document_title: Clean Air Act (United States)

question_text: who wrote the clean air act of 1970

question_tokens: who wrote the clean air act of 1970

text: Clean Air Act (United States)

text: Summary[edit]

text: Title I: Programs and Activities[edit]

text: Part A: Air Quality and Emissions Limitations[edit]

text: This section of the act declares that protecting and enhancing the nation's air quality promotes public health. The law encourages to prevent regional air pollution and control programs. It also provides technical and financial assistance for preventing air pollution at both state and local governments. Additional subchapters cover cooperation, research, investigation, training, and other activities. Grants for air pollution planning and control programs, and interstate air quality agencies and program cost limitations are also included in this section.[11]

text: The act even mandates air quality control regions, designated as attainment vs non-attainment. Non-attainment areas do not meet national standards for primary or secondary ambient air quality. Attainment areas meet these standards, while unclassifiable areas cannot be classified based on the available information.[11]

text: Air quality criteria, national primary and secondary ambient air quality standards, state implementation plans and performance standards for new stationary sources are covered in Part A as well. The list of hazardous air pollutants that the act establishes includes compounds of acetaldehyde, benzene, chloroform, phenols, and selenium. The list also includes mineral fiber emissions from manufacturing or processing glass, rock or slag fibers as well as radioactive atoms. The list can periodically be modified. The act lists unregulated radioactive pollutants such as cadmium, arsenic, and polycyclic organic matter and it mandates listing them if they will cause or contribute to air pollution that endangers public health, under section 7408 or 7412.[11]

text: The remaining subchapters cover smokestack heights, state plan adequacy, and estimating emissions of carbon monoxide, volatile organic compounds, and oxides of nitrogen from area and mobile sources. Measures to prevent unemployment or other economic disruption include using local coal or coal derivatives to comply with implementation requirements. The final subchapter in this act focuses on land use authority.[11]

text: Part B: Ozone Protection[edit]

text: Because of advances in the atmospheric chemistry, this section was replaced by Title VI when the law was amended in 1990.[12]

text: This change in the law reflected significant changes in scientific understanding of ozone formation and depletion. Ozone absorbs UVC light and shorter wave UVB, and lets through UVA, which is largely harmless to people. Ozone exists naturally in the stratosphere, not the troposphere. It is laterally distributed because it is destroyed by strong sunlight, so there is more ozone at the poles. Ozone is created when O2 comes in contact with photons from solar radiation. Therefore, a decrease in the intensity of solar radiation also results in a decrease in the formation of ozone in the stratosphere. This exchange is known as the Chapman mechanism:

text: Atmospheric freon and chlorofluorocarbons (CFCs) contribute to ozone depletion (Chlorine is a catalytic agent in ozone destruction). Following discovery of the ozone hole in 1985, the 1987 Montreal Protocol successfully implemented a plan to replace CFCs and was viewed by some environmentalists as an example of what is possible for the future of environmental issues, if the political will is present.

text: Part C - Prevention of Significant Deterioration of Air Quality[edit]

text: The Clean Air Act requires permits to build or add to major stationary sources of air pollution. This permitting process, known as New Source Review (NSR), applies to sources in areas that meet air quality standards as well as areas that are unclassifiable.[13] Permits in attainment or unclassifiable areas are referred to as Prevention of Significant Deterioration (PSD) permits, while permits for sources located in nonattainment areas are referred to as nonattainment area (NAA) permits.[14]

text: The fundamental goals of the PSD program are to:

text:
prevent new non-attainment areas by ensuring economic growth in harmony with existing clean air;
protect public health and welfare from any adverse effects;
preserve and enhance the air quality in national parks and other areas of special natural recreational, scenic, or historic value.[14]:3

text: Part D: Plan Requirements for Non-attainment Areas[edit]

text: Under the Clean Air Act states are required to submit a plan for non-attainment areas to reach attainment status as soon as possible but in no more than five years, based on the severity of the air pollution and the difficulty posed by obtaining cleaner air.

text: The plan must include:

text:
an inventory of all pollutants
permits
control measures, means and techniques to reach standard qualifications
contingency measures

text: The plan must be approved or revised if required for approval, and specify whether local governments or the state will implement and enforce the various changes. Achieving attainment status makes a request for reevaluation possible. It must include a plan for maintenance of air quality.

text: Title II: Emission Standards for Moving Sources[edit]

text: Part A: Motor Vehicle Emission and Fuel Standards[edit]

text: Subchapters of Title II cover state standards and grants, prohibited acts and actions to restrain violations, as well as a study of emissions from nonroad vehicles (other than locomotives) to determine whether they cause or contribute to air pollution. Motorcycles are treated in the same way as automobiles under the emission standards for new motor vehicles or motor vehicle engines. The last few subchapters deal with high altitude performance adjustments, motor vehicle compliance program fees, prohibition on production of engines requiring leaded gasoline and urban bus standards.[15]

text: This part of the bill was extremely controversial the time it was passed. The automobile industry argued that it could not meet the new standards. Senators expressed concern about impact on the economy. Specific new emissions standards for moving sources passed years later.

text: Part B: Aircraft Emission Standards[edit]

text: Many volatile organic compounds (VOCs) are emitted over airports and affect the air quality in the region. VOCs include benzene, formaldehyde and butadienes which are known to cause health problems such as birth defects, cancer and skin irritation. Hundreds of tons of emissions from aircraft, ground support equipment, heating systems, and shuttles and passenger vehicles are released into the air, causing smog. Therefore, major cities such as Seattle, Denver, and San Francisco require a Climate Action Plan as well as a greenhouse gas inventory. Additionally, federal programs such as the Voluntary Airport Low Emissions Program (VALE) are working to offset costs for programs that reduce emissions.[16]

text: Title II sets emission standards for airlines and aircraft engines and adopts standards set by the International Civil Aviation Organization (ICAO). However aircraft carbon dioxide emission standards have not been established by either ICAO nor the EPA.[17] It is the responsibility of the Secretary of Transportation, after consultation with the Administrator, to prescribe regulations that comply with 42 U.S. Code § 7571 (Establishment of standards) and ensure the necessary inspections take place.[18]

text: Part C: Clean Fuel Vehicles[edit]

text:
Trucks and automobiles play a large role in deleterious air quality. Harmful chemicals such as nitrogen oxide, hydrocarbons, carbon monoxide and sulfur dioxide are released from motor vehicles. Some of these also react with sunlight to produce photochemicals.[19] These harmful substances change the climate, alter ocean pH and include toxins that may cause cancer, birth defects or respiratory illness.
Motor vehicles increased in the 1990s since approximately 58 percent of households owned two or more vehicles.[19] The Clean Fuel Vehicle programs focused on alternative fuel use and petroleum fuels that met low emission vehicle (LEV) levels. Compressed natural gas, ethanol,[20] methanol,[21] liquefied petroleum gas and electricity are examples of cleaner alternative fuel. Programs such as the California Clean Fuels Program and pilot program are increasing demand that for new fuels to be developed to reduce harmful emissions.[19]

text: The California pilot program incorporated under this section focuses on pollution control in ozone non-attainment areas. The provisions apply to light-duty trucks and light-duty vehicles in California. The state also requires that clean alternative fuels for sale at numerous locations with sufficient geographic distribution for convenience. Production of clean-fuel vehicles isn't mandated except as part of the California pilot program.[11]

text: Title III: General Provisions[edit]

text: Under the law prior to 1990, EPA was required to construct a list of Hazardous Air Pollutants as well as health-based standards for each one. There were 187 air pollutants listed and the source from which they came. The EPA was given ten years to generate technology-based emission standards. Title III is considered a second phase, allowing the EPA to assess lingering risks after the enactment of the first phase of emission standards. Title III also enacts new standards with regard to the protection of public health.[22]

text: A citizen may file a lawsuit to obtain compliance with an emission standard issued by the EPA or by a state, unless there is an ongoing enforcement action being pursued by EPA or the appropriate state agency.[23]

text: Title IV: Noise Pollution[edit]

text: This title pre-dates the Clean Air Act. With the passage of the Clean Air Act, it became codified as Title IV. However, another Title IV was enacted in the 1990 amendments. The second Title IV was then appended to this Title IV as Title IV-A (see below).

text: This title established the EPA Office of Noise Abatement and Control to reduce noise pollution in urban areas, to minimize noise-related impacts on psychological and physiological effects on humans, effects on wildlife and property (including values), and other noise-related issues. The agency was also assigned to run experiments to study the effects of noise.

text: Title IV-A: Acid Deposition Control[edit]

text: This title was added as part of the 1990 amendments. It addresses the issue of acid rain, which is caused by nitrogen oxides (NOx) and sulfur dioxide (SO2) emissions from electric power plants powered by fossil fuels, and other industrial sources. The 1990 amendments gave industries more pollution control options including switching to low-sulfur coal and/or adding devices that controlled the harmful emissions. In some cases plants had to be closed down to prevent the dangerous chemicals from entering the atmosphere.[24]

text: Title IV-A mandated a two-step process to reduce SO2 emissions. The first stage required more than 100 electric generating facilities larger than 100 megawatts to meet a 3.5 million ton SO2 emission reduction by January 1995. The second stage gave facilities larger than 75 megawatts a January 2000 deadline.[24]

text: Title V: Permits[edit]

text: The 1990 amendments authorized a national operating permit program, covering thousands of large industrial and commercial sources.[25] It required large businesses to address pollutants released into the air, measure their quantity, and have a plan to control and minimize them as well as to periodically report. This consolidated requirements for a facility into a single document.[25]

text: In non-attainment areas, permits were required for sources that emit as little as 50, 25, or 10 tons per year of VOCs depending on the severity of the region’s non-attainment status.[26]

text: Most permits are issued by state and local agencies.[27] If the state does not adequately monitor requirements, the EPA may take control. The public may request to view the permits by contacting the EPA. The permit is limited to no more than five years and requires a renewal.[26]

text: Title VI: Stratospheric Ozone Protection[edit]

text: Starting in 1990, Title VI mandated regulations regarding the use and production of chemicals that harm the Earth’s stratospheric ozone layer. This ozone layer protects against harmful ultraviolet B sunlight linked to several medical conditions including cataracts and skin cancer.[28]

text: The ozone-destroying chemicals were classified into two groups, Class I and Class II. Class I consists of substances, including chlorofluorocarbons, that have an ozone depletion potential (ODP) (HL) of 0.2 or higher. Class II lists substances, including hydrochlorofluorocarbons, that are known to or may be detrimental to the stratosphere. Both groups have a timeline for phase-out:

text:
For Class I substances, no more than seven years after being added to the list and
For Class II substances no more than ten years.[29]

text: Title VI establishes methods for preventing harmful chemicals from entering the stratosphere in the first place, including recycling or proper disposal of chemicals and finding substitutes that cause less or no damage.[29] The Significant New Alternatives Policy (SNAP) Program is EPA's program to evaluate and regulate substitutes for the ozone-depleting chemicals that are being phased out under the stratospheric ozone protection provisions of the Clean Air Act.[30]

text: Over 190 countries signed the Montreal Protocol in 1987, agreeing to work to eliminate or limit the use of chemicals with ozone-destroying properties.[28]

text: History[edit]

text: This section may require cleanup to meet Wikipedia's quality standards. The specific problem is: There is a "History" subsection within this section; redundant & confusing. Overlapping material should be consolidated or deleted as appropriate. Please help improve this section if you can. (March 2017) (Learn how and when to remove this template message)

text: Legislation[edit]

text: Congress passed the first legislation to address air pollution with the 1955 Air Pollution Control Act that provided funds to the U.S. Public Health service, but did not formulate pollution regulation.[31] However, the Clean Air Act in 1963 created a research and regulatory program in the U.S. Public Health Service.[32] The Act authorized development of emission standards for stationary sources, but not mobile sources of air pollution.[33]:211 The 1967 Air Quality Act mandated enforcement of interstate air pollution standards and authorized ambient monitoring studies and stationary source inspections.[34]

text: In the Clean Air Act Extension of 1970, Congress greatly expanded the federal mandate by requiring comprehensive federal and state regulations for both industrial and mobile sources.[35] The law established four new regulatory programs:

text:
National Ambient Air Quality Standards (NAAQS). EPA was required to promulgate national standards for six criteria pollutants: carbon monoxide, nitrogen dioxide, sulfur dioxide, particulate matter, hydrocarbons and photochemical oxidants. (Some of the criteria pollutants were revised in subsequent legislation.)[33]:213[36]
State Implementation Plans (SIPs)
New Source Performance Standards (NSPS); and
National Emissions Standards for Hazardous Air Pollutants (NESHAPs).

text: The 1970 law is sometimes called the "Muskie Act" because of the central role Maine Senator Edmund Muskie played in drafting the bill.[37]

text: To implement the strict new Clean Air Act of 1970, during his first term as EPA Administrator William Ruckelshaus spent 60% of his time on the automobile industry, whose emissions were to be reduced 90% under the new law. Senators had been frustrated at the industry’s failure to cut emissions under previous, weaker air laws.[38]

text: The Clean Air Act Amendments of 1977 required Prevention of Significant Deterioration (PSD) of air quality for areas attaining the NAAQS and added requirements for non-attainment areas.[39]

text: The 1990 Clean Air Act added regulatory programs for control of acid deposition (acid rain) and stationary source operating permits. The amendments moved considerably beyond the original criteria pollutants, expanding the NESHAP program with a list of 189 hazardous air pollutants to be controlled within hundreds of source categories, according to a specific schedule.[40] The NAAQS program was also expanded. Other new provisions covered stratospheric ozone protection, increased enforcement authority and expanded research programs.[41]

text: History of the Clean Air Act[edit]

text: Introduction[edit]

text: The legal authority for federal programs regarding air pollution control is based on the 1990 Clean Air Act Amendments (1990 CAAA). These are the latest in a series of amendments made to the Clean Air Act (CAA), often referred to as "the Act." This legislation modified and extended federal legal authority provided by the earlier Clean Air Acts of 1963 and 1970.[7]

text: The 1955 Air Pollution Control Act was the first federal legislation involving air pollution; it authorized $3 million per year to the U.S. Public Health Service for five years to fund federal level air pollution research, air pollution control research, and technical and training assistance to the states. Subsequently, the act was extended for four years in 1959 with funding levels at $5 million per year. The act was then amended in 1960 and 1962. Although the 1955 act brought the air pollution issue to the federal level, no federal regulations were formulated. Control and prevention of air pollution was instead delegated to state and local agencies.[31]

text: The Clean Air Act of 1963 was the first federal legislation regarding air pollution control. It established a federal program within the U.S. Public Health Service and authorized research into techniques for monitoring and controlling air pollution. In 1967, the Air Quality Act was enacted in order to expand federal government activities. In accordance with this law, enforcement proceedings were initiated in areas subject to interstate air pollution transport. As part of these proceedings, the federal government for the first time conducted extensive ambient monitoring studies and stationary source inspections.

text: The Air Quality Act of 1967 also authorized expanded studies of air pollutant emission inventories, ambient monitoring techniques, and control techniques.[7]

text: Clean Air Act of 1970[edit]

text: The Clean Air Act of 1970 (1970 CAA) authorized the development of comprehensive federal and state regulations to limit emissions from both stationary (industrial) sources and mobile sources. Four major regulatory programs affecting stationary sources were initiated:

text:
the National Ambient Air Quality Standards [NAAQS (pronounced "knacks")],
State Implementation Plans (SIPs),
New Source Performance Standards (NSPS),
and National Emission Standards for Hazardous Air Pollutants (NESHAPs).

text: Enforcement authority was substantially expanded. This very important legislation was adopted at approximately the same time as the National Environmental Policy Act.[7][9]

text: Clean Air Act Amendments of 1977[edit]

text: Major amendments were added to the Clean Air Act in 1977 (1977 CAAA). The 1977 Amendments primarily concerned provisions for the Prevention of Significant Deterioration (PSD) of air quality in areas attaining the NAAQS. The 1977 CAAA also contained requirements pertaining to sources in non-attainment areas for NAAQS. A non-attainment area is a geographic area that does not meet one or more of the federal air quality standards. Both of these 1977 CAAA established major permit review requirements to ensure attainment and maintenance of the NAAQS.[7]

text: Clean Air Act Amendments of 1990[edit]

text: Another set of major amendments to the Clean Air Act occurred in 1990 (1990 CAAA). The 1990 CAAA substantially increased the authority and responsibility of the federal government. New regulatory programs were authorized for control of acid deposition (acid rain) and for the issuance of stationary source operating permits. The NESHAPs were incorporated into a greatly expanded program for controlling toxic air pollutants. The provisions for attainment and maintenance of NAAQS were substantially modified and expanded. Other revisions included provisions regarding stratospheric ozone protection, increased enforcement authority, and expanded research programs.[7]

text: Milestones[edit]

text: Some of the principal milestones in the evolution of the Clean Air Act are as follows:[7]

text: The Air Pollution Control Act of 1955

text:
First federal air pollution legislation
Funded research on scope and sources of air pollution

text: Clean Air Act of 1963

text:
Authorized a national program to address air pollution
Authorized research into techniques to minimize air pollution

text: Air Quality Act of 1967

text:
Authorized enforcement procedures involving interstate transport of pollutants
Expanded research activities

text: Clean Air Act of 1970

text:
Established National Ambient Air Quality Standards
Established requirements for State Implementation Plans to achieve them
Establishment of New Source Performance Standards for new and modified stationary sources
Establishment of National Emission Standards for Hazardous Air Pollutants
Increased enforcement authority
Authorized control of motor vehicle emissions

text: 1977 Amendments to the Clean Air Act of 1970

text:
Authorized provisions related to prevention of significant deterioration
Authorized provisions relating to non-attainment areas

text: 1990 Amendments to the Clean Air Act of 1970

text:
Authorized programs for acid deposition control
Authorized controls for 189 toxic pollutants, including those previously regulated by the national emission standards for hazardous air pollutants
Established permit program requirements
Expanded and modified provisions concerning National Ambient Air Quality Standards
Expanded and modified enforcement authority

text: Regulations[edit]

text: This section needs expansion with: additional regulations. You can help by adding to it. (June 2011)

text: Since the initial establishment of six mandated criteria pollutants (ozone, particulate matter, carbon monoxide, nitrogen oxides, sulfur dioxide, and lead), advancements in testing and monitoring have led to the discovery of many other significant air pollutants.[42]

text: However, with the act in place and its many improvements, the U.S. has seen many pollutant levels and associated cases of health complications drop. According to the EPA, the 1990 Clean Air Act Amendments has prevented or will prevent:

text:
Year 2010 (cases prevented)
Year 2020 (cases prevented)

Adult Mortality - particles
160,000
230,000

Infant Mortality - particles
230
280

Mortality - ozone
4,300
71,000

Chronic Bronchitis
54,000
75,000

Heart Disease - Acute Myocardial Infarction
130,000
200,000

Asthma Exacerbation
1,700,000
2,400,000

Emergency Room Visits
86,000
120,000

School Loss Days
3,200,000
5,400,000

Lost Work Days
13,000,000
17,000,000

text: This chart shows the health benefits of the Clean Air Act programs that reduce levels of fine particles and ozone.[43]

text:
In 1997 EPA tightened the NAAQS regarding permissible levels of the ground-level ozone that make up smog and the fine airborne particulate matter that makes up soot.[44][45] The decision came after months of public review of the proposed new standards, as well as long and fierce internal discussion within the Clinton administration, leading to the most divisive environmental debate of that decade.[46]
The new regulations were challenged in the courts by industry groups as a violation of the U.S. Constitution's nondelegation principle and eventually landed in the Supreme Court of the United States,[45] whose 2001 unanimous ruling in Whitman v. American Trucking Ass'ns, Inc. largely upheld EPA's actions.[47]

text: The Clean Air Act (CAA or Act) directs EPA to establish national ambient air quality standards (NAAQS) for pollutants at levels that will protect public health. EPA and American Lung Association promoted the 2011 Cross State Air Pollution Rule (CSAPR) to control ozone and fine particles. Aim was to cut emissions half from 2005 to 2014. It was claimed to prevent each year 400,000 asthma cases and save ca 2m work and schooldays lost by respiratory illness. Some states (e.g. Texas), cities and power companies sued the case (EPA v EME Homer City Generation).[48] The appeals-court judges decided by two to one that the rule is too strict. Based on appeals the power companies were allowed to continue thousands of persons respiratory illnesses prolonged time in the USA. According to the Economist (2013) the Supreme Court decision may affect how the EPA regulates other pollutants, including the greenhouse gases.[49]

text: Roles of the federal government and states[edit]

text: Although the 1990 Clean Air Act is a federal law covering the entire country, the states do much of the work to carry out the Act. The EPA has allowed the individual states to elect responsibility for compliance with and regulation of the CAA within their own borders in exchange for funding. For example, a state air pollution agency holds a hearing on a permit application by a power or chemical plant or fines a company for violating air pollution limits. However, election is not mandatory and in some cases states have chosen to not accept responsibility for enforcement of the act and force the EPA to assume those duties.

text: In order to take over compliance with the CAA the states must write and submit a state implementation plan (SIP) to the EPA for approval. A state implementation plan is a collection of the regulations a state will use to clean up polluted areas. The states are obligated to notify the public of these plans, through hearings that offer opportunities to comment, in the development of each state implementation plan. The SIP becomes the state's legal guide for local enforcement of the CAA. For example, Rhode Island law requires compliance with the Federal CAA through the SIP.[50] The SIP delegates permitting and enforcement responsibility to the state Department of Environmental Management (RI-DEM).

text: The federal law recognizes that states should lead in carrying out the Clean Air Act, because pollution control problems often require special understanding of local industries, geography, housing patterns, etc. However, states are not allowed to have weaker pollution controls than the national minimum criteria set by EPA. EPA must approve each SIP, and if a SIP isn't acceptable, EPA can take over CAA enforcement in that state.

text: The United States government, through the EPA, assists the states by providing scientific research, expert studies, engineering designs, and money to support clean air programs.

text: Metropolitan planning organizations must approve all federally funded transportation projects in a given urban area. If the MPO's plans do not, Federal Highway Administration and the Federal Transit Administration have the authority to withhold funds if the plans do not conform with federal requirements, including air quality standards.[51] In 2010, the EPA directly fined the San Joaquin Valley Air Pollution Control District $29 million for failure to meet ozone standards, resulting in fees for county drivers and businesses. This was the results of a federal appeals court case that required the EPA to continue enforce older, stronger standards,[52] and spurred debate in Congress over amending the Act.[53]

text: State Programs[edit]

text: Many states, or concerned citizens of the state, have established their own programs to help promote pollution clean-up strategies.

text: For example,(in alphabetical order by state)

text:
California - California's Clean Air Project - designed to create a smoke-free gaming atmosphere in tribal casinos
Georgia - The Clean Air Campaign
Illinois - Illinois Citizens for Clean Air and Water - coalition of farmers and other citizens to reduce harmful effects of large-scale livestock production methods
New York - Clean Air NY
Oklahoma - "Breathe Easy" - Oklahoma Statutes on Smoking in Public Places and Indoor Workplaces (Effective November 1, 2010)[54]
Oregon - Indoor Clean Air Act - Statutes on Smoking in Indoor Workplaces and Within 10ft of an Entrance[55]
Texas - Drive Clean Across Texas
Virginia - Virginia Clean Cities, Inc.

text: Interstate air pollution[edit]

text: Air pollution often travels from its source in one state to another state. In many metropolitan areas, people live in one state and work or shop in another; air pollution from cars and trucks may spread throughout the interstate area. The 1990 Clean Air Act provides for interstate commissions on air pollution control, which are to develop regional strategies for cleaning up air pollution. The 1990 amendments include other provisions to reduce interstate air pollution.

text: The Acid Rain Program, created under Title IV of the Act, authorizes emissions trading to reduce the overall cost of controlling emissions of sulfur dioxide.

text: Leak detection and repair[edit]

text: The Act requires industrial facilities to implement a Leak Detection and Repair (LDAR) program to monitor and audit a facility's fugitive emissions of volatile organic compounds (VOC). The program is intended to identify and repair components such as valves, pumps, compressors, flanges, connectors and other components that may be leaking. These components are the main source of the fugitive VOC emissions.

text: Testing is done manually using a portable vapor analyzer that read in parts per million (ppm). Monitoring frequency, and the leak threshold, is determined by various factors such as the type of component being tested and the chemical running through the line. Moving components such as pumps and agitators are monitored more frequently than non-moving components such as flanges and screwed connectors. The regulations require that when a leak is detected the component be repaired within a set amount of days. Most facilities get 5 days for an initial repair attempt with no more than 15 days for a complete repair. Allowances for delaying the repairs beyond the allowed time are made for some components where repairing the component requires shutting process equipment down.

text: Application to greenhouse gas emissions[edit]

text: EPA began regulating greenhouse gases (GHGs) from mobile and stationary sources of air pollution under the Clean Air Act for the first time on January 2, 2011. Standards for mobile sources have been established pursuant to Section 202 of the CAA, and GHGs from stationary sources are controlled under the authority of Part C of Title I of the Act.

text: Below is a table for the sources of greenhouse gases, taken from data in 2008.[56] Of all greenhouse gases, about 76 percent of the sources are manageable under the CAA, marked with an asterisk (*). All others are regulated independently, if at all.

text:
Source
Percentage

Electric Generation*
34%

Industry*
15%

Large Non-Agricultural Methane Sources*
5%

Light-, Medium-, and Heavy-Duty Vehicles*
22%

Other Transport
7%

Commercial and Residential Heating
7%

Agriculture
7%

HFCs
2%

Other
1%

text: Clean Air Act and environmental justice[edit]

text: By promoting pollution reduction, the Clean Air Act can help reduce heightened exposure to air pollution among communities of color and low-income communities.[57] Environmental researcher Dr. Marie Lynn Miranda notes that African American populations are “consistently overrepresented” in areas with the poorest air quality.[58] Dense populations of low-income and minority communities inhabit the most polluted areas across the United States, which is considered to exacerbate health problems among these populations.[59] High levels of exposure to air pollution is linked to several health conditions, including asthma, cancer, premature death, and infant mortality, each of which disproportionately impact communities of color and low-income communities.[60] The pollution reduction achieved by the Clean Air Act is associated with a decline in each of these conditions and can promote environmental justice for communities that are disproportionately impacted by air pollution and diminished health status.[60]

text: Clean Air Act violations[edit]

text: Major cases of Clean Air Act violations include:

text:
The Volkswagen emissions scandal (2015);
Caterpillar and five other manufacturers violated diesel engine emission standards (consent decree, July 1999)[61][better source needed]
Alleged violations by Hyundai and Kia which resulted in a total $100 million in civil penalties paid to the United States and to the California Air Resources Board.[62]

text: Effects[edit]

text: A 2017 study found that the Clean Air Act of 1970 led to an over 10 percent reduction in pollution ("ambient TSP levels") in counties that exceeded the pollution thresholds set by the Act in the three years after the regulation went into effect. The study found that this regulation-induced reduction in air pollution is caused affected workers to work more and earned one percent more in annual earnings. The authors estimate that cumulative lifetime income gain for each affected individual is approximately $4,300 in present value terms.[63]


document_title: Hoodwinked!

question_text: who is the voice of the wolf in hoodwinked

root

text: Hoodwinked!

text: Plot[edit]

text: Little Red Riding Hood (Anne Hathaway) discovers that the Big Bad Wolf (Patrick Warburton) has disguised himself as her grandmother. Granny (Glenn Close) jumps out of the closet tied up just as the axe-wielding woodsman (Jim Belushi) bursts through the window, startling everyone. The police quickly arrive, and Red, Wolf, Granny, and the Woodsman are questioned by Detective Nicky Flippers (David Ogden Stiers) about the events leading up to the incident.

tag: p

text: Red explains that she was delivering goodies for her grandmother when she discovered a threat from the mysterious Goodie Bandit. Hoping to save her Granny's recipes, she embarked upon a journey to take them to the top of a nearby mountain where her Granny lives. On her way, she encountered the Wolf, who asked her a series of suspicious questions. She managed to escape and eventually reached her Granny's house; however, she found the Wolf already waiting in ambush.

text: What at first seems to be an open-and-shut case becomes confused though, once it is learned that the Wolf is an investigative reporter. He reveals that he was searching for a lead on the identity of the Goody Bandit and had reason to believe that Red and Granny were the culprits. Locating Red, he questioned her, hoping to get to the bottom of the mystery. When Red escaped, he headed for her Granny's house and arriving first, went undercover, hoping to trick her into giving him the evidence he needed.

text: When questioned, the Woodsman, Kirk, reveals that he is in fact an aspiring actor who was only trying out for the part of a woodsman in a commercial. After his schnitzel truck was robbed by the Goody Bandit, he went out into the woods to get in character for his role and spent the rest of the day chopping trees. A large tree rolled after him and pushed him through the window of Granny's home. The investigation then turns to Granny, who reveals that, unbeknownst to her family, she is an extreme sports enthusiast. During a ski race earlier that day, she was attacked by the opposing team, but got away safely after learning that they were hired by the Goody Bandit.

text: Despondent over her Granny's lack of honesty, Red wanders off alone. Meanwhile, Nicky Flippers realizes that the one commonality between all four stories is a bunny named Boingo  (Andy Dick) and concludes that he is the Goody Bandit. However, Boingo has already sneaked into the home and stolen Granny's recipes. Red sees Boingo and follows him to his hideout at a cable car station, but the police pursue him in the wrong direction. Granny, the Wolf, and Kirk manage to locate Boingo as he is explaining his evil scheme to Red. Boingo plans to add an addictive substance to the stolen recipes and then destroy the forest, making way for new real estate for expanding his business.

text: The Wolf and Kirk go undercover to distract Boingo as Granny sneaks into his lair, but open conflict ensues. Boingo sends a bound and gagged Red down the mountain in a cable car loaded with explosives and Granny goes after her, with Boingo and his henchmen in pursuit. Red manages to free herself, and escapes with Granny, while the police, who have been located by the Wolf's squirrel assistant Twitchy (Cory Edwards), are waiting at the bottom of the mountain to arrest Boingo and his henchmen. Some time later, Kirk finds success as part of a yodeling troupe, and Red, Granny, the Wolf, and Twitchy are enlisted by Nicky Flippers to join a crime solving organization called Happily Ever After Agency.

text: Cast[edit]

text:
Anne Hathaway as Red Puckett
Glenn Close as Granny Puckett
Jim Belushi as Kirk, the Woodsman
Patrick Warburton as Alexander W. Wolf
Anthony Anderson as Det. Bill Stork
David Ogden Stiers as Det. Nicky Flippers
Xzibit as Chief Ted Grizzly
Chazz Palminteri as Woolworth
Andy Dick as Boingo
Cory Edwards as Twitchy
Benjy Gaither as Japeth the Goat
Ken Marino as Raccoon Jerry
Tom Kenny as Tommy
Preston Stutzman as Timmy
Tony Leech as Glen
Joshua J. Greene as Jimmy Lizard
Mark Primiano as 2-Tone
Kevin Michael Richardson as P-Biggie
Tara Strong as Zorra
Tye Edwards as Dolph
Kathryn J. Lovegren as Quill

tag: ul

text: Production[edit]

text:
"... I realize that there were other independently-funded projects being done at the same time, but... we were the first... the first kind of a new model and a new way of making an animated film. It was made with no studio money, overseas, then picked up by a major distributor. A few other animated films have followed this path, but not to the level of success that Hoodwinked was able to achieve. I know Veggie Tales had a movie come out earlier that year, but that was with a struck deal and brand recognition. Hoodwinked was this freak of nature that was made completely outside of the studio system and, thankfully, worked."
Cory Edwards, director of Hoodwinked! [4][5]

tag: div

text:
Hoodwinked! was one of the first independent computer-animated films to be produced without the aid of a distributor.[4][5] It was produced on a budget of less than $8 million,[2]
significantly less than a typical computer-animated film's budget.[6]
The costs of computer-animation software had only recently decreased to a price that was accessible to more than just major studios, and according to producer David Lovegren, "Six or seven years ago, the idea of doing Hoodwinked! as an independent [animated] feature would have been impossible."[7]

text:
The filmmakers only made the film independently by necessity,[8]
and Cory Edwards has said, "It's not a model to be followed. It was a once-in-a-lifetime, seat-of-your-pants kind of thing that just barely came off."[9]
However, he added that the process was worth going through to get the film made, and encouraged aspiring filmmakers to be willing to follow it.[9]

text: Development[edit]

text:
Brothers Cory and Todd Edwards founded Blue Yonder Films after a number of years spent producing commercials and music videos in Tulsa. Joined by their friend Preston Stutzman, who was put in charge of marketing for the company, they released their first feature film, Chillicothe, at the 1999 Sundance Film Festival. The three then moved to Los Angeles in pursuit of new opportunities, but did not find the amount of success that they had expected.[10]
Sue Bea Montgomery, who had served as an associate producer on Chillicothe, also tried to interest studios in working with them, but was met with indifference. She determined that they would have to find greater success in independent filmmaking before anyone would take interest in them and introduced the three to Maurice Kanbar, a successful entrepreneur who had made a minor investment in Chillicothe.[11][12]
They pitched a number of live-action ideas to Kanbar and proposed that he invest in a development division of their company, paying them and covering their rent in exchange for a significant portion of the rights to any scripts that they might sell. Kanbar however, was interested in a more direct approach, and preferred to focus on trying to produce a single film. He had always been a great admirer of animation and was impressed after being shown a direct-to-DVD computer-animated short film that Cory had made called Wobots. He suggested the possibility of producing an animated feature with them that would tell a familiar story with a twist, and gave them a month to come up with a story idea. Kanbar had expressed interest in Cinderella or Pinocchio, but the Edwards brothers did not like these ideas as they had already been done by Walt Disney.[12] A few days after the brothers' initial meeting with Kanbar, Todd found inspiration in non-linear crime dramas, such as Rashomon, Pulp Fiction, Run Lola Run, and Memento and came up with the idea of telling the fairy tale Little Red Riding Hood as a police investigation, using multiple points of view.[11][13]
Kanbar was taken with the idea and agreed to fully finance the film before even seeing a finished script,[11] with the initial intent of releasing the film directly to DVD.[6] In 2002, Kanbar and Montgomery founded Kanbar Entertainment and Kanbar Animation for the production of the film.[14][15]

text: Cory served as the film's main director, as he had more experience with animation, comedy, and children's entertainment, while Todd served as co-director. Montgomery and Stutzman were joined by Disney animation veteran David Lovegren as producers on the film,[7] and Cory's and Todd's sister Katie Hooten joined as an associate producer.[10] Tony Leech, who had worked with the Edwards brothers on Chillicothe, was initially hired as an editor, but gained story input as well.[12] He eventually proved to be so valuable to the production that he was given a role as co-director.[7]

text: Pre-production[edit]

text:
The filmmakers found independently producing the film to have both benefits and challenges. Although they were given a great amount of creative control by their executive producer Maurice Kanbar,[7] their small budget kept them from making potentially beneficial changes to the story once production was underway. Todd Edwards related that "Money doesn't just buy you more talent and more machinery, it also buys you flexibility on a story level. At Disney, if they don't like the third act, they just throw the whole thing out and re-animate the whole thing, even if it's finished ... We had no such luxury, and so in a way, you're watching our first version of the movie."[16]
Knowing ahead of time their inability to alter the film's script once animating had begun, an effort was made by the filmmakers to finalize the script as much as possible before the start of production, which is not a common practice for studio-produced animated films.[16]

text:
Turning away from the well-known archetypes of the Little Red Riding Hood characters, the filmmakers continued to look towards non-linear crime dramas for inspiration instead. Producer Preston Stutzman explained that "The whole film is about surprises and secret lives."[17]
Not wanting Red to be "boring" or "too innocent", she was patterned on James Dean and given the desire of leaving home to find her way in the world. Todd Edwards had the idea of basing the Wolf on Chevy Chase's character in Fletch, feeling that it would be fun to apply the character's dry, deadpan style of humor to an animated wolf, while Cory Edwards created the hyperactive character of Twitchy to serve as the Wolf's foil. Going against types, Red's Granny was written as a thrill-seeking action hero, while the strong Woodsman was written as being childishly incompetent.[17]

text:
The police officers were written to come across as everyday guys and Cory Edwards has explained that the decision to make three of them pigs was not politically motivated.[18]
Nicky Flippers was not a part of the story as it was initially conceived and prior to his creation, the investigation was going to be led by Chief Grizzly. After producer Sue Bea Montgomery and her husband pointed out similarities between the film and the 1950s television series The Thin Man, the Edwards brothers and Leech decided to introduce the character and his dog into the film as an homage.[18] They considered several different types of animals before settling on making him a frog.[15]

text:
Cory Edwards chose to approach the film predominantly as an action/comedy, instead of as a typical animated film, and wrote the script to appeal to audiences of any age like many of the films produced by Pixar or Disney.[19]
Road Runner, Rocky and Bullwinkle, and The Muppets have all been cited as inspirations for the film. An attempt was made to distance the film from Shrek and other similar themed films that had been recently released, by excluding magic, wizards, and fairies from the film.[20]
Cory Edwards also strived for a different style of humor than Shrek, choosing to make his film more family friendly and less of a satire.[21]

text: Working out of Tony Leech's apartment, Cory Edwards sketched the film's storyboards, Todd Edwards wrote the script while simultaneously writing the songs, and Leech edited the story reel on his Mac computer.[4][5] Producer Sue Bea Montgomery showed test screenings of the story reel to children in her neighborhood, and gained input from their reactions. The filmmakers had been considering removing Japeth, but chose not to when he proved popular at these screenings. The children also particularly liked Twitchy, which led to the expansion of the character's role.[22]

text:
In an effort to save costs, the film's cast was originally going to be composed mostly of friends and family members of the filmmakers.[6][23]
Cory and Todd brought in their cousin Tye Edwards to play Dolph and turned to their friend Joshua J. Greene to play Jimmy Lizard.[23][24]
Japeth was written specifically for Benjy Gaither, the son of gospel music singers Bill and Gloria Gaither. He had been a friend of the Edwards brothers since childhood and Cory's short film Wobots had been produced through his animation studio Live Bait Productions.[12][25]
Cory's wife Vicki was given the role of a skunk reporter, and while some consideration was initially given to having an adult play the child woodpecker Quill, the role was instead given to producer David K. Lovegren's daughter Kathryn.[26]
The Edwards brothers, Leech, and producer Preston Stutzman all took on roles as well.[23] Cory took on the role of Twitchy, and Pro Tools was used to speed up the recording of his dialogue by 50 percent.[27]
Todd played Sandwich Man, Leech played both Det. Bill Stork and Glen, and Stutzman played Timmy.[2]

text: As the producers gained greater confidence in the film however, larger name actors were brought in.[6] Patrick Warburton was the first celebrity actor to join the film and did so purely out of a love for the script. Though Cory Edwards had originally envisioned the Wolf as sounding like a mixture between a young Chevy Chase and Bill Murray, he praised Warburton's performance, saying that he "made the Wolf his own character."[17] Andy Dick also joined the cast early on, to voice Boingo. He used improvisation and approached the role differently from how it had been written, interpreting the character as victimized and unstable. The filmmakers were enthusiastic over Dick's angle on the character, and Todd Edwards said, "What we had written was kind of stock, to be honest, but Andy Dick, well, where he was supposed to laugh, he'd be crying. Where he was supposed to yell, he'd be laughing. He just mixed it up!"[17] Prolific voice performers Tara Strong, David Ogden Stiers, and Tom Kenny were cast in multiple roles. Strong was cast as Red and Zorra, Stiers was cast as Kirk, the Woodsman and Nicky Flippers, and Kenny was cast as Tommy and Woolworth the Sheep.[2] Emmy-winning actress Sally Struthers was brought in to play Granny Puckett and Joel McCrary was cast as Chief Grizzly.[2][24]

text: Animation[edit]

text:
"I'll be real honest, there are many, many shots that I wince at when I see them, because it's not my standard of excellence. I know they could be better, but there comes a time at the end of the day where we just had to give up on some things. So to hear critics and people on the internet, like, ranting about it, we all want to yell back and go, "We know! We know it's bad! But this is what we could do!" And the fact that the film is successful in spite of that is really cool, because it basically says to the industry, not to continue to make poorly animated films, but to say, "Look at what the story and the charming characters did; they were able to surpass the bad animation and the technical problem."
Cory Edwards, director of Hoodwinked!, on the quality of the film's animation.[12]

text:
The film's animation was created on Maya software, and in an effort to save costs, was produced in Manila, Philippines.[7][28]
Producers Sue Bea Montgomery and David K. Lovegren founded the animation studio Digital Eyecandy for the purpose of the film's production[29]
and stationed it in a 5,000-square-foot rented house. Cory Edwards traveled to this studio a total of fifteen times over the course of the film's three-year production and has explained that although the house was located in an expensive part of Manila, the rent was no more than that of his two-bedroom apartment in Los Angeles.[13] When Cory was not able to be on site, Todd took over directing duties. "Along with Tony, we were kind of a 'three headed monster,'" Cory explains. "We all knew what movie we were making, and I trusted those guys to make creative calls when I couldn't be there." Lovegren had attempted to start an independent animation studio in the Philippines before in 2001, but the studio, called ImagineAsia, was closed after it failed to attract business. Digital Eyecandy hired approximately twenty animators that had previously been employed by ImagineAsia[7][30]
and at one point, the studio reached fifty employees.[13]

text: The film's animators had little experience with computer-animation and feature-length films, and had to be trained by the producers over the course of the film's production.[8] Since none of the animators were specialists, they were not divided into specific teams, but instead each worked on all areas of the animating process. The filmmakers found this to be a poor method though, because it kept the individual skills of the animators from being optimized. Due to their independent backgrounds, the animators were accustomed to working at fast paces, and despite their small numbers, each phase of production was able to be completed within a short period of time.[9] Still, schedule and budget restraints led the filmmakers to enlist Prana Studios in Mumbai, India to perform lighting and compositing.[29]

text: The filmmakers found that the most difficult aspect of producing the film independently was their inability to fix all of the mistakes made in the film's animation.[6][16] Todd Edwards explained that "it becomes an equation: 'I have 10 things that I would like to change in this shot. I have the time and the budget to do three. Pick those three and then let's move on.' And that was hard to do."[16]

text: Knowing that they could not match the quality of other computer-animated films, the film was instead designed to imitate the look of stop motion. Cory Edwards cited Rankin-Bass as an inspiration and explained, "If we approach our look like that – photographed miniatures in stop-motion – and if that nostalgia resonates with our audience as far as that look, then we're not going to shoot ourselves in the foot trying to put every freckle and hair on photoreal creatures."[7] Edwards contrasted the technically innovative, but critically panned 1986 film Howard the Duck with the simple, but beloved puppet character Kermit the Frog to illustrate to his crew the importance of well-written, likeable characters over technical quality.[12]

text: Distancing the film from what producer Preston Stutzman called the "candy-coated, brightly colored pastel world[s]" of other CG animated films, an attempt was made to bring an organic look to the film, and dirt was rubbed into the colors.[17] The Nightmare Before Christmas was cited as an inspiration for the filmmakers to try to bend the characters' shapes into extremes, and many other choices unconventional to computer-animated films were also made. For example, one of the Woodsman's eyes was made bigger than the other, and Red was given only four fingers, so as to make her look more like a doll. Producer Katie Hooten explained that "CG in the past has been pushing the envelope to make things look more realistic, but Hoodwinked takes things back to where CG looks a lot more like a cartoon."[9]

text: Music[edit]

text:
The film's score was composed by John Mark Painter, who along with his wife Fleming McWilliams, constituted the rock duo Fleming and John in the 1990s. The Edwards brothers were fans of the group and first met Painter while Cory was performing in an animated film on which Painter served as the composer.[12] The score was inspired by music from the 1960s and the soundtracks to Planet of the Apes, Dark Shadows, and The Untouchables have been cited as influences, as well as the works of Henry Mancini.[31]
It was recorded in Nashville, Tennessee, where Kristin Wilkinson served as the orchestrator and conductor.[32][33]

text:
In an effort to appeal to older audience members, Todd Edwards chose to replace parts of Painter's score with original rock music. From this came the song "Little Boat", written and sung by Daniel Rogers, who had composed Edwards' first film Chillicothe.[20][34]
"Runaway" was written by Joshua J. Greene, a friend of the Edwards brothers, who also provided the voice of Jimmy Lizard in the film.[24] "The Real G", sung by Cory Edwards and "Bounce", sung by Todd Collins were both written by Painter and Cory Edwards.  "Blow Your House Down" was performed by the Filipino band Pupil and written by their lead singer Ely Buendia.[35]

text:
Todd Edwards wrote nine original songs for the film and sung four of them: "Critters Have Feelings", "Tree Critter", "Eva Deanna", and "Glow". "Eva Deanna" was written about a day that he and his wife spent at the zoo with their niece, the daughter of associate producer Katie Hooten.[36]
"Great Big World" was sung by Anne Hathaway and replaced another song called "Woods Go-Round", which Edwards considered too childish and described as being "in the vein of Saturday morning cartoons." This change required the scene to be re-animated and re-cut.[20] "Be Prepared" was sung by Benjy Gaither and developed out of a practicality; the filmmakers wanted to introduce Japeth while the character is rocking back and forth on his horns, as though the horns are a rocking chair. However, they realized that this would make the horns too big to fit in a minecart later on in the film. As a solution, they came up with the gag of having the character switch his horns several times, and this led to the song's concept.[37]
McWilliams joined Jim Belushi to sing "The Schnitzel Song" and Painter asked his longtime friend Ben Folds to sing "Red is Blue", a selection strongly advocated for by Edwards. Folds was working on a new album at the time, but a year after the proposal, found the opportunity to record the song and compose a piano arrangement for it as well.[38]
"Top of the Woods" was sung by Andy Dick and was originally composed to be slow-paced. The recording of Dick's performance was sped up though at the suggestion of Ralf Palmer, a prolific animator and friend of producer Sue Bea Montgomery.[39]

text: Distribution[edit]

text:
"Sally Struthers was the original Granny for two years of the project. She did a fantastic voice. When Glenn Close walked in, she said, 'Why do you need me? Sally did a great job.' I didn't want to say 'because Harvey made us.' I'm friends with Sally through some other people – I ended up writing her a nice note... Sally did more of a southern, battleaxe granny, Glenn's was more a prim and proper one."
Cory Edwards, director of Hoodwinked!, on the recasting of Sally Struthers.[24]

text: Hoodwinked! was shown to potential distributors throughout various stages of its production. Though a distribution offer was made by DreamWorks, it was turned down as the filmmakers did not feel that it was a good deal.[40] As the film neared the end of production, it was screened at the Cannes Film Festival. Harvey and Bob Weinstein were also at the festival at the time, screening Robert Rodriguez's film Sin City, which they were distributing through their then newly formed studio, The Weinstein Company. They decided to pick Hoodwinked! up for distribution after it was brought to their attention by Rodriguez's wife, whose attorney also happened to work for Blue Yonder Films.[14][40][41][42]

text: The Weinsteins had recently left the Walt Disney Company and according to Cory Edwards, they "loved the idea of picking up an animated film and giving Disney a run for their money."[40] The involvement of the Weinstein Company encouraged Kanbar enough to enlist Skywalker Sound.[4][5] The film was nearly complete by the time that the Weinsteins became involved, and Edwards has stated that nothing was done by them to ruin "the original vision of the movie." However, a few edit suggestions were made to quicken the film's pace which Edwards felt were good ideas, as he considered the first twenty minutes to be dragging.[41]

text: The Weinstein Company also heavily recast the film with bigger-name actors in the hopes of attracting a larger audience. Anne Hathaway replaced Tara Strong in the lead role of Red; Jim Belushi replaced David Ogden Stiers in the role of Kirk, the Woodsman; Anthony Anderson replaced Tony Leech in the role of Det. Bill Stork; Glenn Close replaced Sally Struthers in the role of Granny Puckett; Xzibit replaced Joel McCrary in the role of Chief Grizzly; and Chazz Palminteri replaced Tom Kenny in the role of Woolworth the Sheep.[2] Despite these recastings, Tara Strong retained the much-smaller role of Zorra, David Ogden Stiers retained the role of Nicky Flippers, Tom Kenny retained the role of Tommy, and Tony Leech retained the role of Glen. Many high-profile country singers were considered to replace Benjy Gaither in the role of Japeth, but none of them were available and Gaither retained the role. The Weinsteins also wanted to replace Joshua J. Greene in the role of Jimmy Lizard with a more famous actor such as Albert Brooks, but the role was ultimately not recast. Edwards appreciated the reason for the recastings and attributed a large part of the film's financial success to them. He expressed disappointment about the amount of recasting however, saying, "At a certain point it became Recast-o-Rama, everybody got recast-happy. My feeling is, you get two or three names on that poster, you're fine. Our Hoodwinked poster has like a paragraph of names on it. After a certain point, I don't think you need more than two, three celebrities – give it to the voice actors. It sweetens the pot."[24] Since the film's animation had already been mostly completed by the time the recastings were made, the new actors had to deliver their lines exactly as the old actors had done, giving them no opportunity to improvise. Edwards expressed disappointment with the fact that the original actors would not get any credit for their improvisations in the film, which were copied by the replacement actors.[24]

text: Soundtrack[edit]

text:
Hoodwinked: Original Motion Picture SoundtrackSoundtrack album by various artistsReleased
December 2005Genre
SoundtrackLength
48:35Label
RykodiscProducer
various artists

tag: table

text:
The soundtrack was released in December 2005. Owing to legal disputes, the CD was pulled off of the market a month after its release[43]
and was not available again until November 2009.[44]
It was re-released on iTunes in January 2010.[45]

text: showTrack listingNo.TitlePerformer(s)Length1."Into the Book"Instrumental0:332."Great Big World"Anne Hathaway1:573."Critters Have Feelings"Todd Edwards3:344."Nicky Intro"Instrumental0:165."Red is Blue"Ben Folds4:216."Be Prepared"Benjy Gaither2:467."Go Flippers"Instrumental0:108."Little Boat"Daniel Rogers4:389."Red/Wolf Stare-Down"Instrumental0:1110."Runaway"Josh Greene3:0111."The Schnitzel Song"Fleming K. McWilliams and Jim Belushi2:0412."Tree Critter"Todd Edwards2:5413."Three G's"Instrumental0:2314."The Real G"Cory Edwards2:4415."Blow Your House Down" (Instrumental Version)Pupil1:0216."Hoodwinked Theme" (Granny Techno Mix) (Banzai!)Instrumental0:5517."Eva Deanna"Todd Edwards1:2418."Chopping for Actors"Instrumental0:2619."Glow"Todd Edwards1:1720."Nicky Knows"Instrumental3:1921."Top of the Woods"Andy Dick2:4122."Delivery Girl"Instrumental0:1923."Lair Rescue"Instrumental0:3224."Cable Car Rescue/End of the Line"Instrumental1:3625."Bounce"Todd Collins3:5126."Bossa for Boingo"Instrumental1:2027."Hoodwinked Theme" (Surfer Version)Instrumental0:21Total length:48:35

text: Release[edit]

text:
Hoodwinked! received a one-week, limited release in Los Angeles on December 16, 2005 to qualify for Oscar consideration.[46]
A nationwide U.S. release was scheduled for Christmas Day, 2005, but it was moved to January 13, 2006 to avoid competition with other films released during the holiday season.[41]

text: Box office[edit]

text:
In its opening four-day weekend, Hoodwinked! grossed $16,879,402 in 2,394 theaters in the United States, ranking No. 2 at the box office and averaging $7,050 per venue.[47]
It fell $50,000 short of Glory Road, which took the box office's number-one spot that week.[48]
The film maintained its number-two spot in the box office for its second weekend, dropping 16.1 percent, and placed in the top ten for a total of five weeks.[47] At the end of its theatrical run it had grossed a total of $110,013,167 worldwide – $51,386,611 in the United States and $58,626,556 in other territories.[3]

text: Critical reception[edit]

text: Hoodwinked! received mixed reviews from critics. On Rotten Tomatoes, the film has a rating of 47%, based on 124 reviews. The site's consensus reads, "This fractured fairytale doesn't have the wit or animation quality to compete with the likes of the Shrek franchise."[49] On Metacritic, it received a score of 45 out of 100, based on 29 critics, indicating "mixed or average reviews".[50]

text: James Berardinelli of ReelViews gave the film two and a half stars out of four, and claimed that many of the film's ideas for altering its familiar storyline "sound better on paper than they turn out in execution." Finding it tedious to view the film's story told multiple times, he wrote that the film "slips into boredom."[51] Bruce Westbrook of the Houston Chronicle also gave the film two and a half stars, and although he praised its "snappy dialogue and fresh characterizations", he considered the film's plot underdeveloped and characters lacking in motivation.[52] Peter Rainer writing for The Christian Science Monitor gave the film a C+ and called it "a moderately enjoyable escapade that isn't quite clever enough for adults and not quite imaginative enough for children."[53] He was not overly critical of the film, but felt that it was a disappointment in comparison to the high standards for computer-animated films set by Pixar.[53] Jami Bernard of the New York Daily News suggested that timelessness is a necessary component of an animated classic, and faulted the film for its attempt to be hip and current.[54] While Ty Burr of The Boston Globe praised the film's vocal performances, he wrote, "Hoodwinked never builds to a level of sustained comic mania ... One aches to think what the great Looney Tunes directors could have done with this material."[55]

text:
Several critics however, were more enthusiastic about the film. Owen Gleiberman of Entertainment Weekly gave Hoodwinked! an A- and praised the zaniness of its humor. Calling the filmmakers heroes, he compared them to Quentin Tarantino and Steven Soderbergh due to their potential for bringing independent filmmaking to prominence in animation.[56]
Although Nancy Churnin of the Dallas Morning News considered the film inferior to those of Pixar and DreamWorks, she still gave it a B and wrote, "it's got an upstart charm, a clever premise, appealing characters voiced by a terrific cast and a script that should make you laugh out loud more than once."[57]
In his review for the Chicago Tribune, Michael Wilmington praised the film's voice cast, music, and script, and wrote, "it packs more verbal wit and surprise than the usual cartoon."[58]
Kevin Thomas of the Los Angeles Times gave it three and a half stars out of five calling it "high-energy, imaginative entertainment".[46]

text:
Japeth was praised amongst both positive and negative reviews. Gleiberman and Churnin both felt that the character was one of the best parts of the film,[56][57] and Westbrook and Wilmington both described him as "a hoot". In a mostly positive review for the Orlando Sentinel, Roger Moore called the character hilarious,[59]
while in a mostly negative review for Variety, Justin Chang wrote that the character "steals the show every minute he's onscreen."[1]

text: One of the main criticisms of the film was the poor quality of its animation. Berardinelli called it some of the worst CGI animation in memory. He felt that the characters looked plastic, considered the backgrounds dull, and wrote, "On more than one occasion, I thought I was watching something made for TV. When compared to today's visual standards for animated films, Hoodwinked is far below the curve."[51] Burr considered the film's surfaces poorly rendered and compared them to "Teletubbieland reupholstered with Naugahyde."[55] Westbrook felt that the animation worked well for the animal characters, but wrote, "the humans have a glassy sheen and brittle hardness, much like work done in the early days of CG ...  That art has come too far to embrace a throwback like Hoodwinked as lovably quaint. It's simply dated."[52] Stephen Hunter of The Washington Post compared the characters to rubber toys, and wrote, "their faces are without nuance or vividness ... In movement, especially, do they lack grace and conviction. It seems like the recent breakthroughs in computerized magic have bypassed the poor Edwards fellows, as it looks stuck somewhere in the 1970s, or maybe even earlier."[60]

text: Many reviews negatively compared the film to the Shrek series. Liam Lacey of The Globe and Mail considered the film to be "a sort of discount Shrek",[61] while Burr called it "Shrek with added drek."[55] Westbrook wrote that "Echoing such a popular predecessor as Shrek is not a good thing – especially when the echo is so faint."[52] Berardinelli felt that the fairy tale references were not as smartly done as in the first Shrek film,[51] while Bernard felt that Hoodwinked! took fairy tale revisionism too far. He felt that the humor in Shrek worked due to the fairy tale characters remaining in character throughout the film, and wrote, "It's pointless to scold them for behaving the way fairy tales intended, and that's far funnier than turning them into breakdancing anachronisms."[54] Bill Muller of The Arizona Republic, considered Red's kung fu abilities to be overly similar to Princess Fiona's "Matrix agility."[62] Gleiberman also noted the similarities between the film and Shrek, but he was positive in the comparison, feeling that its independent production gave the filmmakers "the freedom to follow their flakiest corkscrew whims."[56] While Wilmington did not find Hoodwinked! as impressive or beguiling as Shrek, he wrote that "when it's cooking, it does make you laugh."[58]

text: Retrospectively, several critics noted that the film was considerably better than the 2007 computer-animated fairy tale parody film Happily N'Ever After. Although Burr had given Hoodwinked! a negative review, he likened the film to Citizen Kane in comparison to Happily N'Ever After.[63] Wilmington also considered Hoodwinked! the superior of the two films,[64] and Lou Lumenick of the New York Post felt that the film was far wittier than Happily N'Ever After.[65] While Christy Lemire of Associated Press likened Hoodwinked! to a poor man's Shrek, she went on to call Happily N'Ever After a poor man's Hoodwinked![66]

text: In 2018, Richard Brody of The New Yorker called Hoodwinked! one of the top independent films for families. Acknowledging the crudeness of the animation, he nonetheless praised the writing as "bold and funny" and wrote that the direction "displays admirable comic timing."[67] Brody considered the character personalities distinct from those in other animated comedies. He also commended the vocal performances for having a "zippy, brash energy that doesn't feel condescending".[67]

text: Hoodwinked! received a Saturn Award nomination for Best Animated Film at the Academy of Science Fiction, Fantasy & Horror Films,[68] but lost to Corpse Bride.[69] Entertainment Weekly ranked the film as number ten on "The Must List" for its January 27, 2006 issue, calling it a "genre-busting indie animated gem."[70]

text: Home media[edit]

text:
Hoodwinked! was released on DVD on May 2, 2006 and on Blu-ray and DVD on February 15, 2011. The film was the best-selling DVD in its initial week of release, selling over 700,000 copies and making over $13.5 million.[71]
A twenty-two-minute behind the scenes video podcast is available for free on iTunes.[72]

text: Analysis[edit]

text: In February 2006, author Timothy Sexton wrote an article titled "Hoodwinked: A Postmodern Examination of the Dangers of Runaway Capitalism" for Associated Content, in which he posited that Hoodwinked! was one of the first postmodern animated films and also carried political undertones. He argued that the relative nature of truth was shown by revealing deviations from the original fairy tale as the film explored the story from each of the central characters' points of view. Calling Hoodwinked! "the most subversive movie released nationwide since Fahrenheit 9/11",[73] Sexton went on to interpret the film as a critique on the free enterprise system. He drew comparisons between the film's villain and the typical American business owner, going so far as to say that the character was "clearly based on people like Bill Gates and Sam Walton".[73] In Sexton's view, the film exposed the flaws of capitalism, showing that if left unregulated, business owners will establish monopolies and eliminate competition.[73]

text: The film's director and co-writer Cory Edwards was surprised by Sexton's interpretation and denied that the film intentionally carried any political messages. He explained that he and the other filmmakers were simply drawing from the evil schemes common of James Bond films, Bugs Bunny cartoons, and The A-Team, and wrote "If Mr. Sexton sees my movie as a sermon against mega-corporations monopolizing America, that's fine. But our villain is just as easily the face of every dictator in history, or every schoolyard bully who is compensating for low self-esteem, or any Mafia boss who dominates by either absorbing or wiping out his competition. Hey, if you look at an abstract painting and see the devil in a red splotch, that's your prerogative ... I guess a movie's message is only partially supplied by the filmmaker."[74]

text: In May 2007 Time magazine ran an article by James Poniewozik titled "Is Shrek Bad for Kids?" which considered the negative effects on children of being raised with fairy tale satires, instead of the original stories. Poniewozik mentioned Hoodwinked! writing, "I thought Hoodwinked! and most of the Shrek series were hilarious ... But even if you ultimately reject their messages, old-school fairy tales are part of our cultural vocabulary. There's something a little sad about kids growing up in a culture where their fairy tales come pre-satirized, the skepticism, critique and revision having been done for them by the mama birds of Hollywood."[75] Cory Edwards wrote into the magazine, expressing his similar sentiments and writing, "As the writer-director of Hoodwinked, it may surprise you that I couldn't agree more with James Poniewozik's article. Even as I was making the film, I asked myself the same question: Are we parodying something that kids should have the chance to experience first, 'un-parodied?' We went to great lengths to distance our film from Shrek's humor (and no, I don't think Shrek considers kids). I would hope that Hoodwinked and its sequels will be seen as trying to do something genuine with its characters, rather than look for the next joke at the expense of innocence. We ALL need the real folklore of fairytales, whether we admit it or not."[21]

text: Sequel[edit]

text:
A sequel, Hoodwinked Too! Hood vs. Evil, was released on April 29, 2011. It was first announced in January 2006[76]
and in February, Cory Edwards, Todd Edwards, and Tony Leech explained that although they would be writing the screenplay, they would not return to direct.[20] Cory Edwards later elaborated on this decision, explaining that he had a negative experience working with some of the first film's "key players" and felt that he had been poorly treated by them.[77]
He also cited concerns over being confined to animation, and stated that he felt it would be a lateral move to direct a sequel to his first film as his second film.[77] In March 2007, Edwards announced that Mike Disa had been hired to direct the sequel and expressed enthusiasm over his involvement, saying that he "has a real passion for the film and a devotion to maintaining the Hoodwinked world. He wants to do the sequel justice and he really gets what we're trying to do."[78]
Although much of the first film's cast returned for the sequel, Anne Hathaway was replaced by Hayden Panettiere in the role of Red and Jim Belushi was replaced by Martin Short in the role of Kirk, the Woodsman.[79]

text:
Kanbar Entertainment initially intended to finance production of the sequel independently as it had done with the first film, but entered into a co-financing agreement proposed by The Weinstein Company.[80]
The film was initially scheduled to be released on January 15, 2010, but in December 2009, The Weinstein Company postponed the film's release date indefinitely.[81]
In April 2010, Kanbar Entertainment brought a lawsuit against The Weinstein Company. In addition to claiming that the postponement of the film's release date breached an agreement between the two companies, the lawsuit accused the Weinstein Company of not contributing to monthly production accounts after February, 2009, neglecting to consult Kanbar Entertainment of a release strategy, and not responding to proposed changes to the film, even though Kanbar Entertainment held "final authority on production decisions".[80]

text:
The film was a financial failure, earning $16.9 million worldwide; only about half of its budget.[82][83]
Critical reception to the film was almost universally negative, with a Rotten score of 11% across 61 reviews on Rotten Tomatoes[84] and a score of 20/100 on Metacritic.[85]
Cory Edwards expressed disappointment with the finished film, indicating that it was heavily altered from the original script and saying that it was "deflating to give this thing away and watch others run with it in ways I would not."[86]


document_title: Color wheel

question_text: where are analogous colors located in relation to each other on a color wheel

text: Color wheel

text: Colors of the color wheel[edit]

text: The typical artists' paint or pigment color wheel includes the blue, red, and yellow primary colors. The corresponding secondary colors are green, orange, and violet or purple. The tertiary colors are green-yellow, yellow–orange, orange-red, red–violet, violet-blue and blue–green.

text: A color wheel based on RGB (red, green, blue) or RGV (red, green, violet) additive primaries has cyan, magenta, and yellow secondaries (cyan was previously known as cyan blue). Alternatively, the same arrangement of colors around a circle can be described as based on cyan, magenta, and yellow subtractive primaries, with red, green, and blue (or violet) being secondaries.

text: Most color wheels are based on three primary colors, three secondary colors, and the six intermediates formed by mixing a primary with a secondary, known as tertiary colors, for a total of 12 main divisions; some add more intermediates, for 24 named colors. Other color wheels, however, are based on the four opponent colors, and may have four or eight main colors.

text: Goethe's Theory of Colours provided the first systematic study of the physiological effects of color (1810). His observations on the effect of opposed colors led him to a symmetric arrangement of his color wheel anticipating Ewald Hering's opponent color theory (1872).

text: ...for the colours diametrically opposed to each other... are those that reciprocally evoke each other in the eye.

text: The color circle and color vision[edit]

text: A color circle based on spectral wavelengths appears with red at one end of the spectrum and is 100% mixable violet at the other. A wedge-shaped gap represents colors that have no unique spectral frequency. These extra-spectral colors, the purples, form from additive mixture of colors from the ends of the spectrum.

text: In normal human vision, wavelengths of between about 400 nm and 700 nm are represented by this incomplete circle, with the longer wavelengths equating to the red end of the spectrum. Complement colors are located directly opposite each other on this wheel. These complement colors are not identical to colors in pigment mixing (such as are used in paint), but when lights are additively mixed in the correct proportions appear as a neutral grey or white.[11]

text: For example: the reason that the Wimbledon tennis tournament uses purple on the Wimbledon official logo is that purple is located almost opposite of green on the color wheel. Purple against green provides good contrast.[12]

text: The color circle is used for, among other purposes, illustrating additive color mixture. Combining two colored lights from different parts of the spectrum may produce a third color that appears like a light from another part of the spectrum, even though dissimilar wavelengths are involved. This type of color matching is known as metameric matching.[13] Thus a combination of green and red light might produce a color close to yellow in apparent hue. The newly formed color lies between the two original colors on the color circle, but they are usually represented as being joined by a straight line on the circle, the location of the new color closer to the (white) centre of the circle indicating that the resulting hue is less saturated (i.e., paler) than either of the two source colors. The combination of any two colors in this way are always less saturated than the two pure spectral colors individually.

text: Objects may be viewed under a variety of different lighting conditions. The human visual system is able to adapt to these differences by chromatic adaptation. This aspect of the visual system is relatively easy to mislead, and optical illusions relating to color are therefore a common phenomenon. The color circle is a useful tool for examining these illusions.

text: Arranging spectral colors in a circle to predict admixture of light stems from work by Sir Isaac Newton. Newton's calculation of the resulting color involves three steps: First, mark on the color circle the constituent colors according to their relative weight. Second, find the barycenter of these differently weighted colors. Third, interpret the radial distance (from the center of the circle to the barycenter) as the saturation of the color, and the azimuthal position on the circle as the hue of the color. Thus, Newton's color circle is a predecessor of the modern, horseshoe-shaped CIE color diagram.

text: The psychophysical theory behind the color circle dates to the early color triangle of Thomas Young, whose work was later extended by James Clerk Maxwell and Hermann von Helmholtz. Young postulated that the eye contains receptors that respond to three different primary sensations, or spectra of light. As Maxwell showed, all hues, but not all colors, can be created from three primary colors such as red, green, and blue, if they are mixed in the right proportions.

text: Color wheels and paint color mixing[edit]

text: There is no straight-line relationship between colors mixed in pigment, which vary from medium to medium. With a psychophysical color circle, however, the resulting hue of any mixture of two colored light sources can be determined simply by the relative brightness and wavelength of the two lights.[13] A similar calculation cannot be performed with two paints. As such, a painter's color wheel is indicative rather than predictive, being used to compare existing colors rather than calculate exact colors of mixtures. Because of differences relating to the medium, different color wheels can be created according to the type of paint or other medium used, and many artists make their own individual color wheels. These often contain only blocks of color rather than the gradation between tones that is characteristic of the color circle.[14]

text: Color wheel software[edit]

text: A number of interactive color wheel applications are available both on the Internet and as desktop applications. These programs are used by artists and designers for picking colors for a design.

text: HSV color wheel[edit]

text: The HSL and HSV color spaces are simple geometric transformations of the RGB cube into cylindrical form. The outer top circle of the HSV cylinder – or the outer middle circle of the HSL cylinder – can be thought of as a color wheel. There is no authoritative way of labeling the colors in such a color wheel, but the six colors which fall at corners of the RGB cube are given names in the X11 color list, and are named keywords in HTML.[15]

text: Color schemes[edit]

text: Color schemes are logical combinations of colors on the color wheel.

text: In color theory, a color scheme is the choice of colors used in design for a range of media. For example, the use of a white background with black text is an example of a common default color scheme in web design.

text: Color schemes are used to create style and appeal. Colors that create an aesthetic feeling together commonly appear together in color schemes. A basic color scheme uses two colors that look appealing together. More advanced color schemes involve several colors in combination, usually based around a single color—for example, text with such colors as red, yellow, orange and light blue arranged together on a black background in a magazine article.

text: Color schemes can also contain different shades of a single color; for example, a color scheme that mixes different shades of green, ranging from very light (almost white) to very dark.

text: Analogous colors are colors next to each other on the wheel. For example, yellow and green. Monochromic colors are different shades of the same color. For example, light blue, indigo, and cyan blue. Complementary colors are colors across from each other on a color wheel. For example, blue and orange. Triadic colors are colors that are evenly across from each other, in a triangle over the color wheel. For example, the primary colors red, yellow, and blue are triadic colors.[16]

text: For a list of ways to construct color schemes, regarding properties such as warmness/achromiticness/complementariness, see color theory.

text: Gallery[edit]


document_title: List of NBA players with most championships

question_text: who has won the most rings in the nba

question_tokens: who has won the most rings in the nba

text: List[edit]

text:
Pos
G
Guard
F
Forward
C
Center

*
Denotes players who have been inducted to the Basketball Hall of Fame

^
Denotes players who are currently active in the NBA

text:
Rank
Player
Pos
Seasons played
Total won
Championship teams
Ref.

1
Russell, BillBill Russell*
C
13
11
Boston Celtics (1957, 1959, 1960, 1961, 1962, 1963, 1964, 1965, 1966, 1968, 1969)
[26]

2
Jones, SamSam Jones*
G
12
10
Boston Celtics (1959, 1960, 1961, 1962, 1963, 1964, 1965, 1966, 1968, 1969)
[9]

3
Heinsohn, TomTom Heinsohn*[a]
F/C
9
8
Boston Celtics (1957, 1959, 1960, 1961, 1962, 1963, 1964, 1965)
[10]

Jones, K. C.K. C. Jones*[b]
G
9
8
Boston Celtics (1959, 1960, 1961, 1962, 1963, 1964, 1965, 1966)
[11]

Sanders, Tom "Satch"Tom "Satch" Sanders*[c]
F
13
8
Boston Celtics (1961, 1962, 1963, 1964, 1965, 1966, 1968, 1969)
[12]

Havlicek, JohnJohn Havlicek*
F/G
16
8
Boston Celtics (1963, 1964, 1965, 1966, 1968, 1969, 1974, 1976)
[13]

7
Loscutoff, JimJim Loscutoff
F
9
7
Boston Celtics (1957, 1959, 1960[d], 1961, 1962, 1963, 1964)
[14]

Ramsey, FrankFrank Ramsey*
F/G
9
7
Boston Celtics (1957, 1959, 1960, 1961, 1962, 1963, 1964)
[15]

Horry, RobertRobert Horry
F
16
7
Houston Rockets (1994, 1995)
Los Angeles Lakers (2000, 2001, 2002)
San Antonio Spurs (2005, 2007)
[16]

10
Cousy, BobBob Cousy*
G
14
6
Boston Celtics (1957, 1959, 1960, 1961, 1962, 1963)
[17]

Abdul-Jabbar, KareemKareem Abdul-Jabbar* (formerly Lew Alcindor)[e]
C
20
6
Milwaukee Bucks (1971)
Los Angeles Lakers (1980, 1982, 1985, 1987, 1988)
[18]

Jordan, MichaelMichael Jordan*
G
15
6
Chicago Bulls (1991, 1992, 1993, 1996, 1997, 1998)
[19]

Pippen, ScottieScottie Pippen*
F
17
6
Chicago Bulls (1991, 1992, 1993, 1996, 1997, 1998)
[20]

14
Mikan, GeorgeGeorge Mikan*
C
7
5
Minneapolis Lakers (1949, 1950, 1952, 1953, 1954)
[27]

Pollard, JimJim Pollard*
F/C
7
5
Minneapolis Lakers (1949, 1950, 1952, 1953, 1954)
[28]

Martin, SlaterSlater Martin*
G
11
5
Minneapolis Lakers (1950, 1952, 1953, 1954)
St. Louis Hawks (1958)
[29]

Siegfried, LarryLarry Siegfried
F
9
5
Boston Celtics (1964, 1965, 1966, 1968, 1969)
[30]

Nelson, DonDon Nelson*
G
14
5
Boston Celtics (1966, 1968, 1969, 1974, 1976)
[31]

Cooper, MichaelMichael Cooper
G/F
12
5
Los Angeles Lakers (1980, 1982, 1985, 1987, 1988)
[32]

Johnson, Earvin "Magic"Earvin "Magic" Johnson*
G
13
5
Los Angeles Lakers (1980, 1982, 1985, 1987, 1988)
[33]

Rodman, DennisDennis Rodman*
F
14
5
Detroit Pistons (1989, 1990)
Chicago Bulls (1996, 1997, 1998)
[34]

Harper, RonRon Harper
G
15
5
Chicago Bulls (1996, 1997, 1998)
Los Angeles Lakers (2000, 2001)
[35]

Kerr, SteveSteve Kerr[g]
G
15
5
Chicago Bulls (1996, 1997, 1998)
San Antonio Spurs (1999, 2003)
[25]

Bryant, KobeKobe Bryant
G
20
5
Los Angeles Lakers (2000, 2001, 2002, 2009, 2010)
[36]

Fisher, DerekDerek Fisher
G
18
5
Los Angeles Lakers (2000, 2001, 2002, 2009, 2010)
[37]

Duncan, TimTim Duncan
F/C
19
5
San Antonio Spurs (1999, 2003, 2005, 2007, 2014)
[38]

27
Mikkelsen, VernVern Mikkelsen*
F/C
10
4
Minneapolis Lakers (1950, 1952, 1953, 1954)
[39]

Saul, FrankFrank Saul
G/F
6
4
Rochester Royals (1951)
Minneapolis Lakers (1952, 1953, 1954)
[24]

Sharman, BillBill Sharman*[h]
G
11
4
Boston Celtics (1957, 1959, 1960, 1961)
[40]

Wilkes, JamaalJamaal Wilkes*
G/F
12
4
Golden State Warriors (1975)
Los Angeles Lakers (1980, 1982, 1985[f])
[41]

Rambis, KurtKurt Rambis
F
14
4
Los Angeles Lakers (1982, 1985, 1987, 1988)
[42]

Parish, RobertRobert Parish*
C
21
4
Boston Celtics (1981, 1984, 1986)
Chicago Bulls (1997)
[43]

Perdue, WillWill Perdue
C
13
4
Chicago Bulls (1991, 1992, 1993)
San Antonio Spurs (1999)
[44]

Salley, JohnJohn Salley
F/C
11
4
Detroit Pistons (1989, 1990)
Chicago Bulls (1996)
Los Angeles Lakers (2000)
[22]

Grant, HoraceHorace Grant
F/C
17
4
Chicago Bulls (1991, 1992, 1993)
Los Angeles Lakers (2001)
[45]

O'Neal, ShaquilleShaquille O'Neal*
C
19
4
Los Angeles Lakers (2000, 2001, 2002)
Miami Heat (2006)
[46]

Ginóbili, ManuManu Ginóbili^
G
14
4
San Antonio Spurs (2003, 2005, 2007, 2014)
[47]

Parker, TonyTony Parker^
G
15
4
San Antonio Spurs (2003, 2005, 2007, 2014)
[48]