document_title: Lenovo Yoga

question_text: when did the lenovo yoga 710 come out

question_tokens: when did the lenovo yoga 710 come out

text: Lenovo Yoga

text: IdeaPad Yoga 13[edit]

text: The Yoga 13's capacitive touch display allows for up to 10-point touch control. The Yoga 13 is powered by an Intel Chief River platform, using an Ivy Bridge processor, has 4 GB or 8 GB of RAM, and SSD with 128 GB or 256 GB.[1] The battery life of the Yoga 13 is estimated to be around eight hours.[1] After testing the Yoga 13's battery life, TechRadar said, "Our only real concern is that the battery life is squarely average. In our Battery Eater test, which maxes out the system until the battery dies, we only clocked 177 minutes, which is short of the 200-minute gold standard. This said, in normal day-to-day usage, we experienced closer to six to eight hours of life, depending on the screen brightness and CPU saturation."[2]

text: The Yoga 13 makes use of a 13.3-inch display with a resolution of 1600 × 900. The display uses an IPS panel in order to provide wide viewing angles and maintain the thin profile of the Yoga 13.[3] The Yoga 13 has 720p front-facing webcam. It has one USB 3.0 port and one USB 2.0 port, an HDMI output, a memory card reader, and a combo jack for audio input and output.[2]

text: The 13-inch Yoga was released by Lenovo on 26 October 2012. Best Buy released an alternative version of the Yoga 13 with an Intel Core i5 processor (vs. Lenovo's base model's i3 processor) and no Microsoft Office (whereas Lenovo's base model includes Microsoft Office). Its smaller cousin, Yoga 11, which runs Windows RT (as opposed to the Yoga 13, running Windows 8), was released in December 2012.[1][4]

text: Lenovo IdeaPad Yoga 11[edit]

text: The Yoga 11 is powered by a quad-core Nvidia Tegra 3 that runs at a maximum clockspeed of 1.3 GHZ and features an integrated graphics processor. The Tegra 3 is also found in numerous Android-based tablets. 2 GB of RAM comes standard. This relatively small amount of RAM is sufficient due to the reduced memory requirements of Windows RT applications. The Yoga 11 was sold with solid state drives in 32 GB and 64 GB capacities. The Yoga 11 ran the Windows RT operating system. Microsoft Office 2013 ships pre-installed.[5] Like all Windows RT devices, the Yoga 11 cannot run software designed for earlier versions of Windows, only apps designed for the new Metro interface are compatible.[6]

text: The Lenovo IdeaPad Yoga 11 was released in late 2012. It was discontinued on July 17, 2013 due to the poor sales of Windows RT devices.[7]

text: ThinkPad Yoga[edit]

text: The ThinkPad Yoga has a "backlit" keyboard that flattens when flipped into tablet mode. This is accomplished with a platform surrounding the keys rises until level with the keyboard buttons, a locking mechanism that prevents key presses, and feet that pop out to prevent the keyboard from directly resting on flat surfaces. Lenovo implemented this design in response to complaints about its earlier Yoga 13 and 11 models being awkward to use in tablet mode. A reinforced hinge was required to implement this design. Other than its convertible form factor, the ThinkPad Yoga is a rather standard ThinkPad device with a black magnesium-reinforced chassis, island keyboard, a red TrackPoint, and a large buttonless trackpad. It has a 12.5-inch IPS touchscreen with 1080p resolution. The screen was designed for use with an optional pen-style digitizer. It is powered by Haswell processors from Intel. Solid-state drives and hard drives were both options on this model.

text: Lenovo Yoga 2 Pro[edit]

text: The Yoga 2 Pro is an Ultrabook-class device. It weighs 3.1 pounds, is 0.61 inch thick and has tapered edges, giving it an appearance more like a conventional ultrabook laptop vs the earlier model's "book-like" symmetrical design. The Yoga 2 Pro features a 360-Degree Flip-and-Fold design that encompasses four modes—laptop, stand, tablet, and tent mode and has a subtle rubber trim around the edge of its top half in order to prevent slipping on hard surfaces when in tent mode. It comes with an backlit AccuType keyboard and features stereo speakers with Dolby Home Theater. Unlike earlier Yoga products, the home button has a touch-key on the bottom center of the display. Lenovo moved the power button away from the front and to the side in order to prevent accidental key presses.[8][9]

text: The base model has an Intel Core i3 4010U, 4 gigabytes of RAM, and a 128-gigabyte solid state drive with configurations up to an Intel Core i7 4500U, 8 gigabytes of RAM,  and a 512-gigabyte solid-state drive. The 13.3-inch screen uses in-plane switching (IPS) technology, has a high resolution QHD+ (3,200 × 1,800) 10-point multitouch display, and a brightness of 350 nits. The Yoga 2 Pro has Intel Wireless Display technology in order to conform to the Ultrabook specification. It has ports for USB 3.0, USB 2.0,  micro-HDMI, a 2-in-1 card reader, and a combination audio input-output jack. Lenovo claimed a battery life of up to nine hours.[8][9][10]

text: IdeaPad Yoga 11S[edit]

text: The IdeaPad Yoga 11S is a compact ultralight hybrid notebook-tablet computer released in 2013. The Yoga 11S runs the full version of Microsoft's Windows 8 operating system.[11]

text: IdeaPad Yoga Tablet[edit]

text:
The IdeaPad Yoga Tablet is an Android tablet with a multi-mode device with a rear kickstand designed to allow it to be placed upright for viewing videos and other media or tilted for easier text entry. The Yoga Tablet has a round battery that can last as long as 18 hours. It comes in models with 10-inch and 8-inch screens. Internal storage varies from 16 gigabytes to 32 gigabytes.[12]
An upgraded version was added in February 2014, called Lenovo Yoga Tablet 10 HD+, which featured a full HD display and a Qualcomm Snapdragon processor. In addition the third-generation pro has a built-in projector.

text: Yoga 3 Pro[edit]

text: The Yoga 3 Pro is thin Broadwell-based 13.3-inch touchscreen laptop with a hinge that allows for use as a tablet and other configurations. It uses Intel Core M processors and comes standard with solid-state drives. Its screen has 3200 pixel by 1800 pixel resolution and is multitouch capable.[13] It is 13 millimeters thick.[14] The Yoga 3 Pro's hinge differs significantly from the Yoga 2 Pro. The new all-metal hinge is referred to by Lenovo as a "watchband". It is much less bulky and forms a continuous curved shape from the chassis of the laptop to the bottom of the screen. It has six mounting points as opposed to two for a more solid feel and structural strength.[15]

text: In a review for PC World, Elias Plastiras wrote, "It's super-light and easy to handle as a laptop and as a tablet, and it feels good to type on for long periods of time. Basically, as far as user comfort is concerned, it's excellent. That said, it does have some issues. It can tend to get noticeably warm when you're streaming video or performing other tasks that make plenty of use of the CPU and Wi-Fi adapter, and the battery life is also not great, primarily due to the large screen resolution that needs a lot of power to be bright."[15]

text: Yoga 900[edit]

text: The Yoga 900 (also known as Yoga 4 Pro) is the replacement for the Yoga 3 Pro. It was designed to improve upon problems with overheating and battery life. It uses Core i5 and i7 Skylake-class processors from Intel, integrated graphics, 256-gigabyte or 512-gigabyte solid state drives, and up to 16 gigabytes of RAM. It runs on a 66-watt-hour battery. It is somewhat heavier and thicker than the Yoga 3 Pro at 1.29 kilograms of weight and 14.9 millimeters in thickness. One USB 3.0 Type-C port and a USB 2.0 port are included.[16] This device has a 3,200 × 1,800 pixel display. The Business Edition version of the Lenovo Yoga 900[17] is primarily differentiated from the standard model through its implementation of enterprise-grade security via a Trusted Platform Module chip and accompanying security software.[16]

text: Yoga Book[edit]

text: The Yoga Book is a compact hybrid tablet designed similarly to the Yoga laptops that is available in both Android Marshmallow and Windows 10 Home versions. Featuring the same "watchband hinge" as the Yoga 3 Pro, the major difference is that the traditional mechanical keyboard is replaced with a pressure-sensitive "Create Pad" that responds to an active stylus with 2,048 levels of pressure and a backlit, touch-sensitive "Halo Keyboard" with haptic feedback. The device is powered by a Intel Atom x5 processor and has a 10.1-inch full HD screen, 4 GB of RAM, and 64 GB of internal storage with microSD card expansion support, Dolby Atmos stereo speakers, and optional 4G LTE. It became available for sale in September 2016.

text: Yoga 710[edit]

text: Lenovo announced the Yoga 710 at the Mobile World Congress in 2016. The Yoga 710[18] comes in versions with 11-inch and 14-inch displays. The 11-inch version uses Intel Core M low-power processors,weighing just 2.35 lbs and 0.58 inches thin,[19] has 8 gigabytes of memory, and includes a solid-state drive with a capacity up to 256 gigabytes. The same processor is used in Apple's 12-inch MacBook. The 14-inch version uses standard Intel Core i5 and Core i7 processors and optional Nvidia GeForce 940M or 940MX graphics processors. Both versions use 1080p IPS screens.[20]

text: Yoga 510[edit]

text: The Yoga 510 uses the same Intel Core i5 and Core i7 processors as the 14-inch version of the Yoga 710. It comes in versions with 14-inch and 15-inch IPS displays with 1080p resolution. The 510 is called the Flex 4 in the United States.[20]

text: Known issues[edit]

text: Many users have discovered that a Linux operating system cannot be installed on many Yoga models[update] including the 900 ISK2, 900 ISK for business and 710.[21][22] The reason that Linux cannot be installed is that Lenovo have implemented the solid state drive (SSD) on these models in RAID mode rather than the more usual AHCI. RAID mode requires additional drivers from Intel that are provided with Windows (version 7 and later) but not currently provided with Linux.

text: Intel recommends that all new motherboards using Intel chips should be configured using RAID even for a single disc, since this avoids problems when upgrading an AHCI configuration to multiple RAID drives later.  However, this reason irrelevant to a laptop where a second disc cannot be installed. Intel also recommends that solid state discs be set up in RAID mode as it provides improved performance with their chips.[23]  Lenovo have apparently followed this advice and have also removed the ability to change the mode back to AHCI in the UEFI setup utility. Although it is theoretically possible to change the mode to AHCI using a suitably programmed bootable USB stick, it is not wise to attempt it because the affected models check the UEFI configuration at startup and will detect the change and refuse to boot.

text: This inability to change to AHCI means that without RAID drivers, either in the system itself and on the installation media, Linux cannot be installed. Claims that this was a deliberate act on the part of Lenovo are unfounded.[citation needed]

text: Other products are equally affected. Windows 10 itself cannot be clean installed because the bootable installation media lack the RAID drivers (the installation would have them but it is the installer itself that lacks them).  Rescue media built by the 'Backup and Restore' utility cannot restore the backed-up image to the SSD drive because it cannot see it.  Even third-party disc imaging utilities such as Acronis True Image lack RAID drivers in the rescue media which are generally based on a Linux system. The RAID drivers can be injected into the boot image on USB stick rescue media (though not on DVD-based media).

text: In October 2016, Lenovo released 'LINUX only' versions of the BIOS for some of the affected machines.  This BIOS adds the ability to switch the drive mode into AHCI.  Lenovo state that these BIOSes should not be used for Windows operating systems but it is not clear why.[24]


document_title: Field goal

question_text: who has the farthest field goal in the nfl

root

text: Field goal

text: Strategy[edit]

text: As a field goal is worth only three points, while a touchdown scores at least six (which usually becomes seven with a successful conversion, and potentially 8 with a two-point conversion), teams will generally attempt a field goal only in the following situations:

tag: p

text:
It is fourth down (third down in Canadian rules), especially if the offense is more than a yard or two from a new first down, and within about 45 yards of the goal posts.
In the first half, there is enough time remaining to execute only one more play.
In the second half, there is enough time remaining to execute only one more play, and the team on offense needs three points to win or tie (four points in a few leagues given special circumstances).
The game is in overtime, and a FG is the quickest, easiest, and least risky way to end the match.

tag: ul

text: Except in desperate situations, a team will generally attempt field goals only when keeping a drive alive is unlikely, and its kicker has a significant chance of success, as a missed field goal results in a turnover at the spot of the kick (in the NFL) or at the line of scrimmage (in the NCAA). In American high school rules and Canadian football, where a missed field goal is treated the same as a punt, most teams still opt not to attempt field goals from very long range since field goal formations are not conducive to covering kick returns. Even under ideal conditions, the best professional kickers historically had difficulty making kicks longer than 50 yards consistently (the NFL record is 64 yards and the CFL record, 62 yards).[2] If a team chooses not to attempt a field goal on their last down, they can punt to the other team. A punt cannot score any points in American football unless the receiving team touches the ball first and the kicking team recovers it (though it can result in a single in Canadian football), but it may push the other team back toward its own end.

text: The longest field goal kick in NFL history is 64 yards, a record set by Matt Prater on December 8, 2013. The previous record was 63, originally set by Tom Dempsey and then matched by Jason Elam, Sebastian Janikowski, and David Akers. High school, college and most professional football leagues offer only a three-point field goal; however, some professional leagues have encouraged more rare kicks through four-point field goals. NFL Europe encouraged long field goals of 50 yards or more by making those worth four points instead of three (much like Australian rules' Super Goal or basketball's three-point line), a rule since adopted by the Stars Football League. Similarly, the sport of arena football sought (unsuccessfully) to repopularize the drop kick by making that worth four points; it failed, since only one kicker (Brian Mitchell) was able to do it with any semblance of proficiency. (In six-man football, where there is no offensive line, all field goals are worth four points instead of the usual three.)

text: The overall field goal percentage during the 2010 NFL season was 82.3. In comparison, Jan Stenerud, one of only two pure kickers in the Pro Football Hall of Fame (along with Ray Guy), had a career field goal percentage of 66.8 from 1967 to 1985.[2]

text: How field goals are kicked[edit]

text: When a team decides to attempt a field goal, it will generally line up in a very tight formation, with all but two players lined up along or near the line of scrimmage: the placekicker and the holder. The holder is usually the team's punter or backup quarterback.[citation needed] Instead of the regular center, a team may have a dedicated long snapper trained especially to snap the ball on placekick attempts and punts.

text: The holder usually lines up seven to eight yards behind the line of scrimmage, with the kicker a few yards behind him. Upon receiving the snap, the holder holds the ball against the ground vertically, with the stitches away from the kicker. The kicker begins his approach during the snap, so the snapper and holder have little margin for error. A split-second mistake can disrupt the entire attempt.

text: The measurement of a field goal's distance is from the goalpost to the point where the ball was positioned for the kick by the holder. In American football, where the goalpost is located at the back of the end zone (above the end line), the ten yards of the end zone are added to the yard line distance at the spot of the hold.

text: In the early days of the sport, placekickers approached the ball straight on, with the toe making first contact with the ball. The technique of kicking the ball "soccer-style", by approaching the ball at an angle and kicking it with the instep, was introduced by kicker Pete Gogolak in the 1960s.[3] The Hungarian-born Gogolak, reflecting his roots in European soccer, observed that kicking the ball at an angle could cover more distance than kicking straight on.

text: Successful field goals[edit]

text: If there is any time left in the half, the method of resuming play after a successful field goal varies between leagues.

text: Missed field goals[edit]

text: A missed field goal is said to be "no good" if the kicked ball does not cross between the uprights and/or over the crossbar of the goal posts. If it misses to the posts' left it may be called "wide left" and "wide right" if it misses to the posts' right. A field goal attempt may be described as "short" if it does not have sufficient distance to go over the cross bar. Some commentators will only describe a field goal attempt as being short if it appears to have been aimed correctly while others will describe an attempt appearing to lack both accuracy and distance as being both wide and short.

text: If a field goal attempt is missed and does not go out of bounds, a defensive player may catch the ball and return it, like a punt or kickoff. This type of play usually occurs during an extremely long field goal attempt due to the distance the defense must travel to reach the returner. If there is a significant likelihood of a miss and the strategic game situation warrants it, the defense places a player downfield, in or near their end zone, to catch the ball. The risk in this is that the return man may be tackled deep in his own territory, at a considerably worse position than he could have gotten by letting the ball go dead (see below); furthermore, should the returner fumble the ball, the kicking team can recover it and gain a new set of downs (the advantage is that the kicking team is lined up very close together to stop kick blockers, and not spread across the field like a kickoff or punt team, and is therefore in poor position to defend the return). Thus, teams will usually return a kick only towards the end of a half (when the kick will be the final play) or in a particularly desperate situation.

text: If a ball caroms off one of the goal posts or the crossbar, but lands in the field of play, the ball is considered dead and cannot be returned. (This is not the case in arena football, where large "rebound nets" surround the goal posts for the explicit purpose of keeping the ball in play.) However, if the ball caroms off one of the goal posts or the crossbar and continues into the goal, the score counts.

text: Situations where the defense does not return a missed field goal vary between leagues and levels of play:

text: Blocked field goals[edit]

text: Occasionally, the defense will succeed in blocking a field goal. If a blocked field goal is in or behind the neutral zone, it is treated like a fumble and can be advanced by either team. Beyond the neutral zone, a blocked kick is treated like a punt and can be advanced only by the defense, unless a defensive player fumbles the ball, after which an offensive player can advance it.

text: History[edit]

text: In the early days of football, kicking was highly emphasized. In 1883, the scoring system was devised, with field goals counting for 5 points, and touchdowns and conversions worth 4 apiece. In 1897, the touchdown was raised to 5 points while the conversion was lowered to 1 point. Field goals were devalued to 4 points in 1904, and then to the modern 3 points in 1909. The touchdown was changed to 6 points in 1912 in American football; the Canadian game followed suit in 1956.

text: The spot of the conversion has also changed through the years. In 1924, NCAA rules spotted the conversion at the 3-yard line, before moving it back to the 5-yard line in 1925. In 1929, the spot was moved up to the 2-yard line, which the NFL had done until 2014. In 1968, the NCAA diverged from the NFL rules in moving the spot back to the original 3-yard line. Canadian rules originally spotted the conversion at the 5-yard line, which remains closer than in the American code as the goalposts are at the front of the end zone. In 2015, to make conversion kicks harder, the NFL and CFL moved the spot of the kick to the 15 and 25-yard lines, respectively. In addition, the CFL moved the spot for a two-point conversion up to the 3-yard line to entice more teams to go for 2 points as opposed to one.

text: The goalposts were originally located on the goal line; this led to many injuries and sometimes interfered with play, and the NCAA moved the goal posts to the rear of the end zone 90 years ago in 1927. The NFL (still following NCAA rules at the time) followed suit, but moved the posts back to the goal line starting in the 1932 NFL Playoff Game, a change made necessary by the size of the indoor Chicago Stadium and kept when the NFL rules stopped mirroring the NCAA rules in 1933. The NFL kept the post at the goal line until 43 years ago, when they were moved back to the rear of the end zone for the 1974 season. This was partly a result of the narrowed hashmark distance of 1972, which had made for easier field-goal angles. The Canadian game still has posts on the goal line.

text: The width of the goalposts and the hashmarks have also varied throughout the years. In 1959, the NCAA goalposts were widened to 23 feet 4 inches (7.11 m), the standard width for high school posts today. In 1991, the college goalposts were reduced in width to 18 ft 6 in (5.64 m), matching the NFL. For the 1991 and 1992 seasons, this meant potentially severe angles for short field goal attempts, since the hashmark width remained at 53 ft 4 in (16.26 m). In 1993, the NCAA narrowed the distance between the hashmarks to 40 ft (12.19 m), matching what was the width of hashmarks in the NFL from 1945 through 1971; the NFL narrowed the hashmarks in 1972 to goalpost width at 18.5 feet (5.64 m). In the CFL, the hashmarks are 51 feet (16 m), but the field is 195 feet (59 m) in width, 35 feet (11 m) wider than the American field.

text: The NFL increased the height of the uprights above the crossbar to 20 feet (6.10 m) in 1966 and 30 feet (9.14 m) in 1974. In 2014, they were raised five feet to 35 feet (10.67 m) after the adoption of a proposal by New England Patriots head coach Bill Belichick.[7]

text: The "slingshot" goalpost, with a single post curving to support the crossbar, was invented by Jim Trimble and Joel Rottman in Montreal, Quebec, Canada.[8] The first were built by Alcan and displayed at Expo 67,[8][9] the World's fair in Montreal. The NFL had standardized the goalposts in 1966 and adopted the slingshot for the 1967 season;[8] the NCAA later adopted the same rule, but later allowed the use of "offset" goalposts, with two posts rather than one. Three schools in Division I FBS currently use dual-support posts: Florida State, LSU, and Washington State. A special exemption was allowed by the NFL for the New Orleans Saints to use the offset goalposts during the 2005 season, when they used LSU's stadium for home games after Hurricane Katrina.

text: Goalposts at the professional level today are sometimes equipped with a camera mounted to the stanchion immediately behind the center of the crossbar. Since these cameras are both above and slightly behind the crossbar, a field goal attempt will be judged good if it strikes this equipment.

text: In 1989, the NCAA banned the kicking tee, requiring kicks from the ground.[10][11]

text: During the 2011 NFL season, a record 90 field goals of 50 yards or longer were made.[12] In 2012, this record was increased to 92 field goals of 50 yards or longer.[12]

text: Longest field goal records[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (May 2010) (Learn how and when to remove this template message)

tag: table

text: As recorded in Guinness World Records:

text: The record for a field goal at any level is 69 yards. It was kicked by Ove Johansson of the Abilene Christian University Wildcats in the 1976 game against East Texas State University Lions (now Texas A&M University–Commerce) in Shotwell Stadium, Abilene, Texas.[13]

text: NFL[edit]

text: The longest field goal made was 64 yards by Matt Prater of the Denver Broncos on December 8, 2013.[14] The longest field goal attempt in an NFL game was 76 yards by Sebastian Janikowski on September 28, 2008.[15]

text: In the history of the NFL regular season, only 18 field goals have been made from at least 60 yards:[16]

text:
Distance
Kicker
Team
Result
Opposition
Date
Notes
Location
Elevation
Weather

64 yards
Matt Prater
Denver Broncos
51–28
Tennessee Titans
December 8, 2013
End of 1st half
Sports Authority Field at Mile High
5,280 ft (1,610 m)
13 °F; Sunny; Wind: S at 3 mph; Humidity: 72%

63 yards
Tom Dempsey
New Orleans Saints
19–17
Detroit Lions
November 8, 1970
Born with a stub for a right foot. Game-winning kick as time expired. Detroit kicker Errol Mann had kicked a field goal with :08 remaining to give Lions the lead.
Tulane Stadium
16 ft (4.9 m)

63 yards
Jason Elam
Denver Broncos
37–24
Jacksonville Jaguars
October 25, 1998
First field goal to tie record; soccer-style kicker
Mile High Stadium
5,280 ft (1,610 m)

63 yards
Sebastian Janikowski
Oakland Raiders
23–20
Denver Broncos
September 12, 2011
left-footed
Sports Authority Field at Mile High
5,280 ft (1,610 m)
Light rain early

63 yards
David Akers
San Francisco 49ers
30–22
Green Bay Packers
September 9, 2012
left-footed; end of first half; ball bounced off crossbar before crossing the plane
Lambeau Field
640 ft (200 m)
70 °F; Mostly Cloudy; Wind: N at 7 mph; Humidity: 43%

62 yards
Matt Bryant
Tampa Bay Buccaneers
23–21
Philadelphia Eagles
October 22, 2006
game-winning kick as time expired
Raymond James Stadium
35 ft (11 m)

61 yards
Sebastian Janikowski
Oakland Raiders
9–23
Cleveland Browns
December 27, 2009
left-footed
FirstEnergy Stadium
580 ft (180 m)

61 yards
Jay Feely
Arizona Cardinals
16–19 (OT)
Buffalo Bills
October 14, 2012
right-footed; longest game-tying field goal with 1:09 remaining in the 4th quarter, missed a 38-yard field goal that would have won the game at the end of regulation
University of Phoenix Stadium
1,150 ft (350 m)
Retractable roof closed

61 yards
Justin Tucker
Baltimore Ravens
18–16
Detroit Lions
December 16, 2013
Right-footed; game-winning field goal with 43 seconds remaining; sixth field goal of the game
Ford Field
601 ft (183 m)[17]
Dome

61 yards
Greg Zuerlein
St. Louis Rams
18–21 (OT)
Minnesota Vikings
November 8, 2015
Right-footed
TCF Bank Stadium
869 ft (265 m)
58 °F (14 °C); sunny

61 yards
Jake Elliott
Philadelphia Eagles
27–24
New York Giants
September 24, 2017
Right-footed; game winning kick as time expired. Second game of NFL career.
Lincoln Financial Field
39 ft (12 m)
91 °F (33 °C); sunny

60 yards
Steve Cox
Cleveland Browns
9–12
Cincinnati Bengals
October 21, 1984
straight-ahead kick; on AstroTurf
Riverfront Stadium
490 ft (150 m)

60 yards
Morten Andersen
New Orleans Saints
17–20
Chicago Bears
October 27, 1991
left-footed; on AstroTurf; first 60-yard kick done indoors
Louisiana Superdome
Sea level
Dome

60 yards
Rob Bironas
Tennessee Titans
20–17
Indianapolis Colts
December 3, 2006
Right-footed; game winner with six seconds remaining
LP Field
400 ft (120 m)

60 yards
Dan Carpenter
Miami Dolphins
10–13
Cleveland Browns
December 5, 2010
End of 1st half
Sun Life Stadium
5 ft (1.5 m)
77 °F (25 °C), wind SW at 14 mph (23 km/h)

60 yards
Greg Zuerlein
St. Louis Rams
19–13
Seattle Seahawks
September 30, 2012
in his rookie season ; longest field goal in third quarter; also kicked a 58-yard field goal in the first quarter
Edward Jones Dome
466 ft (142 m)
Dome

60 yards
Chandler Catanzaro
Arizona Cardinals
18–33
Buffalo Bills
September 25, 2016
longest field goal in career
New Era Field
600 ft (180 m)

text: Prior to Dempsey's 1970 kick, the longest field goal in NFL history was a 56-yard field goal by Bert Rechichar in 1953. A 55-yard field goal, achieved by a drop kick, was recorded by Paddy Driscoll in 1924, and stood as the unofficial record until that point; some sources indicate a 54-yarder by Glenn Presnell in 1934 as the record, due to the inability to precisely verify Driscoll's 55-yarder.

text: In a pre-season NFL game between the Denver Broncos and the Seattle Seahawks on August 29, 2002, Ola Kimrin kicked a 65-yard field goal.[18] However, because pre-season games are not counted toward official records, this accomplishment is not the official record.

text: CFL[edit]

text:
62 yards, Paul McCallum, Saskatchewan Roughriders vs. Edmonton Eskimos, October 27, 2001[19]
60 yards, Dave Ridgway, Saskatchewan Roughriders vs. Winnipeg Blue Bombers, September 6, 1987[19]

text: College football[edit]

text:
69 yards, Ove Johansson, Abilene Christian vs. East Texas State on October 16, 1976. (NAIA)
67 yards, Tom Odle, Fort Hays State vs. Washburn, 1988. (NCAA)
67 yards, Joe Williams, Wichita State vs. Southern Illinois, 1978. (NCAA Division I)
67 yards, Russell Erxleben, Texas vs. Rice, 1977. (NCAA Division I)
67 yards, Steve Little, Arkansas vs. Texas, 1977.[20] (NCAA Division I)
65 yards, J. T. Haxall, Princeton vs. Yale, 1882.

text: All of the above kicks were successful with the use of a kicking tee, which was banned by the NCAA prior to the 1989 season.

text: 65 yards, Martin Gramatica, Kansas State vs. Northern Illinois, 1998 - without a tee [21]

text: The longest known drop-kicked field goal in college football was a 62-yard kick from Pat O'Dea, an Australian kicker who played on the Wisconsin Badgers football team. O'Dea's kick took place in a blizzard against Northwestern on November 15, 1898.[22]

text: U Sports[edit]

text: The longest field goal in U Sports football history is 57 yards, by Jerry Foster of St. Mary's Huskies, playing against the Mount Allison Mounties on October 18, 1986.[23]

text: High school[edit]

text:
68 yards, Dirk Borgognone, Reno High School vs. Sparks High School (Nevada), September 27, 1985[24][25]
67 yards, Austin Rehkow, Central Valley High School (Spokane Valley, Washington) vs. Shadle Park High School (Spokane, Washington), October 18, 2012, game-tying FG with :02 left in 4th quarter (CV would go on to win 62-55). [26][27] (tied with two others)
62 yards, David Rosenbaum, Woodrow Wilson High School (Washington, D.C.) vs. Spingarn High School, October 3, 2003. While no records are kept, considered to be the longest extra point scored. Penalties due to excessive celebration, unsportsmanlike conduct, and taunting.[28]

text: Independent amateur[edit]

text: 68 yards, Fabrizio Scaccia, Treasure Coast Bobcats (FL), March 29, 2009[29] (world record for a kick without the aid of a tee, which was banned for field goal attempts in the NCAA in 1989)

text: Independent Women's Football League[edit]

text: 44 yards, Sarah Oliver, California Quake vs. New Mexico Menace, April 26, 2008.[30]

text: Longest missed field goal return records[edit]

text: NFL[edit]

text: Field goal returns are rare in the NFL, since an attempt with sufficient distance that misses the uprights will automatically be dead. Returns are possible when a field goal is short, but in that case returners will usually down the ball so as to scrimmage from the spot of the kick. Normally, a return will only be attempted when there is not enough time left in the half to run a play from scrimmage. Nevertheless, four field goals have been returned for at least 107 yards in the 21st century:

text:
Distance returned
Returner
Team
Opposing kicker
Opposing team
Distance attempted
Date
Location

109 yards[31]
Antonio Cromartie
San Diego Chargers
Ryan Longwell
Minnesota Vikings
58 yards
November 4, 2007
Metrodome

108 yards[32]
Devin Hester
Chicago Bears
Jay Feely
New York Giants
52 yards
November 12, 2006
Giants Stadium

108 yards[33]
Nathan Vasher
Chicago Bears
Joe Nedney
San Francisco 49ers
52 yards
November 13, 2005
Soldier Field

107 yards[34]
Chris McAlister
Baltimore Ravens
Jason Elam
Denver Broncos
57 yards
September 30, 2002
Ravens Stadium

text: CFL[edit]

text: Because the goalposts in Canadian football are on the goal line, and because downing the ball in the end zone results in the kicking team scoring a single point, field goal returns are much more common. The longest missed field goal return in the CFL is 131 total yards. Against the Montreal Alouettes on August 22, 1958, the Toronto Argonauts' Boyd Carter ran 15 yards, then threw a lateral to Dave Mann, who then returned it for the final 116 yards.[35] This return, which started 21 yards behind the goal line, was during the era of 25-yard end zones and therefore cannot be met or exceeded on the modern field with 20-yard end zones. Since the shortening of the end zones, a field goal has been returned for the maximum 129 yards on two occasions: by Tristan Jackson of the Saskatchewan Roughriders on July 14, 2012 [36] and by Trent Guy of the Montreal Alouettes on September 23, 2012.[37]

text: NCAA[edit]

text: In NCAA college football, only five missed field goals returns for touchdowns have ever been returned 100 yards or more:[38]

text:
September 17, 1966: Don Guest (California Golden Bears), 108-yard return for a touchdown after a failed 47-yard field goal attempt by Washington State.[38]
September 28, 1968: Richie Luzzi (Clemson Tigers), 108-yard return for a touchdown after a failed 47-yard field goal attempt by Georgia.[39]
September 7, 2013: Odell Beckham Jr. (LSU Tigers), 109-yard return for a touchdown after a failed 59-yard field goal attempt by UAB.[38]
November 30, 2013: Chris Davis, Jr. (Auburn Tigers), 109-yard return for a touchdown after what would have been a tie-breaking 57-yard field goal attempt by Alabama fell short as time expired, what some writers and fans call the greatest play in college football history.[40][41][42][43]
September 3, 2016: Brandon Wilson (Houston Cougars), 109-yard return for a touchdown after a failed 53-yard field goal attempt by Oklahoma.[44]

text: U Sports[edit]

text: In U Sports football, the longest possible missed field goal return is 129 yards, and this has occurred three times.[23]

text:
Jeremy Botelho of the Manitoba Bisons playing against the Simon Fraser Clansmen on September 11, 2009
Jedd Gardner of the Guelph Gryphons playing against the McMaster Marauders on October 8, 2010
Tunde Adeleke of the Carleton Ravens playing against the Ottawa Gee-Gees on October 5, 2013


document_title: Leaning Tower of Pisa

question_text: when was the leaning tower of pisa closed

text: Leaning Tower of Pisa

text: Architect

text: There has been controversy about the real identity of the architect of the Leaning Tower of Pisa. For many years, the design was attributed to Guglielmo and Bonanno Pisano,[7] a well-known 12th-century resident artist of Pisa, famous for his bronze casting, particularly in the Pisa Duomo. Pisano left Pisa in 1185 for Monreale, Sicily, only to come back and die in his home town. A piece of cast bearing his name was discovered at the foot of the tower in 1820, but this may be related to the bronze door in the façade of the cathedral that was destroyed in 1595. A 2001 study[8] seems to indicate Diotisalvi was the original architect, due to the time of construction and affinity with other Diotisalvi works, notably the bell tower of San Nicola and the Baptistery, both in Pisa.

text: Construction

text: Construction of the tower occurred in three stages over 199 years. Work on the ground floor of the white marble campanile began on August 14, 1173 during a period of military success and prosperity. This ground floor is a blind arcade articulated by engaged columns with classical Corinthian capitals.[citation needed]

text: The tower began to sink after construction had progressed to the second floor in 1178. This was due to a mere three-metre foundation, set in weak, unstable subsoil, a design that was flawed from the beginning. Construction was subsequently halted for almost a century, because the Republic of Pisa was almost continually engaged in battles with Genoa, Lucca, and Florence. This allowed time for the underlying soil to settle. Otherwise, the tower would almost certainly have toppled.[citation needed] In 1198, clocks were temporarily installed on the third floor of the unfinished construction.[citation needed]

text: In 1272, construction resumed under Giovanni di Simone, architect of the Camposanto. In an effort to compensate for the tilt, the engineers built upper floors with one side taller than the other. Because of this, the tower is curved.[9] Construction was halted again in 1284 when the Pisans were defeated by the Genoans in the Battle of Meloria.[citation needed]

text: The seventh floor was completed in 1319. The bell-chamber was finally added in 1372. It was built by Tommaso di Andrea Pisano, who succeeded in harmonizing the Gothic elements of the bell-chamber with the Romanesque style of the tower.[10] There are seven bells, one for each note of the musical major scale. The largest one was installed in 1655.[citation needed]

text: After a phase (1990–2001) of structural strengthening,[11] the tower is currently undergoing gradual surface restoration, in order to repair visible damage, mostly corrosion and blackening. These are particularly pronounced due to the tower's age and its exposure to wind and rain.[12]

text: Timeline

text:
On January 5, 1172, Donna Berta di Bernardo, a widow and resident of the house of dell'Opera di Santa Maria, bequeathed sixty soldi to the Opera Campanilis petrarum Sancte Marie. The sum was then used toward the purchase of a few stones which still form the base of the bell tower.[13]
On August 9, 1173, the foundations of the tower were laid.
Nearly four centuries later Giorgio Vasari wrote: "Guglielmo, according to what is being said, in [this] year 1174 with Bonanno as sculptor, laid the foundations of the bell tower of the cathedral in Pisa."
On December 27, 1233, the worker Benenato, son of Gerardo Bottici, oversaw the continuation of the construction of the bell tower.[14]
On February 23, 1260, Guido Speziale, son of Giovanni, a worker on the cathedral Santa Maria Maggiore, was elected to oversee the building of the tower.[15]
On April 12, 1264, the master builder Giovanni di Simone and 23 workers went to the mountains close to Pisa to cut marble. The cut stones were given to Rainaldo Speziale, worker of St. Francesco.[16]
Giorgio Vasari indicated that Tommaso di Andrea Pisano was the designer of the belfry[17] between 1360 and 1370.

text: Builders

text:
One possible known builder of Pisa Tower was Gerardo di Gerardo. His name appears as a witness to the above legacy of Berta di Bernardo as "Master Gerardo", and as a worker whose name was Gerardo.[citation needed]
A more probable builder was Diotisalvi, because of the construction period and the structure's affinities with other buildings in Pisa, but he usually signed his works, and there is no signature by him in the bell tower.[citation needed]
Giovanni di Simone was known to be heavily involved in the completion of the tower, under the direction of Giovanni Pisano, who at the time was master builder of the Opera di Santa Maria Maggiore. Di Simone could be the same Giovanni Pisano who completed the belfry tower.[citation needed]

text: History following construction

text: Galileo Galilei is said to have dropped two cannonballs of different masses from the tower to demonstrate that their speed of descent was independent of their mass. However, the only primary source for this is the biography Racconto istorico della vita di Galileo Galilei (Historical Account of the Life of Galileo Galilei), written by Galileo's secretary Vincenzo Viviani and published in 1717, long after Viviani's death.[18][19]

text: During World War II, the Allies suspected that the Germans were using the tower as an observation post. A U.S. Army sergeant sent to confirm the presence of German troops in the tower was impressed by the beauty of the cathedral and its campanile, and thus refrained from ordering an artillery strike, sparing it from destruction.[20][21]

text: Numerous efforts have been made to restore the tower to a vertical orientation or at least keep it from falling over. Most of these efforts failed; some worsened the tilt. On February 27, 1964, the government of Italy requested aid in preventing the tower from toppling. It was, however, considered important to retain the current tilt, due to the role that this element played in promoting the tourism industry of Pisa.[22]

text: A multinational task force of engineers, mathematicians, and historians gathered on the Azores islands to discuss stabilisation methods. It was found that the tilt was increasing in combination with the softer foundations on the lower side. Many methods were proposed to stabilise the tower, including the addition of 800 tonnes of lead counterweights to the raised end of the base.[23]

text: The tower and the neighbouring cathedral, baptistery, and cemetery are included in the Piazza del Duomo UNESCO World Heritage Site, which was declared in 1987.[24]

text: The tower was closed to the public on January 7, 1990, after more than two decades of stabilisation studies and spurred by the abrupt collapse of the Civic Tower of Pavia in 1989. The bells were removed to relieve some weight, and cables were cinched around the third level and anchored several hundred meters away. Apartments and houses in the path of the tower were vacated for safety. The solution chosen to prevent the collapse of the tower was to slightly straighten it to a safer angle by removing 38 cubic metres (1,342 cubic feet) of soil from underneath the raised end. The tower was straightened by 45 centimetres (17.7 inches), returning to its 1838 position. After a decade of corrective reconstruction and stabilization efforts, the tower was reopened to the public on December 15, 2001 and was declared stable for at least another 300 years.[23] In total, 70 metric tons (77 short tons) of earth were removed.[25]

text: In May 2008, engineers announced that the tower had been stabilized such that it had stopped moving for the first time in its history. They stated that it would be stable for at least 200 years.[25]

text: Alternative candidates

text: Two German churches have challenged the tower's status as the world's most lop-sided building: the 15th-century square Leaning Tower of Suurhusen and the 14th-century bell tower in the town of Bad Frankenhausen.[26] Guinness World Records measured the Pisa and Suurhusen towers, finding the former's tilt to be 3.97 degrees.[27] In June 2010, Guinness World Records certified the Capital Gate building in Abu Dhabi, UAE as the "World's Furthest Leaning Man-made Tower".[28] The Capital Gate tower has an 18-degree slope, almost five times more than the Pisa Tower; however the Capital Gate tower has been deliberately engineered to slant. The Leaning Tower of Wanaka in New Zealand, also deliberately built, leans at 53 degrees to the ground.[29]

text: Technical information

text:
Elevation of Piazza del Duomo: about 2 metres (6 feet, DMS)
Height from the ground floor: 55.863 metres (183 ft 3 in), 8 stories
Height from the foundation floor: 58.36 m (191 ft 5.64 in)
Outer diameter of base: 15.484 metres (50 ft 9.6 in)
Inner diameter of base: 7.368 metres (24 ft 2.1 in)
Angle of slant: 3.97 degrees[27] or 3.9 metres (12 ft 10 in) from the vertical[30]
Weight: 14,700 metric tons (16,200 short tons)
Thickness of walls at the base: 2.44 metres (8 ft 0 in)
Total number of bells: 7, tuned to musical scale, clockwise

1st bell: L'Assunta, cast in 1654 by Giovanni Pietro Orlandi, weight 3,620 kg (7,981 lb)
2nd bell: Il Crocifisso, cast in 1572 by Vincenzo Possenti, weight 2,462 kg (5,428 lb)
3rd bell: San Ranieri, cast in 1719–1721 by Giovanni Andrea Moreni, weight 1,448 kg (3,192 lb)
4th bell: La Terza (1st small one), cast in 1473, weight 300 kg (661 lb)
5th bell: La Pasquereccia or La Giustizia, cast in 1262 by Lotteringo, weight 1,014 kg (2,235 lb)
6th bell: Il Vespruccio (2nd small one), cast in the 14th century and again in 1501 by Nicola di Jacopo, weight 1,000 kg (2,205 lb)
7th bell: Dal Pozzo, cast in 1606 and again in 2004, weight 652 kg (1,437 lb)[31]

Number of steps to the top: 296[32]

text: About the 5th bell: The name Pasquareccia comes from Easter, because it used to ring on Easter day. However, this bell is older than the bell-chamber itself, and comes from the tower Vergata in Palazzo Pretorio in Pisa, where it was called La Giustizia (The Justice). The bell was tolled to announce executions of criminals and traitors, including Count Ugolino in 1289.[33] A new bell was installed in the bell tower at the end of the 18th century to replace the broken Pasquareccia.

text: Gallery

text:
View looking up

Entrance door to the bell tower

External loggia

Inner staircase from sixth to seventh floor

Inner staircase from seventh to eighth (the top) floor

View from the top

Assunta bell

Pasquareccia bell

View, looking down from the top

A popular photo opportunity with tourists is to pose as if one was either holding up or pushing over the tower


document_title: Here Come the Brides

question_text: who sang the theme song for here come the brides

text: Here Come the Brides

text: Backstory[edit]

text: The producers said the show was inspired by the movie Seven Brides for Seven Brothers in an interview with LA Times TV critic Cecil Smith.

text: As a television western, set shortly after the end of the Civil War, the series rarely featured any form of gunplay, and violence was generally limited to comical fistfights. This was in keeping with the restrictions on television violence at the time. Stories highlighted the importance of cooperation, inter-racial harmony, and peaceful resolution of conflict. Plots were usually a mix of drama and humor. Being one of the first shows targeted at young women, most of the humor was at the expense of the men, but not particularly bitingly so.

text: The 1951 movie Westward the Women follows a similar theme.

text: Plot summary[edit]

text: In the pilot episode, smooth-talking, charismatic logging company boss Jason Bolt (Robert Brown) is faced with a shutdown of his operation as lonely lumberjacks are ready to leave Seattle due to the lack of female companionship. He promises to find marriageable ladies willing to come to the frontier town (population 152) and stay for a full year. Sawmill owner Aaron Stempel (Mark Lenard) puts up much of the expense money as a wager that Bolt won't succeed in bringing 100 suitable women; the Bolt brothers betting their mountain, named Bridal Veil Mountain, home to their logging company.

text: The Bolts travel to New Bedford, Massachusetts, recruit the women, then charter a mule-ship to take them back to Seattle. The local saloon owner, Lottie (Joan Blondell) takes the women under her wing and becomes a mother figure to them, while Bolt desperately works to keep the women from leaving at the next high tide.

text: Eventually, the women decide to give Seattle and the loggers a chance. The ship's captain, Clancy (Henry Beckman), develops a relationship with Lottie and becomes a regular character in the series.

text: Much of the dramatic and comedic tension in the first season revolved around Stempel's efforts to sabotage the deal and take over the Bolts' holdings. Stempel became more friendly in the second and final season, which focused more on the development of individual characters and the conflicts associated with newcomers and with people just passing through. One running theme is the importance of family, as the Bolt brothers show through the closeness of their relationships, that by sticking together, democratically taking family votes, they can overcome the surprising obstacles life presents.

text: Bobby Sherman and David Soul were propelled to pop stardom as Jason's brothers, Jeremy and Joshua. Jeremy took a prominent role, not only as the boyfriend of Candy Pruitt (Bridget Hanley), the beautiful, unofficial leader of the brides, but also as a young man struggling with a conversation-stopping stammer. In one episode, he is temporarily cured of his impediment, following coaching by a traveler who has come to Seattle. Upon discovering that his benefactor is actually a con artist, his faith is shaken so deeply that the stammer returns.

text: The show addressed many social issues — racism, ethnic discrimination, treatment of the handicapped and mentally impaired, business ethics, and ecology.

text: Cast[edit]

text: Main characters[edit]

text: Opening credits sequence:

text:
Jason Bolt (Robert Brown)
Jeremy Bolt (Bobby Sherman)
Joshua Bolt (David Soul)
Aaron Stempel (Mark Lenard)
Candace "Candy" Pruitt (Bridget Hanley)
Lottie Hatfield (Joan Blondell)

text: Ending credits:

text:
Captain Clancey (Henry Beckman)
Biddie Cloom (Susan Tolsky)

text: Recurring characters[edit]

text:
Ben Perkins (Hoke Howell)
Corky (Robert Biheller)
Olaf "Big Swede" Gustavsen (Bo Svenson)
Essie Halliday (Mitzi Hoag), school teacher and eventually Big Swede's wife
Franny (Carole Shelyne)
Ann (Cynthia Hull)

text: Opening credits:

text: Those listed for the first season, plus

text: End credits:

text:
Ben Perkins (Hoke Howell)
Corky (Robert Biheller)
Christopher Pruitt (Eric Chase, 1969–1970), Candy Pruitt's younger brother
Molly Pruitt (Patti Cohoon, 1969–1970), Candy's younger sister

text: Notable guest stars[edit]

text: This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2013) (Learn how and when to remove this template message)

text: A young Bruce Lee appeared as a Chinese immigrant named Lin in the episode "Marriage Chinese Style" (1969). This character was the only dramatic English language non-martial arts role in Lee's acting career.[citation needed] Character actress Nora Marlowe played Mrs. Bronson in the same episode.[citation needed]

text: Cicely Tyson, Jane Wyatt, Edward Asner, Majel Barrett (Star Trek), Barry Williams (pre-The Brady Bunch), Marge Redmond and Madeline Sherwood (both known as regulars in The Flying Nun), Bernard Fox (Dr. Bombay of Bewitched), Vic Tayback (an extra as one of 'Jason's men' in the premiere episode, later a guest star), Lynda Day George, Bob Cummings (star of The Bob Cummings Show 1955-1959 on NBC and The New Bob Cummings Show 1961-1962 on CBS), Daniel J. Travanti and James B. Sikking (both later known for Hill Street Blues), Larry Linville (M*A*S*H) and Billy Mumy (Lost in Space) all made guest appearances.[citation needed]

text: Mitzi Hoag, who played Miss Essie during the season 1, had two guest roles in season 2 as completely different characters, one as a Greek immigrant in the episode "Land Grant" and another as a nun in the episode "Absalom".[citation needed]

text: Reception[edit]

text: First season ratings were impressive enough to ensure its renewal for a second season, though only 152 ABC affiliates agreed to broadcast the series (compared to another Screen Gems' series, Bewitched, which was broadcast on 217 ABC affiliates in the same 1968/69 season).[1] However, for that second season, the family-geared series was moved from the 7:30 Wednesday night "Family Hour" to the more adult-oriented time slot of 9:00 Friday night in September 1969. This move to the Friday night death slot combined with the low ABC affiliate support caused the ratings to quickly slide out of the top 40, and production ceased in the spring of 1970, although most of those ABC affiliates repeated episodes throughout the summer months, as was then a standard procedure with most series. The final primetime episode in the United States was broadcast on Friday September 18, 1970.

text: Joan Blondell received Emmy award nominations each season for her performance as Lottie Hatfield. She lost to Barbara Bain in 1969, and to Susan Hampshire in 1970.

text: Music[edit]

text: The theme song "Seattle" was written by Jack Keller and Ernie Sheldon. Both Perry Como and Bobby Sherman recorded slightly different variations of the song. Como scored a minor hit, with his version reaching No. 38 in the U.S. Sherman's version, although receiving some airplay, was never released as a single. There is no reference in either version regarding the TV series title, i.e.; "...look out everyone! Here Come the Brides!" Starting with the series debut in September 1968 the series opened with a rousing instrumental score featuring screen stills of "Jason", "Jeremy & Joshua", "Candy & Aaron" and "Lottie". At some point during the first season (and to coincide with the spring 1969 release of the Perry Como 'pop' recording) the TV theme was reworked by overdubbing vocals/lyrics to the same theme music already recorded (as used previously) along with updating all the opening character stills, including the addition of a "Clancy & Biddie" screen. The added lyrics performed by "The New Establishment" and updated screen stills were featured for the remainder of the first season and remained unchanged for the entire second season.

text: French version[edit]

text: A French-language version of the show and theme song (performed by a chorus of male singers) was a smash hit in French Canada, under the title Cent filles à marier (A Hundred Girls to Marry Off). The show capitalized on the popularlity of the American version and the fact that a similar "bride drive" (see Filles du roi) is also part of Québec's cultural mythos.

text: DVD releases and books[edit]

text: Sony Pictures Home Entertainment released the first season on DVD in Region 1 on May 16, 2006.[2]

text: On October 14, 2011, Shout! Factory announced that it had acquired the home-video rights to the series, and it later released the final season on DVD.[3] It was subsequently released on February 28, 2012. However, the season 1 opening cast-and-credit sequence was used for this release, using the New Establishment's vocals, but ignoring Henry Beckman's and Susan Tolsky's respective credits.[4]

text: In December 2009, BearManor Media released a nostalgic look into the program's history, Gangway, Lord: (The) Here Come The Brides Book by Jonathan Etter, which featured a foreword by Robert Brown. Bobby Sherman was the only (then) surviving cast member who did not participate with the publication. However, Sherman did discuss the series in his autobiography, Bobby Sherman: Still Remembering You, whose contents he dictated to Dena Hill, and subsequently published by Contemporary Books in 1996.

text: Syndication[edit]

text: Reruns were aired on CBN Cable during the mid-1980s.

text: Early in January 2011, digital sub-network Antenna TV began airing the series.

text: INSP broadcast the series in 2018.

text: Star Trek crossover[edit]

text: Barbara Hambly's Star Trek novel Ishmael has Spock traveling back to the time and place of Here Come the Brides after discovering a Klingon plot to destroy the Federation by killing Aaron Stempel (spelled "Stemple" in the book) before he could thwart an attempted 19th-century alien invasion of Earth. During most of the story, Spock has lost his memory and is cared for by Stempel, who passes him off as his nephew "Ishmael" and helps him hide his alien origins.[5]

text: At the end of the story, Captain Kirk discovers that Stempel was one of Spock's mother's ancestors, a reference to the fact that Mark Lenard also played Spock's father Sarek in episodes of the original Star Trek and Star Trek: The Next Generation, as well as several of the Star Trek motion pictures. In that sense, Lenard played both Spock's father and his maternal ancestor.[5]

text: Jane Wyatt who played Spock's mother in the original series, made a guest appearance in the show's second season. She did not have any scenes with Mark Lenard.[citation needed]

text: Aside from Lenard, other Star Trek guest cast members were series regulars Robert Brown (both of the Lazaruses in "The Alternative Factor"), David Soul (Makora in "The Apple"), and semi-regular Carole Shelyne (the visible representation of a Metron in "Arena", whose voice Vic Perrin provided in that installment).[6][7][8]


document_title: The Wonderful Wizard of Oz

question_text: who does dorothy meet first on the yellow brick road

text: The Wonderful Wizard of Oz

text: Publication[edit]

text: The book was published by George M. Hill Company. Its first edition had a printing of 10,000 copies and was sold in advance of the publication date of September 1, 1900. On May 17, 1900, the first copy of the book came off the press; Baum assembled it by hand and presented it to his sister Mary Louise Baum Brewster. The public saw the book for the first time at a book fair at the Palmer House in Chicago, July 5–20. The book's copyright was registered on August 1; full distribution followed in September.[1] By October 1900, the first edition had already sold out and the second edition of 15,000 copies was nearly depleted.[2]

text: In a letter to his brother Harry, Baum wrote that the book's publisher George M. Hill predicted a sale of about 250,000 copies. In spite of this favorable conjecture, Hill did not initially predict that the book would be phenomenally successful. He agreed to publish the book only when the manager of the Chicago Grand Opera House Fred R. Hamlin committed to making The Wonderful Wizard of Oz into a musical stage play to publicize the novel. The play The Wizard of Oz debuted on June 16, 1902. It was revised to suit adult preferences and was crafted as a "musical extravaganza", with the costumes modeled after Denslow's drawings. Hill's publishing company became bankrupt in 1901, so Baum and Denslow agreed to have the Indianapolis-based Bobbs-Merrill Company resume publishing the novel.[3]

text: Baum's son Harry Neal told the Chicago Tribune in 1944 that L. Frank told his children "whimsical stories before they became material for his books". Harry called his father the "swellest man I knew", a man who was able to give a decent reason as to why black birds cooked in a pie could afterwards get out and sing.[4]

text: By 1938, more than one million copies of the book had been printed.[5] Less than two decades later in 1956, the sales of his novel had grown to three million copies in print.[3]

text: Plot[edit]

text: Dorothy is a young girl who lives with her Aunt Em and Uncle Henry and her little dog Toto on a farm in the Kansas prairies. One day, Dorothy and Toto are caught up in a cyclone that deposits her farmhouse into Munchkin Country in the magical Land of Oz. The falling house has killed the Wicked Witch of the East, the evil ruler of the Munchkins. The Good Witch of the North arrives with three other grateful Munchkins and gives Dorothy the magical Silver Shoes that once belonged to the Wicked witch. The Good Witch tells Dorothy that the only way she can return home is to go to the Emerald City and ask the great and powerful Wizard of Oz to help her. As Dorothy embarks on her journey, the Good Witch of the North kisses her on the forehead, giving her magical protection from harm.

text: On her way down the yellow brick road, Dorothy attends a banquet held by a Munchkin man named Boq. The next day, Dorothy frees the Scarecrow from the pole on which he is hanging, applies oil from a can to the rusted connections of the Tin Woodman, and meets the Cowardly Lion. The Scarecrow wants a brain, the Tin Woodman wants a heart, and the Cowardly Lion wants courage, so Dorothy encourages the three of them to journey with her and Toto to the Emerald City to ask for help from the Wizard. After several adventures, the travelers enter the gates of the Emerald City and meet the Guardian of the Gates, who asks them to wear green tinted spectacles to keep their eyes from being blinded by the city's brilliance. Each one is called to see the Wizard. The Wizard appears to Dorothy as a giant head on a marble throne, the Scarecrow as a lovely lady in silk gauze, the Tin Woodman as a terrible beast, and the Cowardly Lion as a ball of fire. The Wizard agrees to help them all if they kill the Wicked Witch of the West, who rules over Oz's Winkie Country. The Guardian warns them that no one has ever managed to defeat the witch.

text: The Wicked Witch of the West sees the travelers approaching with her one telescopic eye. She sends a pack of wolves to tear them to pieces, but the Tin Woodman kills them with his axe. She sends wild crows to peck their eyes out, but the Scarecrow kills them by breaking their necks. She summons a swarm of black bees to sting them, but they are killed trying to sting the Tin Woodman while the Scarecrow's straw hides the other three. She sends her Winkie soldiers to attack them, but the Cowardly Lion stands firm to repel them. Finally, she uses the power of the Golden Cap to send the winged monkeys to capture Dorothy, Toto, and the Cowardly Lion, unstuff the Scarecrow, and dent the Tin Woodman. Dorothy is forced to become the Wicked Witch's personal slave, while the witch schemes to steal Dorothy's Silver Shoes.

text: The Wicked Witch successfully tricks Dorothy out of one of her Silver Shoes. Angered, Dorothy throws a bucket of water at her and is shocked to see the witch melt away. The Winkies rejoice at being freed of the witch's tyranny and help restuff the Scarecrow and mend the Tin Woodman. They ask the Tin Woodman to become their ruler, which he agrees to do after helping Dorothy return to Kansas. Dorothy finds the Golden Cap and summons the Winged Monkeys to carry her and her companions back to the Emerald City. The King of the Winged Monkeys tells how he and the other monkeys are bound by an enchantment to the cap by the sorceress Gayelette from the North, and that Dorothy may use the cap to summon the Winged Monkeys two more times.

text: When Dorothy and her friends meet the Wizard of Oz again, Toto tips over a screen in a corner of the throne room that reveals the Wizard. He sadly explains he is a humbug—an ordinary old man who, by a hot air balloon, came to Oz long ago from Omaha. The Wizard provides the Scarecrow with a head full of bran, pins, and needles ("a lot of bran-new brains"), the Tin Woodman with a silk heart stuffed with sawdust, and the Cowardly Lion a potion of "courage". Their faith in the Wizard's power gives these items a focus for their desires. The Wizard decides to take Dorothy and Toto home and leave the Emerald City. At the send-off, he appoints the Scarecrow to rule in his stead, which he agrees to do after Dorothy returns to Kansas. Toto chases a kitten in the crowd and Dorothy goes after him, but the tethers of the balloon break and the Wizard floats away.

text: Dorothy summons the Winged Monkeys to carry her and Toto home, but they explain they cannot cross the desert surrounding Oz. The Soldier with the Green Whiskers informs Dorothy that Glinda the Good Witch of the South may be able to help her return home, so the friends begin their journey to see Glinda, who lives in Oz's Quadling Country. On the way, the Cowardly Lion kills a giant spider who is terrorizing the animals in a forest. The animals ask the Cowardly Lion to become their king, which he agrees to do after helping Dorothy return to Kansas. Dorothy summons the Winged Monkeys a third time to fly them over a mountain to Glinda's palace. Glinda greets the travelers and reveals that the Silver Shoes Dorothy wears can take her anywhere she wishes to go. Dorothy embraces her friends, all of whom will be returned to their new kingdoms through Glinda's three uses of the Golden Cap: the Scarecrow to the Emerald City, the Tin Woodman to the Winkie Country, and the Lion to the forest; after which the cap shall be given to the King of the Winged Monkeys, freeing them. Dorothy takes Toto in her arms, knocks her heels together three times, and wishes to return home. Instantly, she begins whirling through the air and rolling through the grass of the Kansas prairie, up to her Kansas farmhouse. She is now in her stocking feet; her shoes were lost forever in the desert. Dorothy runs to her Aunt Em, saying "I'm so glad to be at home again!"

text: Illustration and design[edit]

text: The book was illustrated by Baum's friend and collaborator W. W. Denslow, who also co-held the copyright. The design was lavish for the time, with illustrations on many pages, backgrounds in different colors, and several color plate illustrations.[citation needed] In September 1900, The Grand Rapids Herald wrote that Denslow's illustrations are "quite as much of the story as in the writing". The editorial opined that had it not been for Denslow's pictures, the readers would be unable to picture precisely the figures of Dorothy, Toto, and the other characters.[6]

text: The distinctive look led to imitators at the time, most notably Eva Katherine Gibson's Zauberlinda, the Wise Witch, which mimicked both the typography and the illustration design of Oz.[7] The typeface was the newly designed Monotype Old Style. Denslow's illustrations were so well known that merchants of many products obtained permission to use them to promote their wares. The forms of the Scarecrow, the Tin Woodman, the Cowardly Lion, the Wizard, and Dorothy were made into rubber and metal sculptures. Costume jewelry, mechanical toys, and soap were also designed using their figures.[8]

text: A new edition of the book appeared in 1944, with illustrations by Evelyn Copelman.[9] Although it was claimed that the new illustrations were based on Denslow's originals, they more closely resemble the characters as seen in the famous 1939 film version of Baum's book.[10]

text: Sources of images and ideas[edit]

text: Baum acknowledged the influence of the Brothers Grimm and Hans Christian Andersen, which he was deliberately revising in his "American fairy tales" to include the wonder without the horrors.[11]

text: The Land of Oz and other locations[edit]

text: Local legend has it that Oz, also known as The Emerald City, was inspired by a prominent castle-like building in the community of Castle Park near Holland, Michigan, where Baum lived during the summer. The yellow brick road was derived from a road at that time paved by yellow bricks. These bricks were located in Peekskill, New York, where Baum attended the Peekskill Military Academy. Baum scholars often refer to the 1893 Chicago World's Fair (the "White City") as an inspiration for the Emerald City. Other legends suggest that the inspiration came from the Hotel Del Coronado near San Diego, California. Baum was a frequent guest at the hotel and had written several of the Oz books there.[12] In a 1903 interview with Publishers Weekly,[13] Baum said that the name "OZ" came from his file cabinet labeled "O–Z".[14]

text: Some critics have suggested that Baum may have been inspired by Australia, a relatively new country at the time of the book's original publication. Australia is often colloquially spelled or referred to as "Oz". Furthermore, in Ozma of Oz (1907), Dorothy gets back to Oz as the result of a storm at sea while she and Uncle Henry are traveling by ship to Australia. Like Australia, Oz is an island continent somewhere to the west of California with inhabited regions bordering on a great desert. One might imagine that Baum intended Oz to be Australia, or perhaps a magical land in the center of the great Australian desert.[15]

text: Alice's Adventures in Wonderland[edit]

text: Another influence lay in Lewis Carroll's Alice's Adventures in Wonderland. A September 1900 review in the Grand Rapids Herald called The Wonderful Wizard of Oz a "veritable Alice in Wonderland brought up to the present day standard of juvenile literature".[6] Baum found Carroll's plots incoherent, but he identified the books' source of popularity as Alice herself, a child with whom the child readers could identify; this influenced his choice of a protagonist.[11] Baum was also influenced by Carroll's belief that children's books should have many pictures and be pleasurable to read. Carroll rejected the Victorian-era ideology that children's books should be saturated with morals, instead believing that children should be allowed to be children. Building on Carroll's style of numerous images accompanying the text, Baum combined the conventional features of a fairy tale (witches and wizards) with the well-known things in his readers' lives (scarecrows and cornfields).[16]

text: American fantasy story[edit]

text: The Wonderful Wizard of Oz is considered the first American fairy tale because of its references to clear American locations such as Kansas and Omaha. Baum agreed with authors such as Carroll that fantasy literature was important for children, along with numerous illustrations, but he also wanted to create a story that had recognizable American elements in it, such as farming and industrialization.[17]

text: Baum's personal life[edit]

text: Many of the characters, props, and ideas in the novel were drawn from Baum's experiences. As a child, Baum frequently had nightmares of a scarecrow pursuing him across a field. Moments before the scarecrow's "ragged hay fingers" nearly gripped his neck, it would fall apart before his eyes. Decades later, as an adult, Baum integrated his tormentor into the novel as the Scarecrow.[18] According to his son Harry, the Tin Woodman was born from Baum's attraction to window displays. He wished to make something captivating for the window displays, so he used an eclectic assortment of scraps to craft a striking figure. From a washboiler he made a body, from bolted stovepipes he made arms and legs, and from the bottom of a saucepan he made a face. Baum then placed a funnel hat on the figure, which ultimately became the Tin Woodman.[19] John D. Rockefeller was the nemesis of Baum's father, an oil baron who declined to purchase Standard Oil shares in exchange for selling his own oil refinery. Baum scholar Evan I. Schwartz posited that Rockefeller inspired one of the Wizard's numerous faces. In one scene in the novel, the Wizard is seen as a "tyrannical, hairless head". When Rockefeller was 54 years old, the medical condition alopecia caused him to lose every strand of hair on his head, making people fearful of speaking to him.[20]

text: In the early 1880s, Baum's play Matches was being performed when a "flicker from a kerosene lantern sparked the rafters", causing the Baum opera house to be consumed by flames. Scholar Evan I. Schwartz suggested that this might have inspired the Scarecrow's severest terror: "There is only one thing in the world I am afraid of. A lighted match."[21]

text: In 1890, Baum lived in Aberdeen, which was experiencing a drought, and he wrote a witty story in his "Our Landlady" column in Aberdeen's The Saturday Pioneer[22] about a farmer who gave green goggles to his horses, causing them to believe that the wood chips that they were eating were pieces of grass. Similarly, the Wizard made the people in the Emerald City wear green goggles so that they would believe that their city was built from emeralds.[23]

text: During Baum's short stay in Aberdeen, the dissemination of myths about the plentiful West continued. However, the West, instead of being a wonderland, turned into a wasteland because of a drought and a depression. In 1891, Baum moved his family from South Dakota to Chicago. At that time, Chicago was getting ready for the World's Columbian Exposition in 1893. Scholar Laura Barrett stated that Chicago was "considerably more akin to Oz than to Kansas". After discovering that the myths about the West's incalculable riches were baseless, Baum created "an extension of the American frontier in Oz". In many respects, Baum's creation is similar to the actual frontier save for the fact that the West was still undeveloped at the time. The Munchkins Dorothy encounters at the beginning of the novel represent farmers, as do the Winkies she later meets.[24]

text: Baum's wife frequently visited her niece, Dorothy Louise Gage. The infant became gravely sick and died on November 11, 1898, from "congestion of the brain" at exactly five months. When the baby, whom Maud adored as the daughter she never had, died, she was devastated and needed to consume medicine.[25] To assuage her distress, Frank made his protagonist of The Wonderful Wizard of Oz a female named Dorothy.[26] Uncle Henry was modeled after Henry Gage, his wife Maud's father. Bossed around by his wife Matilda, Henry rarely dissented with her. He flourished in business, though, and his neighbors looked up to him. Likewise, Uncle Henry was a "passive but hard-working man" who "looked stern and solemn, and rarely spoke".[27] The witches in the novel were influenced by witch-hunting research gathered by Baum's mother-in-law, Matilda. The stories of barbarous acts against accused witches scared Baum. Two key events in the novel involve wicked witches who both meet their death through metaphorical means.[28]

text: Baum held different jobs, moved a lot, and was exposed to many people, so the inspiration for the story could have been taken from many different aspects of his life.[29] In the introduction to the story, Baum writes that "it aspires to being a modernized fairy tale, in which the wonderment and joy are retained and the heart-aches and nightmares are left out."[30] This is one of the explanations that he gives for the inspiration for The Wonderful Wizard of Oz. Baum, a former salesman of china, wrote in chapter 20 about china that had sprung to life.[23]

text: Influence of Denslow[edit]

text: The original illustrator of the novel, W. W. Denslow, could also have influenced the story and the way it has been interpreted. Baum and Denslow had a close working relationship and worked together to create the presentation of the story through the images and the text. Color is an important element of the story and is present throughout the images, with each chapter having a different color representation. Denslow also added characteristics to his drawings that Baum never described. For example, Denslow drew a house and the gates of the Emerald City with faces on them. In the later Oz books, John R. Neill, who illustrated all of the sequels, continued to include these faces on gates.[31]

text: Allusions to 19th-century America[edit]

text: Baum did not offer any conclusive proof that he intended his novel to be a political allegory. Historian Ranjit S. Dighe wrote that for 60 years after the book's publication, "virtually nobody" had such an interpretation until Henry Littlefield, a high-school teacher.[32] In his 1964 American Quarterly article, "The Wizard of Oz: Parable on Populism",[33] Littlefield posited that the book contained an allegory of the late 19th-century bimetallism debate regarding monetary policy.[34]

text: Not only did Baum draw inspiration from the American land around him, but he also created Oz to display an American utopia where the issues of the day were solved. There is little distinction between utopia and fairy-tale land.[35] Baum believed that the imagination was the best tool for creating a striving society. In a later book in the Oz series, Baum writes: "imaginations and dreams are likely to lead to the betterment of the world. The imaginative child will become the imaginative man or woman most apt to create, to invent and, therefore, to foster civilization."[36] In this way, Baum wrote The Wonderful Wizard of Oz as a modern fairy tale depicting Oz as an American utopia that displays numerous allusions and solutions to issues in the late 19th and early 20th century.

text: The realm of Oz very closely resembles America. It contains four countries, the Land of the North, East, West, and South, and the national capital, the Emerald City. America and its inhabitants are often divided into similar categories such as Midwestern, Southern, etc. These locations are also separated by an American color scheme that was relevant to America during the 19th century.[37] The color blue represents the industrial East known for the blue-collar jobs. The South is red for the red earth it contains or the "redneck" inhabitants. Yellow describes the West, denoting the California gold rush. Finally, the Emerald City as Washington D. C., denoting greenbacks and money of the country.

text: The villains of the story are the Wicked Witch of the West and the Wicked Witch of the East. The wicked witches use their power to control and enslave their subjects. There was an equal balance between good and evil, and until this balance was altered, there could be no change or development in Oz. This standoff can be seen as an allusion between the different political parties in America. The Wicked Witch of the West represents the American West, including the wealthy railroad, oil barons, and nature. The American West's greatest weapon in the 19th century, though, was nature, most malignantly the drought. The effects lasted longer than any fire or twister, and a long enough drought could ruin a whole year's worth of crops. Thus, water as the weapon to kill the Witch of the West is quite poetic. The brown mass the witch's remains turn into resembles mud after a heavy storm. Dorothy even cleans the melted witch off the floor and her shoes as if she had walked through a rainy puddle.

text: Baum's Wicked Witch of the East has been suggested to represent Eastern financial and industrial interests, such as Wall Street, which oppresses the agricultural citizens.[38] The Witch of the East enslaved her subjects much as industrialism was thought to enslave the working class in 19th-century Eastern America. Once Dorothy killed the Wicked Witch of the East the balance of power could be shifted. Both these groups opposed Populist efforts to move the U.S. to a bimetallic monetary standard since this would have devalued the dollar and made investments less valuable. Workers and poor farmers supported the move away from the gold standard, as this would have lessened their crushing debt burdens. The Populist party sought to build a coalition of Southern and Midwestern tenant farmers and Northern industrial workers. These groups are represented in the book by the Good Witches of the North and South.

text: At the beginning of the novel, Dorothy is swept from her farm to Oz by a cyclone, which was frequently compared to the Free Silver movement in Baum's time.[33] The yellow brick road represents the gold standard, and the Silver Shoes, which enable Dorothy to travel more comfortably, symbolizes the Populist Party's desire to construct a bimetallic standard of both gold and silver in place of the gold standard. "Oz" is the abbreviated form of ounce, a standard measure of gold.[39] When Dorothy and the Scarecrow walk through the forest, the road begins to be rough and patchy, causing the Scarecrow to trip and fall numerous times. The Scarecrow's falls on the yellow brick road resemble the damage farmers faced owing to deflation caused by the scarcity of gold. Dorothy, however, simply "walks around" the holes in the road, showing that the bimetallic standard works. Even when gold was scarce, the other metal in the bimetal system would be relatively cheap, therefore one bypasses deflation.[40] Throughout the book, most of the characters do not know the magic behind the silver shoes. It is not until Dorothy meets Glinda, the good Witch of the South, that she finds out that the silver shoes have had the power to transfer her back to Kansas all along. Baum is possibly alluding to the fact that the bimetallic standard has been a working solution to the economic crisis all along, though no one knows how to do it. Once Dorothy clicks her heels three times, she returns to Kansas, where she realizes that "The Silver Shoes had fallen off in her flight through the air, and were lost forever in the desert." The silver shoes were lost, much like the fight for the bimetallic standard, which began to fade away in 1900.

text: The Wizard is the national leader of Oz, thus it is fitting for him to symbolize the President(s) of the United States during the 19th century.[38] Politicians have been known to have many faces; it is a must if they want to be able to be everything for everyone. The Great and Terrible Wizard of Oz agrees to meet with each traveler separately, allowing him to alter his appearance to best fit each character. When the gang returns having completed the Wizard's task, they discover that the Wizard is a fake and is actually just "a common man" who has made everyone believe he was powerful. The Scarecrow adds that he is a humbug, in which the Wizard gladly says that is he is exactly that. The Wizard made promises he could not keep, as did many 19th-century politicians. The Wizard later states: "How can I help being a humbug… when all these people make me do things that everyone knows can't be done," showing that he was able to deceive others because others were willing to be deceived.

text: While journeying to the Emerald City, Dorothy encounters a scarecrow, who represents a farmer. The Scarecrow believes he is a fool, since his head is full of straw and not brains. Four years before the book's release, William Allen White, a journalist from Chicago, published an article titled "What's the Matter With Kansas?" In the article White questions why Kansas is unsatisfied and sarcastically answers saying America needs "fewer white shirts and brains", implying Western farmers were ignorant, lazy and bad businessmen.[41] The Scarecrow shares this opinion and doubts himself, believing he is inferior without a brain. In the same year White published his article, William Jennings Bryan delivered his famous "Cross of Gold speech" at the 1896 Democratic Convention. Bryan fought for the farmers and argued against such accusations made by White, exclaiming: "The farmer who goes forth in the morning and toils all day, begins in the spring and toils all summer, and by the application of brain and muscle to the natural resources of this country creates wealth, is as much a businessman as the man who goes upon the Board of Trade and bets upon the price of grain."[42] Baum shares Bryan's view on American farmers by showing that the Scarecrow is sharp and capable by his actions throughout the book. The book ends with "farm interests achieving national importance" and farmers' true potential in politics being revealed once the illusion of ignorance has been removed.

text: The next companion Dorothy meets on the yellow brick road is the Tin Woodman who has been cursed by the now deceased Wicked Witch of the East. He was once a hard worker yearning to earn money to start a family with a Munchkin girl. The witch enchanted his axe so that the Woodman chopped off each of his limbs and eventually his body. Each time a tinner healed the Woodman by replacing his body with tin, however once the Tin Woodman's heart was removed he could no longer love. The Tin Woodman symbolizes the Eastern working man competing in an industrialized society. The 19th-century man had to keep up with the machine in order to be useful and relevant. In this way the Witch of the East's curse "dehumanized a simple laborer so that the faster and better he worked the more quickly he became a kind of machine."[38] The Tin Woodman was caught in the rain and rusted in the same position for one year before Dorothy oils his joints to set him free. The Tin Woodman's year of waiting is parallel to the unemployment of Eastern workers during the severe depression of 1893-1897. His calls of help that were never heard relate to President Grover Cleveland's "hard-hearted refusal" to take action during this time to reinstate the economy.[38] While the Tin Woodman stood still for a year, he finally slowed down enough to ponder life. During this time, he discovers that "the greatest loss [he] had known was the loss of [his] heart" for without it he cannot love. Baum portrays the Tin Woodman as an Eastern worker who lost sight of family values for a moment. Part of the Progressive movement in the 19th century was to reestablish the family as the center of American life. The curse of the Tin Woodman by the Wicked Witch of the East is consistent with the depiction of the witch representing Wall Street and other Eastern big businesses during the late 19th and early 20th centuries.

text: The final addition to the traveling party is the Cowardly Lion. This character is hypothesized to be the famous Populist politician William Jennings Bryan. The muscular, six-foot-tall (183 cm) political figure was known as a compassionate but powerful speaker, which could be compared to a lion's roar.[43] Throughout the book, Baum is mostly sympathetic towards populist characters such as the Scarecrow; thus it seems odd that Baum would refer to the character portraying Bryan as cowardly.[44] However, the late 19th century began an age of American expansionism in which the United States struggled to gain control of countries like Guam, Puerto Rico, and the Philippines from Spain. Bryan's non-violent and anti-imperialist stance on the popular Spanish–American War of 1898 was often referred to as unpatriotic and cowardly. Baum seems to take this criticism and turn it into a complaint towards Bryan, showing that although the Lion is the King of the Beasts it shows more bravery to stand by than to run in towards unnecessary obstacles, no matter how popular. The Cowardly Lion's first encounter with the Tin Woodman shows support for both of their characters being based on Bryan and Eastern industrial workers, respectively. When they meet, the Cowardly Lion strikes the Tin Woodman with his sharp claws, but to his surprise "he could make no impression on the tin, although the Woodman fell over in the road and lay still." This refers to Bryan's inability to get votes in the 1896 presidential election from Eastern workers owing to pressure from their employers to vote for McKinley.[38] Bryan himself said, "During the campaign I ran across various evidences of coercion, direct and indirect."[45] Other historical sources share this opinion noting, "for some reason labor remained singularly unimpressed." Thus, the Cowardly Lion's claws did not pierce the Tin Woodman body, just as Bryan's roar did not leave an impression with Eastern industrial workers.

text: Baum's fairy tale contains many other allusions to American life in the late 19th and early 20th centuries. For instance, Dorothy's loyal companion, Toto, could be a play on "teetotalers" which is a person who never drinks alcohol.[46] The prohibitionists deemed alcohol consumption should be unlawful and they were longtime political allies of Populists during the late 19th century. Toto trots "soberly" behind Dorothy on their adventure. The Winged Monkeys have been thought to resemble the Plains Indians who were "once free people" but were now enslaved by the Wicked Witch of the West. Their actions can be good or bad depending on how they are controlled; however, they "belong to this country alone" and therefore cannot leave, as can be said for American Indians.[38] The Yellow Winkies that inhabit the Land of the West could represent Asian workers in California during the gold rush; their harsh work environment can be seen as enslavement.[38] The lenses that the groups must wear before entering the City of Oz to dim the emeralds' shine turn out to be fake, like the Wizard. The Emerald City is not a city made of emeralds but a plain, white city where the emerald color lenses cast a green hue on everything and everyone. This shows that anything can be made to look spectacular if you allow yourself to be tricked. Baum traveled all over the United States and would have been introduced to all these events in the 19th century, making it very likely that he drew inspiration from the land around him.

text: Baum's modernized fairy tale, The Wonderful Wizard of Oz, ends with both the Wicked Witch of the East and West defeated and Dorothy, Toto and the Wizard returning to the United States. The Scarecrow reigns over the Emerald City; thus farmers achieve national importance. The Tin Woodman brings industrialization to the Land of the West. The Cowardly Lion becomes the protector in the Grand Old Forest, as Bryan commanded a smaller number of politicians.[38]

text: Littlefield's thesis achieved some support, but has been strenuously attacked by others.[47][48][49]

text: Cultural impact[edit]

text: The Wonderful Wizard of Oz has become an established part of multiple cultures, spreading from its early young American readership to becoming known throughout the world. It has been translated or adapted into well over fifty languages, at times being modified in local variations. For instance, in some abridged Indian editions, the Tin Woodman was replaced with a horse.[50] In Russia, a translation by Alexander Melentyevich Volkov produced six books, The Wizard of the Emerald City series, which became progressively distanced from the Baum version, as Ellie and her dog Totoshka travel throughout the Magic Land. The 1939 film adaptation has become a classic of popular culture, shown annually on American television from 1959 to 1991 and then several times a year every year beginning in 1999.[51] More recently, the story has become an American stage production with an all-black cast, set in the context of modern African-American culture.[52][53]

text: Critical response[edit]

text:
This last story of The Wizard is ingeniously woven out of commonplace material. It is, of course, an extravaganza, but will surely be found to appeal strongly to child readers as well as to the younger children, to whom it will be read by mothers or those having charge of the entertaining of children. There seems to be an inborn love of stories in child minds, and one of the most familiar and pleading requests of children is to be told another story.

The drawing as well as the introduced color work vies with the texts drawn, and the result has been a book that rises far above the average children's book of today, high as is the present standard....

The book has a bright and joyous atmosphere, and does not dwell upon killing and deeds of violence. Enough stirring adventure enters into it, however, to flavor it with zest, and it will indeed be strange if there be a normal child who will not enjoy the story.
“
”

The New York Times, September 8, 1900[54]

tag: div

text: The Wonderful Wizard of Oz received positive critical reviews upon release. In a September 1900 review, The New York Times praised the novel, writing that it would appeal to child readers and to younger children who could not read yet. The review also praised the illustrations for being a pleasant complement to the text.[54]

text: During the first 50 years after The Wonderful Wizard of Oz's publication in 1900, it received little critical analysis from scholars of children's literature. According to Ruth Berman of Science Fiction Studies, the lists of suggested reading published for juvenile readers never contained Baum's work. The lack of interest stemmed from the scholars' misgivings about fantasy, as well as to their belief that lengthy series had little literary merit.[55]

text: It has frequently come under fire over the years. In 1957, the director of Detroit's libraries banned The Wonderful Wizard of Oz for having "no value" for children of his day, for supporting "negativism", and for bringing children's minds to a "cowardly level". Professor Russel B. Nye of Michigan State University countered that "if the message of the Oz books—love, kindness, and unselfishness make the world a better place—seems of no value today", then maybe the time is ripe for "reassess[ing] a good many other things besides the Detroit library's approved list of children's books".[56]

text: In 1986, seven Fundamentalist Christian families in Tennessee opposed the novel's inclusion in the public school syllabus and filed a lawsuit.[57][58] They based their opposition to the novel on its depicting benevolent witches and promoting the belief that integral human attributes were "individually developed rather than God given".[58] One parent said, "I do not want my children seduced into godless supernaturalism".[59] Other reasons included the novel's teaching that females are equal to males and that animals are personified and can speak. The judge ruled that when the novel was being discussed in class, the parents were allowed to have their children leave the classroom.[57]

text: Leonard Everett Fisher of The Horn Book Magazine wrote in 2000 that Oz has "a timeless message from a less complex era, and it continues to resonate". The challenge of valuing oneself during impending adversity has not, Fisher noted, lessened during the prior 100 years.[60]

text: In a 2002 review, Bill Delaney of Salem Press praised Baum for giving children the opportunity to discover magic in the mundane things in their everyday lives. He further commended Baum for teaching "millions of children to love reading during their crucial formative years".[16]

text: The Library of Congress has declared The Wonderful Wizard of Oz to be "America's greatest and best-loved homegrown fairytale", also naming it the first American fantasy for children and one of the most-read children's books.[61]

text: Editions[edit]

text: After George M. Hill's bankruptcy in 1902, copyright in the book passed to the Bobbs-Merrill Company. The editions they published lacked most of the in-text color and color plates of the original. It was not until the book entered the public domain in 1956 that new editions, either with the original color plates, or new illustrations, proliferated. Notable among them are the 1986 Pennyroyal edition illustrated by Barry Moser, which was reprinted by the University of California Press, and the 2000 Annotated Wizard of Oz edited by Michael Patrick Hearn, which was published by W.W. Norton and included all the original color illustrations, as well as supplemental artwork by Denslow. Other centennial editions included University Press of Kansas's Kansas Centennial Edition, illustrated by Michael McCurdy with black-and-white illustrations, and Robert Sabuda's pop-up book.

text: Sequels[edit]

text: Baum wrote The Wonderful Wizard of Oz without any thought of a sequel. After reading the novel, thousands of children wrote letters to him, requesting that he craft another story about Oz. In 1904, he wrote and published the first sequel, The Marvelous Land of Oz, explaining that he grudgingly wrote the sequel to address the popular demand.[62] Baum also wrote sequels in 1907, 1908, and 1909. In his 1911 The Emerald City of Oz, he wrote that he could not continue writing sequels because Ozland had lost contact with the rest of the world. The children refused to accept this story, so Baum, in 1913 and every year thereafter until his death in May 1919, wrote an Oz book, ultimately writing 13 sequels. The Chicago Tribune's Russell MacFall wrote that Baum explained the purpose of his novels in a note he penned to his sister, Mary Louise Brewster, in a copy of Mother Goose in Prose (1897), his first book. He wrote, "To please a child is a sweet and a lovely thing that warms one's heart and brings its own reward."[3] After Baum's death in 1919, Baum's publishers delegated the creation of more sequels to Ruth Plumly Thompson who wrote 21.[16] An original Oz book was published every Christmas between 1913 and 1942.[63] By 1956, five million copies of the Oz books had been published in the English language, while hundreds of thousands had been published in eight foreign languages.[3]

text: Adaptations[edit]

text: The Wonderful Wizard of Oz has been adapted to other media numerous times, most famously in The Wizard of Oz, the 1939 film starring Judy Garland, Ray Bolger, Jack Haley, and Bert Lahr. Until this version, the book had inspired a number of now less well known stage and screen adaptations, including a profitable 1902 Broadway musical and three silent films. The 1939 film was considered innovative because of its songs, special effects, and revolutionary use of the new Technicolor.[64]

text: The story has been translated into other languages (at least once without permission) and adapted into comics several times. Following the lapse of the original copyright, the characters have been adapted and reused in spin-offs, unofficial sequels, and reinterpretations, some of which have been controversial in their treatment of Baum's characters.[citation needed]