document_title: White Christmas (weather)

question_text: when was the last time the uk had a white christmas

text: White Christmas (weather)

text: Definition[edit]

text: The definition of "White Christmas" varies. In most countries, it simply means that the ground is covered by snow at Christmas, but some countries have more strict definitions. In the United States, the official definition of a white Christmas is that there has to be a snow depth of at least 1 in or 2.5 cm at 7:00 a.m. local time on Christmas morning,[1] and in Canada the official definition is that there has to be more than 2 cm (0.79 in) on the ground on Christmas Day.[2] In the United Kingdom, although for many a white Christmas simply means a complete covering of snow on Christmas Day, the official definition by the British Met Office and British bookmakers is for snow to be observed falling, however little, (even if it melts before it reaches the ground) in the 24 hours of 25 December.[3][4] Consequently, according to the Met Office and British bookmakers, even 91 cm (3 ft) of snow on the ground at Christmas, because of a heavy snow fall a few days before, will not constitute a white Christmas, but a few snow flakes mixed with rain will, even if they never reach the ground. In the United Kingdom the most likely place to see snowfall on a Christmas Day is in North and North Eastern Scotland, in Aberdeen, Aberdeenshire or the Highlands.[5]

text: Although the term 'White Christmas' usually refers to snow, if a significant hail accumulation occurs in an area on Christmas Day, as happened in parts of Melbourne on 25 December 2011, this can also be described as a White Christmas, due to the resulting white appearance of the landscape resembling snow cover.[6]

text: White Christmases in North America[edit]

text: Canada[edit]

text: In most parts of Canada it is likely to have a white Christmas in most years, except for the coast and southern interior valleys of British Columbia, southern Alberta, southern Ontario, and parts of Atlantic Canada – in those places Christmas without snow is not uncommon in warmer years, with the British Columbia coast the least likely place to have a white Christmas. The definition of a white Christmas in Canada is 2 cm (0.79 in) of snow-cover or more on Christmas morning at 7 am.[7] Environment Canada started to analyze data from 1955 to 2013 for a total of 59 years, It shows the chance of a White Christmas for several Canadian cities.[7]

text: The year 2006 saw some of the warmest weather on record, with such places as Quebec City experiencing their first green Christmas in recorded history.[8][9][10] In 2008, Canada experienced the first nationwide white Christmas in 37 years, as a series of pre-Christmas storms hit the nation, including the normally rainy BC Pacific coast.[11]

text: United States[edit]

text: In the United States, there is often – but not always – snow on the ground at Christmas in the northern states, except in the Pacific Northwest, with the northern Plains the most likely to see snow on the ground at Christmas. Some of the least likely white Christmases that have happened include the 2004 Christmas Eve Snowstorm, which brought the first white Christmas in 50 years to New Orleans. The 2004 storm also brought the first measurable snow of any kind since 1895 to Brownsville, Texas, and its twin city of Matamoros, Mexico. The Florida winter storm of 1989 also occurred immediately before Christmas causing a white Christmas for cities like Pensacola and Jacksonville. The same storm buried Wilmington, North Carolina and the rest of Southeastern North Carolina under 38 cm (15 in) of snow.

text: In the United States the notion of a white Christmas is often associated in the American popular consciousness with a Christmas celebration that includes traditional observances in the company of friends and family. White Christmas is an Irving Berlin song reminiscing about an old-fashioned Christmas setting.

text: According to research by CDIAC meteorologist Dale Kaiser, the United States during the second half of the 20th century experienced declining frequencies of white Christmases, especially in the northeastern region.[12] The National Climatic Data Center based the probability of a white Christmas (1 in or 2.5 cm of snow on the ground) at selected cities upon the 1988–2005 numbers from stations with at least 25 years of data.[1]

text: Tables for North America[edit]

text:
Canada

City
Province
Probability (%)

Brandon
Manitoba
93

Calgary
Alberta
58

Charlottetown
Prince Edward Island
80

Edmonton
Alberta
86

Fredericton
New Brunswick
78

Goose Bay
Newfoundland and Labrador
98

Grande Prairie
Alberta
85

Halifax
Nova Scotia
58

Hamilton
Ontario
63

Iqaluit
Nunavut
100

Kamloops
British Columbia
51

Kelowna
British Columbia
63

Kenora
Ontario
100

London
Ontario
69

Medicine Hat
Alberta
56

Moncton
New Brunswick
75

Montreal
Quebec
78

Ottawa
Ontario
81

Penticton
British Columbia
29

Prince George
British Columbia
92

Quebec City
Quebec
98

Regina
Saskatchewan
92

Saint John
New Brunswick
61

Sarnia
Ontario
61

Saskatoon
Saskatchewan
95

Stephenville
Newfoundland and Labrador
82

St. John's
Newfoundland and Labrador
64

Sudbury
Ontario
95

Thunder Bay
Ontario
97

Timmins
Ontario
98

Toronto
Ontario
46

Vancouver
British Columbia
10

Victoria
British Columbia
10

Whitehorse
Yukon
100

Wiarton
Ontario
83

Windsor
Ontario
46

Winnipeg
Manitoba
98

Yellowknife
Northwest Territories
100

tag: table

text:
The United States
1981-2010

Probability of a white Christmas in the United States 1981-2010

text:
United States

City
State
Probability (%)

Akron
Ohio
60

Albuquerque
New Mexico
3

Amarillo
Texas
7

Anchorage
Alaska
90

Annette Island
Alaska
17

Atlanta
Georgia
1

Boise
Idaho
30

Boston
Massachusetts
23

Casper
Wyoming
47

Charleston
South Carolina
1

Charleston
West Virginia
30

Charlotte
North Carolina
5

Chicago
Illinois
40

Cleveland
Ohio
60

Concord
New Hampshire
23

Dallas
Texas
7

Dayton
Ohio
29

Denver
Colorado
50

Des Moines
Iowa
50

Detroit
Michigan
50

Duluth
Minnesota
97

Fairbanks
Alaska
100

Fargo
North Dakota
83

Hartford
Connecticut
57

Helena
Montana
67

Honolulu
Hawaii
0

Huntington
West Virginia
23

Indianapolis
Indiana
13

Lexington
Kentucky
12

Little Rock
Arkansas
3

Los Angeles
California
1

Louisville
Kentucky
13

Marquette
Michigan
90

Massena
New York
77

Miami
Florida
1

Milwaukee
Wisconsin
60

Minneapolis
Minnesota
77

Nashville
Tennessee
12

Newark
New Jersey
23

New York City
New York
22

Oklahoma City
Oklahoma
3

Omaha
Nebraska
44

Philadelphia
Pennsylvania
10

Phoenix
Arizona
0

Pittsburgh
Pennsylvania
33

Portland
Maine
83

Portland
Oregon
2

Providence
Rhode Island
37

Rapid City
South Dakota
47

Reno
Nevada
20

Richmond
Virginia
7

Salt Lake City
Utah
53

San Francisco
California
2

Savannah
Georgia
1

Seattle
Washington
7

Spokane
Washington
70

St. Louis
Missouri
23

Topeka
Kansas
23

Washington, D.C.
Federal district
5

Wausau
Wisconsin
93

Wilmington
Delaware
13

text: White Christmases in the United Kingdom[edit]

text:
Location
Probability[13]

London
6%

Birmingham
15%

Aberporth
9%

Glasgow
35%

Aberdeen
53%

Belfast
22%

Lerwick
75%

Bradford
14% (since 1971)

St Mawgan
10% (since 1957)

text: In the United Kingdom, white Christmases were more common from the 1550s to the 1850s, during the Little Ice Age; the last frost fair on the River Thames, however, was in the winter of 1813–14.[13] The shift from the Julian to the Gregorian calendar in 1752 also slightly reduced the chance of a white Christmas, effectively moving Christmas earlier in the winter.[14] An "official" white Christmas is defined by the Met Office as "one snowflake to be observed falling in the 24 hours of 25 December somewhere in the UK",[14] but formerly the snow had to be observed at the Met Office building in London.[14] By the newer measure, over half of all years have white Christmases, with snow being observed 38 times in the 54 years to 2015.[update][14] A more "traditional" idea of snow-covered ground is less common, however, with only 4 occasions in the 51 years to 2015[update] reporting snow on the ground at 9am at more than 40% of weather stations.[14]

text: Although most places in the UK do tend to see some snow in the winter, it generally falls in January and February. However white Christmases do occur, on average every 6 years.[13]

text: Christmas 2009 was a white Christmas in some parts of Britain,[15] with thick lying snow which easterly winds had brought over the previous week. Travel over much of Britain was badly affected by ice and snow on roads, and was made more slippery by partial daytime thaw followed by overnight refreezing. It was the first white Christmas anywhere in the United Kingdom since 2004.[16]

text: White Christmases in Ireland[edit]

text: In Ireland, the prospect of early winter snow is always remote due to the country's mild and wet climate (snowfall is most common in January and February). Bookmakers offer odds every year for a white Christmas, which is officially lying snow being recorded at 09:00 local time on Christmas Day, and recorded at either Dublin Airport or Cork Airport (bets are offered for each airport). Since 1961, countrywide, snow has fallen on 17 Christmas Days (1961, 1962, 1964, 1966, 1970, 1980, 1984, 1990, 1993, 1995, 1998, 1999, 2000, 2001, 2004, 2009 and 2010), with nine of these having snow lying on the ground at 09:00 (1964, 1970, 1980, 1993, 1995, 1999, 2004, 2009 and 2010). The maximum amount of lying snow ever recorded on Christmas Day was 27 cm (11 in) at Casement Aerodrome in 2010.

text: At Dublin Airport, there have been 12 Christmas Days with snowfall since 1941 (1950, 1956, 1962, 1964, 1970, 1984, 1990, 1993, 1995, 1999, 2000 and 2004). The statistical likelihood of snow falling on Christmas Day at Dublin Airport is approximately once every 5.9 years. However, the only Christmas Day at the airport ever to have lying snow at 09:00 was 2010 (although no snow actually fell that day), with 20 cm (7.9 in) recorded.[17]

text: White Christmases in Romania[edit]

text:
Location
Probability

Bucharest
75%

Iași
80%

Timişoara
70%

Cluj Napoca
85%

Constanţa
65%

Miercurea Ciuc
90%

Craiova
75%

Braşov
85%

Satu Mare
75%

text: White Christmases in Poland[edit]

text: White Christmases are becoming rare in Poland. Some northwestern coastal towns barely see White Christmases any more, but they are still relatively common in the northeastern cities of Białystok and Suwałki, as well as in the Tatra Mountains of southern Poland, including the winter capital of Zakopane. The last White Christmas in Kraków was in 2010. Rzeszów had a White Christmas in 2016, the first since 2011.[18]

text: White Christmases in other parts of Europe[edit]

text: In Europe, snow at Christmas is common in Norway, Sweden, Finland, the Baltic states, Russia, Ukraine, Belarus, and northeastern Poland. In general, due to the influence of the warm Gulf Stream on European climate, chances of a white Christmas are lower the further west. For example, in southern France a white Christmas is very rare, while in Bucharest, Romania, which is at a similar latitude, it is much more likely. Northern Italy and the mountain regions of central-south Italy may also have a white Christmas. In cities such as Turin, Milan or Bologna a Christmas with falling snow or snow on the ground is not a rarity. White Christmases are also common in the Carpathian Mountains, as well as the Alps.

text: Southern Hemisphere[edit]

text: Because Christmas occurs during the summer in the Southern hemisphere, white Christmases are especially rare events there, apart from Antarctica which is generally uninhabited. In 2006, a snowstorm hit the Snowy Mountains in New South Wales and Victoria, arriving on Christmas Morning and bringing nearly 12 in (30 cm) of snow in higher areas.[19] This was an especially rare event because it occurred during Australia's typically warm summer. In New Zealand's Southern Alps snow can fall any day of the year and a white Christmas is very possible. The same situation can be seen at the Andes at elevations above 4000msl, with some locations on the Bolivian altiplano such as El Alto having the theorical possibility of a white Christmas. A white Christmas in the southern hemisphere (specifically those close to Antarctica) is approximately equivalent to having snow in the northern hemisphere on 25 June, and in some ways is even less likely because the major population centers in the Northern Hemisphere tend to be farther from the equator than those in the Southern Hemisphere.


document_title: Hannibal Lecter (franchise)

question_text: which movie came first red dragon or silence of the lambs

root

text: Hannibal Lecter (franchise)

text: Novels[edit]

text:
Red Dragon (1981)
The Silence of the Lambs (1988)
Hannibal (1999)
Hannibal Rising (2006)

tag: ul

text: Films and television[edit]

text:
Manhunter (1986)
The Silence of the Lambs (1991)
Hannibal (2001)
Red Dragon (2002)
Hannibal Rising (2007)
Hannibal (TV series) (2013–15)

text: The first adaptation was the 1986 film Manhunter, which was an adaptation of Red Dragon, directed by Michael Mann.

tag: p

text: The next adaptation was 1991's The Silence of the Lambs, which was directed by Jonathan Demme and was the first film to feature Anthony Hopkins in the role of Hannibal Lecter. Silence was a success, both critically and financially, and went on to become the third film in Academy Awards history to win in all top five categories (Best Actor for Hopkins, Best Actress for Jodie Foster, Best Director for Demme, Best Adapted Screenplay for Ted Tally, and Best Picture). Hopkins reprised the role in the next two films, 2001's Hannibal, a sequel directed by Ridley Scott, and 2002's Red Dragon, a prequel directed by Brett Ratner. In 2002, Hopkins revealed that he had written a screenplay for another sequel, ending with Clarice killing Lecter but it was not produced.[1]

text: In 2007, Hannibal Rising was released. The film is a prequel, directed by Peter Webber and starring Gaspard Ulliel as Lecter.

text: In 2013, the TV series Hannibal premiered. Developed by Bryan Fuller, it is not a direct adaptation, but based on characters and elements from the novels. Some male characters have become female, such as Freddy Lounds, who is renamed Fredricka "Freddie" Lounds. The series has garnered much critical acclaim since its premiere, winning the 2014 and 2015 Saturn Award for Best Network Television Series, as well as the inaugural Best Action-Thriller Television Series in 2016.

text: In 2016, when asked if there were any sequels that he wished he could revisit, Hopkins said, "I made the mistake of doing two more [Hannibal Lecter movies] and I should have only done one."[2]

text: In 2017, Foster reprised her role as Starling in a skit titled "Clarice Probes Hannibal Lecter About Trump's Russia Ties" on The Late Show with Stephen Colbert, opposite Stephen Colbert as Hannibal Lecter. In the skit, Clarice questions Lecter on his relationship with Donald Trump and what he can tell her about his relationship with Russia.[3]

text: Cast and characters[edit]

text:
Manhunter(1986)

The Silence of the Lambs(1991)

Hannibal(2001)

Red Dragon(2002)

Hannibal Rising(2007)

Hannibal(TV series)(2013–15)

Hannibal Lecter

Brian Cox  (as Hannibal Lecktor)

Anthony Hopkins

Gaspard Ulliel  Aaran Thomas (young)

Mads Mikkelsen

Will Graham

William Petersen

Edward Norton

Hugh Dancy

Jack Crawford

Dennis Farina

Scott Glenn

Harvey Keitel

Laurence Fishburne

Frederick Chilton

Benjamin Hendrickson

Anthony Heald

Anthony Heald

Raúl Esparza

Francis Dolarhyde(The Tooth Fairy)

Tom Noonan  (as Francis Dollarhyde)

Ralph Fiennes  Alex D. Linz (young)

Richard Armitage

Clarice Starling

Jodie Foster  Masha Skorobogatov (young)

Julianne Moore

Buffalo Bill(Jame Gumb)

Ted Levine

Barney Matthews

Frankie Faison

Jonathan Tucker  (as Matthew Brown)

Freddy Lounds

Stephen Lang

Philip Seymour Hoffman

Lara Jean Chorostecki  (as Fredricka "Freddie" Lounds)

Mason Verger

Gary Oldman

Michael PittJoe Anderson

Paul Krendler

Ron Vawter

Ray Liotta

Cynthia Nixon(as Kade Prurnell)[4]

Reba McClane

Joan Allen

Emily Watson

Rutina Wesley

Molly Graham

Kim Greist

Mary-Louise Parker

Nina Arianda

Rinaldo Pazzi

Giancarlo Giannini

Fortunato Cerlino

Cordell Doemling

Željko Ivanek

Glenn Fleshler

Margot Verger

Katharine Isabelle

Grutas

Rhys Ifans

Lady Murasaki

Gong Li

Alan Bloom

Paul Perri  (as Sidney Bloom)

Caroline Dhavernas  (as Alana Bloom)

Beverly Katz

Michele Shay

Elizabeth Dennehy (as Beverly)

Hettienne Park

Jimmy Price

Dan Butler

Stanley Anderson

Scott Thompson

Brian Zeller

Chris Elliott  (as Zeller)

Aaron Abrams

Lloyd Bowman

Bill Smitrovich

Ken Leung

Chiyoh

Tao Okamoto

Bedelia Du Maurier

Gillian Anderson

Abel Gideon

Eddie Izzard

text: Critical reaction[edit]

text:
Film

Rotten Tomatoes

Metacritic

Manhunter

94% (33 reviews) [5]

78 (10 reviews) [6]

The Silence of the Lambs

95% (73 reviews) [7]

84 (17 reviews) [8]

Hannibal

39% (165 reviews) [9]

57 (36 reviews) [10]

Red Dragon

69% (185 reviews) [11]

60 (36 reviews) [12]

Hannibal Rising

15% (143 reviews) [13]

35 (30 reviews) [14]

Hannibal (TV series), Season 1 (2013)

71% (41 reviews) [15]

70 (32 reviews) [16]

Hannibal (TV series), Season 2 (2014)

100% (24 reviews) [17]

88 (14 reviews) [18]

Hannibal (TV series), Season 3 (2015)

97% (35 reviews) [19]

84 (15 reviews) [20]

text: Musical[edit]

text: In 2005, comedian-musicians Jon and Al Kaplan, most famous for their musical re-imaginings of popular films as YouTube musicals, parodied The Silence of the Lambs, especially the film version, in Silence! The Musical. It premiered Off-Off-Broadway and has since had acclaimed productions in London (2009) and Los Angeles (2012). In 2012, it won the Los Angeles Drama Critics Circle – Score, Lead Performance, Choreography Award.[21]


document_title: Nose ring (animal)

question_text: why do some bulls have rings in their noses

text: Nose ring (animal)

text: History[edit]

text: Historically, the use of nose rings for controlling animals dates to the dawn of recorded civilization. They were used in ancient Sumer and are seen on the Standard of Ur, where they were used on both draught cattle and equines.[1]

text: Use[edit]

text: The nose ring assists the handler to control a dangerous animal with minimal risk of injury or disruption by exerting stress on one of the most sensitive parts of the animal, the nose. Bulls, especially, are powerful and sometimes unpredictable animals which, if uncontrolled, can kill or severely injure a human handler.[2][3]

text: Control of the bull may be done by holding the ring by hand, looping a piece of rope through it, clipping on a bull staff. A rope or chain from the ring may be attached to a bull's horns or to a head-collar for additional control.

text: With an aggressive bull, a short length of chain or rope may be left hanging loose from the ring, so when he ducks in a threatening manner, the bull will step on the chain and be deterred from attacking.[4] This lead may also facilitate capture and control of a frisky bull.[5]

text: Construction and insertion[edit]

text: Bull rings are usually about 3 to 5 inches (8 to 13 cm) in diameter, depending on the size of the bull. Bull rings are commonly made from aluminium, stainless steel or copper, in the form of a pair of hinged semicircles, held closed by a small brass bolt whose head is broken off during installation. If a ring needs to be removed (for example, if the bull has grown out of it), it is cut or unscrewed.

text: The ring is normally placed on the bull between 9 and 12 months of age.[6] It is usually done by a veterinarian, who pierces the septum with a scalpel or punch. Self-piercing rings (with sharp ends designed to be pressed through the septum and then pulled together with a screw) have been available for many years; these are also usually installed by a veterinarian rather than the farmer.[7][8]

text: Other designs[edit]

text: Calf-weaning ring[edit]

text: Calf-weaning nose rings or nosebands provide an alternative to separating calves from their mothers during the weaning period. They have plastic spikes which are uncomfortable for the cow, causing her to reject the calf's efforts at suckling. Weaning nose rings are also available for sheep and goats. These nose rings (usually made of plastic) clip onto the nose without piercing it, and are reusable.

text: Bulldogs[edit]

text: Self-locking or spring-closing show-lead nose rings, also called "bulldogs" or nose grips, are removable rings that do not require the nose to be pierced. They are often used on steers and cows, along with a halter, at agricultural shows, or when handling cattle for examination, marking or treatment. They stay shut until released, and usually have a loop for the attachment of a cord or lead rope. They give similar control to a bull ring without the need for permanent attachment.

text: Bull tongs[edit]

text: Bull-holders, also known as bull-tongs, have a pliers action and are used for short periods on grown cattle when they are being mouthed or drenched. A chain, rope or strap keeps the grips closed and may be passed over a bar at the front of a head bail to elevate the head. The thumb and forefinger may also used in this way on smaller animals.

text: Pig rings[edit]

text: Pigs dig or "root" with their snouts, and such digging may be undesirable in some circumstances. Nose rings make digging uncomfortable for the animal, although a rung pig is still able to forage freely through leaf litter and surface vegetation. Pig ringing may sometimes be required by local regulations, as when pigs are turned out for pannage in public woods (such as on the New Forest in southern England).

text: Pig rings usually consist of open copper or steel wire rings with sharp ends, about one inch (about 2.5 cm) in diameter. These are clipped to the rim of the nose, not through the nostrils. Typically an adult pig will be given three or four rings, as they may sometimes become dislodged. Alternatively a ring may be placed through the septum, similarly to a bull's ring.

text: Bull handling in the show ring[edit]

text: For safety reasons, many show societies require bulls over 12 months to be led with a nose ring. A bull may be led by a rope tied through the ring, although a halter (headcollar) is usually also used so as not to rely unduly on the nose ring for control. If the bull has horns, the lead rope may also be fastened around those and then passed down through the nose ring. Some shows require other cattle to be led with nose grips (bulldogs). Several methods exist for handling a bull with a ring installed. One method of leading a bull is to have one person on either side of the bull with both halter lead ropes through the ring, which prevents the bull from gaining pace and also from running into the handlers.[9] Another practice is for one handler to use a rope and the other a bull-staff attached to the ring.[10][11]

text: Bull handling on the farm or ranch[edit]

text: It is estimated that 42% of all livestock-related human fatalities are a result of bull attacks, and only about one in twenty victims of a bull attack survives.[12] Dairy breed bulls are particularly dangerous and unpredictable; the hazards of bull handling are a significant cause of injury and death for dairy farmers in some parts of the United States.[13][14][15] Most cattle breeders recognize the importance of looking after expensive bulls that are expected to improve herds and profits. Nonetheless, the dangers of bull handling, particularly from dairy bulls in close quarters, are regularly proven by the obituaries.[16] Good bull management and safety practices require caution in handling beef and dairy bulls, and use of the nose ring and chain is a recommended precaution for modern farmers.[17][18]

text: However, in many regions, particularly in the beef industry, bulls do not have nose rings unless they are to be exhibited and they are generally driven about as other cattle would be.[19] Cows with young calves can be particularly dangerous if protecting their young, and cattle in general, including calves, steers and bullocks, do cause many serious human injuries and deaths.[20][21][22]

text: Generally the use of both a ring and a halter, and management of the bull by two people, is the preferred method today for controlling the bull. Typically, a bull was led by a wooden staff with a steel end that snapped into the ring.[23] A long rigid steel or wooden bull staff locked into the ring could also be used to push a bull out of a pen without requiring the handler to enter the pen for cleaning or feeding.[24] Because of the risk that the bull may drive the staff into the handler if the bull misbehaves[25] many handlers prefer to avoid their use nowadays. One current veterinary text still recommends the use of a staff in addition to the halter:

text: Many handlers rely on a nose ring to control a bull. But a ring in his nose is no good unless you have a bull staff and use it. A bull staff is a pole with a snap in the end that clips to the bull ring. Leading a bull with a staff gives you a lot more handling power as the bull can't get any closer to you than the length of the staff allows. Leading him only by a chain in the ring lets him run over you at will.[26]

text: Most dairy or beef farms traditionally had at least one, if not several, bulls for breeding purposes.[27][28] The handling of an aggressive, powerful animal was a practical issue with life-threatening consequences for the farmer.[2] The need to move the bull in and out of its pen to cover cows exposed the farmer to serious jeopardy of life and limb.[29] Being trampled, jammed against a wall or gored by a bull was one of the most frequent causes of death in the dairy industry prior to 1940.[30] As suggested in one popular farming magazine, "Handle [the bull] with a staff and take no chances. The gentle bull, not the vicious one, most often kills or maims his keeper." [31]

text: When allowed outside its pen, the bull typically was kept in a halter connected by a strap snapped into the ring in his nose for ease of control.[32] In the bull pen, the use of a ring connected by a cable to a fixed point was recommended as a means of controlling and securing the bull while allowing a degree of movement by the subject bull.[33] If the pen was strong enough, the bull could be turned loose, and if needed, placed in a stanchion.[34] Farmers who lacked an assistant, or a bull staff, had no choice but to adopt other means. Some farmers elected to move their bulls by tying a rope to the ring and tying the other end of the rope to a farm tractor, providing both motive power and a degree of protection from the angry bull.[35] The efficacy of this technique is doubtful, and may depend on the size of the tractor and of the bull; one authority has "seen a bull lift the front end of a tractor like a toy".[26] Others used dogs and horses. Not all farmers could afford specially designed and manufactured bull handling products, which were not readily available until the 1980s. The experimental improvisation of techniques for bull handling, as in many aspects of family farming, was a common practice.[36][37]


document_title: 62nd Filmfare Awards

question_text: short film in fiction award in 62 filmfare awards 2017

text: 62nd Filmfare Awards

text: Winners and nominees[edit]

text: Main awards[edit]

text: Nominees were announced on 9 January 2017.[3]

text:
Best Film
Best Director

Dangal
Kapoor & Sons
Neerja
Pink
Sultan
Udta Punjab

Nitesh Tiwari – Dangal
Abhishek Chaubey – Udta Punjab
Ali Abbas Zafar – Sultan
Karan Johar – Ae Dil Hai Mushkil
Ram Madhvani – Neerja
Shakun Batra – Kapoor & Sons

Best Actor
Best Actress

Aamir Khan - Dangal as Mahavir Singh Phogat
Amitabh Bachchan - Pink as Deepak Sehgal
Ranbir Kapoor - Ae Dil Hai Mushkil as Ayan Sanger
Salman Khan - Sultan as Sultan Ali Khan
Shah Rukh Khan - Fan as Gaurav Chandna / Aryan Khanna
Shahid Kapoor - Udta Punjab as Tejinder "Tommy" Singh
Sushant Singh Rajput - M.S. Dhoni: The Untold Story as MS Dhoni

Alia Bhatt - Udta Punjab as Bauria / Mary Jane
Aishwarya Rai Bachchan - Sarbjit as Dalbir Kaur
Alia Bhatt - Dear Zindagi as Kaira
Anushka Sharma - Ae Dil Hai Mushkil as Alizeh Khan
Sonam Kapoor - Neerja as Neerja Bhanot
Vidya Balan - Kahaani 2 as Vidya Sinha / Durga Rani Singh

Best Supporting Actor
Best Supporting Actress

Rishi Kapoor - Kapoor & Sons as Amarjeet "Dadu" Kapoor
Diljit Dosanjh - Udta Punjab as ASI Sartaj Singh
Fawad Khan - Kapoor & Sons as Rahul Kapoor
Jim Sarbh - Neerja as Khalil
Rajat Kapoor - Kapoor & Sons as Harsh Kapoor
Rajkummar Rao - Aligarh as Deepu Sebastian

Shabana Azmi - Neerja as Rama Bhanot
Kareena Kapoor - Udta Punjab as Dr. Preet Sahni
Kirti Kulhari - Pink as Falak Ali
Ratna Pathak Shah - Kapoor & Sons as Sunita Kapoor
Richa Chadda - Sarbjit as Sukhpreet Kaur

Best Male Debut
Best Female Debut

Diljit Dosanjh – Udta Punjab as ASI Sartaj Singh

Ritika Singh – Saala Khadoos as Madhi

Best Music Director
Best Lyricist

Pritam - Ae Dil Hai Mushkil
Meet Bros, Amaal Mallik, Manj Musik, Ankit Tiwari - Baaghi
Amit Trivedi - Udta Punjab
Amaal Mallik, Badshah, Arko Pravo Mukherjee, Tanishk Bagchi, Benny Dayal, Nucleya - Kapoor & Sons
Shankar-Ehsaan-Loy - Mirzya
Vishal-Shekhar - Sultan

Amitabh Bhattacharya - "Channa Mereya" - Ae Dil Hai Mushkil
Gulzar - "Aave Re Hitchki" - Mirzya
Gulzar - "Mirzya" - Mirzya
Irshad Kamil - "Jag Ghoomeya" - Sultan
Kausar Munir - "Love You Zindagi" - Dear Zindagi
Late Shiv Kumar Batalvi - "Ikk Kudi" - Udta Punjab

Best Playback Singer – Male
Best Playback Singer – Female

Arijit Singh - "Ae Dil Hai Mushkil" - Ae Dil Hai Mushkil
Amit Mishra - "Bulleya" - Ae Dil Hai Mushkil
Arijit Singh - "Channa Mereya" - Ae Dil Hai Mushkil
Atif Aslam - "Tere Sang Yaara" - Rustom
Rahat Fateh Ali Khan - "Jag Ghoomeya" - Sultan

Neha Bhasin - "Jag Ghoomeya" - Sultan
Kanika Kapoor - "Da Da Dasse" - Udta Punjab
Jonita Gandhi - "The Breakup Song" - Ae Dil Hai Mushkil
Neeti Mohan - "Sau Aasmaan" - Baar Baar Dekho
Palak Muchhal - "Kaun Tujhe" - M.S. Dhoni: The Untold Story
Qurat-ul-Ain Balouch - "Kaari Kaari" - Pink

text: Critics' awards[edit]

text:
Best Movie (Best Director)

Neerja – Ram Madhvani

Best Actor
Best Actress

Manoj Bajpayee - Aligarh
Shahid Kapoor - Udta Punjab

Sonam Kapoor - Neerja

text: Other Winners[edit]

text: Best Screenplay: Shakun Batra and Ayesha Devitre Dhillon for 'Kapoor & Sons'

text: Best Story: Shakun Batra and Ayesha Devitre Dhillon for 'Kapoor & Sons'

text: Best Dialogue: Ritesh Shah for 'Pink'

text: Best Cinematography: Mitesh Mirchandani for 'Neerja'

text: Best Editing: Monisha Baldawa for 'Neerja'

text: Best Costume: Payal Saluja for 'Udta Punjab'

text: Best Action: Shyam Kaushal for 'Dangal'

text: Best Background Score: Sameer Uddin for 'Kapoor & Sons'

text: Best Choreography: Adil Shaikh for 'Kar Gayi Chull' in 'Kapoor & Sons'

text: Best Visual Effects: Red Chillies for 'Fan'

text: Best Production Design: Aparna Sud for 'Neerja'

text: Best Sound Design: Vivek Sachidanand for 'Phobia'

text: Best Debut Director: Ashwini Iyer Tiwari for 'Nil Battey Sannata'

text: Best Actor (Male) in a Short Film: Manoj Bajpayee for 'Taandav'

text: Best Short Film People's Choice: Khamakha

text: Best Short Film (Fiction): Chutney

text: Best Short Film (Non-fiction): 'Matitali Kusti'

text: Best Actor (Female) in a Short Film: Tisca Chopra for 'Chutney'

text: Filmfare Lifetime Achievement Award: Shatrughan Sinha

text: Filmfare RD Burman Award for New Music Talent: Amit Mishra for 'Bulleya' from 'Ae Dil Hai Mushkil'

text: Most wins[edit]

text:
Neerja - 6
Kapoor & Sons (Since 1921) - 5
Ae Dil Hai Mushkil, Dangal and Udta Punjab - 4


document_title: Situs inversus

question_text: failure to identify complete situs inversus could have negative consequences when

text: Situs inversus

text: Signs and symptoms[edit]

text: In the absence of congenital heart defects, individuals with situs inversus are phenotypically normal, and can live normal healthy lives, without any complications related to their medical condition. There is a 5–10% prevalence of congenital heart disease in individuals with situs inversus totalis, most commonly transposition of the great vessels. The incidence of congenital heart disease is 95% in situs inversus with levocardia.

text: Many people with situs inversus totalis are unaware of their unusual anatomy until they seek medical attention for an unrelated condition, such as a rib fracture or a bout of appendicitis. The condition may also be discovered during the administration of certain medicines or during tests such as a Barium meal or enema.[4] The reversal of the organs may then lead to some confusion, as many signs and symptoms will be on the atypical side. For example, if an individual with situs inversus develops appendicitis, they will present to the physician with lower left abdominal pain, since that is where their appendix lies.[5][6] Thus, in the event of a medical problem, the knowledge that the individual has situs inversus can expedite diagnosis. People with this rare condition should inform their physicians before an examination, so the physician can redirect their search for heart sounds and other signs. Wearing a medical identification tag can help inform health care providers in the event the person is unable to communicate.

text: Situs inversus also complicates organ transplantation operations as donor organs will more likely come from situs solitus (normal) donors. As hearts and livers are chiral, geometric problems arise placing an organ into a cavity shaped in the mirror image. For example, a person with situs inversus who requires a heart transplant needs all the vessels to the transplant donor heart reattached to their existing ones. However, the orientation of these vessels in a person with situs inversus is reversed, necessitating steps so that the blood vessels join properly.

text: Cause[edit]

text: Situs inversus is generally an autosomal recessive genetic condition, although it can be X-linked or found in identical "mirror image" twins.[5][7]

text: About 25% of individuals with situs inversus have an underlying condition known as primary ciliary dyskinesia (PCD). PCD is a dysfunction of the cilia that manifests itself during the embryologic phase of development. Normally functioning cilia determine the position of the internal organs during early embryological development, and so embryos with PCD have a 50% chance of developing situs inversus. If they do, they are said to have Kartagener syndrome, characterized by the triad of situs inversus, chronic sinusitis, and bronchiectasis. Cilia are also responsible for clearing mucus from the lung, and the dysfunction causes increased susceptibility to lung infections. Kartagener syndrome can also manifest with male infertility as functional cilia are required for proper sperm flagella function.

text: Effect on anatomy[edit]

text: The condition affects all major structures within the thorax and abdomen. Generally, the organs are simply transposed through the sagittal plane. The heart is located on the right side of the thorax, the stomach and spleen on the right side of the abdomen and the liver and gall bladder on the left side. The heart's normal right atrium occurs on the left, and the left atrium is on the right. The lung anatomy is reversed and the left lung has three lobes while the right lung has two lobes. The intestines and other internal structures are also reversed from the normal, and the blood vessels, nerves, and lymphatics are also transposed.

text: If the heart is swapped to the right side of the thorax, it is known as "situs inversus with dextrocardia" or "situs inversus totalis". If the heart remains on the normal left side of the thorax, a much more rare condition (1 in 2,000,000 of the general population), it is known as "situs inversus with levocardia" or "situs inversus incompletus".

text: Situs inversus of the optic disc may occur unilaterally or bilaterally, associated with reduced binocularity and stereoacuity resembling monofixation syndrome. It is characterized by emergence of the retinal vessels in an anomalous direction (from the nasal rather than the temporal aspect) with dysversion (tilt) of the optic disc.[8]

text: Diagnosis[edit]

text: This section is empty. You can help by adding to it. (August 2017)

text: Treatment[edit]

text: History[edit]

text: Dextrocardia (the heart being located on the right side of the thorax) was first seen and drawn by Leonardo da Vinci in 1452–1519, [1] and then recognised by Marco Aurelio Severino in 1643. However, situs inversus was first described more than a century later by Matthew Baillie.[3]

text: Etymology[edit]

text: The term situs inversus is a short form of the Latin phrase "situs inversus viscerum", meaning "inverted position of the internal organs".

text: Notable cases[edit]

text: Notable individuals with documented cases of situs inversus include:

text:
Enrique Iglesias, a Spanish singer, songwriter, actor and record producer.[9]
Catherine O'Hara, Canadian-American actress, writer and comedian.[10]
Donny Osmond, American singer, actor and former teen idol. He famously had his appendicitis originally misdiagnosed due to his reversed organs.[11]
Randy Foye, an American basketball player in the NBA. He has suffered no discernible complications, and the condition is not expected to jeopardize his career as a professional athlete, as all his organs are in reverse.[12]
Tim Miller, director of the Ashtanga Yoga Center in Carlsbad, California.[13]


document_title: You Should Be Mine (The Woo Woo Song)

question_text: who sings the song can you woo woo woo

question_tokens: who sings the song can you woo woo woo

text: You Should Be Mine (The Woo Woo Song)

text: This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2016) (Learn how and when to remove this template message)

text:
"You Should Be Mine (The Woo Woo Song)"Single by Jeffrey Osbornefrom the album EmotionalB-side
"Who Would Have Guessed"Released
July 14, 1986Format
7"Recorded
1986Genre
R&B, soulLength
4:21Label
A&MSongwriter(s)
Andy Goldmark, Bruce RobertsProducer(s)
Richard Perry, Andy Goldmark (asso.), Bruce Roberts (asso.)Jeffrey Osborne singles chronology

"Let Me Know" (1985)

"You Should Be Mine (The Woo Woo Song)" (1986)

"Soweto" (1986)

"Let Me Know" (1985)

"You Should Be Mine (The Woo Woo Song)" (1986)

"Soweto" (1986)

text: "You Should Be Mine (The Woo Woo Song)" is a 1986 song by Jeffrey Osborne from the album Emotional. "The Woo Woo Song" is the title in parentheses because his little daughter did not know the exact title, she identified the song saying "Daddy, sing 'The Woo Woo Song'!"  Jeffrey thus affectionately nicknamed the track. It was his biggest pop hit when released as a single, reaching #13 on the Billboard Hot 100 pop chart. On other US charts, "You Should Be Mine" peaked at #2 on both the Hot Black Singles and Adult Contemporary charts.

text: Chart positions[edit]

text:
Chart (1986)

Peakposition

U.S. Billboard Hot 100

13

U.S. Billboard Adult Contemporary Chart.[1]

2

U.S. Billboard Hot Black Singles[2]

2

text: In popular culture[edit]

text: The 17th episode of Cosby titled "Valentine's Day" features Jeffrey Osborne guest starring and performing the song.


document_title: Daintree Rainforest

question_text: what type of rainforest is the daintree rainforest

text: Daintree Rainforest

text: About Daintree Rainforest[edit]

text: The rainforest is named after Richard Daintree, an Australian geologist and photographer (1832-1878).

text:
The area includes the Daintree National Park, some areas of State Forest, and some privately owned land, including a residential community of upwards of 5 people. Some of the privately owned land north of the Peninsula Range is being progressively purchased for conservation purposes under a $15 million government scheme involving equal contributions from the municipal (Cairns Regional Council), which includes the former Douglas Shire council), State (Queensland) and Australian Federal governments. As of May 2011, 72% of the properties earmarked for buyback or compensation had been secured. These 'buyback' areas of tropical rainforest included 215 blocks of land purchased by the Queensland Parks and Wildlife Service, and 13 purchased by private conservation agencies.[4][5]
The Daintree Rainforest contains 30% of the frog, reptile and marsupial species in Australia, and 90% of Australia's bat and butterfly species. 7% of bird species in the country can be found in this area. There are also over 12,000 species of insects in the rainforest. All of this diversity is contained within an area that takes up 0.1% of the landmass of Australia.[citation needed] Part of the forest is protected by the Daintree National Park and drained by the Daintree River. The roads north of the river wind through areas of lush forest, and have been designed to minimize impacts on this ancient ecosystem.

text: Daintree Rainforest[edit]

text: The tropical rainforest ecosystem of the Daintree Rainforest is one of the most complex on Earth. Its plant diversity and structural complexity is unrivaled on the Australian continent and represents the origins of other Australian flora.

text: Millions of years ago[quantify], the Australian continent was warm and humid and rainfall was plentiful. During this time rainforest thrived in places such as the Uluru (Ayers Rock) region. As Australia became more arid, fewer and fewer places rainforests were able to survive. In the Daintree region, however, the climate and topography were ideal, so the area became a last remaining refuge for the rainforest. Within this refuge, many species were able to live comfortably without reason to change. Their descendants that are still living today retained many of their ancestors' primitive characteristics, some dating back 110 million years.

text: One species in particular, Idiospermum australiense, commonly known as the idiot fruit, is one of the rarest and most primitive of the flowering plants. Its discovery in 1970 was arguably Australia’s most significant botanical find, greatly increasing scientists awareness of just how ancient these forests really are.

text: From a total of 19 primitive flowering plant families on Earth, 12 families are represented in the Daintree region making the highest concentration of these plants worldwide. These ancient plant families may well hold the secret to a number of unanswered questions regarding the origins of the flowering plants – plants on which the human race depends for food and medicines.[6]

text: Exploring[edit]

text: The Daintree region combines tropical rainforest, white sandy beaches, and fringing reefs just offshore, which is a rare combination. Due to the distance between attractions, driving is the often the simplest way to navigate between them. The Daintree National Park boasts many walking tracks[7] and there are a number of accommodation options within the Daintree Rainforest itself.

text: To the west of Cape Tribulation stands Mt Pieter Botte with its massive granite outcrops. The summit providing expansive vistas of undisturbed forest and to the south, the skyline is dominated by the giant granite boulders of Thornton Peak – one of Queensland’s highest mountains.[6]

text: Much of the Daintree Rainforest is part of the Wet Tropics of Queensland World Heritage Site, being listed by UNESCO in 2015 in recognition of its universal natural values highlighted by the rainforest.[8][9]

text: Amongst the attributes provided as evidence for the World Heritage value of the Wet Tropics, which include the Daintree Rainforest, the Australian Government[10] lists the following:

text: They preserve major stages of the earth's evolutionary history -

text:
ancient plants representing some of the earliest land plants, the Psilotopsida (whisk ferns) and the Lycopsida (club mosses or tassel ferns);
7 ancient families of true ferns, including the Marattiaceae (giant or king ferns), Osmundaceae (royal ferns), Schizaeaceae (comb ferns) and Gleicheniaceae (coral ferns);
fern genera of East Gondwanan origins, including Polystichum (shield ferns), Leptopteris, Todea, Tmesipteris (fork ferns), Lycopodiella and Huperzia (club mosses and tassel ferns);
the ancient, fern-like cycad Bowenia spectabilis (zamia fern) and other cycads including Cycas, and the giant Lepidozamia hopei (zamia palm);
ancient conifers such as Podocarpus (plum pine or brown pine), Prumnopitys (brown pine or southern yew), Araucaria (hoop and bunya pines), and Agathis (kauri) which are living counterparts of Jurassic-age fossils (i.e., age of the dinosaurs);
12 primitive angiosperm (flowering plant) families, including small, primitive, relict angiosperm families such as Austrobaileyaceae, Idiospermaceae, Eupomatiaceae and Himantandraceae;
relict angiosperm plant families that are known as fossils from the Cretaceous (last age of the dinosaurs) including Cunoniaceae, Proteaceae (banksia and macadamia family), Winteraceae, Myrtaceae (eucalypt and lilly pilly), Monimiaceae, Rutaceae, Sapindaceae, Aquifoliaceae (holly family), Chloranthaceae, Trimeniaceae, Epacridaceae (heath family), Olacaceae and families of angiosperms to represent the longest continuous history associated with the Gondwanan landmass.

text: They preserve unique, rare or superlative natural phenomena, formations or features of exceptional natural beauty –

text:
exceptional coastal scenery unusual in the world (and Australia) where tropical rainforest extends to white sandy beaches with fringing coral reefs just offshore;
rugged mountain peaks and gorges with swiftly flowing rivers and spectacular waterfalls (e.g., Thornton Peak, Mossman Gorge, Roaring Meg Falls);
extensive vistas of undisturbed forest and valleys.

text: The Daintree rainforest contains important and significant habitats for conservation of biological diversity. Approximately 430 species of birds live among the trees. The primitive flowering plants Austrobaileya scandens and Idiospermum australiense are also endemic to the Daintree. However, The Daintree Region is home to a number of rare and endangered species, including the southern cassowary (Casuarius Casuarius) and Bennett's tree-kangaroo (Dendrolagus bennettianus).

text: Daintree Important Bird Area[edit]

text: The Daintree Important Bird Area (IBA) is a 2656 km2 tract of land that largely coincides with the northernmost part of the Wet Tropics of Queensland World Heritage Site.  It encompasses, or overlaps, the Black Mountain, Cedar Bay, Daintree, Mount Windsor and Mowbray National Parks.[11]

text: It has been identified as an IBA by BirdLife International because it supports a population of southern cassowaries. It also contains populations of the locally endemic tooth-billed and golden bowerbirds, lovely fairywrens, Macleay's, bridled, yellow-spotted and white-streaked honeyeaters, fernwrens, Atherton scrubwrens, mountain thornbills, chowchillas, Bower's shrike-thrushes, pied monarchs, Victoria's riflebirds and pale-yellow robins.[12]


document_title: Rondo

question_text: a b a c a b a is an example of which form from the classic period

text: Rondo

text: Form[edit]

text:
Typical tonal structure of classical seven-part rondo, late 18th and early 19th centuries[1]

A
B
A
C
A
B'
A

Major key
I
V
I
VI, IV or
parallel minor
I
I
I

Minor key
I
III
or V
I
VI or IV
I
I
I

text: In rondo form, a principal theme (sometimes called the "refrain") alternates with one or more contrasting themes, generally called "episodes", but also occasionally referred to as "digressions" or "couplets". Possible patterns in the Classical period include: ABA, ABACA, or ABACABA.[2] These are sometimes designated "first rondo", "second rondo", and "third rondo", respectively. The first rondo is distinguished from the three-part song form principally by the fact that at least one of the themes is a song form in itself, but the difference in melodic and rhythmic content of the themes in the rondo form is usually greater than in the song form, and the accompanimental figuration in the parts of the rondo (unlike the song form) is usually contrasted.[3] The number of themes can vary from piece to piece, and the recurring element is sometimes embellished and/or shortened in order to provide for variation.

text: A Baroque predecessor to the rondo was the ritornello. Ritornello form was used in the fast movements of baroque concertos, and in many baroque vocal and choral works. The entire orchestra (in Italian, tutti) plays the main ritornello theme, while soloists play the intervening episodes. While Rondo form is similar to ritornello form, it is different in that ritornello brings back the subject or main theme in fragments and in different keys, but the rondo brings back its theme complete and in the same key. Cedric Thorpe Davie is one author, however, who considers the ritornello form the ancestor, not of the rondo form, but of the classical concerto form (which also occurs, as a form, in many a classical-era aria.)[4]

text: A common expansion of rondo form is to combine it with sonata form, to create the sonata rondo form. Here, the second theme acts in a similar way to the second theme group in sonata form by appearing first in a key other than the tonic and later being repeated in the tonic key. Unlike sonata form, thematic development does not need to occur except possibly in the coda.

text: Examples of rondo form[edit]

text:
Johann Sebastian Bach: E major Violin Concerto, last movement[citation needed]
Antonín Dvořák: Cello Concerto in B minor, third Movement
Wolfgang Amadeus Mozart: Horn Concerto No. 4 in E-flat major, last movement
Ludwig van Beethoven: Rondo for piano and orchestra, WoO, 6
Ludwig van Beethoven: Piano Sonata, Op. 13, last movement[1]
Ludwig van Beethoven: Piano Sonata No. 21, last movement.

text: Character type[edit]

text: Rondo as a character-type (as distinct from the form) refers to music that is fast and vivacious – normally Allegro. Many classical rondos feature music of a popular or folk character. Music that has been designated as "rondo" normally subscribes to both the form and character. On the other hand, there are many examples of slower, reflective works that are rondo in form but not in character; they include Mozart's Rondo in A minor, K. 511 (marked Andante).

text: Etymology[edit]

text: The term and perhaps the formal principle may have derived from the medieval poetic form rondeau, which contains repetitions of a couplet separated by longer sections of poetry.[1] (Arnold Schoenberg disputed that claim of origin in an essay in Style and Idea by noting that "if musical rondo form were really supposed to be modelled on the poetic form, it could only be so very superficially".)[5]

text: Other usages[edit]

text: The term (or its French equivalent) has other uses, in particular the rondeau, either the vocal Rondeau of the Medieval and early Renaissance period, or the French Baroque Rondeau usually associated with brief movements (for keyboard or larger ensemble) of the Baroque era and earlier, e.g. Jean-Philippe Rameau's "Rondeau des Indes Galantes" or Les Barricades Mystérieuses which is also not really a rondo, but a form of its own.[citation needed]

text: A well-known operatic vocal genre of the late 18th century, referred to at that time by the same name but distinguished today in English and German writing by the differently accented term "rondò" is cast in two parts, slow-fast.[6]

text: Sources[edit]

text:
^ Jump up to: a b c White, John D. (1976). The Analysis of Music, p.54-56. ISBN 0-13-033233-X.
Jump up ^ Eugene K. Wolf, "Rondo", Harvard Dictionary of Music, fourth edition, edited by Don Michael Randel. Harvard University Press Reference Library (Cambridge: Belknap Press for Harvard University Press, 2003). ISBN 978-0-674-01163-2.
Jump up ^ Percy Goetschius, Lessons in Musical Form: A Manual of Analysis of All the Structural Factors (Boston: Oliver Ditson Company, 1904): 117; Leon Stein, Anthology of Musical Forms: Structure and Style, expanded edition (New York: Summy-Birchard, Inc.. 1979): 87. ISBN 0-87487-164-6.
Jump up ^ Thorpe Davie, Musical Structure and Design.
Jump up ^ in part because repetition serves different functions in poetry and in music. See For a Treatise on Composition, pp.264-67, ISBN 0 520 05286 2.
Jump up ^ Don Neville, "Rondò", The New Grove Dictionary of Opera, 4 vols., edited by Stanley Sadie (London: Macmillan Press, 1992).

tag: ol


document_title: A Bug's Life

question_text: what is the grasshoppers name in bugs life

text: A Bug's Life

text: Plot[edit]

text: Ant Island is a colony of ants led by the Queen and her daughter, Princess Atta. Every season, they are forced to give food to a gang of marauding grasshoppers led by Hopper. One day, when Flik, an individualist and would-be inventor, inadvertently knocks the offering into a stream with his latest invention, a grain harvesting device, Hopper demands twice as much food as compensation. When Flik suggests in earnest that they seek help from other stronger bugs, the other ants see it as an opportunity to remove him and send him off.

text: At the "bug city", which is a heap of trash under a trailer, Flik mistakes a troupe of Circus Bugs (who were recently dismissed by their greedy ringmaster, P.T. Flea) for the warrior bugs he seeks. The bugs, in turn, mistake Flik for a talent agent, and accept his offer to travel with him back to Ant Island. During a welcome ceremony upon their arrival, the Circus Bugs and Flik both discover their mutual misunderstandings. The Circus Bugs attempt to leave, but are attacked by a bird; while fleeing, they save Dot, Atta's younger sister, gaining the ants' respect in the process. At Flik's request, they continue the ruse of being "warriors", so the troupe can continue to enjoy the hospitality of the ants. Hearing that Hopper fears birds inspires Flik to create a false bird to scare away the grasshoppers. Meanwhile, Hopper tells his gang how greatly the ants outnumber them and worries that they will eventually rebel against them.

text: The ants finish constructing the fake bird, but during a celebration, P.T. Flea arrives, searching for his troupe, and he inadvertently reveals their secret. Outraged by Flik's deception, the ants exile him, and  desperately attempt to gather food for a new offering to the grasshoppers. However, when Hopper returns to discover the mediocre offering, he takes over the island, and demands the ants' winter food supply, planning to assassinate the Queen afterwards. Overhearing the plan, Dot informs Flik and the Circus Bugs, convincing them to return to Ant Island.

text: After rescuing the Queen, Flik deploys the bird; it initially fools the grasshoppers, but P.T. Flea, also mistaking it for a real bird, burns it, exposing it as a decoy. Hopper beats Flik in retaliation, saying that the ants are humble and lowly life forms who live to serve the grasshoppers. However, Flik responds that Hopper actually fears the colony, because he has always known what they are capable of, inspiring the ants and the Circus Bugs to fight back against the grasshoppers. The ants attempt to force Hopper out of Ant Island using P.T. Flea’s circus cannon, but it suddenly begins to rain. In the ensuing chaos, Hopper frees himself from the cannon, and abducts Flik. After the Circus Bugs fail to catch them, Atta rescues Flik. As Hopper pursues them, Flik lures him to the nest of the bird he, Dot, and the Circus Bugs encountered earlier. Thinking that the bird is another decoy, Hopper taunts it before discovering it is real, and is captured and fed to its chicks.

text: With their enemies gone, Flik has improved his inventions along with the quality of life for Ant Island, Atta professes her love for Flik, and they give Hopper's younger brother Molt, and a few ants to P.T. Flea as new members of his troupe. Atta and Dot respectively become the new queen and princess. The ants congratulate Flik as a hero, and bid a fond farewell to the circus troupe, who promise to return in the future.

text: Voice cast[edit]

text:
Dave Foley as Flik, an inventive, but mostly accident-prone, ant.
Kevin Spacey as Hopper, the misanthropic leader of the grasshopper gang.
Julia Louis-Dreyfus as Princess Atta, the soon-to-be queen of the colony.
Hayden Panettiere as Dot, Princess Atta's younger sister and initially Flik's only friend in the ant colony.
Phyllis Diller as the Queen, the leader of the ant colony.
Richard Kind as Molt, Hopper's dimwitted younger brother.
David Hyde Pierce as Slim, a walking stick and Francis and Heimlich's friend.
Joe Ranft as Heimlich, a plump, German-accented caterpillar that longs to be a butterfly.
Denis Leary as Francis, a short-tempered ladybug that is constantly mistaken for a female.
Jonathan Harris as Manny, a praying mantis and magician in P.T. Flea's circus.
Madeline Kahn as Gypsy, a gypsy moth and Manny's beautiful wife and assistant.
Bonnie Hunt as Rosie, a black widow spider and Dim's tamer.
Michael McShane as Tuck and Roll, twin[5] pillbug brothers from Hungary.
John Ratzenberger as P.T. Flea, the owner of the circus.
Brad Garrett as Dim, a rhinoceros beetle that plays the "Ferocious Beast" in the circus act.
Roddy McDowall as Mr. Soil, the lead thespian.
Edie McClurg as Dr. Flora, the doctor of the ant colony.
Alex Rocco as Thorny, Princess Atta's assistant.
David Ossman as Cornelius, an elderly ant.

text: Production[edit]

text: Development[edit]

text: During the summer of 1994, Pixar's story department began turning their thoughts to their next film.[6] The storyline for A Bug's Life originated from a lunchtime conversation between John Lasseter, Andrew Stanton, Pete Docter, and Joe Ranft, the studio's head story team; other films such as Monsters, Inc. and Finding Nemo were also conceived at this lunch.[7] Lasseter and his story team had already been drawn to the idea of insects serving as characters. Like toys, insects were within the reach of computer animation back then, due to their relatively simple surfaces. Stanton and Ranft wondered whether they could find a starting point in Aesop's fable The Ant and the Grasshopper.[7] Walt Disney had produced his own version with a cheerier ending decades earlier in the 1934 short film The Grasshopper and the Ants. In addition, Walt Disney Feature Animation had considered producing a film in the late-1980s entitled Army Ants, that centered around a pacifist ant living in a militaristic colony, but this never fully materialized.[8]

text: As Stanton and Ranft discussed the adaptation, they rattled off scenarios and storylines springing from their premise.[7] Lasseter liked the idea and offered some suggestions. The concept simmered until early 1995, when the story team began work on the second film in earnest.[7] During an early test screening for Toy Story in San Rafael in June 1995, they pitched the film to Disney CEO Michael Eisner. Eisner thought the idea was fine and they submitted a treatment to Disney in early-July under the title Bugs.[7] Disney approved the treatment and gave notice on July 7 that it was exercising the option of a second film under the original 1991 agreement between Disney and Pixar.[9] Lasseter assigned the co-director job to Stanton; both worked well together and had similar sensibilities. Lasseter had realized that working on a computer-animated feature as a sole director was dangerous while the production of Toy Story was in process.[9] In addition, Lasseter believed that it would relieve stress and that the role would groom Stanton for having his own position as a lead director.[10]

text: Writing[edit]

text: In The Ant and the Grasshopper, a grasshopper squanders the spring and summer months on singing while the ants put food away for the winter; when winter comes, the hungry grasshopper begs the ants for food, but the ants turn him away.[7] Andrew Stanton and Joe Ranft hit on the notion that the grasshopper could just take the food.[7][11] After Stanton had completed a draft of the script, he came to doubt one of the story's main pillars – that the Circus Bugs that had come to the colony to cheat the ants would instead stay and fight.[10] He thought the Circus Bugs were unlikable characters as liars and that it was unrealistic for them to undergo a complete personality change. Also, no particularly good reason existed for Circus Bugs to stay with the ant colony during the second act.[12] Although the film was already far along, Stanton concluded that the story needed a different approach.[10]

text: Stanton took one of the early circus bug characters, Red the red ant, and changed him into the character Flik.[12] The Circus Bugs, no longer out to cheat the colony, would be embroiled in a comic misunderstanding as to why Flik was recruiting them. Lasseter agreed with this new approach, and comedy writers Donald McEnery and Bob Shaw spent a few months working on further polishing with Stanton.[13] The characters "Tuck and Roll" were inspired by a drawing that Stanton did of two bugs fighting when he was in the second grade.[11] Lasseter had come to envision the film as an epic in the tradition of David Lean's 1962 film Lawrence of Arabia.[12][14]

text: Casting[edit]

text: The voice cast was heavy with television sitcom stars of the time: Flik was voiced by Dave Foley (from NewsRadio), Princess Atta was voiced by Julia Louis-Dreyfus (from Seinfeld), Molt was voiced by Richard Kind (from Spin City), Slim was voiced by David Hyde Pierce (from Frasier) and Dim was voiced by Brad Garrett (from Everybody Loves Raymond). Joe Ranft, member of Pixar's story team, played Heimlich the caterpillar at the suggestion of Lasseter's wife, Nancy, who had heard him playing the character on a scratch vocal track.[15]

text: The casting of Hopper, the film's villain, proved problematic. Lasseter's top choice was Robert De Niro, who repeatedly turned the part down, as did a succession of other actors.[15] Kevin Spacey met John Lasseter at the 1995 Academy Awards and Lasseter asked Spacey if he would be interested in doing the voice of Hopper. Spacey was delighted and signed on immediately.[12]

text: A Bug’s Life was the final film appearance of actor Roddy McDowell, who played Mr. Soil, before passing away shortly before the film’s theatrical release.[16]

text: Art design and animation[edit]

text: It was more difficult for animators during the production of A Bug's Life than that of Toy Story, as computers ran sluggishly due to the complexity of the character models. Lasseter and Stanton had two supervising animators to assist with directing and reviewing the animation: Rich Quade and Glenn McQueen. The first sequence to be animated and rendered was the circus sequence that culminated with P.T. Flea's "Flaming Wall of Death". Lasseter placed this scene first in the pipeline because he believed it was "less likely to change".[17] Lasseter thought it would be useful to look at a view of the world from an insect's perspective. Two technicians obliged by creating a miniature video camera on Lego wheels, which they dubbed as the "Bugcam".[10][18] Fastened to the end of a stick, the Bugcam could roll through grass and other terrain and send back an insect's-eye outlook. Lasseter was intrigued by the way grass, leaves, and flower petals formed a translucent canopy, as if the insects were living under a stained-glass ceiling. The team also later sought inspiration from Microcosmos (1996), a French documentary on love and violence in the insect world.[10]

text: The transition from treatment to storyboards took on an extra layer of complexity due to the profusion of storylines. Where Toy Story focused heavily on Woody and Buzz, with the other toys serving mostly as sidekicks, A Bug's Life required in-depth storytelling for several major groups of characters.[13] Character design also presented a new challenge, in that the designers had to make ants appear likable. Although the animators and the art department studied insects more closely, natural realism would give way to the film's larger needs.[14] The team took out mandibles and designed the ants to stand upright, replacing their normal six legs with two arms and two legs. The grasshoppers, in contrast, received a pair of extra appendages to appear less attractive.[14] The story's scale also required software engineers to accommodate new demands. Among these was the need to handle shots with crowds of ants.[14] The film would include more than 400 such shots in the ant colony, some with as many as 800. It was impractical for animators to control them individually, but neither could the ants remain static for even a moment without appearing lifeless, or move identically. Bill Reeves, one of the film's two supervising technical directors, dealt with the quandary by leading the development of software for autonomous ants.[14] The animators would only animate four or five groups of about eight individual "universal ants". Each one of these "universal ants" would later be randomly distributed throughout the digital set. The program also allowed each ant to be automatically modified in subtle ways (e.g. different color of eye or skin, different heights, different weights, etc.). This ensured that no two ants were the same.[18] It was partly based on Reeves's invention of particle systems a decade and a half earlier, which had let animators use masses of self-guided particles to create effects like swirling dust and snow.[15]

text: The animators also employed subsurface scattering—developed by Pixar co-founder Edwin Catmull during his graduate student days at the University of Utah in the 1970s—to render surfaces in a more lifelike way. This would be the first time that subsurface scattering would be used in a Pixar film, and a small team at Pixar worked out the practical problems that kept it from working in animation. Catmull asked for a short film to test and showcase subsurface scattering and the result, Geri's Game (1997), was attached alongside A Bug's Life in its theatrical release.[19]

text: Controversy[edit]

text: During the production of A Bug's Life, a public feud erupted between DreamWorks' Jeffrey Katzenberg, and Pixar's Steve Jobs and John Lasseter. Katzenberg, former chairman of Disney's film division, had left the company in a bitter feud with CEO Michael Eisner. In response, he formed DreamWorks SKG with Steven Spielberg and David Geffen and planned to rival Disney in animation.[20] After DreamWorks' acquisition of Pacific Data Images (PDI)—long Pixar's contemporary in computer animation—Lasseter and others at Pixar were dismayed to learn from the trade papers that PDI's first project at DreamWorks would be another ant film, to be called Antz.[21] By this time, Pixar's project was well-known within the animation community.[22] Both Antz and A Bug's Life center on a young male, a drone with oddball tendencies that struggles to win a princess's hand by saving their society. Whereas A Bug's Life relied chiefly on visual gags, Antz was more verbal and revolved more around satire. The script of Antz was also heavy with adult references, whereas Pixar's film was more accessible to children.[23]

text: It was clear that Lasseter and Jobs believed that the idea was stolen by Katzenberg.[8][20] Katzenberg had stayed in touch with Lasseter after the acrimonious Disney split, often calling to check up. In October 1995, when Lasseter was overseeing postproduction work on Toy Story at the Universal lot's Technicolor facility in Universal City, where DreamWorks was also located, he called Katzenberg and dropped by with Stanton.[20][24] When Katzenberg asked what they were doing next, Lasseter described what would become A Bug's Life in detail. Lasseter respected Katzenberg's judgment and felt comfortable using him as a sounding board for creative ideas.[24] Lasseter had high hopes for Toy Story, and he was telling friends throughout the tight-knit computer-animation business to get cracking on their own films. "If this hits, it's going to be like space movies after Star Wars" for computer animation companies, he told various friends.[8] "I should have been wary," Lasseter later recalled. "Jeffrey kept asking questions about when it would be released."[20]

text: When the trades indicated production on Antz, Lasseter, feeling betrayed, called Katzenberg and asked him bluntly if it were true, who in turn asked him where he had heard the rumor. Lasseter asked again, and Katzenberg admitted it was true. Lasseter raised his voice and would not believe Katzenberg's story that a development director had pitched him the idea long ago. Katzenberg claimed Antz came from a 1991 story pitch by Tim Johnson that was related to Katzenberg in October 1994.[8] Another source gives Nina Jacobson, one of Katzenberg's executives, as the person responsible for the Antz pitch.[22] Lasseter, who normally did not use profane language, cursed at Katzenberg and hung up the phone.[25] Lasseter recalled that Katzenberg began explaining that Disney was "out to get him" and that he realized that he was just cannon fodder in Katzenberg's fight with Disney.[8][22] In truth, Katzenberg was the victim of a conspiracy: Eisner had decided not to pay him his contract-required bonus, convincing Disney's board not to give him anything.[22] Katzenberg was further angered by the fact that Eisner scheduled Bugs to open the same week as The Prince of Egypt, which was then intended to be DreamWorks' first animated release.[22][25] Lasseter grimly relayed the news to Pixar employees but kept morale high. Privately, Lasseter told other Pixar executives that he and Stanton felt terribly let down by Katzenberg.[22]

text: Katzenberg moved the opening of Antz from spring 1999 to October 1998 to compete with Pixar's release.[22][26] David Price writes in his 2008 book The Pixar Touch that a rumor, "never confirmed", was that Katzenberg had given PDI "rich financial incentives to induce them to whatever it would take to have Antz ready first, despite Pixar's head start".[22][25] Jobs was furious and called Katzenberg and began yelling. Katzenberg made an offer: He would delay production of Antz if Jobs and Disney would move A Bug’s Life so that it did not compete with The Prince of Egypt. Jobs believed it "a blatant extortion attempt" and would not go for it, explaining that there was nothing he could do to convince Disney to change the date.[8][25] Katzenberg casually responded that Jobs himself had taught him how to conduct similar business long ago, explaining that Jobs had come to Pixar's rescue by making the deal for Toy Story, as Pixar was near bankruptcy at that time.[15] "I was the one guy there for you back then, and now you're allowing them to use you to screw me," Katzenberg said.[25] He suggested that if Jobs wanted to, he could simply slow down production on A Bug's Life without telling Disney. If he did, Katzenberg said, he would put Antz on hold.[8] Lasseter also claimed Katzenberg had phoned him with the proposition, but Katzenberg denied these charges later.[17]

text: As the release dates for both films approached, Disney executives concluded that Pixar should keep silent on the DreamWorks battle. Regardless, Lasseter publicly dismissed Antz as a "schlock version" of A Bug's Life.[19] Lasseter, who claimed to have never seen Antz, told others that if DreamWorks and PDI had made the film about anything other than insects, he would have closed Pixar for the day so the entire company could go see it.[8][23] Jobs and Katzenberg would not back down and the rivaling ant films provoked a press frenzy. "The bad guys rarely win," Jobs told the Los Angeles Times. In response, DreamWorks' head of marketing Terry Press suggested, "Steve Jobs should take a pill."[25] Despite the successful box office performance of both Antz and A Bug's Life, tensions would remain high between Jobs and Katzenberg for many years. According to Jobs, Katzenberg came to Jobs after the success of Shrek (2001) and insisted he had never heard the pitch for A Bug's Life, reasoning that his settlement with Disney would have given him a share of the profits if that were so.[27] Although the contention left all parties estranged, Pixar and PDI employees kept up the old friendships that had arisen from spending a long time together in computer animation.[17]

text: Music[edit]

text:
A Bug's Life: An Original Walt Disney Records SoundtrackSoundtrack album by Randy NewmanReleased
October 27, 1998Recorded
1998Genre
ScoreLength
47:32Label
Walt DisneyRandy Newman chronology

Michael(1996)

A Bug's Life: An Original Walt Disney Records Soundtrack(1998)

Pleasantville(1998)

Pixar soundtrack chronology

Toy Story(1995)

A Bug's Life(1998)

Toy Story 2(1999)

text: The film's score was composed and conducted by Randy Newman. The soundtrack album was produced and released on October 27, 1998, by Walt Disney Records. The album's first track is a song called "The Time of Your Life" written and performed by Newman, while all the other 19 tracks are orchestral cues. The album is no longer manufactured into physical media, but is available for purchase on iTunes. The time duration is 47 minutes and 32 seconds.[28] Out of five stars, Allmusic,[29] Empire Online,[30] and Film Tracks rated the album three stars.[31] Movie Wave rated it four and a half.[32] The score won the Grammy Award for Best Instrumental Composition.[28]

text: Reception[edit]

text: Critical reception[edit]

text: On review aggregator Rotten Tomatoes the film has a rating of 92%, based on 85 reviews, with an average rating of 7.9/10. The site's critical consensus reads, "A Bug's Life is a rousing adventure that blends animated thrills with witty dialogue and memorable characters – and another smashing early success for Pixar."[33] Another review aggregator, Metacritic, gave the film a score of 77 out of 100, based on 23 critics, indicating "generally favorable reviews".[34]

text: Todd McCarthy of Variety gave the film a positive review, saying "Lasseter and Pixar broke new technical and aesthetic ground in the animation field with Toy Story, and here they surpass it in both scope and complexity of movement while telling a story that overlaps Antz in numerous ways."[35] James Berardinelli of ReelViews gave the film three and a half stars out of four, saying "A Bug's Life, like Toy Story, develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure."[36] Roger Ebert of the Chicago Sun-Times gave the film three and a half stars out of four, saying "Will A Bug's Life suffer by coming out so soon after Antz? Not any more than one thriller hurts the chances for the next one. Antz may even help business for A Bug's Life by demonstrating how many dramatic and comedic possibilities can be found in an anthill."[37] Kenneth Turan of the Los Angeles Times gave the film four out of five stars, saying "What A Bug's Life demonstrates is that when it comes to bugs, the most fun ones to hang out with hang exclusively with the gang at Pixar."[38] Peter Stack of the San Francisco Chronicle gave the film four out of four stars, saying "A Bug's Life is one of the great movies – a triumph of storytelling and character development, and a whole new ballgame for computer animation. Pixar Animation Studios has raised the genre to an astonishing new level".[39]

text: Richard Corliss of Time gave the film a positive review, saying "The plot matures handsomely; the characters neatly converge and combust; the gags pay off with emotional resonance."[40] Owen Gleiberman of Entertainment Weekly gave the film a B, saying "A Bug's Life may be the single most amazing film I've ever seen that I couldn't fall in love with."[41] Paul Clinton of CNN gave the film a positive review, saying "A Bug's Life is a perfect movie for the holidays. It contains a great upbeat message ... it's wonderful to look at ... it's wildly inventive ... and it's entertaining for both adults and kids."[42] Michael Wilmington of the Chicago Tribune gave the film three and a half stars out of four, and compared the movie to "Akira Kurosawa's Seven Samurai (with a little of another art-film legend, Federico Fellini, tossed in)." where "As in Samurai, the colony here is plagued every year by the arrival of bandits."[43] On the contrary, Stephen Hunter of The Washington Post gave the film a negative review, saying "Clever as it is, the film lacks charm. One problem: too many bugs. Second, bigger world for two purposes: to feed birds and to irk humans."[44]

text: Box office[edit]

text: A Bug's Life grossed approximately $33,258,052 on its opening weekend, ranking number 1 for that weekend.[45] It managed to retain its number 1 spot for two weeks.[46][47] The film grossed $162.8 million in its United States theatrical run, covering its estimated production costs of $120 million. The film made $200,460,294 in foreign countries, pushing its worldwide gross to $363.3 million, surpassing the competition from DreamWorks Animation's Antz.[2]

text: Awards and honors[edit]

text: A Bug's Life won a number of awards and numerous nominations. The film won the Broadcast Film Critics Association Awards for Best Animated Film (tied with The Prince of Egypt) and Best Family Film, the Satellite Award for Best Animated Film and the Grammy Award for Best Instrumental Composition by Randy Newman. It was also nominated for the Academy Award for Best Original Musical or Comedy Score, the Golden Globe Award for Best Original Score and the BAFTA Award for Best Achievement in Special Visual Effects.[48] In 2008, the American Film Institute nominated this film for its Top 10 Animation Films list.[49]

text: Home media[edit]

text: A Bug's Life was the first ever home video release to be entirely created using a digital transfer, with every single frame of animation being readded from the film’s computer data as opposed to the standard analog film-to-videotape transfer process. This allowed for the film’s DVD release to retain its original 2.35:1 anamorphic widescreen format which it was presented with in movie theaters.[50] The DVD was released on April 20, 1999 alongside a VHS release which was presented in a standard 1.33:1 “fullscreen” format. The movie’s fullscreen transfer was performed by entirely “reframing” the film shot by shot; more than half of the film’s footage was modified by Pixar animators in order for them to fit within the film’s aspect ratio, with several characters and objects being moved closer together in order to avoid being cut out of frame.[50] The film’s VHS release was the best-selling VHS in the United Kingdom, with 1.76 million units sold by the end of the year.[51]

text: On August 1, 2000, the film was rereleased on VHS and DVD under the Walt Disney Gold Classic Collection banner.[52] On May 20, 2003, another DVD was released as a 2-disc Collector's Edition. This DVD was fully remastered and has substantial bonus features.[53][54] On May 19, 2009, the film was released on Blu-ray.[55]

text: Media and merchandise[edit]

text: Attached short film[edit]

text: The film's theatrical and video releases include Geri's Game, an Academy Award winning Pixar short made in 1997, a year before this film was released.[56]

text: Video game[edit]

text: A game, based on the film, was developed by Traveller's Tales and Tiertex Design Studios and released by Sony Computer Entertainment, Disney Interactive, THQ and Activision for various systems. The game's storyline was similar to the film's, with a few changes. However, unlike the film, the game received mixed to negative reviews.[57] Aggregating review website GameRankings gave the Nintendo 64 version 54.40%,[58] the PlayStation version 51.90%[59] and the Game Boy Color version 36.63%.[60] GameSpot gave the PlayStation version a 2.7/10, concluding that it was "obvious that Disney was more interested in producing a $40 advertisement for its movie than in developing a playable game."[61] IGN gave the Nintendo 64 version a 6.8/10, praising the presentation and sound by stating "It was upbeat, cheery look and feel very much like the movie of the same name with cheery, happy tunes and strong sound effects but again criticised the gameplay by saying the controls were sluggish with stuttering framerate and tired gameplay mechanics".[62] while they gave the PlayStation version a 4/10, criticizing the gameplay as slow and awkward but praising the presentation as cinematic.[63]

text: Theme park attractions[edit]

text: A Bug's Land is a section of Disney California Adventure that is inspired by A Bug's Life. One of the main attractions was the 3D show It's Tough to Be a Bug! which is also in Disney's Animal Kingdom. The Disney California Adventure nighttime show World of Color features a segment that includes Heimlich, the caterpillar from the film.[64]


document_title: Excretion

question_text: removal of excretory products from the human body

text: Excretion

text: Excretion is the process by which metabolic waste is eliminated from an organism. In vertebrates this is primarily carried out by the lungs, kidneys and skin.[1] This is in contrast with secretion, where the substance may have specific tasks after leaving the cell. Excretion is an essential process in all forms of life. For example, in mammals urine is expelled through the urethra, which is part of the excretory system. In unicellular organisms, waste products are discharged directly through the surface of the cell.

text: Green plants produce carbon dioxide and water as respiratory products. In green plants, the carbon dioxide released during respiration gets utilized during photosynthesis. Oxygen is a by product generated during photosynthesis, and exits through stomata, root cell walls, and other routes. Plants can get rid of excess water by transpiration and guttation. It has been shown that the leaf acts as an 'excretophore' and, in addition to being a primary organ of photosynthesis, is also used as a method of excreting toxic wastes via diffusion. Other waste materials that are exuded by some plants — resin, saps, latex, etc. are forced from the interior of the plant by hydrostatic pressures inside the plant and by absorptive forces of plant cells. These latter processes do not need added energy, they act passively. However, during the pre-abscission phase, the metabolic levels of a leaf are high.[2][3] Plants also excrete some waste substances into the soil around them.[4]

text: In animals, the main excretory products are carbon dioxide, ammonia (in ammoniotelics), urea (in ureotelics), uric acid (in uricotelics), guanine (in Arachnida) and creatine. The liver and kidneys clear many substances from the blood (for example, in renal excretion), and the cleared substances are then excreted from the body in the urine and feces.

text: Aquatic animals usually excrete ammonia directly into the external environment, as this compound has high solubility and there is ample water available for dilution. In terrestrial animals ammonia-like compounds are converted into other nitrogenous materials as there is less water in the environment and ammonia itself is toxic.

text: Birds excrete their nitrogenous wastes as uric acid in the form of a paste. Although this process is metabolically more expensive, it allows more efficient water retention and it can be stored more easily in the egg. Many avian species, especially seabirds, can also excrete salt via specialized nasal salt glands, the saline solution leaving through nostrils in the beak.

text: In insects, a system involving Malpighian tubules is utilized to excrete metabolic waste. Metabolic waste diffuses or is actively transported into the tubule, which transports the wastes to the intestines. The metabolic waste is then released from the body along with fecal matter.

text: The excreted material may be called ejecta.[5] In pathology the word ejecta is more commonly used.[6]