document_title: The Flintstones

question_text: who was the original voice of fred flintstone

text: The Flintstones

text: Overview[edit]

text: This section relies largely or entirely on a single source. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources. (October 2017)

tag: table

text: The show is set in the Stone Age town of Bedrock (pop. 2500). In this fantasy version of the past, dinosaurs and other long-extinct animals co-exist with cavemen, saber-toothed cats, and woolly mammoths. Like their mid-20th century counterparts, these cavemen listen to records, live in split-level homes, and eat at restaurants, yet their technology is made entirely from preindustrial materials and powered primarily through the use of animals. For example, the cars are made out of stone, wood, and animal skins, and powered by the passengers' feet.

text: Animation historian Christopher P. Lehman considers that the series draws its humor in part from creative uses of anachronisms. The main one is the placing of a "modern", 20th-century society in prehistory. This society takes inspiration from the suburban sprawl developed in the first two decades of the postwar period. This society has modern home appliances, but they work by employing animals. They have automobiles, but they hardly resemble the cars of the 20th century. These cars are large wooden structures and burn no fuel. They are powered by people who run while inside them. Finally, the stone houses of this society are cookie-cutter homes positioned into typical neighborhoods.[9]

text: As a running gag, often the "prehistoric" analog to a modern machine uses an animal.[10]

text: Characters[edit]

text: The Flintstones[edit]

text:
Fred Flintstone is the main character of the series. Fred is an accident-prone bronto-crane operator at the Slate Rock and Gravel Company and the head of the Flintstone household. He is quick to anger (usually over trivial matters), but is a very loving husband and father. He is also good at bowling and is a member of the fictional "Loyal Order of Water Buffaloes" (Lodge No. 26), a men-only club paralleling real-life fraternities such as the Loyal Order of Moose. His famous catchphrase is "Yabba Dabba Doo!"
Wilma Flintstone is Fred's wife. She is more intelligent and level-headed than her husband, though she often has a habit of spending money (with Betty and her catchphrase being "Da-da-da duh da-da CHARGE IT!!"). She often is a foil to Fred's poor behavior.
Pebbles Flintstone is the Flintstones' infant daughter, who is born near the end of the third season.
Dino, a prosauropod dinosaur, is the Flintstones' pet that barks and generally acts like a dog. A running gag in the series involves Dino knocking down Fred out of excitement and licking him repeatedly. Though this irritates Fred a lot, he generally likes Dino very much.
Baby Puss is the Flintstones' pet saber-toothed cat, which is rarely seen in the actual series, but is always seen throwing Fred out of the house during the end credits, causing Fred to pound repeatedly on the front door and yell "Wilma!", waking the whole neighborhood in the process.

text: The Rubbles[edit]

text:
Barney Rubble is the secondary main character and Fred's best friend and next-door neighbor. His occupation is, for the most part of the series, unknown, though later series depict him working in the same quarry as Fred. He shares many of Fred's interests such as bowling and golf, and is also a member of the "Loyal Order of Water Buffaloes". Though Fred and Barney frequently get into feuds with one another (usually due to Fred's short temper), their deep fraternal bond remains evident.
Betty Rubble is Barney's wife and Wilma's best friend. Like Wilma, she, too, is slightly more intelligent than her husband and has a habit of spending money.
Bamm-Bamm Rubble is the Rubbles' preternaturally strong adopted son, whom they adopt during the fourth season; his name comes from the only phrase he ever speaks as a baby: "Bamm, Bamm!"
Hoppy is the Rubbles' pet hopparoo (a kangaroo/dinosaur combination creature), which they adopt in the beginning of the fifth season. When he first arrives, Dino (and eventually Fred) mistakes him for a giant mouse and becomes frightened of him, but they eventually become best friends in a manner similar to that of their owners. He babysits the kids as he takes them around in his pouch, which also serves as a shopping cart for Betty. Fred Flintstone regards Hoppy as an overgrown and obnoxious nuisance until the fateful day that the Flintstones and the Rubbles go out together on a picnic. The families' lives are endangered during the picnic and Hoppy goes for help.

text: Other characters[edit]

text: Over 100 other characters appeared throughout the program.[11]

text:
Mr. Slate is Fred's hot-tempered boss at the gravel pit. Mr. Slate fires Fred on several occasions throughout the series, only to give him his job back by the end of the episode. A running gag is Slate's ever-changing first name, which was revealed to be Sylvester, Nate, Oscar, and George as the series progressed. In the episode "The Long, Long Weekend" which originally aired on January 21, 1966, he is shown as being the founder of "Slate Rock and Gravel Company"; still in business two million years later, the company is operated by his descendant, "George Slate the Eighty-Thousandth". Note, in the early Flintstones episodes, the more recognized "Mr. Slate" character was known as "Mr. Rockhead" and was a supervisor of Fred's. Mr. Slate was a short character. During the course of the cartoon, the two men switched identities and the shorter character faded away from existence.
Arnold is the Flintstones' paper boy, whom Fred absolutely despises, mainly because Arnold is frequently able to best and outsmart Fred at a number of tasks and also because he often ("unintentionally") throws the newspaper in Fred's face. Arnold's parents are mentioned in the series, but his mother Doris, a friend of Wilma and Betty's (as evidenced in the episode "The Little Stranger", which originally aired on November 2, 1962), is referenced in name only, never actually appearing on screen. Arnold's father, however, did appear in the episode "Take Me Out to the Ball Game", which originally aired on April 27, 1962, though his name is never mentioned. .
Joe Rockhead is a mutual friend of Fred and Barney. Usually, when Fred and Barney have some kind of falling out, Fred mentions doing something (such as going to a baseball game) with Joe. Joe was, at some point, chief of the Bedrock Volunteer Fire Department (as shown on the episode "Arthur Quarry's Dance Class", which originally aired on January 13, 1961). His appearance varied throughout the run of the series, but his appearance in the episode "The Picnic", which originally aired on December 15, 1961, was the one most commonly used.
Pearl Slaghoople is Wilma's hard-to-please mother, who is constantly disapproving of Fred and his behavior. Their disastrous first meeting was recounted in the episode "Bachelor Daze", which originally aired on March 5, 1964. They briefly reconciled in the episode "Mother-in-Law's Visit", which originally aired on February 1, 1963. That is, until, she found out that she became Fred's "nice fat pigeon" when he suckered her out of money that he needed to buy a baby crib for Pebbles. They reconciled again at the end of the TV movie I Yabba Dabba Do.
The Great Gazoo is an alien exiled to Earth that helps Fred and Barney, often against their will. He is actually from the future, and is quite dismayed when he realizes he has been sent back to "the Stone Age". He can only be seen by Fred, Barney, Pebbles, Bamm-Bamm, other small children, Dino, and Hoppy. Gazoo appeared in the final season only.
Uncle Tex Hardrock" is Fred's maternal uncle and a member of the Texarock Rangers. He constantly holds Fred's future inheritance over his head.
Sam Slagheap is the Grand Poobah of the Water Buffalo Lodge.

text: Voice actors[edit]

text: Fred Flintstone physically resembles both the voice actor who played him, Alan Reed, and Jackie Gleason, whose series, The Honeymooners, inspired The Flintstones.[12] The voice of Barney Rubble was provided by voice actor Mel Blanc, though five episodes during the second season (the first, second, fifth, sixth, and ninth) employed Hanna-Barbera regular Daws Butler while Blanc was incapacitated by a near-fatal car accident. Blanc was able to return to the series much sooner than expected, by virtue of a temporary recording studio for the entire cast set up at Blanc's bedside. Blanc's portrayal of Barney had changed considerably after the accident. In the earliest episodes, Blanc had used a much higher pitch to the point of portraying Barney as a smart-aleck. After his recovery from the accident, Blanc used a deeper voice, quite similar to the voice of the Abominable Snowman he performed in other cartoons, and was shown as somewhat dopier than before.

text: Reed based Fred's voice upon Gleason's Honeymooners interpretation of Ralph Kramden, while Blanc, after a season of using a nasal, high-pitched voice for Barney, eventually adopted a style of voice similar to that used by Art Carney in his portrayal of Ed Norton. The first time the Art Carney-like voice was used was for a few seconds in "The Prowler" (the third episode produced).

text: In a 1986 Playboy interview, Gleason said Alan Reed had done voice-overs for Gleason in his early movies and that he had considered suing Hanna-Barbera for copying The Honeymooners but decided to let it pass.[13] According to Henry Corden, a voice actor and a friend of Gleason's, "Jackie's lawyers told him he could probably have The Flintstones pulled right off the air. But they also told him, 'Do you want to be known as the guy who yanked Fred Flintstone off the air? The guy who took away a show so many kids love, and so many parents love, too?'"[14]

text: Henry Corden's voice became Fred's after Reed's death in 1977, starting with A Flintstone Christmas.[15] Corden had previously provided Fred's singing voice in The Man Called Flintstone[16] and later on The Flintstones children's records. Since 2000, Jeff Bergman, James Arnold Taylor, and Scott Innes (performing both Fred and Barney for Toshiba commercials) have performed the voice of Fred. Since Mel Blanc's death in 1989, Barney has been voiced by Jeff Bergman, Frank Welker, and Kevin Michael Richardson. Various additional character voices were created by Hal Smith, Allan Melvin, Janet Waldo, Daws Butler, and Howard Morris, among others.

text: Voice cast[edit]

text:
Fred Flintstone – Alan Reed (speaking voice only)
Wilma Flintstone/Pebbles Flintstone – Jean Vander Pyl
Barney Rubble – Mel Blanc; Daws Butler (season 2; episodes 1, 2, 5, 6, and 9 only)
Betty Rubble – Bea Benaderet (seasons 1–4); Gerry Johnson (seasons 5–6)
Bamm-Bamm Rubble/Hoppy/Arnold – Don Messick
Dino – Mel Blanc
Mr. Slate – John Stephenson
Mrs. Slaghoople – Verna Felton and Janet Waldo
The Great Gazoo – Harvey Korman

text: Additional voice cast[edit]

text:
Howard Morris
Doug Young
Henry Corden
June Foray

text: Episodes[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

Pilot
May 1959 (1959-05)

1
28
September 30, 1960 (1960-09-30)
April 7, 1961 (1961-04-07)

2
32
September 15, 1961 (1961-09-15)
April 27, 1962 (1962-04-27)

3
28
September 14, 1962 (1962-09-14)
April 5, 1963 (1963-04-05)

4
26
September 19, 1963 (1963-09-19)
March 12, 1964 (1964-03-12)

5
26
September 17, 1964 (1964-09-17)
March 12, 1965 (1965-03-12)

6
26
September 17, 1965 (1965-09-17)
April 1, 1966 (1966-04-01)

text: Music[edit]

text: The opening and closing credits theme during the first two seasons was called "Rise and Shine", a lively instrumental underscore accompanying Fred on his drive home from work. The tune resembled "The Bugs Bunny Overture (This Is It!)", the theme song of The Bugs Bunny Show, also airing on ABC at the time, and may have been the reason the theme was changed in the third season.[17] Starting in season 3, episode 3 ("Barney the Invisible"), the opening and closing credits theme was the familiar vocal "Meet the Flintstones". This version was recorded with a 22-piece jazz band, and a five-voice singing group called the Skip Jacks. The melody is derived from part of the 'B' section of Beethoven's Piano Sonata No. 17 Movement 2, composed in 1801/02.[18] The "Meet the Flintstones" opening was later added to the first two seasons for syndication. The musical underscores were credited to Hoyt Curtin for the show's first five seasons; Ted Nichols took over in 1965 for the final season.[17]

text: History and production[edit]

text: The idea of The Flintstones started after Hanna-Barbera produced The Huckleberry Hound Show and The Quick Draw McGraw Show. Although these programs were successful, they did not have the same wide audience appeal as their previous theatrical cartoon series Tom and Jerry, which entertained both children and the adults who accompanied them. However, since children did not need their parents' supervision to watch television, Hanna-Barbera's output became labeled "kids only". Barbera and Hanna wanted to recapture the adult audience with an animated situation comedy.[19]

text: Barbera and Hanna experimented with hillbillies (a hillbilly theme was later incorporated into two Flintstones episodes, "The Bedrock Hillbillies" and "The Hatrocks and the Gruesomes"), Romans (Hanna-Barbera eventually created The Roman Holidays), pilgrims, and Indians as the settings for the two families before deciding on the Stone Age. According to Barbera, they settled on that because "you could take anything that was current, and convert it to stone-age".[20] Under the working title The Flagstones, the family originally consisted of Fred, Wilma, and their son, Fred, Jr. A brief demonstration film was also created to sell the idea of a "modern stone age family" to sponsors and the network.[21]:3 Animator Kenneth Muse, who worked on the Tom and Jerry cartoons, also worked on the early seasons of The Flintstones.

text: The show imitated and spoofed The Honeymooners, although the early voice characterization for Barney was that of Lou Costello.[22] William Hanna admitted that "At that time, The Honeymooners was the most popular show on the air, and for my bill, it was the funniest show on the air. The characters, I thought, were terrific. Now, that influenced greatly what we did with The Flintstones ... The Honeymooners was there, and we used that as a kind of basis for the concept."[citation needed] However, Joseph Barbera disavowed these claims in a separate interview, stating that, "I don't remember mentioning The Honeymooners when I sold the show. But if people want to compare The Flintstones to The Honeymooners, then great. It's a total compliment. The Honeymooners was one of the greatest shows ever written."[23] Jackie Gleason, creator of The Honeymooners, considered suing Hanna-Barbera Productions, but decided that he did not want to be known as "the guy who yanked Fred Flintstone off the air".[24][25] Another influence was noted during Hanna-Barbera's tenure at MGM, where they were in a friendly competition with fellow cartoon director Tex Avery. In 1955, Avery directed a cartoon entitled "The First Bad Man" (narrated by cowboy legend Tex Ritter). The cartoon concerned the rowdy antics of a bank robber in stone-age Dallas. Many of the visual jokes antedated by many years similar ones used by Hanna-Barbera in the Flintstones series. Many students of American animation point to this cartoon as a progenitive seed of the Flintstones.

text: The concept was also predated by the Stone Age Cartoons series of 12 animated cartoons released from January 1940 to September 1940 by Fleischer Studios. These cartoons show stone age people doing modern things with primitive means. One example is Granite Hotel including characters such as a newsboy, telephone operator, hotel clerk, and a spoof of Edgar Bergen and Charlie McCarthy.

text: Barbera explained that selling the show to a network and sponsors was not an easy task.

text: Here we were with a brand new thing that had never been done before, an animated prime-time television show. So we developed two storyboards; one was they had a helicopter of some kind and they went to the opera or whatever, and the other was Fred Flintstone and Barney Rubble fighting over a swimming pool. So I go back to New York with a portfolio and two half-hour boards. And no-one would even believe that you'd dare to suggest a thing like that, I mean they looked at you and they'd think you're crazy. But slowly the word got out, and I used the presentation which took almost an hour and a half. I would go to the other two boards and tell them what they did, and do all the voices and the sounds and so-on, and I'd stagger back to the hotel and I'd collapse. The phone would ring like crazy, like one time I did Bristol-Myers, the whole company was there. When I got through I'd go back to the hotel the phone would ring and say "the president wasn't at that meeting, could you come back and do it for him." So I had many of those, one time I had two agencies, they'd fill the room I mean God about 40 people, and I did this whole show. I got to know where the laughs were, and where to hit it, nothing; dead, dead, dead. So one of the people at Screen Gems said "This is the worst, those guys...." he was so angry at them. What it was, was that there were two agencies there, and neither one was going to let the other one know they were enjoying it. But I pitched it for eight straight weeks and nobody bought it. So after sitting in New York just wearing out, you know really wearing out. Pitch, pitch, pitch, sometimes five a day. So finally on the very last day I pitched it to ABC, which was a young daring network willing to try new things, and bought the show in 15 minutes. Thank goodness, because this was the very last day and if they hadn't bought it, I would have taken everything down, put it in the archives and never pitched it again. Sometimes I wake up in a cold-sweat thinking this is how close you get to disaster.[20]

text: When the series went into production, the working title The Flagstones was changed, possibly to avoid confusion with the Flagstons, characters in the comic strip Hi and Lois. After spending a brief period in development as The Gladstones (GLadstone being a Los Angeles telephone exchange at the time),[26] Hanna-Barbera settled upon The Flintstones, and the idea of the Flintstones having a child from the start was discarded, with Fred and Wilma starting out as a childless couple. However, some early Flintstones merchandise, such as a 1961 Little Golden Book, included Fred Jr., before it was decided on his removal.[27]

text: Despite the animation and fantasy setting, the series was initially aimed at adult audiences, which was reflected in the comedy writing, which, as noted, resembled the average primetime sitcoms of the era, with the usual family issues resolved with a laugh at the end of each episode, as well as the inclusion of a laugh track. Hanna and Barbera hired many writers from the world of live action, including two of Jackie Gleason's writers, Herbert Finn and Sydney Zelinka, as well as relative newcomer Joanna Lee while still using traditional animation story men such as Warren Foster and Michael Maltese.

text: The Flintstones premiered on September 30, 1960, at 8:30 pm, and quickly became a hit. It was the first American animated show to depict two people of the opposite sex (Fred and Wilma; Barney and Betty) sleeping together in one bed, although Fred and Wilma are sometimes depicted as sleeping in separate beds. For comparison, the first live-action depiction of this in American TV history was in television's first-ever sitcom: 1947's Mary Kay and Johnny.[28]

text: The first two seasons were co-sponsored by Winston cigarettes and the characters appeared in several black-and-white television commercials for Winston[29] (dictated by the custom, at that time, that the star(s) of a TV series often "pitched" their sponsor's product in an "integrated commercial" at the end of the episode).[30]

text: During the third season, Hanna and Barbera decided that Fred and Wilma should have a baby. Originally, Hanna and Barbera intended for the Flintstone family to have a boy, the head of the marketing department convinced them to change it to a girl since "girl dolls sell a lot better than boy dolls".[19] Although most Flintstones episodes were stand-alone storylines, Hanna-Barbera created a story arc surrounding the birth of Pebbles. Beginning with the episode "The Surprise", aired midway through the third season (January 25, 1963), in which Wilma reveals her pregnancy to Fred, the arc continued through the time leading up to Pebbles' birth in the episode "Dress Rehearsal" (February 22, 1963), and then continued with several episodes showing Fred and Wilma adjusting to the world of parenthood. Around this time, Winston pulled out their sponsorship and Welch's (grape juice and grape jellies) became the primary sponsor. The integrated commercials for Welch's products feature Pebbles asking for grape juice in her toddler dialect, and Fred explaining to Pebbles Welch's unique process for making the jelly, compared to the competition. Welch's also produced a line of grape jelly packaged in jars which were reusable as drinking glasses, with painted scenes featuring the Flintstones and characters from the show. In Australia, the Nine Network ran a "Name the Flintstones' baby" competition during the 'pregnancy' episodes – few Australian viewers were expected to have a U.S. connection giving them information about past Flintstone episodes.

text: Another arc occurred in the fourth season, in which the Rubbles, depressed over being unable to have children of their own (making The Flintstones the first animated series in history to address the issue of infertility, though subtly), adopt Bamm-Bamm. The 100th episode made (but the 90th to air), "Little Bamm-Bamm Rubble" (October 3, 1963), established how Bamm-Bamm was adopted. Nine episodes were produced before it but aired afterwards, which explains why Bamm-Bamm was not seen again until episode 101, "Daddies Anonymous" (Bamm-Bamm was in a teaser on episode 98, "Kleptomaniac Pebbles"). Another story arc, occurring in the final season, centered on Fred and Barney's dealings with the Great Gazoo (voiced by Harvey Korman ).

text: After Pebbles' birth, the tone and writing became more juvenile and ratings from the adult demographic began to decline. The last original episode was broadcast on April 1, 1966.[31]

text: The first three seasons of The Flintstones aired Friday nights at 8:30 on ABC. Season four and part of season five aired Thursdays at 7:30. The rest of the series aired Fridays at 7:30.

text: In the U.S., syndicated reruns of the series were offered to local stations until 1997, when E/I regulations and changing tastes in the industry led to the show's move to cable television. From the time of Ted Turner's purchase of Hanna-Barbera in 1992 until around 1999, TBS, TNT, and Cartoon Network aired the program. In 2000, the program moved to Boomerang, where it aired until no later than 2016 (in its last years on the channel, it had been relegated to a graveyard slot). Online, the series was made available on the In2TV service beginning in 2006, then the online version of Kids' WB until that service was discontinued in 2015. As of 2017, full episodes are only available in the U.S. on Boomerang's subscription video on demand service, with select clips made available on an official YouTube account tied to the revamped Kids' WB Web site.

text: Reception[edit]

text: The night after The Flintstones premiered, Variety called it "A pen and ink disaster",[32] and as late as the 1980s, highbrow critics derided the show's limited animation and derivative plots.[33] Despite the mixed critical reviews at first, The Flintstones has generally been considered a television classic and was rerun continuously for five decades after its end. In 1961, The Flintstones became the first animated series to be nominated for an Outstanding Comedy Series Primetime Emmy Award, but lost out to The Jack Benny Show. In January 2009, IGN named The Flintstones as the ninth-best in its "Top 100 Animated TV Shows".[34]

text: Nielsen ratings[edit]

text:
Season
Time slot (ET)
Rank
Rating[35]

1960–61
Friday at 8:30-9:00 pm
18
24.3

1961–62
21
22.9 (Tied with The Many Loves of Dobie Gillis)

1962–63
30
20.5

1963–64
Thursday at 7:30-8:00 pm
Not in the Top 30

1964–65
Thursday at 7:30-8:00 pm (Episodes 1-14)
Friday at 7:30-8:00 pm (Episodes 15-26)

1965–66
Friday at 7:30-8:00 pm

text: Films and subsequent television series[edit]

text: Following the show's cancellation in 1966, a film based upon the series was created. The Man Called Flintstone was a musical spy caper that parodied James Bond and other secret agents. The movie was released to theaters on August 3, 1966, by Columbia Pictures.[36] It was released on DVD in Canada in March 2005 and in United States in December 2008.

text: The show was revived in the early 1970s with Pebbles and Bamm-Bamm having grown into teenagers, and several different series and made-for-TV movies (broadcast mainly on Saturday mornings, with a few shown in prime time); including a series depicting Fred and Barney as police officers, another depicting the characters as children, and yet others featuring Fred and Barney encountering Marvel Comics superhero The Thing and Al Capp's comic strip character The Shmoo – have appeared over the years. The original show also was adapted into a live-action film in 1994, and a prequel, The Flintstones in Viva Rock Vegas, which followed in 2000. Unlike its sister show The Jetsons (the two shows appeared in a made-for-TV crossover movie in 1987), the revival programs were not widely syndicated or rerun alongside the original series.[citation needed]

text: Television series[edit]

text:
The Pebbles and Bamm-Bamm Show (1971–72) (one season)
The Flintstone Comedy Hour (1972–73) (one season)
The Flintstone Comedy Show (1973–74) (compilation series)
Fred Flintstone and Friends (1977–78) (compilation series)
The New Fred and Barney Show (1979) (one season)
Fred and Barney Meet The Thing (1979) (one season)
Fred and Barney Meet the Shmoo (1979–80) (one season)
The Flintstone Comedy Show (1980–82) (two seasons)
The Flintstone Funnies (1982–84) (compilation series)
The Flintstone Kids (1986–88) (two seasons)
What a Cartoon! – featuring Dino: Stay Out! (1995) and Dino: The Great Egg-Scape (1997)
Cave Kids (1996) (one season)

text: Theatrical animated feature[edit]

text: The Man Called Flintstone (1966, released by Columbia Pictures)

text: Television specials[edit]

text:
The Flintstones on Ice (1973)
Energy: A National Issue (1977)
A Flintstone Christmas (1977)
The Flintstones: Little Big League (1978)
The Flintstones Meet Rockula and Frankenstone (1979)
The Flintstones' New Neighbors (1980)
The Flintstones: Fred's Final Fling (1980)
The Flintstones: Wind-Up Wilma (1981)
The Flintstones: Jogging Fever (1981)
The Flintstones' 25th Anniversary Celebration (1986)
The Flintstone Kids' "Just Say No" Special (1988)
Hanna-Barbera's 50th: A Yabba Dabba Doo Celebration (1989)
A Flintstone Family Christmas (1993)

text: Television films[edit]

text:
The Jetsons Meet the Flintstones (1987)
I Yabba-Dabba Do! (1993)
Hollyrock-a-Bye Baby (1993)
A Flintstones Christmas Carol (1994)
The Flintstones: On the Rocks (2001)

text: Educational films[edit]

text:
Hanna-Barbera Educational Filmstrips

Bamm-Bamm: Bamm-Bamm Tackles a Term Paper (1978)
Bamm-Bamm: Information Please (1979)
Flintstones: A Weighty Problem (1980)
Flintstones: Fire Alarm (1980)
Flintstones: Fire Escape (1980)
Flintstones: Driving Guide (1980)

text: Live-action films[edit]

text:
The Flintstones (1994)
The Flintstones in Viva Rock Vegas (2000)

text: Direct-to-video films[edit]

text: The Flintstones & WWE: Stone Age SmackDown! (2015)

text: Other media[edit]

text: Cancelled Seth MacFarlane reboot[edit]

text: In 2011, it was announced the Family Guy creator Seth MacFarlane would be reviving The Flintstones for the Fox network, with the first episode airing in 2013.[37] After Fox Entertainment president Kevin Reilly read the pilot script and "liked it but didn't love it", MacFarlane chose to abandon work on the project rather than restarting it.[38][39]

text: WWE film[edit]

text: In May 2013, Warner Bros. Animation and WWE Studios announced a Flintstones animated film. The film was to involve a "prehistoric WWE main event"[40] and feature the voices of The Undertaker, Vince McMahon, John Cena, Rey Mysterio, and CM Punk. The film was released direct-to-video in early 2015.[40]

text: Gary Sanchez animated film[edit]

text: In May 2014, it was reported that Will Ferrell and Adam McKay will produce an animated Flintstones movie for Warner Animation Group.[41]

text: Theme parks[edit]

text: Two Flintstones-themed amusement parks exist in the United States: Bedrock City in Custer, South Dakota, and another in Valle, Arizona. Both have been in operation for decades. Bedrock City, also known as Flintstone Park, closed in August 2015.[citation needed]

text: Another existed until the 1990s at Carowinds in Charlotte, North Carolina. In Canada, Flintstone Park in Kelowna, British Columbia, opened in 1968 and closed in 1998; it was notable for the "Forty Foot Fred" statue of Fred Flintstone which was a well known Kelowna landmark.[42][43] Another Flintstones park was located in Bridal Falls, British Columbia, which closed in 1990.[44] Calaway Park outside Calgary, Alberta, Canada, also opened with a Flintstones theme and many of the buildings today have a caveman-like design, though the park does not license the characters. The Australia's Wonderland and Canada's Wonderland theme parks, both featured Flintstones characters in their Hanna-Barbera-themed children's sections from 1985 up until the mid-1990s. Kings Island near Cincinnati, Ohio, had a Hanna-Barbera land, in which many Hanna-Barbera characters were featured, including the Flintstones, in the 1980s and early 1990s.

text: Live theater[edit]

text: A stage production opened at Universal Studios Hollywood in 1994 (the year the live-action film was released), developed by Universal and Hanna-Barbera Productions. It opened at the Panasonic Theater, replacing the Star Trek show. The story consists of Fred, Wilma, Barney, and Betty heading for "Hollyrock". The show ran until January 2, 1997.

text: In popular culture[edit]

text: Miles Laboratories (now part of Bayer Corporation) and their One-A-Day vitamin brand was the alternate sponsor of the original Flintstones series during its first two seasons, and in the late 1960s, Miles introduced Flintstones Chewable Vitamins, fruit-flavored multivitamin tablets for children in the shape of the Flintstones characters, which are currently being sold.[45]

text: The Simpsons referenced The Flintstones in several episodes. In the episode "Homer's Night Out", Homer's local convenience store clerk, Apu, remarks "You look familiar, sir. Are you on the television or something?", to which Homer replies "Sorry, buddy, you've got me confused with Fred Flintstone."[46] During the couch gag of the opening credits of the episode "Kamp Krusty", the Simpson family arrive home to find the Flintstone family already sitting on their couch.[47] The same couch gag was reused in syndicated episodes of "The Itchy & Scratchy & Poochie Show", when The Simpsons overtook The Flintstones as the longest-running animated series.[48] In "Lady Bouvier's Lover", Homer's boss, Mr. Burns, appears at the family's house and says "Why, it's Fred Flintstone (referring to Homer) and his lovely wife, Wilma! (Marge) Oh, and this must be little Pebbles! (Maggie) Mind if I come in? I brought chocolates." Homer responds by saying "Yabba-dabba-doo!"[49] The opening of "Marge vs. the Monorail" depicts Homer leaving work in a similar way to Fred Flintstone in the opening of The Flintstones, during which he sings his own version of the latter's opening theme.

text: On September 30, 2010, Google temporarily replaced the logo on its search page with a custom graphic celebrating the 50th anniversary of The Flintstones' first TV broadcast.[50]


document_title: The Phantom of the Opera (2004 film)

question_text: who sang phantom of the opera for the movie

root

text: The Phantom of the Opera (2004 film)

text: Plot[edit]

text: In 1919, the Opéra Populaire holds a public auction to clear the theatre's vaults. Raoul, Viscount de Chagny purchases a papier-mâché music box in the shape of a monkey and eyes it sadly as Madame Giry, an aged woman dressed in black, watches him. The auctioneer then presents a shattered chandelier as the next item up for bid, explaining that it once played a key role in "the strange affair of the Phantom of the Opera". As it flickers to life and slowly ascends to its original place in the rafters, the audience is transported back in time to the year 1870.

tag: p

text: Back to this time, while the company rehearses for a performance of the grand opera Hannibal, manager Monsieur Lefèvre announces that he has decided to retire and that the opera has been purchased by Richard Firmin and Gilles André, two men who have no experience with the arts whatsoever. When resident soprano Carlotta Giudicelli begins to sing for the managers, a backdrop collapses and causes everyone to blame the "Opera Ghost", a mysterious figure who is rumored to live in the catacombs beneath the theater. Carlotta refuses to sing and storms offstage, leaving Firmin and André no choice but to cancel the performance. At the last minute, ballet mistress Madame Giry suggests that dancer Christine Daaé take Carlotta's place as she has been "well taught." The managers reluctantly agree and, to their surprise, Christine wins them over.

text: Later that night, after Christine's triumphant stage debut, she explains to Madame Giry's daughter, Meg, that she is being coached by a mysterious tutor who she refers to as the "Angel of Music"; a tutor who her late father said would teach her to sing. Christine returns to her dressing room to find Raoul, the opera's new patron and her former childhood sweetheart, waiting for her. The two reminisce about their youth as Christine tells Raoul her secret, only for him to laugh at her "fantasy" and invite her to dinner despite her protests. Unbeknownst to everyone, except Madame Giry, the Phantom of the Opera locks Christine in her dressing room and reveals himself in her mirror to her before hypnotizing her and taking her to his subterranean lair.

text: The Phantom reveals to her that he loves her and wants her to love him back. He shows Christine a bust of herself, wearing a wedding dress and veil, causing her to faint, and the Phantom places her in a bed. The next morning she awakes to find the Phantom writing music. She approaches him and removes his mask out of curiosity. He bursts into a fit of rage, covering his face with his hand. He at first says she must stay forever because she saw his deformities, revealing that he "dreams of beauty". Pitying him Christine hands him back his mask and the two have a moment of understanding. He then decides to return her to the opera house.

text: That morning, the two managers lament Christine's disappearance, as well as series of notes they received from the Opera Ghost trying to blackmail them for his payment and ordering them on how to run the opera house. When Carlotta returns, she is furious to find a note sent to her saying if she sang as the countess in Il Muto that night instead of Christine, then disaster "beyond [their] imagination" would occur. Firmin and André ignore the ghost's warnings and give Carlotta the lead role. That night, the Phantom interrupts the performance and criticizes their failure to follow his orders.

text: Carlotta continues to sing, but her voice croaks (as a result of the Phantom tampering with her throat spray) and the lead role is given to Christine. While the ballet is being performed, the Phantom, not realizing the performance change, encounters the chief stagehand Joseph Buquet and strangles him before hanging him from above, creating chaos. Christine flees to the roof with Raoul. She reveals to him that she has seen the Phantom's face and fears him, but also pities him because of his sadness. Raoul tells Christine he loves her and will protect her forevermore. Christine returns his love, kissing him passionately and they both leave the roof. The Phantom, who witnessed the scene, becomes heartbroken. He then hears them both singing together. Growing furious at Raoul, he vows revenge on them both.

text: Three months later, a masquerade party ensues in the opera house. At the party, Christine wears her new engagement ring from Raoul. The event is interrupted once again by the Phantom, who is dressed as Red Death. The Phantom brings his own composition, Don Juan Triumphant, and orders the managers to stage the opera. Raoul exits the room and Christine approaches the Phantom. At the sight of the engagement ring, the Phantom rips it from Christine and disappears into a trap on the floor. Raoul tries to follow him but is stopped by Madame Giry, who privately tells him the story of the Phantom's past. When she was a little girl, she went to a freak circus where they featured a deformed child in a cage. The child was beaten while everyone watched and laughed. The ringmaster then removed a burlap sack covering the child's face, revealing his deformity. Only the young Madame Giry pitied him. She was the last to leave and saw the child strangle the ringmaster with a rope. Chased by the police, Madame Giry helped him escape and found shelter for him beneath the opera house, where she has hidden him from the world ever since.

text: Christine takes a carriage to visit her father's grave, but the Phantom secretly takes over the reins. Raoul follows when he realizes she's gone. Christine arrives and laments over her father's death. The Phantom tries to win her back by pretending to be her father's angel, but Raoul arrives and stops him. A sword fight ensues in the cemetery, where Raoul eventually disarms the Phantom and is about to kill him, but Christine pleads for him not to. His rage seemingly augmented, the Phantom watches angrily as Christine and Raoul ride away.

text: Christine admits she is afraid of the Phantom and tells Raoul he will never stop trying to recapture her. Raoul realizes that they can use the Phantom's opera to capture him, as he will surely attend. Don Juan Triumphant is performed, and the Phantom makes his entrance (having secretly replaced the lead) with Christine. Raoul can do nothing but watch from his box as Christine falls for the Phantom yet again. However, she once again removes his mask, revealing his deformities to the entire audience, who scream in fear. He escapes with her by dropping the chandelier and setting the opera house on fire.

text: The Phantom brings Christine back down to his lair. Madame Giry shows Raoul where the Phantom lives, and he goes to rescue Christine. The Phantom forces Christine to don the wedding dress and once again professes his love, and orders Christine to marry him. Christine tries to convince the Phantom that she does not fear his ugliness, but rather his anger and willingness to kill to get what he wants. Just then, Raoul enters the lair, and the Phantom ties him to a gate and threatens to kill him if Christine refuses to marry him. Christine reflects over the impossible choice before passionately kissing the Phantom to show him he is not alone in the world. The Phantom is shocked from experiencing real human love for the first time in his life. Ashamed of his murderous actions, he allows Christine and Raoul to leave and orders them to never return. He finds comfort in a little monkey music box. Christine approaches the Phantom, who tells her that he loves her, and she silently gives him the diamond ring from her finger to remember her by. After Christine and Raoul leave, the Phantom smashes every mirror in his underground lair and disappears through a secret passage behind a velvet curtain just before the police arrive. Upon entering, Meg finds only the Phantom's white mask.

text: Moving back to 1919, the elderly Raoul visits Christine's gravesite and places the music box near her tombstone. He stands in silence for a moment and then turns to leave, but stops upon noticing a fresh red rose with a black ribbon tied around the stem with Christine's engagement ring attached to it; implying that the Phantom is alive, and still loves Christine.

text: Cast[edit]

text:
Gerard Butler as The Phantom
Emmy Rossum as Christine Daaé
Patrick Wilson as Viscount Raoul de Chagny
Miranda Richardson as Madame Giry
Minnie Driver as Carlotta Giudicelli

Margaret Preece as Carlotta's singing voice

Simon Callow as Gilles André
Ciarán Hinds as Richard Firmin
Victor McGuire as Ubaldo Piangi
Jennifer Ellison as Meg Giry
Murray Melvin as Monsieur Reyer
Kevin McNally as Joseph Buquet
James Fleet as Monsieur Lefèvre
Ramin Karimloo as Gustave Daaé

tag: ul

text: Production[edit]

text: Development[edit]

text: Warner Bros. purchased the film rights to The Phantom of the Opera in early 1989, granting Andrew Lloyd Webber total artistic control.[3] Despite interest from A-list directors, Lloyd Webber and Warner Bros. instantly hired Joel Schumacher to direct; Lloyd Webber had been impressed with Schumacher's use of music in The Lost Boys.[4] The duo wrote the screenplay that same year,[5] while Michael Crawford and Sarah Brightman were cast to reprise their roles from the original stage production. Filming was set to begin at Pinewood Studios in England in July 1990, under a $25 million budget.[6]

text: However, the start date was pushed to November 1990 at both Babelsberg Studios in Munich, Germany and Barrandov Studios in Prague, Czech Republic.[7] Production for The Phantom of the Opera was stalled with Lloyd Webber and Brightman's divorce.[8] "Everything got tied up in settlements", Schumacher reflected. "Then my career took off and I was really busy."[9] As a result, The Phantom of the Opera languished in development limbo for Warner Bros. throughout the 1990s.[10] In February 1997, Schumacher considered returning, but eventually dropped out in favour of Batman Unchained, Runaway Jury and Dreamgirls.[11] The studio was keen to cast John Travolta for the lead role,[12] but also held discussions with Antonio Banderas, who undertook vocal preparation and sang the role of the Phantom in the TV special Andrew Lloyd Webber: The Royal Albert Hall Celebration.[13]

text: Schumacher and Lloyd Webber restarted development for The Phantom of the Opera in December 2002.[5] It was then announced in January 2003 that Lloyd Webber's Really Useful Group had purchased the film rights from Warner Bros. in an attempt to produce The Phantom of the Opera independently.[13] As a result, Lloyd Webber invested $6 million of his own money.[14] The Phantom of the Opera was produced on a $55 million budget. A further $15 million was used for marketing, bringing the final budget to $70 million.[2] Warner Bros. was given a first look deal for distribution; the studio did not sign on until June 2003, when the principal cast was chosen.[15]

text: Casting[edit]

text: Hugh Jackman was offered the chance to audition for the Phantom, but he faced scheduling conflicts with Van Helsing. "They rang to ask about my availability", Jackman explained in an April 2003 interview, "probably about 20 other actors as well. I wasn't available, unfortunately. So, that was a bummer."[16] "We needed somebody who has a bit of rock and roll sensibility in him", Andrew Lloyd Webber explained. "He's got to be a bit rough, a bit dangerous; not a conventional singer. Christine is attracted to the Phantom because he's the right side of danger."[5] Director Joel Schumacher had been impressed with Gerard Butler's performance in Dracula 2000.[17] Prior to his audition, Butler had no professional singing experience and had only taken four voice lessons before singing "The Music of the Night" for Lloyd Webber.[3]

text: Katie Holmes, who began working with a vocal coach, was the front-runner for Christine Daaé in March 2003.[18] She was later replaced by Anne Hathaway, a classically trained soprano, in 2004. However, Hathaway dropped out of the role because the production schedule of the film overlapped with The Princess Diaries 2: Royal Engagement, which she was contractually obligated to make.[19] Hathaway was then replaced with Emmy Rossum. The actress modeled the relationship between the Phantom and Christine after Suzanne Farrell and George Balanchine.[14] Patrick Wilson was cast as Raoul based on his previous Broadway theatre career. For the role of Carlotta, Minnie Driver devised an over-the-top, camp performance as the egotistical prima donna. Despite also lacking singing experience, Ciarán Hinds was cast by Schumacher as Richard Firmin; the two had previously worked together on Veronica Guerin.[4] Ramin Karimloo also briefly appears as the portrait of Gustave Daaé, Christine's father. Karimloo later played the Phantom as well as the role of Raoul on London's West End.

text: Filming[edit]

text: Principal photography lasted from 15 September 2003 to 15 January 2004. The film was shot entirely using eight sound stages at Pinewood Studios,[20] where, on the Pinewood backlot, the bottom half exterior of the Palais Garnier was constructed. The top half was implemented using a combination of computer-generated imagery (CGI) and a scale model created by Cinesite. The surrounding Paris skyline for "All I Ask of You" was entirely composed of matte paintings.[4] Cinesite also created a miniature falling chandelier, since a life-size model was too big for the actual set.[21]

text: Production designer Anthony D. G. Pratt was influenced by French architect Charles Garnier, designer of the original Paris opera house, as well as Edgar Degas, John Singer Sargent, Gustave Caillebotte, the Pre-Raphaelite Brotherhood and Dante Gabriel Rossetti. Schumacher was inspired by Jean Cocteau's Beauty and the Beast (1946), where a hallway is lined with arms holding candelabra. The cemetery was based on the Père Lachaise and Montparnasse.[22] Costume designer Alexandra Byrne utilised a limited black, white, gold and silver colour palette for the Masquerade ball.[4]

text: Reception[edit]

text: Release and awards[edit]

text: The Phantom of the Opera was released in the United States on 22 December 2004. With a limited release of 622 theaters, it opened at tenth place at the weekend box office, grossing $6.5 million across five days.[23] After expanding to 907 screens on 14 January 2005[24] the film obtained the 9th spot at the box office,[25] which it retained during its 1,511 screens wide release on 21 January 2005.[26][27] The total domestic gross was $51,225,796. With a further $107 million earned internationally, The Phantom of the Opera reached a worldwide total of $158,225,796.[2] A few foreign markets were particularly successful,[28] such as Japan, where the film's ¥4.20 billion ($35 million) gross stood as the 6th most successful foreign film and 9th overall of the year.[29][30] The United Kingdom and South Korea both had over $10 million in receipts, with $17.5 million and $11.9 million, respectively.[2][31]

text: Anthony Pratt and Celia Bobak were nominated for the Academy Award for Best Art Direction, as was John Mathieson for Cinematography. However, both categories were awarded to The Aviator. Andrew Lloyd Webber and lyricist Charles Hart were nominated for the Academy Award for Best Original Song ("Learn to Be Lonely") but lost to "Al otro lado del río" from The Motorcycle Diaries.[32] The song was also nominated for the Golden Globe but it lost to Alfie's "Old Habits Die Hard". In the same ceremony, Emmy Rossum was nominated for Best Actress in a Motion Picture Musical or Comedy, losing to Annette Bening in Being Julia.[33] At the Saturn Awards, Rossum won for Best Performance by a Younger Actor,[34] while The Phantom of the Opera was nominated for Best Action/Adventure/Thriller Film and Alexandra Byrne was nominated for Costume Design.[35]

text: The soundtrack of the film was released in two separate CD formats on 23 November 2004 as a two-disc deluxe edition which includes dialogue from the film and a single-disc highlights edition.

text: The film had its initial North America video release on DVD and VHS on 3 May 2005, following its first digital release on HD-DVD on 18 April 2006 and a Blu-ray edition on 31 October 2006.

text: Critical reception[edit]

text: The film received mixed to negative reviews from film critics. Rotten Tomatoes gives it 32% rotten with an average score of 5/10. "The music of the night has hit something of a sour note: Critics are calling the screen adaptation of Andrew Lloyd Webber's popular musical histrionic, boring and lacking in both romance and danger", the consensus read. "Still, some have praised the film for its sheer spectacle".[36] By comparison, Metacritic calculated an average score of 40/100 from its 39 reviews collected.[37]

text:
"The film looks and sounds fabulous and I think it's an extraordinarily fine document of the stage show. While it doesn't deviate much from the stage material, the film has given it an even deeper emotional centre. It's not based on the theatre visually or direction-wise, but it's still got exactly the same essence. And that's all I could have ever hoped for."

— Andrew Lloyd Webber[5]

text: Despite having been impressed with the cast, Jonathan Rosenbaum of the Chicago Reader wrote that "Teen romance and operetta-style singing replace the horror elements familiar to film-goers, and director Joel Schumacher obscures any remnants of classy stage spectacle with the same disco overkill he brought to Batman Forever."[38] Stephanie Zacharek of Salon.com believed that Phantom of the Opera "takes everything that's wrong with Broadway and puts it on the big screen in a gaudy splat."[39]

text: In a mixed review for Newsweek, David Ansen praised Rossum's performance, but criticized the filmmakers for their focus on visual design rather than presenting a cohesive storyline. "Its kitschy romanticism bored me on Broadway and it bores me here—I may not be the most reliable witness. Still, I can easily imagine a more dashing, charismatic Phantom than Butler's. Rest assured, however, Lloyd Webber's neo-Puccinian songs are reprised and reprised and reprised until you're guaranteed to go out humming."[40] Owen Gleiberman of Entertainment Weekly believed Schumacher did not add enough dimension in adapting The Phantom of the Opera. "Schumacher, the man who added nipples to Batman's suit, has staged Phantom chastely, as if his job were to adhere the audience to every note".[41]

text: Roger Ebert reasoned that "part of the pleasure of movie-going is pure spectacle—of just sitting there and looking at great stuff and knowing it looks terrific. There wasn't much Schumacher could have done with the story or the music he was handed, but in the areas over which he held sway, he has triumphed."[42] In contrasting between the popularity of the Broadway musical, Michael Dequina of Film Threat magazine explained that "it conjures up this unexplainable spell that leaves audiences sad, sentimental, swooning, smiling—in some way transported and moved. Now, in Schumacher's film, that spell lives on."[43]


document_title: All-time Commonwealth Games medal table

question_text: who won the most medals in the commonwealth games

text: All-time Commonwealth Games medal table

text: Medal table[edit]

text: Nations in italics no longer participate at the Commonwealth Games.

text:
Rank

Nation

Games

Gold

Silver

Bronze

Total

1
 Australia (AUS)
21
932
775
709
2415

2
 England (ENG)
21
714
715
715
2144

3
 Canada (CAN)
21
484
516
555
1555

4
 India (IND)
15
181
175
148
504

5
 New Zealand (NZL)
21
159
220
278
657

6
 South Africa (RSA)
13
130
123
136
389

7
 Scotland (SCO)
21
119
132
200
451

8
 Kenya (KEN)
16
85
75
77
237

9
 Nigeria (NGR)
14
70
75
91
236

10
 Wales (WAL)
21
67
98
141
306

11
 Malaysia (MAS)
12
59
65
81
205

12
 Jamaica (JAM)
17
59
47
55
161

13
 Singapore (SIN)
16
36
27
32
95

14
 Northern Ireland (NIR)
20
30
39
55
124

15
 Pakistan (PAK)
13
25
24
26
75

16
 Cyprus (CYP)
10
23
13
17
53

17
 Uganda (UGA)
15
16
16
23
55

18
 Ghana (GHA)[Note 1]
16
15
18
25
58

19
 Trinidad and Tobago (TRI)
18
10
21
25
56

20
 Bahamas (BAH)
15
10
13
13
36

21
 Cameroon (CMR)
6
10
11
16
37

22
 Nauru (NRU)
8
10
11
9
30

23
 Zimbabwe (ZIM)[Note 2]
10
6
9
14
29

24
 Tanzania (TAN)
12
6
6
9
21

25
 Samoa (SAM)
12
5
8
11
24

26
 Papua New Guinea (PNG)
14
5
7
2
14

27
 Botswana (BOT)
11
5
5
7
17

28
 Namibia (NAM)
7
5
4
11
20

29
 Hong Kong (HKG_CGF)
10
5
2
10
17

30
 Zambia (ZAM)[Note 3]
14
4
12
23
39

31
 Sri Lanka (SRI)[Note 4]
16
4
8
8
20

32
 Guyana (GUY)[Note 5]
18
4
6
6
16

33
 Fiji (FIJ)
16
4
5
10
19

34
 Isle of Man (IOM)
16
3
3
6
12

35
 Bangladesh (BAN)
9
2
4
2
8

36
 Barbados (BAR)
16
2
3
7
12

37
 Malaya (MAL)
3
2
3
2
7

38
 Bermuda (BER)
18
2
2
2
6

 Mozambique (MOZ)
6
2
2
2
6

40
 Grenada (GRN)
10
2
1
2
5

41
 Saint Vincent and the Grenadines (SVG)
12
2
0
1
3

42
 Mauritius (MRI)
15
1
6
6
13

43
 Guernsey (GUE)
13
1
3
2
6

44
 Lesotho (LES)
11
1
1
1
3

45
 Jersey (JER)
16
1
0
3
4

 Saint Lucia (LCA)
11
1
0
3
4

47
 Cayman Islands (CAY)
11
1
0
1
2

48
 British Virgin Islands (IVB)
8
1
0
0
1

 Kiribati (KIR)
6
1
0
0
1

 Saint Kitts and Nevis (SKN)
9
1
0
0
1

51
 Seychelles (SEY)
8
0
3
4
7

52
 Rhodesia and Nyasaland (FRN)
1
0
2
5
7

53
 Malta (MLT)
13
0
1
5
6

54
 Swaziland (SWZ)
13
0
1
3
4

55
 Dominica (DMA)
10
0
1
1
2

56
 Ireland (IRE)
1
0
1
0
1

57
 Malawi (MAW)
13
0
0
3
3

 Tonga (TON)
10
0
0
3
3

59
 Norfolk Island (NFI)
9
0
0
2
2

 Vanuatu (VAN)
10
0
0
2
2

61
 Cook Islands (COK)
11
0
0
1
1

 Solomon Islands (SOL)
9
0
0
1
1

 The Gambia (GAM)
11
0
0
1
1

text: Nations and Territories without medals[edit]

text: Current Commonwealth Members[edit]

text: As of the end of the 2018 Commonwealth Games.

text:
Nations and territories

№ Games

 Anguilla (AIA)*
6

 Antigua and Barbuda (ANT)*
10

 Belize (BIZ)
10

 Brunei (BRU)
8

 Falkland Islands (FAI)
10

 Gibraltar (GIB)
16

 Montserrat (MNT)
7

 Niue (NIU)
5

 Rwanda (RWA)*
3

 Saint Helena (SHN)
7

 Sierra Leone (SLE)
12

 Turks and Caicos Islands (TCI)*
7

 Tuvalu (TUV)
5

text: * Won at least one medal at a Commonwealth Youth Games.

text: Former Commonwealth Members

text:
Nations and Territories'Bold text'

№ Games

 Federation of South Arabia (FSA)[Note 6]
2

 Maldives (MDV)
8

 Newfoundland (NEW)
2

 British North Borneo (BNB)
2

 Sarawak (SAR)
2

 Irish Free State (IFS)
1

 Tanganyika (TAG)
1

text: Notes[edit]

text:
Jump up ^  Totals for Ghana include all medals won as  Gold Coast (GCO)

Jump up ^  Totals for Zimbabwe include all medals won as  Southern Rhodesia (SRH)

Jump up ^  Totals for Zambia include all medals won as  Northern Rhodesia (NRH)

Jump up ^  Totals for Sri Lanka include all medals won as  Ceylon (CEY)

Jump up ^ Totals for Guyana include all medals won as  British Guiana (BGU)

Jump up ^  Total for the Federation of South Arabia includes appearance as  Aden (ADN)

tag: ol


document_title: Morrie Schwartz

question_text: how did morrie die in tuesdays with morrie

text: Morrie Schwartz

text: Family[edit]

text: Morrie's father, Charlie Schwartz, was a Russian immigrant who left Russia to escape the Russian Army. His mother died when he was only 8 years old. After his wife died, Charlie Schwartz remarried a Romanian woman named Eva who became Morrie's stepmother. Morrie had a younger brother, David Schwartz, who developed polio at a young age which causes him to be paralysed. Later in Morrie's life, Charlie suffered from a heart attack after running from two muggers. Morrie's whole family was Jewish. As Morrie grew up, he stopped believing in this faith and instead adopted multiple beliefs from a variety of different religions.

text: In adulthood Morrie married a woman named Charlotte and had two sons named Rob and Jon Schwartz.

text: Tuesdays with Morrie[edit]

text: Tuesdays with Morrie is a book about Morrie and a former student of his, Mitch Albom. After seeing Morrie interviewed on Nightline with Ted Koppel, Albom started flying to Morrie's home in Massachusetts from Detroit for Tuesday visits. Mitch had discovered that Morrie had ALS (Lou Gehrig's disease), a terminal neurological disease. After about fourteen visits Morrie finally lost his battle with ALS when it took his ability to breathe. Albom's book is full of the lessons and wisdom that Morrie imparts to him in his final stage of life.

text: Works[edit]

text:
with Alfred H. Stanton: The Mental Hospital: A Study of Institutional Participation in Psychiatric Illness and Treatment. Basic Books 1950, ISBN 978-1-59147-617-7 (2009 edition)
with Charlotte Green Schwartz: Social Approaches to Mental Patient Care. Columbia University Press 1964
with Emmy Lanning Shockley: The Nurse and the Mental Patient: a Study in Interpersonal Relations. Wiley 1966, ISBN 978-0-471-76610-0
Letting Go: Morrie's Reflections on Living While Dying. Walker & Company 1996, ISBN 978-0-8027-1315-5

text: Notes[edit]

text: Jump up ^ Harris, Richard. Nearly 20 years after his death, Morrie Schwartz lives on. "Boston Globe" March 16, 2015. Retrieved August 26, 2016.


document_title: Scoville scale

question_text: how much scoville units is a ghost pepper

text: Scoville scale

text: Scoville organoleptic test[edit]

text: In the Scoville organoleptic test, an exact weight of dried pepper is dissolved in alcohol to extract the heat components (capsaicinoids), then diluted in a solution of sugar water.[4][5][6] Decreasing concentrations of the extracted capsaicinoids are given to a panel of five trained tasters, until a majority (at least three) can no longer detect the heat in a dilution.[5][6][7] The heat level is based on this dilution, rated in multiples of 100 SHU.[5]

text: A weakness of the Scoville Organoleptic Test is its imprecision due to human subjectivity, depending on the taster's palate and their number of mouth heat receptors, which varies greatly among people.[7] Another weakness is sensory fatigue;[7] the palate is quickly desensitized to capsaicinoids after tasting a few samples within a short time period.[5] Results vary widely (up to ± 50%) between laboratories.[6]

text: ASTA pungency units[edit]

text: Since the 1980s, spice heat has been more precisely measured by a method that uses high-performance liquid chromatography (HPLC).[4] This method measures the concentration of heat-producing chemicals. The measurements uses a mathematical formula that weights them according to their relative capacity to produce perceived heat (pungency). This method yields results, not in Scoville units, but in American Spice Trade Association (ASTA) pungency units. ASTA pungency units are then multiplied by 16 in order to be reported as Scoville units, as according to the published method, a measurement of one part capsaicin per million corresponds to about 16 Scoville units. Scoville units are a measure for capsaicin content per unit of dry mass.[9][10][11]

text: Scoville ratings[edit]

text: Considerations[edit]

text: Since Scoville ratings are defined per unit of dry mass, comparison of ratings between products having different water content can be misleading. For example, typical fresh chili peppers have a water content around 90%, whereas Tabasco sauce has a water content of 95%.[12] For law-enforcement-grade pepper spray, values from 500,000 up to 1 million SHU have been mentioned,[13] but the actual strength of the spray depends on the dilution, which could vary by a factor of 10.[14]

text: The chilis with the highest rating on the Scoville scale exceed one million Scoville units, and include specimens of naga jolokia or bhut jolokia and its cultivar, the "ghost chili", which does not have official cultivar status.[15][16] Its Bangladeshi variety is the Naga Morich, also known as Dorset Naga, which came in at 1,598,227 SHUs, one of the hottest heat levels ever recorded for a chili.[1][17] As of 2017, the Dragon's Breath (chili pepper) is the highest rated pepper on record.[18]

text: Numerical results for any specimen vary depending on its cultivation conditions and the uncertainty of the laboratory methods used to assess the capsaicinoid content. Pungency values for any pepper are variable, owing to expected variation within a species—easily by a factor of 10 or more—depending on seed lineage, climate (humidity is a big factor for the Bhut Jolokia; the Dorset Naga and the original Naga have quite different ratings), and even soil (this is especially true of habaneros). The inaccuracies described in the measurement methods above also contribute to the imprecision of these values.[6]

text: Capsicum peppers[edit]

text:
Scoville heat units
Name of pepper(s)

855,000 – 2,480,000

Dragon's Breath, Naga Morich, Carolina Reaper, Komodo Dragon Chili Pepper,[19] Naga Viper pepper,[20][21] Trinidad Moruga Scorpion,[22] Infinity Chilli,[23] Bhut jolokia (ghost pepper),[24][25] Trinidad Scorpion Butch T pepper,[26] Bedfordshire Super Naga,[27] Spanish Naga Chili[28]

350,000 – 580,000
Red Savina habanero[21][29][30]

100,000 – 350,000
Habanero chili,[4][31] Scotch bonnet pepper,[31] Datil pepper, Rocoto, Madame Jeanette, Peruvian White Habanero,[32] Jamaican hot pepper,[31] Fatalii[33] Wiri Wiri,[34] Bird's eye chili[35]

50,000 – 100,000
Malagueta pepper,[35] Chiltepin pepper, Piri piri, Pequin pepper,[35] Siling Labuyo, Capsicum Apache

30,000 – 50,000
Guntur chilli, Cayenne pepper, Ají pepper,[35] Tabasco pepper, Capsicum chinense, Pequin pepper

10,000 – 30,000
Byadgi chilli, Serrano pepper, Peter pepper, Chile de árbol, Aleppo pepper, Cheongyang chili pepper, Peperoncino

3,500 – 10,000
Guajillo pepper, 'Fresno Chili' pepper, Jalapeño, wax[36] (e.g. Hungarian wax pepper)

1,000 – 3,500
Anaheim pepper, Pasilla pepper, Peppadew, poblano (or ancho),[37] Poblano verde,[36] Rocotillo pepper, Espelette pepper

100 – 1,000
Banana pepper, Cubanelle, paprika,[37] Pimiento

0
Bell pepper[38][39]

text: Pure chemicals[edit]

text:
Scoville heat units
Chemical

16,000,000,000
Resiniferatoxin

5,300,000,000
Tinyatoxin

16,000,000
Capsaicin

15,000,000
Dihydrocapsaicin

9,200,000
Nonivamide

9,100,000
Nordihydrocapsaicin

8,600,000
Homocapsaicin, Homodihydrocapsaicin

160,000
Shogaol

100,000
Piperine

60,000
Gingerol

16,000
Capsiate


document_title: Get Rich or Die Tryin' (soundtrack)

question_text: last song in get rich or die tryin

question_tokens: last song in get rich or die tryin

text: Get Rich or Die Tryin' (soundtrack)

text: Singles[edit]

text:
"Hustler's Ambition" was released as the album's lead single on August 9, 2005. The single is Jackson's personal favourite. The single peaked at #65 on Billboard Hot 100. The song is about Jacksons' rough time growing up and how he had to hustle to keep up with life.
"Window Shopper" was released as the album's second single on November 6, 2005 and serves as the film's theme song. The single peaked at #20 on the Hot 100. The single's version has a slightly different chorus, in which Jackson claims that Ja Rule, Jadakiss, Nas and Fat Joe are window shoppers, as he was feuding with these rappers at the time.
"Best Friend" was released as the album's third single on January 19, 2006. The single version features Olivia. The single peaked #35 on the Hot 100. The song is used throughout the film as a way for Marcus, Jackson's character, to lyrically flirt with Charlene, his love interest.
"Have a Party" was released as the album's fourth single on March 2, 2006. The song features Mobb Deep. The single peaked at #105 on the Hot 100, and was the worst performing single from the album. It also the least heard song from the album, only appearing in a very short segment when Marcus was in prison.
"I'll Whip Ya Head Boy" was released as the fifth and final single from the album on May 24, 2006. The song features Young Buck, and the single version also includes M.O.P.. The single peaked at #74 on the Hot 100, becoming the second worst performing single from the album. A number of remixes were also released.

text: Critical reception[edit]

text: Professional ratingsReview scoresSourceRatingAllmusic[2]Entertainment Weekly[3]HipHopDX[4]PopMatters(6/10)[5]RapReviews(7.5/10)[6]Rolling Stone[7]

text: Track listing[edit]

text: No.TitleProducer(s)Length1."Hustler's Ambition" (50 Cent)B-Money "B$"3:572."What If" (50 Cent)Nick Speed3:053."Things Change" (Spider Loc, 50 Cent & Lloyd Banks)Sha Money XL, Black Jeruz3:594."You Already Know" (G-Unit)The Outfit4:155."When Death Becomes You" (M.O.P. & 50 Cent)Kickdrums Productions, Recognize Reel3:056."Have a Party" (Mobb Deep, 50 Cent & Nate Dogg)Fredwreck3:557."We Both Think Alike" (50 Cent & Olivia)DJ Khalil3:058."Don't Need No Help" (Young Buck)Hi-Tek, J.R. Rotem2:509."Get Low" (Lloyd Banks)All-Star3:5610."Fake Love" (Tony Yayo)K.O.3:2011."Window Shopper" (50 Cent)C. Styles, Sire3:1012."Born Alone, Die Alone" (Lloyd Banks)Havoc3:0013."You a Shooter" (Mobb Deep & 50 Cent)Sha Money XL3:0514."I Don't Know Officer" (50 Cent, Prodigy, Spider Loc, Lloyd Banks & Ma$e)Jake One, Malay4:3215."Talk About Me" (50 Cent)Dr. Dre, Mike Elizondo, Che Vicious3:4116."When It Rains It Pours" (50 Cent)Dr. Dre, Che Vicious, Mike Elizondo4:02

text: showBonus TracksNo.TitleProducer(s)Length17."Best Friend" (50 Cent)Hi-Tek4:1118."I'll Whip Ya Head Boy" (50 Cent & Young Buck)Ron Browz3:56

text: showUK & Japan Bonus TracksNo.TitleProducer(s)Length17."Cloud 9" (50 Cent & Olivia)DJ Khalil4:3518."Best Friend" (50 Cent)Hi-Tek4:1119."I'll Whip Ya Head Boy" (50 Cent & Young Buck)Ron Browz3:56


document_title: New Amsterdam

question_text: when did the english take over new amsterdam

text: New Amsterdam

text: History[edit]

text: Early settlement (1609–1625)[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. (January 2013) (Learn how and when to remove this template message)

text: In 1524, nearly a century before the arrival of the Dutch, the site that later became New Amsterdam was named New Angoulême by the Italian explorer Giovanni da Verrazzano, to commemorate his patron King Francis I of France, former Count of Angoulême.[3] The first recorded exploration by the Dutch of the area around what is now called New York Bay was in 1609 with the voyage of the ship Halve Maen (English: "Half Moon"), captained by Henry Hudson[4] in the service of the Dutch Republic, as the emissary of Maurice of Nassau, Prince of Orange, Holland's stadholder. Hudson named the river the Mauritius River. He was covertly attempting to find the Northwest Passage for the Dutch East India Company. Instead, he brought back news about the possibility of exploitation of beaver by the Dutch who sent commercial, private missions to the area the following years.

text: At the time, beaver pelts were highly prized in Europe, because the fur could be felted to make waterproof hats. A by-product of the trade in beaver pelts was castoreum—the secretion of the animals' anal glands—which was used for its medicinal properties and for perfumes. The expeditions by Adriaen Block and Hendrick Christiaensen in 1611, 1612, 1613 and 1614, resulted in the surveying and charting of the region from the 38th parallel to the 45th parallel.[5] On their 1614 map, which gave them a four-year trade monopoly under a patent of the States General, they named the newly discovered and mapped territory New Netherland for the first time. It also showed the first year-round trading presence in New Netherland, Fort Nassau, which would be replaced in 1624 by Fort Orange, which eventually grew into the town of Beverwyck, now Albany.

text: Dominican trader Juan Rodriguez (rendered in Dutch as Jan Rodrigues), born in Santo Domingo of Portuguese and African descent, arrived on Manhattan Island during the winter of 1613–1614, trapping for pelts and trading with the local population as a representative of the Dutch. He was the first recorded non-Native American inhabitant of what would eventually become New York City.[6][7]

text: The territory of New Netherland was originally a private, profit-making commercial enterprise focused on cementing alliances and conducting trade with the diverse Indian tribes. Surveying and exploration of the region was conducted as a prelude to an anticipated official settlement by the Dutch Republic, which occurred in 1624.

text: Pilgrims' attempt to settle in the Hudson River area[edit]

text: In 1620 the Pilgrims attempted to sail to the Hudson River from England. However, the Mayflower reached Cape Cod (now part of Massachusetts) on November 9, 1620, after a voyage of 64 days.[8] For a variety of reasons, primarily a shortage of supplies, the Mayflower could not proceed to the Hudson River, and the colonists decided to settle near Cape Cod, establishing the Plymouth Colony.

text: Dutch return[edit]

text: The mouth of the Hudson River was selected as the ideal place for initial settlement as it had easy access to the ocean while also securing an ice-free lifeline to the beaver trading post near present-day Albany. Here, Indian hunters supplied them with pelts in exchange for European-made trade goods and wampum, which was soon being made by the Dutch on Long Island. In 1621, the Dutch West India Company was founded. Between 1621 and 1623, orders were given to the private, commercial traders to vacate the territory, thus opening up the territory to Dutch settlers and company traders. It also allowed the laws and ordinances of the states of Holland to apply. Previously, during the private, commercial period, only the law of the ship had applied.

text: In May 1624, the first settlers in New Netherland arrived on Noten Eylandt (Nut or Nutten Island, now Governors Island) aboard the ship New Netherland under the command of Cornelius Jacobsen May, who disembarked on the island with thirty families in order to take legal possession of the New Netherland territory.[9] The families were then dispersed to Fort Wilhelmus on Verhulsten Island (Burlington Island) in the South River (now the Delaware River), to Kievitshoek (now Old Saybrook, Connecticut) at the mouth of the Verse River (now the Connecticut River) and further north at Fort Nassau on the Mauritius or North River (now the Hudson River), near what is now Albany.

text: A fort and sawmill were soon erected at Nut Island. The latter was constructed by Franchoys Fezard and was taken apart for iron in 1648.

text: Fort Amsterdam (1624)[edit]

text: The threat of attack from other European colonial powers prompted the directors of the Dutch West India Company to formulate a plan to protect the entrance to the Hudson River. In 1624, 30 families were sponsord by Dutch West India Company moving from Nut Island to Manhattan Island, where a citadel to contain Fort Amsterdam was being laid out by Cryn Frederickz van Lobbrecht at the direction of Willem Verhulst. By the end of 1625, the site had been staked out directly south of Bowling Green on the site of the present U.S. Custom House. The Mohawk-Mahican War in the Hudson Valley led the company to relocate even more settlers to the vicinity of the new Fort Amsterdam. In the end, colonizing was a prohibitively expensive undertaking, only partly subsidized by the fur trade. This led to a scaling back of the original plans. By 1628, a smaller fort was constructed with walls containing a mixture of clay and sand.

text: The fort also served as the center of trading activity. It contained a barracks, the church, a house for the West India Company director and a warehouse for the storage of company goods.[10] Troops from the fort used the triangle between the Heerestraat and what came to be known as Whitehall Street for marching drills.

text: Verhulst, with his council, was responsible for the selection of Manhattan as a permanent place of settlement and for situating Fort Amsterdam. He was replaced as the company director-general of New Amsterdam by Peter Minuit in 1626. To legally safeguard the settlers' investments, possessions and farms on Manhattan island, Minuit negotiated the "purchase" of Manhattan from a Manahatta band of Lenape for 60 guilders worth of trade goods. According to the writer Nathaniel Benchley, Minuit conducted the transaction with the Lenape chief Seyseys, who was only too happy to accept valuable merchandise in exchange for an island that was actually mostly controlled by the Weckquaesgeeks.[11] The deed itself has not survived, so the specific details are unknown. A textual reference to the deed became the foundation for the legend that Minuit had purchased Manhattan from the Native Americans for 24 dollars' worth of trinkets and beads, the guilder rate at the time being about two and a half to a Spanish dollar. The price of 60 Dutch guilders in 1626 amounts to around $1,100 in 2012 dollars.[12] Further complicating the calculation is that the value of goods in the area would have been different than the value of those same goods in the developed market of the Netherlands.

text: The Dutch exploited the hydropower of existing creeks by constructing mills at Turtle Bay (between present day East 45th- 48th Streets) and Montagne's Kill, later called Harlem Mill Creek (East 108th Street). In 1639 a sawmill was located in the northern forest at what was later the corner of East 74th Street and Second Avenue, at which African laborers cut lumber.[13][14]

text: The New Amsterdam settlement had a population of approximately 270 people, including infants[citation needed]. In 1642 the new director-general Willem Kieft decided to build a stone church within the fort. The work was carried out by recent English immigrants, the brothers John and Richard Ogden. The church was finished in 1645 and stood until destroyed in the Slave Insurrection of 1741.

text: A pen-and-ink view of New Amsterdam,[15][16] drawn on-the-spot and discovered in the map collection of the Austrian National Library in Vienna in 1991, provides a unique view of New Amsterdam as it appeared from Capske (small Cape) Rock in 1648. Capske Rock was situated in the water close to Manhattan between Manhattan and Noten Eylant, and signified the start of the East River roadstead.

text: New Amsterdam received municipal rights on February 2, 1653, thus becoming a city. Albany, then named Beverwyck, received its city rights in 1652. Nieuw Haarlem, now known as Harlem, was formally recognized in 1658.

text: The first Jews known to have lived in New Amsterdam arrived in 1654. First to arrive were Solomon Pietersen and Jacob Barsimson, who sailed during the summer of 1654 directly from Holland, with passports that gave them permission to trade in the colony.[17] Then in early September, 23 Jewish refugees arrived from the formerly Dutch city of Recife, which had been conquered by the Portuguese in January 1654.[18] The director of New Amsterdam, Peter Stuyvesant, sought to turn them away but was ultimately overruled by the directors of the Dutch West India Company in Amsterdam.[19] Asser Levy, an Ashkenazi Jew who was one of the 23 refugees, eventually prospered and in 1661 became the first Jew to own a house in New Amsterdam, which also made him the first Jew known to have owned a house anywhere in North America.[20]

text: In 1661 the Communipaw ferry was founded and began a long history of trans-Hudson ferry and ultimately rail and road transportation.[21] On September 15, 1655, New Amsterdam was attacked by 2,000 Indians as part of the Peach Tree War. They destroyed 28 farms, killed 100 settlers, and took 150 prisoners.

text: English capture[edit]

text: On August 27, 1664, while England and the Dutch Republic were at peace, four English frigates sailed into New Amsterdam's harbor and demanded New Netherland's surrender, whereupon New Netherland was provisionally ceded by Stuyvesant. On September 6, Stuyvesant sent lawyer Johannes De Decker and five other delegates to sign the official Articles of Capitulation. This was swiftly followed by the Second Anglo-Dutch War, between England and the Dutch Republic. In June 1665, New Amsterdam was reincorporated under English law as New York City, named after the Duke of York (later King James II). He was the brother of the English King Charles II, who had been granted the lands.[22]

text: In 1664, Jan van Bonnel built a saw mill on East 74th Street and the East River, where a 13,710-meter long stream that began in the north of today's Central Park, which became known as the Saw Kill or Saw Kill Creek, emptied into the river.[23][24] Later owners of the property George Elphinstone and Abraham Shotwell replaced the saw mill with a leather mill in 1677.[23][25] The Saw Kill was later redirected into a culvert, arched over, and its trickling little stream was called Arch Brook.

text: In 1667 the Treaty of Breda ended the conflict. The Dutch did not press their claims on New Netherland. In return, they were granted the tiny Island of Run in North Maluku, rich in nutmegs, and a guarantee for their de facto possession of Suriname, captured by them that year.

text: In July 1673, during the Third Anglo-Dutch War, the Dutch briefly and quickly occupied New York City and renamed it New Orange.[26] Anthony Colve was installed as the first governor. Previously there had only been West India Company directors. After the signing of the Treaty of Westminster in November 1674, the city was relinquished to the English and the name reverted to "New York". Suriname became an official Dutch possession in return.

text: Cartography[edit]

text: The beginnings of New Amsterdam, unlike most other colonies in the New World, were thoroughly documented in city maps. During the time of New Netherland's colonization, the Dutch were the pre-eminent cartographers in Europe. The delegated authority of the Dutch West India Company over New Netherland required maintaining sovereignty on behalf of the States General, generating cash flow through commercial enterprise for its shareholders, and funding the province's growth. Thus its directors regularly required that censuses be taken. These tools to measure and monitor the province's progress were accompanied by accurate maps and plans. These surveys, as well as grassroots activities to seek redress of grievances,[16] account for the existence of some of the most important of the early documents.[27]

text: There is a particularly detailed city map called the Castello Plan produced in 1660. Virtually every structure in New Amsterdam at the time is believed to be represented, and by a fortunate coincidence it can be determined who resided in every house from the Nicasius de Sille List of 1660, which enumerates all the citizens of New Amsterdam and their addresses.[28]

text: The city map known as the Duke's Plan probably derived from the same 1660 census as the Castello Plan. The Duke's Plan includes the earliest suburban development on Manhattan (the two outlined areas along the top of the plan). The work was created for James (1633–1701), the duke of York and Albany, after whom New York City and New York State's capital Albany were named, just after the seizure of New Amsterdam by the British.[29] After that provisional relinquishment of New Netherland, Stuyvesant reported to his superiors that he "had endeavored to promote the increase of population, agriculture and commerce...the flourishing condition which might have been more flourishing if the now afflicted inhabitants had been protected by a suitable garrison...and had been helped with the long sought for settlement of the boundary, or in default thereof had they been seconded with the oft besought reinforcement of men and ships against the continual troubles, threats, encroachments and invasions of the British neighbors and government of Hartford Colony, our too powerful enemies."

text: The existence of these city maps has proven to be very useful in the archaeology of New York City. For instance, the Castello map aided the excavation of the Stadthuys (City Hall) of New Amsterdam in determining the exact location of the building.[30][31]

text: Layout[edit]

text: The maps enable a precise reconstruction of the town. Fort Amsterdam was located at the most southern tip of the island of Manhattan, which today is surrounded by Bowling Green. The Battery is a reference to its batteries, or cannons.

text: Broadway was the main street that led out of town north towards Harlem. The town was surrounded to the north by a wall leading from the eastern to the western shore. The course of this city wall is today Wall Street. A canal led from the harbor inland and was filled in 1676, which today is Broad Street.

text: The layout of the streets was winding, as in a European city. Only starting from Wall Street going toward uptown did the typical grid become enforced long after the town ceased to be Dutch. Most of the Financial District overlaps New Amsterdam and has retained the original street layout.

text: Legacy[edit]

text: The 1625 date of the founding of New Amsterdam is now commemorated in the official Seal of New York City. (Formerly, the year on the seal was 1664, the year of the provisional Articles of Transfer, assuring New Netherlanders that they "shall keep and enjoy the liberty of their consciences in religion", negotiated with the English by Peter Stuyvesant and his council.)

text: Sometimes considered a dysfunctional trading post by the English who later acquired it from the Dutch, Russell Shorto, author of The Island at the Center of the World, suggests that the city left its cultural marks on later New York and, by extension, the United States as a whole.[32]

text: Major recent historical research has been based on a set of documents that have survived from that period, untranslated. They are the administrative records of the colony, unreadable by most scholars. Since the 1970s, a professor named Charles Gehring has made it his life's work to translate this first-hand history of the Colony of New Netherland.

text: The scholarly conclusion has largely been that the settlement of New Amsterdam is much more like current New York than previously thought. Cultural diversity and a mind-set that resembles the American Dream were already present in the first few years of this colony. Writers like Russell Shorto argue that the large influence of New Amsterdam on the American psyche has largely been overlooked in the classic telling of American beginnings, because of animosity between the English victors and the conquered Dutch.

text: The original 17th-century architecture of New Amsterdam has completely vanished (affected by the fires of 1776 and 1835),[33][34] leaving only archaeological remnants. The original street plan of New Amsterdam has stayed largely intact, as have some houses outside Manhattan.

text: The presentation of the legacy of the unique culture of 17th-century New Amsterdam remains a concern of preservationists and educators. The National Park Service celebrated in 2009 the 400th anniversary of Henry Hudson's 1609 voyage on behalf of the Dutch with the New Amsterdam Trail.[35][36]

text: The Dutch-American historian and journalist Hendrik Willem van Loon wrote in 1933 a work of alternative history entitled "If the Dutch Had Kept Nieuw Amsterdam" (in If, Or History Rewritten, edited by J. C. Squire, 1931, Simon & Schuster).

text: A similar theme, at greater length, was taken up by writer Elizabeth Bear, who published the "New Amsterdam" series of detective stories that take place in a world where the city remained Dutch until the Napoleonic Wars and retained its name also afterwards.

text: One of New York Broadway theatres is the New Amsterdam Theatre. The name New Amsterdam is also written on the architrave situated on top of the row of columns in front of the Manhattan Municipal Building, commemorating the name of the Dutch colony.

text: Although no architectural monuments or buildings have survived, the legacy lived on in the form Dutch Colonial Revival architecture. A number of structures in New York city were constructed in the 19th and 20th century in this style, such as Wallabout Market in Brooklyn, South William Street in Manhattan, West End Collegiate Church at West 77th Street, and others.


document_title: Lagos State Ministry of Education

question_text: where is lagos state ministry of education located

text: Lagos State Ministry of Education

text:
Lagos State Ministry of Education

Ministry overview

Jurisdiction
Government of Lagos State

Headquarters
State Government Secretariat, Alausa, Lagos State, Nigeria

Ministry executive

Dr. Idiat Adebule, Commissioner

text: The Lagos State Ministry of Education is the state government ministry charged with the responsibility to plan, devise and implement the state policies on Education.[1][2]