document_title: Rick and Morty (season 3)

question_text: when is episode 7 season 3 of rick and morty coming out

text: Rick and Morty (season 3)

text: Cast and characters[edit]

text: The actors and actresses listed below lend their voices to the corresponding animated characters.

text: Main cast[edit]

text:
Justin Roiland as Rick Sanchez and Morty Smith, the two main characters of the show; Rick is an eccentric mad scientist and Morty is his kind but easily distressed grandson.[3]
Chris Parnell as Jerry Smith, Rick's son-in-law and Morty's father; a simple-minded and insecure person, who disapproves of Rick's influence over his family.[3]
Spencer Grammer as Summer Smith, Rick's granddaughter and Morty's sister; a conventional teenager who worries about improving her status among her peers.[3]
Sarah Chalke as Beth Smith, Rick's daughter and Morty's mother; a generally level-headed person, who is dissatisfied with her marriage.[3]

text: Guest cast[edit]

text:
Nathan Fillion as Cornvelious Daniel, a galactic federation agent.[4]
Tony Hale as Eli, Summer's neighbor in a post-apocalyptic version of Earth.[5]
Joel McHale as Hemorrhage, the leader of the post-apocalyptic scavenger group Death Stalkers.[5]
Susan Sarandon as Dr. Wong, a family therapist.[6]
Danny Trejo as Jaguar, a human held prisoner by foreign government agents.[6]
Peter Serafinowicz as a foreign government agency director.[6]
Christian Slater as Vance Maximus Renegade Star Soldier, the leader of the superhero group The Vindicators.[7]
Gillian Jacobs as Supernova, a member of The Vindicators.[7]
Logic (Bobby Hall) as himself, a performer at a party.[7]
Lance Reddick as Alan Rails, a member of The Vindicators.[7]
Thomas Middleditch as King Tommy, a childhood friend of Beth.[8]
Keith David as President of the United States.[9]

text: Other cast members[edit]

text: Other cast members of the season, who each have voiced one or more characters, include: Dan Harmon, Brandon Johnson, Tom Kenny, Maurice LaMarche, Nolan North, Cassie Steele, Kari Wahlgren, Laura Bailey, John DiMaggio, Ryan Ridley, Scott Chernoff, Dan Benson, Clancy Brown, Echo Kellum, Melique Berger, William Holmes, Tara Strong, Jeff B. Davis, Jonas Briedis, Phil Hendrie, Rob Paulsen, Alex Jayne Go, Jennifer Hale and Mariana Wise.

text: Episodes[edit]

text:
No.
overall
No. in
season
Title
Directed by
Written by
Original air date
U.S. viewers
(millions)

22
1
"The Rickshank Rickdemption"
Juan Meza-León
Mike McMahan
April 1, 2017 (2017-04-01)
0.68[10][b]

Rick is interrogated via a mind-computer link, inside a galactic federal prison. Summer and Morty attempt to rescue him, but they are captured by SEAL Team Ricks, who take them to the Citadel of Ricks and decide to assassinate Rick. Back at the prison, Rick tricks both the federal agents and his aspiring assassins by switching bodies with them. He then teleports the entire Citadel into the federal prison, prompting a massive battle. Amid the confusion, Rick rescues Morty and Summer and uses the Galactic Federation's mainframe to make its currency worthless. The Federation falls into chaos and collapses as a result, with the aliens leaving Earth. Rick, Morty, and Summer return home, where Jerry gives Beth an ultimatum to choose between him and Rick. She chooses Rick. After the new status quo is established, Rick reveals to Morty that his ulterior motive was to become his de facto male influence. This escalates into a nonsensical angry rant that parallels the final scene of the pilot, but this time it is centered around Rick's desire to find more of the discontinued McDonald's Szechuan sauce, a promotional product for the 1998 Disney film Mulan.

Post-credit scene: Tammy observes Bird Person's resurrection as a cyborg dubbed "Phoenix Person".

23
2
"Rickmancing the Stone"
Dominic Polcino
Jane Becker
July 30, 2017 (2017-07-30)
2.86[11]

Rick takes Morty and Summer to a Mad Max-esque version of Earth, where they are chased by a group of scavengers, known as Death Stalkers. Rick notices that the group is carrying a valuable rock of Isotope 322, so he and the kids join them in hope of stealing it. Summer falls in love with the Death Stalkers' leader, while Morty is given the strength of a giant arm, which takes him in search of its previous owner's killer. Rick leaves and replaces the kids with androids to fool Beth. When he returns, he helps the Death Stalkers use the Isotope to power a more advanced civilization. Summer doesn't like how the change softens the Death Stalkers, and she decides to follow Rick and Morty back home. Before leaving, Rick steals the Isotope. The experience helps the kids overcome their parents' divorce. Summer reconciles with Jerry, and Morty realizes he must live his own life.

Post-credit scene: As Jerry receives his unemployment check, a growling wolf appears and bullies him into handing it over. The wolf eats the check and regurgitates it, thus further ruining Jerry's new life.

24
3
"Pickle Rick"
Anthony Chun
Jessica Gao
August 6, 2017 (2017-08-06)
2.31[12]

Rick turns himself into a pickle to get out of attending school-ordered family therapy, but Beth takes Rick's serum which would revert the transformation. Left alone, Rick eventually rolls down into an open sewer drain, where he manages to manipulate the nervous systems of dead roaches and rats to build himself a mobile exoskeleton, with added weapons such as razors and drills. He unwittingly escapes into a foreign government agency. The guards try to kill Rick, under orders from the agency director, but Rick kills them all. In the process, Rick battles and ultimately befriends a prisoner named Jaguar. Rick changes his mind and decides to attend the therapy session, arriving towards the end. Dr. Wong gives her diagnosis, observing that Rick crafts relationships that punish emotions and vulnerability. On their way home, Rick apologizes to Beth for deceiving her and uses the serum to turn human again. Morty and Summer wish to continue seeing Dr. Wong, but Rick and Beth ignore them.

Post-credit scene: Jaguar saves Rick and Morty from being killed in an elaborate piano death machine by a villain named "Concerto".

25
4
"Vindicators 3: The Return of Worldender"
Bryan Newton
Sarah Carbiener & Erica Rosbe
August 13, 2017 (2017-08-13)
2.66[13]

At Morty's insistence, Rick agrees to join the Vindicators, a group of intergalactic superheroes, to fight their arch-nemesis, Worldender. Rick cannot hide his disdain for the superheroes, while Morty is thrilled. The next morning, the Vindicators enter Worldender's base, only to find that the previous night a blackout drunk Rick had killed him and set up a variety of puzzles that the Vindicators must solve to survive. They start arguing and kill one another, while Morty solves all the puzzles, as he knows what Rick had in mind when he put them up. After all puzzles are solved, the only ones left alive are Rick, Morty and Supernova, a member of the Vindicators. Supernova tries to kill Rick and Morty, but before she can do so, the three of them are transported to a party that Rick also set up while blackout drunk, where she gets away.

Post-credit scene: Gearhead tries to use a Vindicators vest to pick up some young girls, but when an alien terrorist attack strikes, he runs away eventually tripping and falling, breaking into pieces.

26
5
"The Whirly Dirly Conspiracy"
Juan Meza-León
Ryan Ridley
August 20, 2017 (2017-08-20)
2.29[14]

To bolster Jerry's self-esteem, Rick takes him on an adventure at Morty's request. They visit an otherworldly resort within an immortality field so Jerry won't be harmed while away. Jerry encounters Risotto Groupon, an alien who blames Rick for his kingdom being usurped. Risotto enlists Jerry in a plot to kill Rick, but Jerry backs out after Rick apologizes for ruining his marriage. Meanwhile, Summer deals with self-esteem issues as well. Her boyfriend, Ethan, leaves her for a larger-breasted girlfriend, and Summer attempts to enlarge her own breasts using one of Rick's devices. Her aim is off, and she grows to freakish proportions. Morty wants to call Rick for assistance, but Beth refuses. Arrogantly trying to prove her own self-worth, Beth repeatedly fails to fix the problem and is tricked into releasing three tiny technical support workers that were trapped inside the machine. Once Morty figures out how the machine works, he restores Summer's size and spitefully uses it to deform Ethan in an act of vengeance.

Post-credit scene: The three tiny workers are enjoying their retirement next to a river. As an extremely deformed Ethan walks by, one of them is snatched by an eagle.

27
6
"Rest and Ricklaxation"
Anthony Chun
Tom Kauffman
August 27, 2017 (2017-08-27)
2.47[15]

After a six-day outer space adventure that leaves them on the verge of psychological collapse, Rick and Morty decide to spend some time at an alien spa. There, they use a machine that extracts a person's negative personality traits. However, without Rick and Morty knowing, those traits are transposed into toxic physical counterparts, characterized by Rick's arrogance and Morty's self-loathing. On the other hand, the true Rick becomes more considerate, and Morty's confidence soars, which allows him to start dating girls. Toxic Rick uses a moonlight tower to remake the whole Earth in his own image, but the true Rick reverts the situation by merging back with him. Morty avoids merging back with his toxic counterpart and goes on to live a life as a stock broker in New York City. Rick tracks him down with the help of Jessica, Morty's classmate, and restores order by re-injecting the negative personality traits into him.

Post-credit scene: A tour of the same moonlight tower releases Stacy, one of the girls Morty dated in the episode, who had been inadvertently trapped inside the toxin machine.

28
7
"The Ricklantis Mixup"
"Tales from the Citadel"
Dominic Polcino
Dan Guterman & Ryan Ridley
September 10, 2017 (2017-09-10)
2.38[16]

As Rick and Morty adventure to Atlantis, the episode shifts focus towards the Ricks and Mortys living at the Citadel. A group of Mortys, reminiscent of the protagonists in Stand by Me, journey to a portal to have their wishes granted. A rookie cop Rick starts working with an experienced Morty cop to take down drug dealers, in a plot-line reminiscent of Training Day. A Rick working at Simple Rick's wafer factory, where the key ingredient comes from said Simple Rick hooked up to a machine to re-experience his best memories, holds Simple Rick hostage after he doesn't get a promotion. An election is held for the new president of the Citadel. Despite being the underdog, the Morty Party candidate manages to secure the presidency thanks to his views on Ricks and Mortys. His former campaign manager fails to assassinate him after discovering that the new president is actually Evil Morty from "Close Rick-counters of the Rick Kind".

Post-credit scene: Rick and Morty come back from Atlantis satisfied with their trip. Morty wonders what happened on the Citadel, but Rick tells him it'll likely have no effect on their lives.

29
8
"Morty's Mind Blowers"
Bryan Newton
Mike McMahan, James Siciliano, Ryan Ridley,
Dan Guterman, Justin Roiland & Dan Harmon
September 17, 2017 (2017-09-17)
2.51[17]

After Morty requests to have a traumatic memory deleted, Rick reveals a room where he has been storing a number of memories he has removed from Morty. However, as it turns out, besides the memories that Morty didn't want to keep from their adventures, the room also contains memories of moments where Rick was made to look foolish and had them forcibly removed. This revelation prompts a fight, during which Rick and Morty have their memories accidentally erased. Morty scours the memories to replace the ones he lost, but is displeased with the truth he finds, and convinces Rick to both kill themselves. Summer enters the room moments before they commit suicide. At this point, it is revealed that Rick has a contingency plan should this happen. Summer, following written instructions, tranquilizes Rick and Morty, restores their memories and drags them to the living room. Rick and Morty wake up on the couch, believing that they slept through an entire "Interdimensional Cable" episode.

Post-credit scene: Jerry shows up in Rick's garage and discovers a box containing "Jerry's Mind Blowers" where, in a twisted homage to E.T. the Extra-Terrestrial, he discovers he accidentally left an alien the family was trying to help to die in his car.

30
9
"The ABC's of Beth"
Juan Meza-León
Mike McMahan
September 24, 2017 (2017-09-24)
2.49[18]

Rick and Beth enter Froopyland, a fantasy world created by Rick for young Beth. Their goal is to recover Tommy, Beth's childhood friend who's been trapped in Froopyland, and prevent the execution of his father, who is being falsely accused of eating him. Tommy, who has survived all these years by resorting to bestiality, incest and cannibalism, refuses to return to the real world. Rick and Beth manage to save his father's life by creating a clone of Tommy. Back at home, Beth is presented with the option of having a replacement clone of her created, so that she will be free to travel the world. Meanwhile, Jerry dates an alien hunter named Kiara, to Morty and Summer's dismay. When he decides to get out of the relationship, Kiara is enraged and tries to kill the kids, whom she holds responsible. The situation is resolved following the revelation that Kiara was using Jerry to get over her previous boyfriend, much like Jerry was doing with her.

Post-credit scene: Jerry's answering machine plays messages warning him that Kiara's boyfriend is coming to kill him, and Rick saying that he has killed Kiara's boyfriend, but also had sex with her.

31
10
"The Rickchurian Mortydate"
Anthony Chun
Dan Harmon
October 1, 2017 (2017-10-01)
2.60[19]

The President calls on Rick and Morty to defeat a monster in the tunnels underneath the White House, which they do with little effort. Annoyed that he constantly calls on them without any gratitude, they go back home, with the President quickly finding out. The resulting argument leads to a battle of egos that culminates in a fight in the White House between Rick and the President's security. Meanwhile, fearing she might be a clone made by Rick, Beth reunites with Jerry to figure out the truth. Shortly after, the entire family gets together to hide from Rick, but he tracks them down. Rick eventually submits to Jerry once again being a family-member. Rick ends his conflict with the President by pretending to be Fly Fishing Rick, a Rick from a different reality, and calling a truce. The episode ends with the family happy to be together again, except for Rick who is disappointed by this outcome.

Post-credit scene: Mr. Poopybutthole returns to apologize for not appearing in Season 3, but he has gotten married and has a wife and son. He ends the scene by saying that it will be a long wait until Season 4.

text: Production[edit]

text: On August 12, 2015, Adult Swim announced that the series had been renewed for a third season.[20] Roiland reportedly began writing on November 2, 2015.[21] Mike McMahan announced that the first episode was recorded on February 18, 2016.[22] On February 5, 2017, Dan Harmon, answering questions regarding the delayed release, announced on his podcast, Harmontown, that the show was in the animation process, after a long period of writing.[23] On June 24, 2017, Harmon wrote a series of posts on Twitter, explaining that the writing process took that long to complete because of his perfectionism.[24]

text: Reception[edit]

text: The season currently holds a 98% approval rating from review aggregation site Rotten Tomatoes based on ten reviews, with an average rating of 8.85 out of 10 and an audience score average of 4.7 out of 5.[25]

text: Notes[edit]

text:
Jump up ^ Season 3 premiered unannounced on April 1, 2017 as part of Adult Swim's annual April Fools' prank.
Jump up ^ "The Rickshank Rickdemption" premiered unannounced and re-ran for four hours straight with improving ratings. This is the viewership of only the first broadcast of the episode.

tag: ol


document_title: World Series of Poker bracelet

question_text: what is the value of the wsop bracelet

question_tokens: what is the value of the wsop bracelet

root

text: World Series of Poker bracelet

text: Bracelet description[edit]

text: The 1976 bracelet looked "like gold nuggets kind of hammered flat."[3] The bracelet in 1976 cost approximately $500. In the 1980s, Las Vegas jeweler Mordechai Yerushalmi became the exclusive manufacturer of WSOP bracelets until Harrah's Entertainment bought the rights to the WSOP in 2004.[3] According to 2003 WSOP Champion Chris Moneymaker, the design of the bracelet remained relatively unchanged under Yerushalmi.[4] In 2005, Gold and Diamond International based in Memphis, TN won the bid from Harrah's Entertainment to manufacture the 2005 World Series of Poker bracelets. The company also manufactures the WSOP circuit rings.[5]

tag: p

text: In 2006, Frederick Goldman, Inc. made the WSOP bracelets while luxury watch maker Corum introduced some commemorative watches as part of the prize package.[6][7] In 2006, the Champion's bracelet had 259 stones including 7.2 carats (1.4 g) of diamonds, 120 grams of white and yellow gold. It also used rubies to represent the heart and diamond suits, a sapphire to represent the spade and three black diamonds to represent the clubs.[3]

text: In 2007, Corum became the official bracelet manufacturer for the WSOP. Some of the 2007 World Series of Poker champions received both a watch and a bracelet from Corum. Corum designed four variations for the 2007 World Series of Poker Bracelets. The standard version that is presented to 53 winners features 53 diamonds.[8] The Ladies World Champion receives a bracelet that is adorned with four black diamonds, two rubies and 87 blue sapphires.[9] The $50,000 HORSE Champion Bracelet has 91 black diamonds and two rubies.[10] The World Series of Poker Main Event Bracelet has 120 diamonds on 136 grams of 18 carat (75 percent) white gold.[10] The value of the 2007 bracelets have not been released, but the typical price of a Corum watch ranges from $1,500–$30,000+.[11]

text: In 2008, the Main Event Bracelet had 291 diamonds, totalling 2.81 carats set in 168 grams of 18kt white gold. The other 54 event bracelets consisted of 55 diamonds, totalling 0.25 carats set in 80 grams of 14kt yellow gold.[12]

text: In 2010, an Australian-based company OnTilt Designs Pty Ltd won a multi-year contract to become the official bracelet manufacturer for the WSOP. OnTilt jewelers decided that the 2010 bracelet design would return to the tradition of the 1970s and 1980s where the bracelet was a heavy piece of unadorned metal. American jewelry designer Steve Soffa was chosen to design and manufacture the entire set of bracelets.[13] The goal was to create a bracelet that somebody would actually want to wear every day. In 2011, OnTilt has also been chosen to manufacture the WSOP Circuit rings.

text: In 2012, Jason Arasheben, famed jewelry designer and owner of Jason of Beverly Hills was chosen as the official bracelet manufacturer of the WSOP. Arasheben had designed the championship rings for the 2009 and 2010 Los Angeles Lakers and the 2011 Green Bay Packers, among others. The Main Event bracelet will feature each suit in the deck in either rubies or black diamonds. In terms of sheer mass, it weighs in at over 160 grams of 14 karat gold and over 35 carats of flawless diamonds.[14]

text: A special platinum bracelet was awarded at the 2012 WSOP to the winner of The Big One for One Drop, Antonio Esfandiari. The event was a $1 million buy-in tournament created as a fundraiser for the One Drop Foundation, a charity established by Cirque du Soleil founder Guy Laliberté.[15]

text: Prestige[edit]

text: At first, the bracelets did not have much prestige. Ten-time bracelet winner Doyle Brunson said that his first bracelet "didn't mean anything" to him and that he did not even pick up two of them.[16]

text: Some professional poker players believe that there are two types of poker players; those who have won a bracelet and those who have not. Those who have belong to an exclusive club.[16] "It's impossible to overstate the value of a World Series of Poker gold bracelet to anyone who takes the game seriously," stated World Series of Poker Commissioner Jeffrey Pollack during the 2006 bracelet unveiling. "It is the equivalent of winning the Stanley Cup in hockey or the Lombardi Trophy in football."[17]

text: Many professional poker players desire the recognition that is associated with the bracelet. Former Celebrity Poker Showdown host and poker star Phil Gordon said, "I want that bracelet more than anything."[18] Freddy Deeb said that he did not appreciate his first bracelet because he did not recognize what it meant. He said his 2007 bracelet, however, "means everything to me".[19] Jennifer Tilly says that winning her 2005 Women's Championship bracelet was "better than an Oscar".[16]

text: When the World Poker Tour decided to offer a prize to its event champions, they decided to present them with WPT Bracelets. In so doing, WPT Founder, President and CEO Steve Lipscomb said, "The championship bracelet has become synonymous with poker as a symbol of achievement and respect, and we are honored to continue the tradition that Benny Binion [the founder of the WSOP] began over 30 years ago."[20]

text: History[edit]

text: Bracelets have not always been awarded for winning events. In 1970, the first WSOP Champion received nothing but a silver cup and whatever cash he won during the event.[21] From 1971–1974, according to Becky Behnen (the daughter of WSOP founder Benny Binion), the winner received an undescribed "corny trophy".[3] In 1975, the winners received a sterling plate. The following year, 1976, the WSOP started the tradition of issuing bracelets to the event winners.

text: In 1980 and 1981, one did not have to win a WSOP event to win a gold bracelet. In 1980 and 1981, H.D. "Oklahoma Johny" Hale and Chip Reese received a gold bracelet for being the "Best All Around Player" at the WSOP, respectively.[22] These bracelets, however, are not considered in the count of WSOP championship bracelets.

text: In 2007, Thomas Bihl became the first person to ever win a WSOP bracelet outside Las Vegas, Nevada. Bihl won the £2,500 World Championship H.O.R.S.E. at the World Series of Poker Europe in London, England.[23] Days later, Annette Obrestad became the youngest player to ever win a WSOP bracelet at 18 years, 364 days, also becoming the first woman to win a World Series Main Event (WSOPE).[24] Caesars Entertainment (known until 2010 as Harrah's Entertainment), the owner of the WSOP, considers the WSOP Europe bracelet to be the same in prestige as those awarded every year in Las Vegas.

text: In 2008, Jesper Hougaard became the first person to have won both a WSOP and WSOPE bracelet.

text: In 2011, a World Series of Poker bracelet was awarded for the first time to the WSOP Circuit National Championship winner in the 100-qualifier event from May 27–29.[1][25] The following year, the Circuit National Championship moved to New Orleans,[26] where it will also be held in 2013.[27]

text: Starting in 2013, bracelets are also awarded in Australia at the World Series of Poker Asia-Pacific, held at Crown Melbourne.[2]

text: Bracelet legacy[edit]

text: Of the three top WSOP bracelet winners, only Johnny Chan still has them all. He keeps them locked in a vault because they are worth, according to him, "millions."[3] Brunson did not pick up two of his. Fourteen-time bracelet winner Phil Hellmuth gave away ten of his. "To me," Hellmuth said, "the bracelets have always been a really huge deal, to me more than the other guys, because I knew that they represented history."[3]

text: Three-time WSOP Bracelet winner Hamid Dastmalchi and six-time winner Ted Forrest had been playing for four days non-stop at the Mirage when Hamid started to complain about the 1992 Main Event Championship Bracelet he received. Bitter about a dispute with the Binion's Horseshoe, the owners of the WSOP at the time, Hamid told the table that the Binion's "say it's worth $5,000, but I'd take $1,500 for it." To which Forrest responded "Sold" and immediately tossed Hamid $1,500 in chips. Dastmalchi mailed Forrest his bracelet.[28][29] Ted Forrest also reported that three of his five bracelets have been stolen over the years, and that he gave his daughter one.[30]

text: In November 2010, Peter Eastgate put his main event bracelet up for auction on eBay with a starting bid of $16,000. It eventually sold for $147,500 [31][32] and this money was donated to UNICEF.[33]

text: Multiple bracelet winners[edit]

text: As of the end of the 2013 World Series of Poker, 22 players have earned five or more WSOP bracelets.[34] Of those, the top bracelet winners are as follows:

text:
Winners of 8 or more WSOP bracelets

Bracelets
Player
Main Event wins

14
Phil Hellmuth
1

10
Doyle Brunson
2

10
Johnny Chan
2

10
Phil Ivey
0

9
Johnny Moss
3

8
Erik Seidel
0

tag: table

text:
Leaders by decade

Decade
Bracelets
Player
Wins during decade

1970s
7
Johnny Moss
1970, 1971 (2), 1974, 1975, 1976, 1979

1980s
4
Stu Ungar
1980, 1981 (2), 1983

1990s
5
Phil Hellmuth
1992, 1993 (3), 1997

2000s
7
Phil Ivey
2000, 2002 (3), 2005, 2009 (2)

2010s
4
George Danzer
2014 (3), 2016

Jason Mercier
2011, 2015, 2016 (2)

Dominik Nitsche
2012, 2014 (2), 2017

text: (bold = won Main Event)

text: Johnny Moss, with a win at the 1971 WSOP, became the first person to have won multiple lifetime WSOP "bracelets" (as mentioned above, the first actual bracelet was given in 1976).

text: Moss also was the first person to win five lifetime WSOP bracelets, with a win at the 1975 WSOP.

text: Johnny Chan, with a win in Event No. 25 at the 2005 World Series of Poker, became the first person to win 10 lifetime WSOP bracelets, just a few days before Doyle Brunson won his 10th bracelet in Event No. 31 of that same WSOP.

text: The first person to win two bracelets in the same WSOP was Johnny Moss at the 1971 WSOP.

text: The first person to win three bracelets in the same WSOP was Walter "Puggy" Pearson, at the 1973 WSOP. As of the start of the 2016 WSOP, only five other players have won three bracelets in a single WSOP.

text: Bill Boyd and Doyle Brunson are the only players to have won bracelets in four consecutive years (Boyd from 1971 to 1974, and Brunson from 1976 to 1979).

text: WSOP rings[edit]

text: In 2005, the WSOP started hosting Circuit Events at many of their casinos around the country. In order to differentiate these events and to ensure the prestige of the WSOP Bracelet, the circuit events present a ring to the winners. In 2011, the WSOP awarded a bracelet to the winner of the Circuit Event National Championship. The Circuit Event National Championship was an invitation only event that used the standings of players from the various circuit events in determining who was invited.

text: Circuit National Championship[edit]

text: Starting with the 2011 WSOP Circuit, the Circuit National Championship was held as a closed event for participants of various circuit events.

text: Starting in 2012, qualification for the Circuit National Championship was significantly changed. A total of 100 players now receive automatic seats in the National Championship. The winners of each Circuit main event and the highest point earner at each circuit stop receive seats, with the remaining automatic seats filled by the top points earners throughout the Circuit season who are not already qualified. Additionally, the top 100 players in the "WSOP World Rankings", a points race determined on results in open events of the previous two WSOPs, are eligible to enter. The Circuit qualifiers play the National Championship on a freeroll, while the WSOP World Rankings qualifiers must pay a $10,000 buy-in.[26][27]

text: The winner of the Circuit National Championship wins a World Series of Poker bracelet.

text:
Year
Winner

2011
Sam Barnhart

2012
Ryan Eriquezzo

2013
Jonathan Hilton

2014
Dominik Nitsche

2015
Loni Harwood

2016
Said El-Yousfi

2017
Sean Yu


document_title: I Have Decided to Follow Jesus

question_text: author of song i have decided to follow jesus

text: I Have Decided to Follow Jesus

text: I Have Decided to Follow Jesus is a Christian hymn that originated in Assam, India.

text: According to Dr P. Job, the lyrics are based on the last words of Nokseng, a Garo man, a tribe from Meghalaya which then was in Assam, who along with his family decided to follow Jesus Christ in the middle of the 19th century through the efforts of a Welsh missionary. Called to renounce his faith by the village chief, the convert declared, "I have decided to follow Jesus." His two children were killed and in response to threats to his wife, he continued, "Though none go with me, still I will follow." His wife was killed, and he was executed while singing, "The cross before me, the world behind me." This display of faith is reported to have led to the conversion of the chief and others in the village.[1] The fierce opposition is possible, as various tribes in that area were formerly renowned for head-hunting.[2]

text: The formation of these words into a hymn is attributed to the Indian missionary Sadhu Sundar Singh.[3] The melody is also Indian, and entitled "Assam" after the region where the text originated.[4]

text: An American hymn editor, William Jensen Reynolds, composed an arrangement which was included in the 1959 Assembly Songbook. His version became a regular feature of Billy Graham's evangelistic meetings in America and elsewhere, spreading its popularity.[5]

text: Due to the lyrics' explicit focus on the believer's own commitment, the hymn is cited as a prime example of decision theology, emphasising the human response rather than the action of God in giving faith.[6] This has led to its exclusion from some hymnals.[6] A Lutheran writer noted, "It definitely has a different meaning when we sing it than it did for the person who composed it."[7]

text: Cultural references[edit]

text: The 2006 film Though None Go with Me uses a line from the song as its title.


document_title: Australian Swimming Championships

question_text: where are the australian swimming championships being held

text: Australian Swimming Championships

text: Editions[edit]

text: Long course[edit]

text:
Year
Dates
Pool
City
State
Selection for

1964

Ashfield Olympic Pool
Sydney
 New South Wales

1965

Clarence Olympic Pool
Hobart
 Tasmania

1966

Valley Pool
Brisbane
 Queensland

1967

Adelaide City Baths
Adelaide
 South Australia

1968

Melbourne Olympic Pool
Melbourne
 Victoria

1969

Beatty Park Pool
Perth
 Western Australia

1970

Ashfield Olympic Pool
Sydney
 New South Wales

1971

Clarence Olympic Pool
Hobart
 Tasmania

1972

Valley Pool
Brisbane
 Queensland

1973

North Adelaide Swimming Centre
Adelaide
 South Australia

1974

Melbourne Olympic Pool
Melbourne
 Victoria

1975

Beatty Park Pool
Perth
 Western Australia

1975

Sydney University Pool
Sydney
 New South Wales

1977

Bellerive Olympic Pool
Hobart
 Tasmania

1978

Valley Pool
Brisbane
 Queensland

1979

Beatty Park Pool
Perth
 Western Australia

1985
21–24 February
Melbourne State Swimming Centre
Melbourne
 Victoria

1986

1987
26 February – 1 March
Beatty Park Pool
Perth
 Western Australia
The selection trials for the 1987 Pan Pacs were conducted in Brisbane from 22 to 25 July.[4]

1988
25–28 February[5]

Sydney
 New South Wales
The selection trials for the 1988 Summer Olympics were conducted in Sydney from 11 to 14 May.[6]

1989
23–26 March[7]

Melbourne
 Victoria
The 1989 Australian Open Winter Championships and selection trials for the 1989 Pan Pacs were conducted in Perth in August.[8]

1990
December 1989[8]
Adelaide Aquatic Centre
Adelaide
 South Australia
1990 Comm Games

1991
10–14 October 1990[9]

Brisbane
 Queensland
1991 Worlds

1991
25–29 April

Melbourne
 Victoria
1991 Pan Pacs

1992
1–5 April[10]
Australian Institute of Sport
Canberra
 Australian Capital Territory
1992 Summer Olympics

1993
24–28 March[11]
Claremont Superdrome
Perth
 Western Australia
1993 Pan Pacs

2000
13–20 May
Sydney International Aquatic Centre
Sydney
 New South Wales
Olympics 2000

2001
24–31 March
Hobart Aquatic Centre
Hobart
 Tasmania

2002
18–23 March
Chandler Aquatic Centre
Brisbane
 Queensland

2003
22–29 March
Sydney International Aquatic Centre
Sydney
 New South Wales

2004
27 March – 3 April
Sydney International Aquatic Centre
Sydney
 New South Wales
Olympics 2004

2005
12–19 March
Sydney International Aquatic Centre
Sydney
 New South Wales

2006
30 January – 4 February
Melbourne Sports and Aquatic Centre
Melbourne
 Victoria
Commonwealths 2006

2007
3–10 December 2006
Chandler Aquatic Centre
Brisbane
 Queensland
Worlds 2007

2008
22–29 March
Sydney International Aquatic Centre
Sydney
 New South Wales
Olympics 2008

2009
17–22 March
Sydney International Aquatic Centre
Sydney
 New South Wales
Worlds 2009

2010
16–21 March
Sydney International Aquatic Centre
Sydney
 New South Wales
Commonwealths 2010,
Pan Pacs 2010

2011
1–8 April
Sydney International Aquatic Centre
Sydney
 New South Wales
Worlds 2011

2012
15–22 March
South Australia Aquatic and Leisure Centre
Adelaide
 South Australia
Olympics 2012

2013
26 April–3 May
South Australia Aquatic and Leisure Centre
Adelaide
 South Australia
Worlds 2013

2014
1–6 April
Brisbane Aquatic Centre
Brisbane
 Queensland
Commonwealths 2014,
Pan Pacs 2014

2015
3–10 April
Sydney International Aquatic Centre
Sydney
 New South Wales
Worlds 2015

2016
7–14 April
South Australia Aquatic and Leisure Centre
Adelaide
 South Australia
Olympics 2016

2017
9–13 April
Brisbane Aquatic Centre
Brisbane
 Queensland
Worlds 2017

2018
28 February–3 March[12]
Gold Coast Aquatic Centre
Gold Coast
 Queensland
Commonwealths 2018

2018
1 July–4 March[13]
South Australia Aquatic and Leisure Centre
Adelaide
 South Australia
Pan Pacs 2018

text: Short course[edit]

text:
Year
Dates
Pool
City
State
Selection for

1986
5–7 September
Mowbray Pool
Launceston
 Tasmania

1987
25–27 September[5]
Olympic Swimming Stadium
Melbourne
 Victoria

1990
25–27 September[14]
Adelaide Aquatic Centre
Adelaide
 South Australia

1991
27–29 September[10]
Adelaide Aquatic Centre
Adelaide
 South Australia

1992
25–27 September[11]
Casuarina Pool
Darwin
 Northern Territory

2001
August (beginning)
Challenge Stadium
Perth
 Western Australia

2007
29 August – 2 September
Melbourne Sports and Aquatic Centre
Melbourne
 Victoria

2008
20–24 September
Melbourne Sports and Aquatic Centre
Melbourne
 Victoria

2009
8–12 August
Hobart Aquatic Centre
Hobart
 Tasmania

2010
14–18 July
Brisbane Aquatics Centre
Brisbane
 Queensland
SC Worlds 2010

2011
1–3 July
SA Aquatic & Leisure Centre
Adelaide
 South Australia

2012
September
Challenge Stadium
Perth
 Western Australia
SC Worlds 2012

2013
22–31 August
Sydney International Aquatic Centre
Sydney
 New South Wales

2014
5–9 November
SA Aquatic & Leisure Centre
Adelaide
 South Australia
2014 SC Worlds

2015
26–28 November
Sydney International Aquatic Centre
Sydney
 New South Wales

2016
1–5 November
Brisbane Aquatics Centre
Brisbane
 Queensland
SC Worlds 2016

2017
26–28 October
SA Aquatic & Leisure Centre
Adelaide
 South Australia

2018
Unknown
Melbourne Sports and Aquatic Centre
Melbourne
 Victoria

text: Championships records[edit]

text: See List of Australian Championships records in swimming


document_title: Theater in the United States

question_text: when was the first theater built in america

text: Theater in the United States

text: Early history[edit]

text:
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text: Before the first English colony was established in 1607, there were Spanish dramas and Native American tribes that performed theatrical events.[1]

text: Although a theater was built in Williamsburg, Virginia in 1716, and the original Dock Street Theatre opened in Charleston, South Carolina in 1736, the birth of professional theater in America may have begun when Lewis Hallam arrived with his theatrical company in Williamsburg in 1752.[2] Lewis and his brother William, who arrived in 1754, were the first to organize a complete company of actors in Europe and bring them to the colonies. They brought a repertoire of plays popular in London at the time, including Hamlet, Othello, The Recruiting Officer, and Richard III. The Merchant of Venice was their first performance, shown initially on September 15, 1752.[3] Encountering opposition from religious organizations, Hallam and his company left for Jamaica in 1754 or 1755.[citation needed] Soon after, Lewis Hallam, Jr., founded the American Company, opened a theater in New York, and presented the first professionally mounted American play—The Prince of Parthia, by Thomas Godfrey—in 1767.[4]

text: In the 18th century, laws forbidding the performance of plays were passed in Massachusetts in 1750, in Pennsylvania in 1759, and in Rhode Island in 1761, and plays were banned in most states during the American Revolutionary War at the urging of the Continental Congress.[3] In 1794, president of Yale College, Timothy Dwight IV, in his "Essay on the Stage", declared that "to indulge a taste for playgoing means nothing more or less than the loss of that most valuable treasure: the immortal soul."[citation needed]

text: In spite of such laws, however, a few writers tried their hand at playwriting. Most likely, the first plays written in America were by European-born authors—we know of original plays being written by Spaniards, Frenchmen and Englishmen dating back as early as 1567—although no plays were printed in America until Robert Hunter's Androboros in 1714. Still, in the early years, most of the plays produced came from Europe; only with Godfrey's The Prince of Parthia in 1767 do we get a professionally produced play written by an American, although it was a last-minute substitute for Thomas Forrest's comic opera The Disappointment; or, The Force of Credulity, and although the first play to treat American themes seriously, Ponteach; or, the Savages of America by Robert Rogers, had been published in London a year earlier.[5]  'Cato', a play about revolution, was performed for George Washington and his troops at Valley Forge in the winter of 1777–1778.

text: The Revolutionary period was a boost for dramatists, for whom the political debates were fertile ground for both satire, as seen in the works of Mercy Otis Warren and Colonel Robert Munford, and for plays about heroism, as in the works of Hugh Henry Brackenridge. The post-war period saw the birth of American social comedy in Royall Tyler's The Contrast, which established a much-imitated version of the "Yankee" character, here named "Jonathan". But there were no professional dramatists until William Dunlap, whose work as playwright, translator, manager and theater historian has earned him the title of "Father of American Drama"; in addition to translating the plays of August von Kotzebue and French melodramas, Dunlap wrote plays in a variety of styles, of which André and The Father; or, American Shandyism are his best.[5]

text: The 19th century[edit]

text: Pre-war theater[edit]

text: At 825 Walnut Street in Philadelphia, Pennsylvania, is the Walnut Street Theatre, or, "The Walnut."  Founded in 1809 by the Circus of Pepin and Breschard, "The Walnut" is the oldest theater in America. The Walnut's first theatrical production, The Rivals, was staged in 1812. In attendance were President Thomas Jefferson and the Marquis de Lafayette.[6]

text: Provincial theaters frequently lacked heat and minimal theatrical property ("props") and scenery. Apace with the country's westward expansion, some entrepreneurs operated floating theaters on barges or riverboats that would travel from town to town. A large town could afford a long "run"—or period of time during which a touring company would stage consecutive multiple performances—of a production, and in 1841, a single play was shown in New York City for an unprecedented three weeks.[citation needed]

text: William Shakespeare's works were commonly performed. American plays of the period were mostly melodramas, a famous example of which was Uncle Tom's Cabin, adapted by George Aiken, from the novel of the same name by Harriet Beecher Stowe.

text: In 1821, William Henry Brown established the African Grove Theatre in New York City. It was the third attempt to have an African-American theater, but this was the most successful of them all. The company put on not only Shakespeare, but also staged the first play written by an African-American, The Drama of King Shotaway. The theater was shut down in 1823.[7] African-American theater was relatively dormant, except for the 1858 play The Escape; or, A Leap for Freedom by William Wells Brown, who was an ex-slave. African-American works would not be regarded again until the 1920s Harlem Renaissance.[7]

text: A popular form of theater during this time was the minstrel show, which featured white (and sometimes, especially after the Civil War, black) actors dressed in "blackface (painting one's face, etc. with dark makeup to imitate the coloring of an African or African American)." The players entertained the audience using comic skits, parodies of popular plays and musicals, and general buffoonery and slapstick comedy, all with heavy utilization of racial stereotyping and racist themes.[citation needed]

text: Throughout the 19th century, theater culture was associated with hedonism and even violence, and actors (especially women), were looked upon as little better than prostitutes. Jessie Bond wrote that by the middle of the 19th century, "The stage was at a low ebb, Elizabethan glories and Georgian artificialities had alike faded into the past, stilted tragedy and vulgar farce were all the would-be playgoer had to choose from, and the theatre had become a place of evil repute".[8] On April 15, 1865, less than a week after the end of the United States Civil War, Abraham Lincoln, while watching a play at Ford's Theater in Washington, D.C., was assassinated by a nationally popular stage-actor of the period, John Wilkes Booth.

text: Victorian burlesque, a form of bawdy comic theater mocking high art and culture, was imported from England about 1860 and in America became a form of farce in which females in male roles mocked the politics and culture of the day. Criticized for its sexuality and outspokenness, this form of entertainment was hounded off the "legitimate stage" and found itself relegated to saloons and barrooms.[citation needed] The female producers, such as Lydia Thompson were replaced by their male counterparts, who toned down the politics and played up the sexuality, until the burlesque shows eventually became little more than pretty girls in skimpy clothing singing songs, while male comedians told raunchy jokes.

text: The drama of the pre-war period tended to be a derivative in form, imitating European melodramas and romantic tragedies, but native in content, appealing to popular nationalism by dramatizing current events and portraying American heroism. But playwrights were limited by a set of factors, including the need for plays to be profitable, the middle-brow tastes of American theater-goers, and the lack of copyright protection and compensation for playwrights. During this time, the best strategy for a dramatist was to become an actor and/or a manager, after the model of John Howard Payne, Dion Boucicault and John Brougham. This period saw the popularity of certain native character types, especially the "Yankee", the "Negro" and the "Indian", exemplified by the characters of Jonathan, Sambo and Metamora. Meanwhile, increased immigration brought a number of plays about the Irish and Germans, which often dovetailed with concerns over temperance and Roman Catholic. This period also saw plays about American expansion to the West (including plays about Mormonism) and about women's rights. Among the best plays of the period are James Nelson Barker's Superstition; or, the Fanatic Father, Anna Cora Mowatt's Fashion; or, Life in New York, Nathaniel Bannister's Putnam, the Iron Son of '76, Dion Boucicault's The Octoroon; or, Life in Louisiana, and Cornelius Mathews's Witchcraft; or, the Martyrs of Salem. At the same time, America had created new dramatic forms in the Tom Shows, the showboat theater and the minstrel show.[5]

text: Post-war theater[edit]

text: In the postbellum North, theater flourished as a post-war boom allowed longer and more-frequent productions. The advent of American rail transport allowed production companies, its actors, and large, elaborate sets to travel easily between towns, which made permanent theaters in small towns feasible. The invention and practical application of electric lighting also led to changes to and improvements of scenery styles and the designing of theater interiors and seating areas.

text: In 1896, Charles Frohman, Al Hayman, Abe Erlanger, Mark Klaw, Samuel F. Flenderson, and J. Fred Zimmerman, Sr. formed the Theatrical Syndicate, which established systemized booking networks throughout the United States, and created a management monopoly that controlled every aspect of contracts and bookings until the turn of the 20th century, when the Shubert brothers founded rival agency, The Shubert Organization.

text: For playwrights, the period after the War brought more financial reward and aesthetic respect (including professional criticism) than was available earlier. In terms of form, spectacles, melodramas and farces remained popular, but poetic drama and romanticism almost died out completely due to the new emphasis upon realism, which was adopted by serious drama, melodrama and comedy alike. This realism was not quite the European realism of Ibsen's Ghosts, but a combination of scenic realism (e.g., the "Belasco Method") with a less romantic view of life that accompanied the cultural turmoil of the period. The most ambitious effort towards realism during this period came from James Herne, who was influenced by the ideas of Ibsen, Hardy and Zola regarding realism, truth, and literary quality; his most important achievement, Margaret Fleming, enacts the principles he expounded in his essay "Art for Truth's Sake in the Drama". Although Fleming did not appeal to audiences—critics and audiences felt it dwelt too much on unseemly topics and included improper scenes, such as Margaret nursing her husband's bastard child onstage—other forms of dramatic realism were becoming more popular in melodrama (e.g., Augustin Daly's Under the Gaslight) and in local color plays (Bronson Howard's Shenandoah). Other key dramatists during this period are David Belasco, Steele MacKaye, William Dean Howells, Dion Boucicault, and Clyde Fitch.[5]

text: The 20th century[edit]

text: Vaudeville was common in the late 19th and early 20th century, and is notable for heavily influencing early film, radio, and television productions in the country. (This was born from an earlier American practice of having singers and novelty acts perform between acts in a standard play.) George Burns was a very long-lived American comedian who started out in the vaudeville community, but went on to enjoy a career running until the 1990s.

text: Some vaudeville theaters built between about 1900 and 1920 managed to survive as well, though many went through periods of alternate use, most often as movie theaters until the second half of the century saw many urban populations decline and multiplexes built in the suburbs. Since that time, a number have been restored to original or nearly-original condition and attract new audiences nearly one hundred years later.

text: By the beginning of the 20th century, legitimate 1752 (non-vaudeville) theater had become decidedly more sophisticated in the United States, as it had in Europe. The stars of this era, such as Ethel Barrymore and John Barrymore, were often seen as even more important than the show itself. The advance of motion pictures also led to many changes in theater. The popularity of musicals may have been due in part to the fact the early films had no sound, and could thus not compete, until The Jazz Singer of 1927, which combined both talking and music in a moving picture. More complex and sophisticated dramas bloomed in this time period, and acting styles became more subdued. Even by 1915, actors were being lured away from theater and to the silver screen, and vaudeville was beginning to face stiff competition.

text: While revues consisting of mostly unconnected songs, sketches, comedy routines, and dancing girls (Ziegfeld girls) dominated for the first 20 years of the 20th century, musical theater would eventually develop beyond this. One of the first major steps was Show Boat, with music by Jerome Kern and lyrics by Oscar Hammerstein. It featured songs and non-musical scenes which were integrated to develop the show's plot. The next great step forward was Oklahoma!, with lyrics by Hammerstein and music by Richard Rodgers. Its "dream ballets" used dance to carry forward the plot and develop the characters.

text: Amateur performing groups have always had a place alongside professional acting companies. The Amateur Comedy Club, Inc. was founded in New York City on April 18, 1884. It was organized by seven gentlemen who broke away from the Madison Square Dramatic Organization, a socially prominent company presided over by Mrs. James Brown Potter and David Belasco. The ACC staged its first performance on February 13, 1885. It has performed continuously ever since, making it the oldest, continuously performing theatrical society in the United States. Prominent New Yorkers who have been members of the ACC include Theodore, Frederick and John Steinway of the piano manufacturing family; Gordon Grant, the marine artist; Christopher La Farge, the architect; Van H. Cartmell, the publisher; Albert Sterner, the painter; and Edward Fales Coward, the theater critic and playwright. Elsie De Wolfe, Lady Mendl, later famous as the world's first professional interior decorator, acted in Club productions in the early years of the 20th Century, as did Hope Williams, and Julie Harris in the 1940s.

text:
Early 20th century theater was dominated by the Barrymores—Ethel Barrymore, John Barrymore, and Lionel Barrymore. Other greats included Laurette Taylor, Jeanne Eagels, and Eva Le Gallienne.
The massive social change that went on during the Great Depression also had an effect on theater in the United States. Plays took on social roles, identifying with immigrants and the unemployed. The Federal Theatre Project, a New Deal program set up by Franklin D. Roosevelt, helped to promote theater and provide jobs for actors. The program staged many elaborate and controversial plays such as It Can't Happen Here by Sinclair Lewis and The Cradle Will Rock by Marc Blitzstein. By contrast, the legendary producer Brock Pemberton (founder of the Tony Awards) was among those who felt that it was more than ever a time for comic entertainment, in order to provide an escape from the prevailing harsh social conditions: typical of his productions was Lawrence Riley's comedy Personal Appearance (1934), whose success on Broadway (501 performances) vindicated Pemberton.

text: The years between the World Wars were years of extremes. Eugene O'Neill's plays were the high point for serious dramatic plays leading up to the outbreak of war in Europe. Beyond the Horizon (1920), for which he won his first Pulitzer Prize; he later won Pulitzers for Anna Christie (1922) and Strange Interlude (1928) as well as the Nobel Prize in Literature. Alfred Lunt and Lynn Fontanne remained a popular acting couple in the 1930s.

text: 1940 proved to be a pivotal year for African-American theater. Frederick O'Neal and Abram Hill founded ANT, or the American Negro Theater, the most renowned African-American theater group of the 1940s. Their stage was small and located in the basement of a library in Harlem, and most of the shows were attended and written by African-Americans. Some shows include Theodore Browne's Natural Man (1941), Abram Hill's Walk Hard (1944), and Owen Dodson's Garden of Time (1945). Many famous actors received their training at ANT, including Harry Belafonte, Sidney Poitier, Alice and Alvin Childress, Osceola Archer, Ruby Dee, Earle Hyman, Hilda Simms, among many others.[9]

text: Mid-20th century theater saw a wealth of Great Leading Ladies, including Helen Hayes, Katherine Cornell, Tallulah Bankhead, Judith Anderson, and Ruth Gordon. Musical theater saw stars such as Ethel Merman, Beatrice Lillie, Mary Martin, and Gertrude Lawrence.

text: Post World War II theater[edit]

text: After World War II, American theater came into its own. Several American playwrights, such as Arthur Miller and Tennessee Williams, became world-renowned.

text: In the 1950s and 1960s, experimentation in the Arts spread into theater as well, with plays such as Hair including nudity and drug culture references. Musicals remained popular as well, and musicals such as West Side Story and A Chorus Line broke previous records. At the same time, shows like Stephen Sondheim's Company began to deconstruct the musical form as it has been practiced through the mid-century, moving away from traditional plot and realistic external settings to explore the central character's inner state; his Follies relied on pastiches of the Ziegfeld Follies-styled revue; his Pacific Overtures used Japanese kabuki theatrical practices; and Merrily We Roll Along told its story backwards. Similarly, Bob Fosse's production of Chicago returned the musical to its vaudeville origins.

text: Facts and figures of the post-war theater

text: The post-war American theater audiences and box offices constantly diminished, due to the undeclared "offensive" of television and radio upon the classical, legitimate theater. According to James F. Reilly, executive director of the League of New York Theatres, between 1930 and 1951 the number of legitimate theaters in New York City dwindled from 68 to 30. Besides of that, the admissions tax, has been a burden on the theater since 1918. It was never relaxed ever since, and was doubled in 1943.[10] Total seating capacity of thirty most renown legitimate theaters amounted 35,697 seats in 1951. Since 1937 in New York City alone, 14 former legitimate theaters with a normal seating capacity of 16,955, have been taken over for either radio broadcasts or television performances.[11]

text: In the late 1990s and 2000s, American theater began to borrow from cinema and operas. For instance, Julie Taymor, director of The Lion King directed Die Zauberflöte at the Metropolitan Opera. Also, Broadway musicals were developed around Disney's Mary Poppins, Tarzan, The Little Mermaid, and the one that started it all, Beauty and the Beast, which may have contributed to Times Square's revitalization in the 1990s. Also, Mel Brooks's The Producers and Young Frankenstein are based on his hit films.

text: Drama[edit]

text: This section needs expansion with: coverage of the late 1990s and more information about the mid-century periods. You can help by adding to it. (July 2010)

text: The early years of the 20th century, before World War I, continued to see realism as the main development in drama. But starting around 1900, there was a revival of poetic drama in the States, corresponding to a similar revival in Europe (e.g. Yeats, Maeterlinck and Hauptmann). The most notable example of this trend was the "Biblical trilogy" of William Vaughn Moody, which also illustrate the rise of religious-themed drama during the same years, as seen in the 1899 production of Ben-Hur and two 1901 adaptations of Quo Vadis. Moody, however, is best known for two prose plays, The Great Divide (1906, later adapted into three film versions) and The Faith Healer (1909), which together point the way to modern American drama in their emphasis on the emotional conflicts that lie at the heart of contemporary social conflicts. Other key playwrights from this period (in addition to continued work by Howells and Fitch) include Edward Sheldon, Charles Rann Kennedy and one of the most successful women playwrights in American drama, Rachel Crothers, whose interest in women's issues can be seen in such plays as He and She (1911).[5]

text: During the period between the World Wars, American drama came to maturity, thanks in large part to the works of Eugene O'Neill and of the Provincetown Players. O'Neill's experiments with theatrical form and his combination of Naturalist and Expressionist techniques inspired other playwrights to use greater freedom in their works, whether expanding the techniques of Realism, as in Susan Glaspell's Trifles, or borrowing more heavily from German Expressionism (e.g., Elmer Rice's The Adding Machine), Other distinct movements during this period include folk-drama/regionalism (Paul Green's Pulitzer-winning In Abraham's Bosom), "pageant" drama (Green's The Lost Colony, about the mysterious Roanoke Colony), and even a return to poetic drama (Maxwell Anderson's Winterset). At the same time, the economic crisis of the Great Depression led to the growth of protest drama, as seen in the Federal Theatre Project's Living Newspaper productions and in the works of Clifford Odets (e.g., Waiting for Lefty) and of moralist drama, as in Lillian Hellman's The Little Foxes and The Children's Hour. Other key figures of this era include George S. Kaufman, George Kelly, Langston Hughes, S. N. Behrman, Sidney Howard, Robert E. Sherwood, and a set of playwrights who followed O'Neill's path of philosophical searching, Philip Barry, Thornton Wilder (Our Town) and William Saroyan (The Time of Your Life). Theater criticism kept pace with the drama, such as in the work of George Jean Nathan and in the numerous books and journals on American theater that were published during this time.[5]

text: The stature that American drama had achieved between the Wars was cemented during the post-World War II generation, with the final works of O'Neill and his generation being joined by such towering figures as Tennessee Williams and Arthur Miller, as well as by the maturation of the musical theatre form. Other key dramatists include William Inge, Arthur Laurents and Paddy Chayefsky in the 1950s, the avant garde movement of Jack Richardson, Arthur Kopit, Jack Gelber and Edward Albee the 1960s, and the maturation of black drama through Lorraine Hansberry, James Baldwin and Amiri Baraka. In the musical theater, important figures include Rodgers and Hammerstein, Lerner and Loewe, Betty Comden and Adolph Green, Richard Adler and Jerry Ross, Frank Loesser, Jule Styne, Jerry Bock, Meredith Willson and Stephen Sondheim.[5]

text: The period beginning in the mid-1960s, with the passing of Civil Rights legislation and its repercussions, came the rise of an "agenda" theater comparable to that of the 1930s. Many of the major playwrights from the mid-century continued to produce new works, but were joined by names like Sam Shepard, Neil Simon, Romulus Linney, David Rabe, Lanford Wilson, David Mamet, and John Guare. Many important dramatists were women, including Beth Henley, Marsha Norman, Wendy Wasserstein, Megan Terry, Paula Vogel and María Irene Fornés. The growth of ethnic pride movements led to more success by dramatists from racial minorities, such as black playwrights Douglas Turner Ward, Adrienne Kennedy, Ed Bullins, Charles Fuller, Suzan-Lori Parks, Ntozake Shange, George C. Wolfe and August Wilson, who created a dramatic history of United States with his cycle of plays, The Pittsburgh Cycle, one for each decade of the 20th century. Asian-American theater is represented in the early 1970s by Frank Chin and achieved international success with David Henry Hwang's M. Butterfly. Latino theater grew from the local activist performances of Luis Valdez's Chicano-focused Teatro Campesino to his more formal plays, such as Zoot Suit, and later to the award-winning work of Cuban Americans Fornés (multiple Obies) and her student Nilo Cruz (Pulitzer), to Puerto Rican playwrights José Rivera and Miguel Piñero, and to the Tony Award-winning musical about Dominicans in New York City, In the Heights. Finally, the rise of the gay rights movement and of the AIDS crisis led to a number of important gay and lesbian dramatists, including Christopher Durang, Holly Hughes, Karen Malpede, Terrence McNally, Larry Kramer, Tony Kushner, whose Angels in America won the Tony Award two years in a row, and composer-playwright Jonathan Larson, whose musical Rent ran for over twelve years.[5]

text: American theater today[edit]

text: Earlier styles of theater such as minstrel shows and Vaudeville acts have disappeared from the landscape, but theater remains a popular American art form. Broadway productions still entertain millions of theater-goers as productions have become more elaborate and expensive. At the same time, theater has also served as a platform for expression, and a venue for identity exploration for under-represented, minority communities, who have formed their own companies and created their own genres of works, notably East West Players, founded in 1965 as the first Asian-American theatre group. Notable contemporary American playwrights include Edward Albee, August Wilson, Tony Kushner, David Henry Hwang, John Guare, and Wendy Wasserstein. Smaller urban theaters have stayed a source of innovation, and regional theaters remain an important part of theater life. Drama is also taught in high schools and colleges, which was not done in previous eras, and many become interested in theater through this.

text: The Faster Times, an online newspaper that ran from 2009 to 2013, featured a weekly column that discussed issues and trends in American theater.[12]

text: HowlRound, an online "commons", features opinions and essays by artists and academics in American Theater today.[13]


document_title: The Boat Race

question_text: the boat race course between putney and mortlake

text: The Boat Race

text: History[edit]

text: Origin[edit]

text: The tradition was started in 1829 by Charles Merivale, a student at St John's College, Cambridge, and his Old Harrovian school friend Charles Wordsworth who was studying at Christ Church, Oxford.[8] The University of Cambridge challenged the University of Oxford to a race at Henley-on-Thames but lost easily.[8] Oxford raced in dark blue because five members of the crew, including the stroke, were from Christ Church, then Head of the River, whose colours were dark blue.[9] There is a dispute as to the source of the colour chosen by Cambridge. The second race was in 1836, with the venue moved to a course from Westminster to Putney. Over the next two years, there was disagreement over where the race should be held, with Oxford preferring Henley and Cambridge preferring London.[9] Following the official formation of the Oxford University Boat Club, racing between the two universities resumed in 1839 on the Tideway and the tradition continues to the present day, with the loser challenging the winner to a rematch annually.[10]

text: 1877 dead heat[edit]

text: The race in 1877 was declared a dead heat.[1] Both crews finished in a time of 24 minutes and 8 seconds in bad weather.[11] The verdict of race judge, John Phelps, is suspect because he was reportedly over 70 and blind in one eye.[11][12][13] Rowing historian Tim Koch, writing in the official 2014 Boat Race Programme, notes that there is "a very big and very entrenched lie" about the race, including the claim that Phelps had announced "Dead heat ... to Oxford by six feet" (the distance supposedly mentioned by Phelps varies according to the telling).[14]

text: Phelps's nickname "Honest John" was not an ironic one, and he was not (as is sometimes claimed) drunk under a bush at the time of the finish. He did have to judge who had won without the assistance of finish posts (which were installed in time for the next year's race).[13] Some newspapers had believed Oxford won a narrow victory but their viewpoint was from downstream; Phelps considered that the boats were essentially level with each surging forward during the stroke cycle. With no clear way to determine who had surged forward at the exact finish line, Phelps could only pronounce it a dead heat. Koch believes that the press and Oxford supporters made up the stories about Phelps later, which Phelps had no chance to refute.[14]

text: Oxford, partially disabled, were making effort after effort to hold their rapidly waning lead, while Cambridge, who, curiously enough, had settled together again, and were rowing almost as one man, were putting on a magnificent spurt at 40 strokes to the minute, with a view of catching their opponents before reaching the winning-post. Thus struggling over the remaining portion of the course, the two eights raced past the flag alongside one another, and the gun fired amid a scene of excitement rarely equalled and never exceeded. Cheers for one crew were succeeded by counter-cheers for the other, and it was impossible to tell what the result was until the Press boat backed down to the Judge and inquired the issue. John Phelps, the waterman, who officiated, replied that the noses of the boats passed the post strictly level, and that the result was a dead heat.[15]

text: 1959 Oxford mutiny[edit]

text: In 1959 some of the existing Oxford blues attempted to oust president Ronnie Howard and coach Jumbo Edwards.[16] However, their attempt failed when Cambridge supported the president.[16] Three of the dissidents returned and Oxford went on to win by six lengths.[17]

text: 1987 Oxford mutiny[edit]

text: Following defeat in the previous year's race, Oxford's first in eleven years, American Chris Clark was determined to gain revenge: "Next year we're gonna kick ass ... Cambridge's ass. Even if I have to go home and bring the whole US squad with me."[18] He recruited another four American post-graduates: three international-class rowers (Dan Lyons, Chris Huntington and Chris Penny) and a cox (Jonathan Fish),[19][20] in an attempt to put together the fastest Boat Race crew in the history of the contest.[21]

text:
When you recruit mercenaries, you can expect some pirates.
“
”

British press[22]

tag: div

text: Disagreements over the training regime of Dan Topolski, the Oxford coach ("He wanted us to spend more time training on land than water!", lamented Lyons[19]), led to the crew walking out on at least one occasion, and resulted in the coach revising his approach.[23] A fitness test between Clark and Macdonald (in which the American triumphed) resulted in a call for the Scotsman's removal; it was accompanied with a threat that the Americans would refuse to row should Macdonald remain in the crew.[23] As boat club president, Macdonald "had absolute power over selection" and after announcing that Clark would row on starboard, his weaker side, Macdonald would row on the port side and Tony Ward was to be dropped from the crew entirely, the American contingent mutinied.[20] After considerable negotiation and debate, much of it conducted in the public eye, Clark, Penny, Huntington, Lyons and Fish were dropped and replaced by members of Oxford's reserve crew, Isis.[20]

text: The race was won by Oxford by four lengths,[1] despite Cambridge being favourites.[24]

text: In 1989 Topolski and author Patrick Robinson's book about the events, True Blue: The Oxford Boat Race Mutiny, was published. Seven years later, a film based on the book was released. Alison Gill, the then-president of the Oxford University Women's Boat Club, wrote The Yanks in Oxford, in which she defended the Americans and claimed Topolski wrote True Blue in order to justify his own actions.[23] River and Rowing Museum founder Chris Dodd described True Blue as "particularly offensive" yet also wrote "[Oxford] lacked the power, the finesse—basically everything the pre-mutiny line-up had going for it."[20]

text: 2012 disruption[edit]

text: In the 2012 race, after almost three-quarters of the course had been rowed, the race was halted for over 30 minutes when a lone protester, Australian Trenton Oldfield, entered the water from Chiswick Eyot and deliberately swam between the boats near Chiswick Pier with the intention of protesting against spending cuts, and what he saw as the erosion of civil liberties and a growing culture of elitism within British society.[25] Once he was spotted by assistant umpire Sir Matthew Pinsent, both boats were required to stop for safety reasons.

text: The umpire, John Garrett, decided to restart the race from the eastern end of Chiswick Eyot.[26] Shortly after the restart the boats clashed and the oar of Oxford crewman Hanno Wienhausen was broken. Garrett judged the clash to be Oxford's fault and allowed the race to continue. Cambridge quickly took the lead and went on to win the race. The Oxford crew entered a final appeal to the umpire which was quickly rejected; and Cambridge were confirmed as winners by 4 1⁄4 lengths. It was the first time since 1849 that a crew had won the boat race without an official recorded winning time.[1] After the end of the race Oxford's bow man, Alex Woods, received emergency treatment after collapsing in the boat from exhaustion. Because of the circumstances, the post-race celebrations by the winning Cambridge crew were unusually muted and the planned award ceremony was cancelled.[26][27][28][29]

text: Oldfield was convicted in October 2012 of causing a public nuisance, fined £750 and sentenced to six months' imprisonment.[30] In June 2013 he was refused leave to remain in the UK,[31] a decision against which he successfully appealed,[32][33] with the appeal judge stating that there was "a public interest in providing a platform for protest at both common law and the European Convention on Human Rights".[34]

text: Sinkings[edit]

text: In the 1912 race, run in extremely poor weather and high winds, both crews sank. Oxford rowed into a significant early lead, but began taking on water, and made for the bank shortly after passing Hammersmith Bridge to empty the boat out: although they attempted to restart, the race was abandoned at this point because Cambridge had also sunk, while passing the Harrods Depository.[35]

text: Cambridge also sank in 1859 and in 1978, while Oxford did so in 1925,[36][37][38] and again in 1951; the 1951 race was re-rowed on the following Monday.[39] In 1984 the Cambridge boat sank after colliding with a barge before the start of the race, which was then rescheduled for the next day.[40] In 2016, at Barnes Bridge, Cambridge women began to sink and received advice from the umpire to pull to the side. The Cambridge cox indicated that she wanted to continue to complete the course and was allowed to do so.

text: Course[edit]

text: The course is 4 miles and 374 yards (6.779 km) from Putney to Mortlake,[41] passing Hammersmith and Barnes; it is sometimes referred to as the Championship Course, and follows an S shape, east to west. The start and finish are marked by the University Boat Race Stones on the south bank. The clubs' presidents toss a coin (the 1829 sovereign) before the race for the right to choose which side of the river (station) they will row on: their decision is based on the day's weather conditions and how the various bends in the course might favour their crew's pace. The north station ('Middlesex') has the advantage of the first and last bends, and the south ('Surrey') station the longer middle bend.

text: During the race the coxes compete for the fastest current, which lies at the deepest part of the river, frequently leading to clashes of blades and warnings from the umpire. A crew that gets a lead of more than a boat's length can cut in front of their opponent, making it extremely difficult for the trailing crew to gain the lead. For this reason the tactics of the race are generally to go fast early on, and few races have a change of the lead after halfway (though this happened in 2003, 2007 and 2010).

text: The race is rowed upstream, but is timed to start on the incoming flood tide so that the crews are rowing with the fastest possible current.[42] If a strong wind is blowing from the west it will be against the tide in places along the course, causing the water to become very rough. The conditions are sometimes such that an international regatta would be cancelled, but the Boat Race has a tradition of proceeding even in potential sinking conditions (see Sinkings above).

text: During the race the crews pass various traditional landmarks, visible from the river:

text:
Landmark
Coordinates
Comments

Putney

Oxford boats from Westminster School Boat Club (left), and Cambridge from King's College School Boat Club (right). Both clubs are near the Start, just downstream of the Black Buoy. The crews warm up by rowing downstream below Putney Bridge before taking their places at the start.

The Start at Putney Bridge

51°28′02″N 0°12′50″W / 51.467319°N 0.213756°W / 51.467319; -0.213756 (Boat Race start)

The race starts from two stake boats moored so that the competitors' bows are in line with the first University Stone. The winner of the toss has the choice of station. The Surrey station won 10 out of the 15 races 1994–2008[43] – though this is not statistically significant.

Coxes raise their arms while their VIIIs are getting into position. When both crews are ready, the Umpire starts the race by waving a red flag. In the straight section after the start the Middlesex crew tries to hold the fastest water on the centre line of the river.

The Black Buoy

51°28′16″N 0°13′16″W / 51.471211°N 0.221132°W / 51.471211; -0.221132 (The Black Buoy)

Roughly marks the end of the Putney Boat Houses. The Black Buoy has been painted yellow to avoid collisions.

Fulham Football Club

51°28′30″N 0°13′18″W / 51.474895°N 0.221655°W / 51.474895; -0.221655 (Fulham Football Club)

'Craven Cottage': crews stay wide (preferring the Surrey bank) round the bend as the area in front of the football ground (known as 'the Fulham flats') is shallow, with slack water.[44]

The Mile Post

51°28′43″N 0°13′37″W / 51.47852°N 0.226987°W / 51.47852; -0.226987 (The Mile Post)

The 'post' is in fact a stone monument to rowing coach Steve Fairbairn. Exactly a mile from the Boat Race start, it is a traditional timing point. The Middlesex bank water continues to be shallow and slack all the way to Hammersmith Bridge.[44]

The Crabtree

51°28′55″N 0°13′25″W / 51.482041°N 0.223482°W / 51.482041; -0.223482 (The Crabtree)

This section is called the "Crabtree Reach" after the Crabtree Tavern pub on the Middlesex bank (just to the right of the camera).

Harrods Furniture Depository

51°29′05″N 0°13′41″W / 51.484633°N 0.227956°W / 51.484633; -0.227956 (Harrods' Furniture Repository)

Previously the warehouse for the famous shop, now apartments. For the next 8–9 minutes the bend will be in Surrey's favour. The deepest water now is closer to the Surrey bank.[44]

Hammersmith Bridge

51°29′17″N 0°13′50″W / 51.488129°N 0.230536°W / 51.488129; -0.230536 (Hammersmith Bridge)

Coxes aim for the second lamp-post from the left which marks the deepest part of the river and therefore the fastest line. 80%–85% of boats ahead at Hammersmith Bridge have won, though only 50% in the 6 years up to 2008.[43] The turning point comes once the crews are under Hammersmith Bridge.

St Paul's School

51°29′20″N 0°14′09″W / 51.488983°N 0.235855°W / 51.488983; -0.235855 (St Paul's School)

1.8 miles have been rowed; the whole width becomes choppy when there is any form of westerly. The next 3–4 minutes where still side-by-side give the Surrey crew their last advantage.[43]

Chiswick Eyot

51°29′15″N 0°14′45″W / 51.487596°N 0.245814°W / 51.487596; -0.245814 (Chiswick Eyot)

A tree-covered river island. The river is briefly straight, and the deepest water is central.[44]

Fuller's Brewery

51°29′14″N 0°15′01″W / 51.487182°N 0.250411°W / 51.487182; -0.250411 (Chiswick Eyot)

Just visible to crews, behind the eyot. If a south-west breeze picks up then the waves will be as high as they get along the Championship Course against the upstream tide here.[43]

Chiswick Pier

51°28′57″N 0°15′03″W / 51.482452°N 0.250937°W / 51.482452; -0.250937 (Chiswick Pier)

2.87 miles have been rowed. When strong prevailing winds strike, the built-up inside of the Middlesex bend gives that crew the calmer water.[43]

The Crossing

51°28′44″N 0°15′02″W / 51.47879°N 0.250583°W / 51.47879; -0.250583 (The Crossing)
Marks the end of the long Surrey bend. The deep water channel is in the centre of the river.[44]

The Bandstand

51°28′36″N 0°15′08″W / 51.476572°N 0.252149°W / 51.476572; -0.252149 (The Bandstand)

The deepest, faster water is slightly close to the Middlesex bank at this point, the water near the Surrey bank is shallow.[44]

Barnes Railway Bridge

51°28′22″N 0°15′14″W / 51.472736°N 0.253758°W / 51.472736; -0.253758 (Barnes Railway Bridge)

Crews must pass through the centre arch. 95% of boats leading here have won. Only one boat has won since 1945 when trailing at Barnes Bridge: Oxford came from behind this late in 2002. The Barnes Bridge bend by Emanuel School Boat House is very tight: if the crews are level then the coxes may jostle, subject to directions, for the centre.[43]

The Mortlake Brewery or The Stag Brewery

51°28′14″N 0°15′59″W / 51.470474°N 0.266376°W / 51.470474; -0.266376 (Stag Brewery)

Spanning almost the last 300 metres of the course, at least 3.95 miles (6.36 km) have been rowed.

The Finish near Chiswick Bridge

51°28′22″N 0°16′05″W / 51.472861°N 0.268151°W / 51.472861; -0.268151 (The Boat Race Finish)

The finish, just before Chiswick Bridge, is marked by the University Stone on the south bank and a University Post on the north bank.

text: At the conclusion of the race, the boats come ashore at Mortlake Anglian & Alpha Boat Club,[45] directly upriver of Chiswick Bridge. Here shortly after the race the Boat Race trophy is presented to the winning crew. It is traditional for the winning side to throw their cox into the Thames to celebrate their achievement.

text: Moved from the original festivities by the stone in Mortlake, these are therefore at the clubhouse by Grove Park, Chiswick west of the busy bridge. Nonetheless the arms of the London Borough of Richmond upon Thames, covering more than half of the Surrey bank has two griffin supporters that hold oars, one light blue, one dark, in reference to the Boat Race, colours which are 'later tinctures' in English heraldry.

text: Previous courses[edit]

text: The course for the main part of the race's history has been from Putney to Mortlake, but there have been three other courses:

text:
1829 – At Henley-on-Thames
1839 to 1842 – Westminster to Putney
1846, 1856, 1862, 1863 – Mortlake to Putney

tag: ul

text: In addition, there were four unofficial boat races held during the Second World War away from London. As none of those competing were awarded blues, these races are not included in the official list:

text:
1940, 1945 – At Henley-on-Thames
1943 – Sandford-on-Thames
1944 – River Great Ouse, Ely, Littleport to Queen Adelaide

text: Media coverage[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. (June 2017) (Learn how and when to remove this template message)

text: The event is now a British national institution, and is televised live each year. BBC Television first covered the race in 1938, the BBC having covered it on radio since 1927. For the 2005 to 2009 races, the BBC lost the television rights to ITV, after 66 years, but it returned to the corporation in 2010.[46]

text: On the radio John Snagge commentated for the BBC from 1930s to the early 1980s on BBC Radio 2. Peter Jones, Brian Johnston and Robert Hudson commentated in the 1980s on BBC Radio 2 and Jon Champion, Tony Adamson and Peter Drury commentated for BBC Radio 5 and 5 Live in the 1990s.

text: Howard Marshall commentated on the first BBC TV Boat Race in 1938 with a camera at the start and the finish. Desmond Hill commentated for the BBC in the 1960s and Harry Carpenter commentated for the BBC in the 1970s up to 1990 and Gerald Sinstadt commentated in 1991 and 1992 while Barry Davies became the voice of the Boat Race for the BBC for the years 1993 to 2004 and Steve Rider was the host, previous BBC hosts were David Coleman, Frank Bough and Harry Carpenter. Peter Drury then took over as the main commentator for ITV from 2005 to 2009 while coverage was presented by Gabby Logan, then Mark Durden-Smith and finally Craig Doyle.

text: Andrew Cotter has commentated for the BBC since its return in 2010 with Dan Topolski and Wayne Pommen while Clare Balding has presented usually with Sir Matthew Pinsent, Sir Steve Redgrave and others within the world of rowing. Jonathan Legard commentated on the 2012 Race while Andrew Cotter was at the US Masters for the BBC but has returned in 2013. Barry Davies has returned to commentate on LBC Radio when the TV coverage moved to ITV. BBC World News holds the worldwide rights to the race taking UK coverage.

text: The race which took place on 30 March 1895 became the subject of one of the world's first motion pictures directed by Birt Acres.

text: Ethnographer Mark de Rond described the training, selection, and victory of the 2007 Cambridge crew in The Last Amateurs: To Hell and Back with the Cambridge Boat Race Crew.[47]

text: Competitors[edit]

text: The race is for heavyweight eights (i.e. eight rowers with a cox steering), with no restrictions on weight or gender. There have been a number of female coxes – the first to appear in the Boat Race was Sue Brown for Oxford in 1981 – but in practice the rowers are always male. There are separate races restricted to women.

text: Although the contest is strictly between amateurs, and the competitors must be students of the university for which they race, the training schedules the teams undertake are very gruelling. Typically each team trains for six days a week for six months before the event.

text: Such is the competitive spirit between the universities that it is common for Olympic standard rowers to compete, notably including four-time Olympic gold medallist Sir Matthew Pinsent, who rowed for Oxford in 1990, 1991, and 1993. Olympic gold medallists from 2000 – Tim Foster (Oxford 1997), Luka Grubor (Oxford 1997), Andrew Lindsay (Oxford 1997, 1998, 1999) and Kieran West (Cambridge 1999, 2001, 2006, 2007), 2004 – Ed Coode (Oxford 1998), and 2008 - Jake Wetzel (Oxford 2006) and Malcolm Howard (Oxford 2013, 2014) have also rowed for their university.

text: Other famous participants include Andrew Irvine (Oxford 1922, 1923), Lord Snowdon (Cambridge 1950), Colin Moynihan (Oxford 1977), actor Hugh Laurie (Cambridge 1980), TV presenter Dan Snow (Oxford 1999, 2000, 2001) and Conspicuous Gallantry Cross recipient Robin Bourne-Taylor (Oxford 2001, 2002, 2003, 2005).[48]

text: Academic status[edit]

text: Oxford University does not offer sport scholarships at entry; student-athletes are not admitted differently to any other students and must meet the academic requirements of the university, with sport having a neutral effect on any application.[49] Likewise, bursaries and scholarship opportunities for athletes at the University of Cambridge are only open to those students who have already been admitted to the University on academic merit.[50]

text: In order to protect the status of the race as a competition between genuine students, the Cambridge University Blues Committee in July 2007 refused to award a blue to 2006 and 2007 Cambridge oarsman Thorsten Engelmann, as he did not complete his academic course and instead returned to the German national rowing team to prepare for the Beijing Olympics.[51] This has caused a debate about a change of rules, and one suggestion is that only students who are enrolled in courses lasting at least two years should be eligible to race.[52]

text: Standard of the crews[edit]

text: The question whether the Boat Race crews are up to the standard of international crews is difficult to judge, since the Boat Race crews train for a long-distance race early in the season, so their training schedule is quite different from crews training for international regattas over 2000 metres that take place later in the year.

text: According to British Olympic gold medallist Martin Cross, Boat Race crews of the early 1980s were viewed as "a bit of a joke" by some international-level rowers of the time. However, their standard has improved substantially since then.[53] Current Boat Race crews do race against some club and international crews in the build-up to the race, and are competitive against them, but again these matches are over various non-standard distances, against crews that might not have been together as long as the Oxbridge crews.

text: In 2005 a strong Oxford crew, similar to the crew who had rowed in the Boat Race, entered the Grand Challenge Cup at Henley Royal Regatta, losing to the winning German international crew in the first round by a third of a length. The same year, Cambridge won the Ladies Challenge Plate at the same regatta.

text: In 2007 Cambridge were entered in the London Head of the River Race, where they should have been measured directly against the best crews in Britain and beyond. However the event was called off after several crews were sunk or swamped in rough conditions. Cambridge were fastest of the few crews who did complete the course.[54]

text: Sponsorship[edit]

text: The Boat Race has been sponsored since 1976, with the money spent mainly on equipment and travel during the training period. The sponsors do not have their logos on the boats, but do have their logo on kit during the race. They also provide branded training gear and have some naming rights. Boat Race sponsors have included Ladbrokes, Beefeater Gin, Aberdeen Asset Management, and the business process outsourcing company Xchanging, who sponsored the race until 2012.[55][56] Controversially, in the renewal of the deal with Xchanging, the crews agreed to wear the sponsor's logo on their kit during the race itself, in exchange for increased funding.[57] Prior to this, all sponsorship marks had been scrupulously discarded on boating for the competition, in line with the race's amateur and ‘Corinthian’ spirit. Xchanging also became title sponsor in November 2009 so, from the 156th Race until 2012, the event was known as The Xchanging Boat Race.[58] In 2013 the sponsor BNY Mellon took over and it became the BNY Mellon Boat Race.[59] For the 2016 & 2017 Boat Races, BNY Mellon and Newton Investment management have donated their title sponsorship to Cancer Research UK.[60]

text: Other boat races involving Oxford and Cambridge[edit]

text: Although the heavyweight men's eights is the best-known event, the two universities compete in other rowing boat races. The main boat race is preceded by a race between the two reserve crews. The Oxford reserve crew is called Isis (after the Isis, a section of the River Thames which passes through Oxford), and the Cambridge reserve crew is called Goldie (the name comes from rower and Boat Club president John Goldie, 1849–1896, after whom the Goldie Boathouse is named).

text: The Women's Boat Race moved to the Tideway, using the same course and running on the same day as the men's race, in 2015.[61] Until 2015, the women's eights raced with the women's reserve eights ("Osiris" and "Blondie"), men's lightweight eights and women's lightweight eights in the Henley Boat Races, usually a week before the men's heavyweight races. There is also a 'veterans' boat race, usually held on a weekday before the main Boat Race, on the Thames between Putney and Hammersmith.

text: Build-up[edit]

text: Training for the Boat Race officially begins in September, before the start of term. The first public tests are in November at the British Indoor Rowing Championships, where each university sends around 20 rowers to compete. Everyone races 2 km on an indoor rower with the club presidents using adjacent machines. Both universities also send crews to the Head of the River Fours race in London, which is raced over the reverse Boat Race course, that is to say the Championship course from Mortlake to Putney.

text: In December, the coaches put out Trial Eights where two crews from the same university race each other over the full Boat Race course. These crews are given names such as Kara and Whakamanawa (Māori words for strength and honour, Cambridge 2004) or Cowboys and Indians (Oxford 2004). Other trials boat names have included such pairings as Guns and Roses.

text: Over the Christmas period the squads go on training camps abroad, where final places for the blue boats are decided. After the final blue boat crews have been decided, they race against the top crews from the UK and abroad (e.g. in recent years they have raced Leander, Molesey, the German international crew, and a composite crew of Olympic scullers[62]). These races are only over part of the course (from Putney to Chiswick Eyot).

text: In case of injury or illness, each university has ten extra rowers, eight in the reserve boats Isis and Goldie, and two as the spare pair. Isis and Goldie race 30 mins before the Blue Boat event over the same course. As for the spare pair, in the week before the main event they race each other from the mile post to university stone (i.e. from a point one mile into the Championship Course back to the Boat Race start). In the final week, there is also an official weigh in and the average crew weights are announced. The perceived slight advantage of being the heavier crew leads to the practice of drinking large volumes of water directly before the weigh in order to artificially increase weight for a short period of time.[63]

text: Popular culture[edit]

text: Boat race became such a popular phrase that it was incorporated into Cockney rhyming slang, for "face".[64]

text: In the stories of P. G. Wodehouse, several characters allude to Boat Race Night as a time of riotous celebration (presumably after the victory of the character's alma mater). This frequently sees the participants in trouble with the authorities. In Piccadilly Jim, it is mentioned that Lord Datchett was thrown out of the Empire Music Hall every year on Boat Race Night while he was an undergraduate. Bertie Wooster mentions several times that he was fined five pounds at "Bosher Street" (possibly a reference to Bow Street Magistrates' Court) for stealing a policeman's helmet on Boat Race Night; the beginning of the first episode of the television series Jeeves and Wooster shows his court appearance on this occasion.[65] In the short story Jeeves and the Chump Cyril, he describes having to repeatedly bail out of jail a friend who was arrested every year on Boat Race Night.

text: In the Jennings books by Anthony Buckeridge the protagonist's teacher Mr Wilkins is a former Cambridge rowing blue.

text: Statistics[edit]

text: The detailed nature of the record-keeping over the event's history has many record statistics being carefully monitored. A selection of the more frequently cited statistics includes:

text:
Number of wins: Cambridge, 82; Oxford, 80 (1 dead heat)[1]
Most consecutive victories: Cambridge, 13 (1924–36)[1]
Course record: Cambridge, 1998 – 16 min 19 sec; average speed 24.9 kilometres per hour (15.5 mph)[1]
Narrowest winning margin, excluding the dead heat: 1 foot (Oxford, 2003)[1]
Largest winning margin: 35 lengths (Cambridge, 1839)[1]
Most races: Boris Rankov, 6 (Oxford, 1978–83)
Heaviest rower: Thorsten Engelmann, Cambridge 2007, 17 st 6 lb 4 oz (110.8 kg; 244 lb)
Lightest rower: Alfred Higgins, Oxford 1882, 9 st 6.5 lb (60.1 kg; 132.5 lb)
Heaviest crew: Oxford 2009, 15 st 9 lb 13 oz (99.7 kg; 219.7 lb) average
Tallest rower: James Letten, 6 ft 10 in (2.08 m)[66]
Tallest crew: Cambridge 1999, 6 ft 6.3 in (1.98 m) average
Oldest rower: Mike Wherley, Oxford 2008, 36 yrs 14 days
Oldest cox: Andy Probert, Cambridge 1992, 38 yrs 86 days
Reserve wins: Cambridge (Goldie), 29; Oxford (Isis), 17[67]

text: Results[edit]

text: There have been 161 official races in 185 years.

text:
Decade
Total races
Cambridge wins
Oxford wins
Notes

1820s
1
0
1

1830s
2
2
0

1840s
7
5
2

1850s
6
2
4

1860s
10
1
9

1870s
10
7
2
1 dead heat

1880s
10
5
5

1890s
10
1
9

1900s
10
7
3

1910s
5
1
4

1920s
10
9
1

1930s
10
8
2

1940s
4
3
1

1950s
10
7
3

1960s
10
5
5

1970s
10
5
5

1980s
10
1
9

1990s
10
7
3

2000s
10
3
7

2010s
8
3
5

Total
162
82
80
1 dead heat


document_title: Hut

question_text: where do they have huts on the water

question_tokens: where do they have huts on the water

text: Hut

text: Word[edit]

text: The term is often employed by people who consider non-western style homes in tropical and sub-tropical areas to be crude or primitive, but often the designs are based on traditions of local craftsmanship using sophisticated architectural techniques. The designs in tropical and sub-tropical areas favour high airflow configurations built from non-conducting materials, which allow heat dissipation. The term house or home is considered by some to be more appropriate.

text: In the Western world the word hut is often used for a wooden shed.

text: The term has also been adopted by climbers and backpackers to refer to a more solid and permanent structure offering refuge. These vary from simple bothies – which are little more than very basic shelters – to mountain huts that are far more luxurious and can even include facilities such as restaurants.

text: The word comes from the 1650s, from French hutte "cottage" (16c.), from Middle High German hütte "cottage, hut," probably from Proto-Germanic *hudjon-, related to the root of Old English hydan "to hide," from PIE *keudh-, from root (s)keu- (see hide (n.1)). Apparently first in English as a military word. Old Saxon hutta, Danish hytte, Swedish hytta, West Frisian and Middle Dutch hutte, Dutch hut are from High German."[2] related to hide, a covering.

text: Modern use[edit]

text: Huts are used by shepherds when moving livestock between seasonal grazing areas such as mountainous and lowland pastures (transhumance).

text: They are also commonly used by backpackers and other travelers in rural areas.

text: Some displaced populations of people use huts throughout the world during a diaspora. For example, temporary collectors in the wilderness agricultural workers at plantations in the Amazon jungle.

text: Huts have been built for purposes other than as a dwelling such as storage, workshops, and teaching.

text: Types[edit]

text:
Balok – A Siberian wilderness hut made of logs, usually communal, used by hunters, fishermen and travelers in the more distant parts of Siberia. Some baloks are mobile and mounted on sleds.
Barabara – An earth sheltered winter home of the Aleut people
Barracks – an old term for a temporary hut,[1] now more used as a term for military housing and a unique hay storage structure called a hay barrack.
Bothy – Originally a one-room hut for men farm workers in the United Kingdom, now a mountain hut for overnight hikers.
Burdei or bordei – a dugout or pit-house with a sod roof in Ukraine, Canada
Cabana – an open shelter
Chozo also spelled chozo – Spanish for hut, term also used in Mexico.
Clochán – A dry stone hut in Ireland
Earth lodge – Native American dwelling
HORSA hut - A prefabricated school building built to cope with additional demand from the Education Act 1944
Hytte – A cabin or hut in Norway
Igloo – A hut made of pieces of hard snow or ice
Kolba – Afghanistan
Laing hut - prefabricated lightweight timber wall sections bolted together, externally clad with plasterboard and felt. Designed 1940 for barrack accommodation[3]
Lodge is a general term for a hut or cabin such as a log cabin or cottage. Lodge is used to refer to a tipi, sweat lodge, and hunting, fishing, skiing, and safari lodge.
Mitato – A small, dry stone hut in Greece
Orri – A French dry stone and sod hut
Pratten hut - A prefabricated building generally used in schools for classrooms in the UK after World War 2.
Rondavel – Central and South Africa
Sheiling – Originally a temporary shelter or hut for shepherds, now may be a stone building. Common in Scotland.
Sod house – A pioneer house type on the American Plains where wood was scarce.
Tipi – Central North America tent
Tule hut – Coastal North America, West Coast, Northern California
Oca – Brazil
Quinzhee – A shelter made in a pile of snow
Yurt – Central and North Asia

text: Construction[edit]

text: Many huts are designed to be relatively quick and inexpensive to build. Construction often does not require specialized tools or knowledge.

text: Marketing usage[edit]

text: The term Hut is also used to name many commercial stores, companies, and concepts. The name implies a small, casual venue, often with a fun and friendly atmosphere. Examples include Pizza Hut and Sunglass Hut. Kiosks may be constructed to look like huts and are often found at parks, malls, beaches, or other public places, selling a variety of inexpensive food or goods. Luxury hotels in tropical areas where guests are assigned to occupy their own freestanding structure sometimes call the structure a "hut", though such huts typically bear little more than superficial resemblance to the traditional concept of a hut.