WBC/Lineal
Super Lightweight Champion
WBO
Lightweight Champion

text: Julio César Chávez vs. Oscar De La Hoya, billed as "Ultimate Glory", was a professional boxing match contested on June 7, 1996 for the WBC and lineal super lightweight championship.

text: Background[edit]

text: After both Julio César Chávez and Oscar De La Hoya defeated their opponents (Scott Walker and Darryl Tyson respectively) in tune-up bouts on February 9, 1996, the two fighters agreed to face one another in a "dream match" set for June of that year. The undefeated De La Hoya had already won world titles in two divisions and was looking to capture a third world title in a third weight class at only 23–years old. The 33–year old Chavez, meanwhile, was entering his 100th fight and still possessed one of the most impressive records in boxing history, having gone 97–1–1 and capturing four world titles in three divisions in his 16–year career.[1] The bout was highly anticipated, with some even calling the biggest fight in Latino boxing history and both fighters taking home a then–career high $9 million purse.[2] Despite his vast experience advantage over De La Hoya (who had only partaken in 21 pro fights up to that point) and his status as champion, the aging Chavez was initially installed as a 3–1 underdog before odds were dropped to 2–1 by the time of the fight. Though both fighters were of Mexican heritage, most Mexican and Mexican–American fans favored Chavez as De La Hoya had been born in the United States. In promotional stops for their fight, De La Hoya was largely booed by the largely Hispanic populations of Phoenix, San Diego and even his native Los Angeles.[3]

text: A controversial decision was made prior to the fight as De La Hoya's promoter Bob Arum refused to let the fight be carried on Pay-per-view and instead opted for it to be shown almost exclusively on closed-circuit television, severely limiting the highly anticipated bouts audience. Arum claimed that he made the decision to combat the use of illegal "black boxes", which steal pay-per-view signals and allow its users to watch the program for free. Though Arum claimed that the fight would net somewhere between $60 to $90 million even without pay-per-view, the fight drew a somewhat disappointing crowd of 750,000, down from the 1.7 million fans Arum had expected, and fell well short of his expected earnings, with the fight grossing around $14 million.[4][5]

text: The Fight[edit]

text: The fight would last less than four rounds. Only one minute into round one, De La Hoya would connect with a straight right hand that opened up a huge gash around Chavez' eye. The fight was temporally halted not even a minute later as the cut had become severe enough for the referee Joe Cortez to stop the action and allow Chavez to find a towel. Though Chavez was able to continue, he was unable to get any momentum and was dominated by De La Hoya for the remainder of the fight. In round four, as Chavez was finally mounting some offense, De La Hoya took control of the latter stages of the round and brutalized Chavez with a series of hard combinations and broke Chavez' nose with a left hook. As the cut around his eye had deteriorated even further, Cortez halted the fight once again and sent him to ringside physician Flip Homansky. Homansky then informed Cortez that Chavez could not continue due to the multiple lacerations to his face and De La Hoya was awarded with the TKO victory at 2:37 of the fourth round[6]


document_title: Beast Mode (Future album)

question_text: when did beast mode by future come out

question_tokens: when did beast mode by future come out

text: Beast Mode (Future album)

text:
Beast Mode

Mixtape by Future and Zaytoven

Released
January 15, 2015 (January 15, 2015)

Genre

Hip hop
trap

Length
27:55

Label
Freebandz

Producer
Zaytoven

Future chronology

Monster
(2014) Monster2014
Beast Mode
(2015) Beast Mode2015
56 Nights
(2015) 56 Nights2015

Zaytoven chronology

Drip Gang (with Cassius Jay)
(2014) Drip Gang (with Cassius Jay)2014
Beast Mode
(2015) Beast Mode2015
OG Zay (with OG Maco)
(2015) OG Zay (with OG Maco)2015

Singles from Beast Mode

"Real Sisters"
Released: July 8, 2015

text: Beast Mode is the tenth mixtape by American rapper Future, released in collaboration with Atlanta producer Zaytoven. It came out on January 15, 2015. Along with Monster and 56 Nights, it is considered part of "a trilogy of album-quality mixtapes" that Future released following Honest.[1][2]

text: Background[edit]

text: Beast Mode came out two-and-a-half months (after Monster), six months after his second album Honest, and two days after Ciara released her track, called "I Bet" (which is her first song since the breakup between her and Future).[3][4][5] According to Zaytoven, “Really, the work was done in two to three days. The rest was just picking which record we wanted to use. For somebody else to come in and see us doing the work, it would blow your mind....We might’ve gotten 40 songs done as we were putting this tape together. That’s us doing songs back-to-back. I make a beat, he raps to it… And we’d do it all over again. We might do 10 songs a day.”[6]

text: "Kno The Meaning" (which was taken from DS2) is the song where Future had to elaborate on the impetus behind the project and its origin in DJ Esco's 56-day incarceration in Dubai: "People didn't even understand that my hard drives that I recorded all my music on for two years straight was on this... was on this one hard drive that Esco had and he was locked up with it, so I had to record new music. That's when I did Beast Mode." DJ Esco returned to the USA two days before the release of Beast Mode.[7]

text: Track listing[edit]

text: All tracks are produced by Zaytoven.

text:
No.
Title
Length

1.
"Oooooh" (featuring Young Scooter)
3:09

2.
"Lay Up"
2:47

3.
"Aintchu" (featuring Juvenile)
2:48

4.
"No Basic"
3:06

5.
"Peacoat"
3:01

6.
"Just Like Bruddas"
3:51

7.
"Where I Came From"
2:40

8.
"Real Sisters"
2:54

9.
"Forever Eva"
3:39


document_title: I Won't Back Down

question_text: when did johnny cash record i won back down

text: I Won't Back Down

text: Background and writing[edit]

text: Petty recalled the recording of this song to Mojo magazine: "At the session George Harrison sang and played the guitar. I had a terrible cold that day, and George went to the store and bought a ginger root, boiled it and had me stick my head in the pot to get the ginger steam to open up my sinuses, and then I ran in and did the take."[1]

text: Content[edit]

text: A message of defiance against unnamed forces of difficulty and possibly oppression, the lyric is set against a mid-tempo beat:

text: Due to its themes, the song was played often on American radio following the September 11 attacks.[2] Petty and the Heartbreakers played a quiet but resolute version of the song at the America: A Tribute to Heroes telethon following the 2001 attacks.[2][3]

text: In the 2007 documentary Runnin' Down a Dream, Petty said that he felt some initial hesitation about releasing the song, given its clear and unabashed message.[4]

text: Music video[edit]

text: The music video, directed by David Leland, was shot on March 22 and 23, 1989 on a sound stage at Pinewood Studios and released on April 24, 1989. Traveling Wilburys bandmates George Harrison and Jeff Lynne appear in the video. Mike Campbell and Harrison's former Beatles bandmate Ringo Starr are also featured in the video[5] along with Harrison's famous painted Fender Stratocaster "Rocky" being played by Campbell. Starr is depicted in the video as playing the drums on the song, though drumming was actually performed by Phil Jones on the record.

text: Agreement with Sam Smith[edit]

text: In January 2015, it was revealed that an agreement had been reached whereby Petty and Jeff Lynne would be credited as co-writers of Sam Smith's song "Stay with Me" and receive 12.5% of its royalties. Petty's publishing company had contacted Smith's publisher after noticing a likeness between "Stay with Me" and "I Won't Back Down". [6] Petty clarified that he did not believe Smith plagiarized him, saying "All my years of songwriting have shown me these things can happen. Most times you catch it before it gets out the studio door but in this case it got by. Sam's people were very understanding of our predicament and we easily came to an agreement".[7][8] Smith claimed he had never heard "I Won't Back Down" before he wrote "Stay with Me",[9] but he acknowledged the similarity after listening to the song, and said that the likeness was "a complete coincidence".[10][11] Petty and Lynne were not eligible for a Grammy Award ("Stay with Me" was nominated for three awards at the 57th annual ceremony, winning two of them) as the Recording Academy considered "Stay with Me" to have been interpolated from "I Won't Back Down" by Smith, James Napier, and William Phillips, the writers of "Stay with Me"; Petty and Lynne were instead given certificates to honor their participation in the work, as is usual for writers of sampled or interpolated work.[12]

text: Personnel[edit]

text:
Tom Petty – lead and backing vocals, acoustic guitar
Mike Campbell – lead and slide guitar
George Harrison – acoustic guitar, backing vocals
Jeff Lynne – bass guitar, backing vocals
Howie Epstein – backing vocals
Phil Jones – drums, percussion

text: Charts[edit]

text:
Chart (1989)
Peak
position

Australia (ARIA)[13]
16

Canada Top Singles (RPM)
5

Germany (Official German Charts)[14]
66

New Zealand (Recorded Music NZ)[15]
49

UK Singles (Official Charts Company)[16]
28

US Billboard Hot 100[17]
12

US Mainstream Rock (Billboard)[18]
1

US Alternative Songs (Billboard)[19]
29

text: Use in political campaigns[edit]

text: George W. Bush used "I Won't Back Down" at campaign events during the 2000 presidential campaign but was compelled to stop using the song after receiving a cease and desist letter from Petty's publisher.[20][21] Petty then went on to perform the song at Al Gore's home after Gore conceded the election to President Bush.[22] Jim Webb used the song for his successful bid for one of Virginia's U.S. Senate seats in 2006, as did Hillary Clinton during the 2008 Democratic presidential primary campaign. The song was also used at campaign events for Congressman Ron Paul of Texas during the 2008 Republican presidential primary campaign, as well as for events for his Campaign for Liberty. The song was also played at an event for Republican Connecticut gubernatorial nominee, Tom Foley.[23] The song was also played at the 2012 Democratic National Convention after speech delivered by President Bill Clinton, in which President Barack Obama came out on stage to salute him.

text: Use in sports campaigns[edit]

text: The Ottawa Senators used the song as a campaign anthem in December 1990 at their presentation to be awarded an NHL franchise at the Breakers Hotel in Palm Beach, Florida. The unlikely bid received unanimous support from the NHL and the franchise was awarded on December 6, 1990.[24] The Johnny Cash cover has also been used for a Rogers Sportsnet advertising campaign for the 2010-2011 NHL season.[25]

text: The song was used as the walkout song for the Australian Rugby League club the Melbourne Storm from 1999-2007.

text: It was also used as the slogan for the TCU Horned Frogs during the 2009 season, and incorporated into their merchandise during the year.[26]

text: All appearances[edit]

text:
Full Moon Fever (1989)
Greatest Hits (1993)
Playback (1995)
Anthology: Through the Years (2000)
America: A Tribute to Heroes (2001)
The Live Anthology (2009)
Mojo Tour 2010 (2010) - Live Version
Barnyard (2006)

text: The song was also released as downloadable content for Rock Band 2

text: Cover versions[edit]

text:
Something for Kate
Johnny Cash – American III: Solitary Man (2000) (Tom Petty contributed vocals and guitar to Cash's recording.)
Edgewater - Lifter (2001)
Holly Nelson - Leaving the Yard (2003)
Cumberland Gap - Circle the Wagons (2004)
Sam Elliott - Barnyard: The Original Party Animals (2006)
Pearl Jam – Live at the Gorge 05/06 (2007)
Mem Shannon - Live: A Night at Tipitina's (2007)
MercyMe - iTunes Originals (2008)
Dawn Landes – Fireproof (2008)
Switchfoot (2008)
Reel Big Fish - Fame, Fortune and Fornication (2009)
Booka Shade vs Plastic Operator - "Night Falls/Won't Back Down" (2009)
John O'Callaghan (2010)
Tyler Hilton (2010)
Dia Frampton and her coach Blake Shelton covered the song for The Voice (U.S.). (2011)
Ryan Star - The America EP (2012)
Benjamin Francis Leftwich - covered the song for Grey's Anatomy season 9 episode 3. (2012)
Bon Jovi - Covered the song during their Have a Nice Day Tour. (2005-2006)
Dale Ann Bradley - Covered the song for her "Don't Turn Your Back" CD. (2009)
Tokutaro sleepy Maki- Covered in English along with Japanese. (2013)
Kris Kristofferson - Covered for the soundtrack for History Channel's Texas Rising. (2015)
Jason Aldean - Saturday Night Live (2017) Coincidentally, Sam Smith was the musical guest on this episode of Saturday Night Live.