document_title: The Bear King

question_text: who killed fergus in once upon a time

question_tokens: who killed fergus in once upon a time

text: The Bear King

text: Plot[edit]

text: Opening sequence[edit]

text: Merida riding on a horse is featured in the forest.

text: Event chronology[edit]

text: The DunBroch flashbacks about King Fergus' death take place 2 years before "The Bear and the Bow" and the DunBroch flashbacks about the search of the magical helmet take place after "The Bear and the Bow" (these events take place after "Queen of Hearts" and before "And Straight On 'til Morning").[1] The Camelot flashbacks take place after the scene at the middlemist meadow in "Birth". The Storybrooke flashbacks take place during the last scenes of "There's No Place Like Home".

text: In the Character's Past[edit]

text: Two years previous to the present day events, a rider arrives to the Witch's Hut from Brave, and demands to show themselves and asks for magic. The person, King Fergus, is met by a witch who asks what he wants and he says he needs something to ensure the future of his kingdom and says he will pay the price. She says he can pay her later and calls it an IOU and offers him a contract to sign and he stamps it with his signet ring. She says it’s a deal and she blends up a potion using a pluck of his hair. Later on, Fergus and Merida walking among the clans. Fergus says he’ll take the tongue of the next man who disrespects her. She sees the men writing and thinks they’re sending love notes but Fergus says they’re writing their last will and testaments. Fergus also gave Merida his prized bow that she can carry into her first battle, and Merida thanked her father for keeping her safe. Merida pulls a sword and challenges the man who knocks her down, but the person who defeated her was Mulan, who says she can teach her how to fight better than any man there and will teach her honor as well. Some of the men watching mock her and call Mulan her nursemaid, but tells her no one will follow her out of fear and says to ask her father since they already follow him. Later that day, Merida came looking for him by the water. He says the invaders are sailing in and he’s watching for them. She asks if they will win the war and then says she wants to know how he inspired all these men to follow him into battle. He looks at the helm and she asks if everything is all right. Fergus says you have to show you’re the first one willing to die and says that tells them how important it is. He tells her he’s the Bear King and can face anything. She sees her father with the helm and discovers that Mulan had kept Merida from going with him. When she arrived and sees a knight coming towards Fergus, Merida aims an arrow at the knight, but misses as the knight kills Fergus. The Knight removes his helm, who is then revealed to be Arthur.

text: In Camelot / DunBroch[edit]

text: As Arthur and Zelena return to Camelot, Arthur wants to come up with a plan of action, with Arthur telling her that they would have to go to a place called DunBroch. Over in DunBroch, Merida puts a flower on her father’s grave and tells him she saved the boys and proved she’s fit to be queen. She says now it’s even harder since she has to rule and her father made it look easy. She says she wishes he was here so she could ask him how he did it. Her mother is there and says her father is always with her then says she misses him too. She tells Merida it’s not a day for sadness since she’s got her coronation. They leave the grave of King Fergus.

text: Merida is ready to be crowned by her mother as the Queen of Clan DunBroch but the witch bursts in with the contract. Upon learning this, the witch says she wants the helm or 10k of gold by tomorrow night or she’ll curse them all to be bears. She tells Merida to lead and figure it out which was something Fergus could not do. Merida’s mother searches the house for the helm although Merida says he was wearing it when he was killed by a knight who then took it.  Meanwhile, Mulan pays a visit and ready to collect money for someone. When the man shoved her, Mulan makes it clear by knocking out his accomplices and says left or right hand. Merida puts an arrow in the guy’s hand and tells Mulan she needs her help. Mulan says she only helps herself these days and says honor won’t fill her purse. Merida asks what happened to her. Merida tosses her a sack of gold and Mulan agrees to help on one condition and says no more questions about her.  Later, Merida tells Mulan she won’t give up on justice for her dad. Mulan says someone is coming and Merida sends an arrow as Arthur and Zelena appear.

text: Zelena and Arthur are in the woods and come upon the witch’s home and is met by a giant wolf, only to have Zelena throws some sleeping powder on it to make it sleepy. The witch appears and says she won’t be as easy to subdue. Arthur asks for the magic helm and the witch says she already sent someone to look for it. Zelena holds her head near the cauldron and threatens her and the witch says Merida has it. Arthur is shocked that Merida escaped and Zelena promises to make her pay. They then show up with Zelena demanding it while Merida asks why everyone wants it. Arthur says it has the power to make other men fight your battle and says he needs it but Merida says her father wouldn’t use magic to fight his battles. Mulan says they need the helm to protect their people but they don’t have it. Zelena takes Merida's bow to use as a tracking device, and tells her she can console herself with the memories of what a terrible ruler he turned out to be then tells Arthur they can use it to track the helm and they disappear.

text: Mulan tells her they can still track the helm and Merida says if her dad can’t lead without magic, neither can she. Later, Mulan takes the cloak scrap and goes to see the witch to get her to tell her who the cloak belongs to. She goes into the witch’s house and looks around. The wolf snarls and leaps. Mulan backs away and it follows her outside. Then Mulan smiles at her and says she’s not a wolf, and transforms into Ruby, who told them that Mary Margaret and Emma told them about Mulan and she says she knows Philip and Aurora too. Mulan gets quiet and says it’s hard to travel between realms then asks how Red ended up here. Its revealed in a flashback after defeating Zelena that Ruby told Mary Margaret that being the only one of her kind in Storybrooke, she wanted to return to the Enchanted Forest to find others like her with a magic bean given to her by Tiny who had managed to grow one. But when she arrived back in the Enchanted Forest, the pack had already left and so she sought help from the witch to find them but instead she turned her back into a wolf to be her guard. When they arrived to the lake and used the spell to bring the helm up, both Arthur and Zelena are stopped by Mulan, Merida, and Ruby. Merida then fights Arthur after finding out he killed her father while Mulan and Ruby use sleeping powder on Zelena as payback. Arthur and Zelena return to Camelot defeated when the clans of DunBroch arrive to aid Merida.

text: Back in DunBroch, Merida shows off the helm, when the witch showed up for it, but she had a surprise for Merida. The quest for the helm was a test to prove that she was worthy of being the ruler of DunBroch, and she passed the test. The witch gives Merida a pouch of magical ale, to summon her father's spirit from the Underworld. Merida then thanked Mulan and Ruby for helping her, with Ruby and Mulan decide to team up together to find other werewolves. Merida then uses the spell at her father's grave and his spirit appears to her, telling Merida that he was proud of her. After King Fergus' spirit disappears, Merida vows to make Arthur pay.

text: Production[edit]

text: This episode marked the first in the series that most of the cast, with the exception of Ginnifer Goodwin and Rebecca Mader, did not appear.

text: Reception[edit]

text: The episode received mixed reviews from critics.

text: Andrea Towers of Entertainment Weekly notes in her assessment of the review, "While the two back-to-back episodes didn’t make too much sense meshed together, we still learned a lot of important things."[2]

text: In a review from Rickey.org, Nick Roman said, "...while I can’t say I LOVED “The Bear King”, I can at least say I respected what it was going for: It’s clear that Merida (Amy Manson) is going to be important to the endgame of this King Arthur (Liam Garrigan) storyline, so we needed to establish why and to what degree. And this is easier said than done, considering Merida is a character who, up until this point, hasn’t even been particularly likable. I like Amy Manson in the role of Merida, but she hasn’t always been given the best material, often coming across as unnecessarily combative and standoffish. And so this episode was necessary to soften the character and illustrate why she’s as hard-nosed as she is. This episode also gave Manson the opportunity to really shine, while also bringing back some OUAT alums I didn’t realize I’d missed, such as Mulan (Jamie Chung) and Ruby (Meghan Ory). We also get to meet more of Merida’s family, such as Queen Elinor (Caroline Morahan), and — through flashbacks — the late King Fergus (Glenn Keogh). It’s a story that details how Merida is shaped into a warrior and a ruler who inspires leadership in her people, and from that standpoint, it’s one of the season’s more effective character studies."[3]

text: Amy Ratcliffe of IGN said of the episode, "The return of Mulan and Ruby was pushed in marketing for the second part of Once Upon a Time's two-hour special, but Merida, Mulan, and Ruby didn't have much screen time together. The dynamic between Mulan and Merida was solid though, and they pushed each other to be better. Merida's had nothing but trouble with her kingdom in all the encounters we've had with her so another quest so soon was wearisome, and it didn't have the emotional pull it could have possessed."[4] Ratcliffe gave the episode a 6.1 rating out of 10.[4]

text: Gwen Ihnat of The A.V. Club gave the episode a mixed review, giving it a C+.[5] In her recap, she cited that the episode was weak in the delivery, saying " I’ve already complained about how the Merida storylines aren’t doing it for me, through no fault of the actress playing her, I just don’t think the Brave canon has much to offer as Merlin’s, say."[5]

text: Christine Orlando of TV Fanatic gave the episode a 4.5 out of 5 stars.[6]


document_title: Blue (Third Eye Blind album)

question_text: what is slow motion by third eye blind about

root

text: Blue (Third Eye Blind album)

text: Background[edit]

text: Writing and recording[edit]

text: The band enjoyed extensive success in 1997 with their first album, Third Eye Blind, which eventually went platinum six times.[2] The band maintained popularity into 1998 through extensive touring and a number of singles that performed well in the charts, including "Semi-Charmed Life," "How's It Going to Be," "Graduate," "Losing a Whole Year," and "Jumper," but by the end of the year, the band looked to start working on new material.[2]

tag: p

text: In promoting the album, frontman and lead vocalist Stephan Jenkins recounted a pleasant experience in recording the album, referring to it as "too much fun and feeling like...a complete recording group for the first time...We had these jam sessions that were fun".[3] He also commented that it had been more collaborative than their prior album; bassist Arion Salazar became more involved in the writing and production, while drummer Brad Hargreaves was involved in the creative process for the first time, as he had joined the band late into their sessions for the first album.[3] However, in retrospect, Jenkins painted a much more grim picture, citing time constraints, label pressure from Elektra Records, and isolation between members, stating:

text: "We did the last album in six months, we just whipped it out, and there's some things on that album, on the second album, that I'm so proud of...but the second album suffered from a kind of coldness almost. That's done in part because we were never in the studio at the same time, never rehearsed the songs together, never played them together. I did my best to, to produce that record and it was very hard to do. Then we succumbed to the time pressures from Elektra to get the album out in six months which we did."[4]

text: A major issue of the recording sessions was internal strife between band members, namely between Jenkins, and lead guitarist and co-founding band-member Kevin Cadogan.[5] The two actively fought for ownership of the band; Cadogan, under the impression that the band was made as an equal partnership, was outraged to find that Jenkins had made legal changes to make Jenkins the sole owner of the band.[5] Cadogan was further frustrated by Salazar's and Hargreaves' lack of understanding and indifference to the arrangement.[5] The album was almost not made at all, as the band manager informed Cadogan that Jenkins was attempting to remove Cadogan from the band prior to even starting work on the album.[5] Cadogan did everything he could to stay in the band, including trying to push issues aside in order to just work on the album, having the band and sound engineer over to his home in order to record rough album ideas for two weeks.[5] The sessions worked, but were very difficult, and ended up being the only period where the band worked together with one another.[5] The rest of the album was recorded in solitude, with each member coming into the studio to record their parts of the album alone.[4] The recording process spread itself across multiple other studios over time, one of which being one of the studios where Fleetwood Mac's Rumours had been recorded.[6]

text: Song selection[edit]

text: The tension and isolation in the recording process led to complications in the song selection, which would, in turn create further tensions within the band. Firstly was the song "Slow Motion", a controversial ballad written by Jenkins about a student shooting a teacher's son.[7] While Jenkins insisted that the song was satirical parody,[8] and actually anti-violence, Elektra disapproved of the track being on the album, feeling it could cause controversy due to the proximity of the Columbine High School massacre, which had just happened in April of that year.[9] The band and the label fought over the song's inclusion for four months, with the label proposing a compromise that would allow only the instrumental to be on the album, and in return, the label would finance an EP to be released after the album, where the band could release the song in its entirety and have complete creative freedom, without restriction.[9] Cadogan, already unhappy with his lack of ownership over the band, was the sole member of the band to object to the deal, knowing he would not have any control over the deal's terms of a cash advance and imprint label creation for the EP.[10]

text: With the members of the band not working together at the same time in the studio, the band's manager Eric Godtland set up a voting system for each member of the band to vote for the rest of the songs they wanted included on the album.[5][11][12] A list of twenty songs were recorded during Blue's sessions, with Godtland instructing each member of the band to vote for their top fifteen.[11] In addition to the twelve tracks that made the final track list of Blue (The thirteenth track, "Slow Motion" was not voted upon, as they had already come to a conclusion on what to do with the song.), were an additional eight songs, "Walk with the Devil", "Alright Caroline", "Lipstick", "Light That Hits the Room/Separation", "Sorry", "Gorgeous", "No One Home", and "Pack a Halo".[11] Adding to the tension between Cadogan and the rest of the band was the fact that many of the songs Cadogan had written, such as "Light That Hits the Room", received no votes for inclusion beside his own, and "Gorgeous" received only the support of himself and Hargreaves, ultimately leading to the songs being left off the album.[11][5] Conversely, Cadogan was the sole objector to the tracks "Never Let You Go" and "Deep Inside of You", which were not only included on the album, but eventually made singles.[11] Elektra spokesman Joel Amsterdam revealed that "Horror Show", a track the band had recorded and released originally on the "How's It Going to Be" single and for the Varsity Blues soundtrack, was also in contention for the album, but ultimately left off.[13]

text: Sound, composition and themes[edit]

text: The band aimed to have a more experimental and harder-edged rock sound to the album, not wanting to be pigeonholed into the pop rock genre after the success of "Semi-Charmed Life" from their prior album.[1][5][14] Cadogan personally aimed for the album's sound to reflect all of the music he had encountered, due to it always being planned as one of the last albums released in the 20th century.[5] As such, the individual songs spanned many genre and lyrical themes. The album's opening track and first single, "Anything", was described as pop punk.[15] "Wounded" was described by Jenkins as "a chronicle of a friend's sexual assault", while "10 Days Late" was described as an "ambiguous [song] about abortion".[9] However, when Jenkins was interviewed by Billboard, he claimed the song was about a friend of his who had gotten his girlfriend pregnant at a young age; Jenkins was the baby's godfather.[16] "Slow Motion" was Jenkins' satirical commentary on how the media and Hollywood glorifies violence.[9] While the lyrics were seen as controversial due to the album's release close to the Columbine High School massacre, they were not about the incident, and were actually written years prior in 1995, though the label still requested their removal for the final release of the album.[9][8]

text: Release and aftermath[edit]

text: The album debuted at number 40 on the US Billboard 200, selling about 75,000 copies in its first week of release.[17] Blue was certified platinum by the RIAA by April 2000,[18] and had sold over 1.25 million copies in the U.S. as of May 2003.[17][19] Two variants of the album were released; a first pressing with "Slow Motion" with a chorus as track 11, and later pressings with it as an instrumental at the very end of the album. Four singles were released to pop and rock radio, including "Anything",[20] "Never Let You Go",[21] "Ten Days Late",[18] and "Deep Inside of You".[21] The band also toured vigorously in support of the album, including their "Dragons and Astronauts" tour.[18]

text: Just after the touring in support of Blue began, on January 25, 2000, Cadogan was fired from the band.[22] Tony Fredianelli, who had some limited experience with the band previously, joined the band shortly thereafter, filling in for the rest of the touring cycle.[10] Cadogan subsequently sued Third Eye Blind for breach of contract, with a settlement of an undisclosed amount permanently ending the relationship.[23] Third Eye Blind would go on to put out two more albums with Fredianelli, albeit with very long delays, Out of the Vein (2003) and Ursa Major (2009), until similar power struggles between Fredianelli and Jenkins led to similar firings and lawsuits between the two in 2010.[24] Cadogan mostly kept to low-profile projects, largely three solo albums, 12 Nights in Studio A (2002), Wunderfoot (2003), and Thousand Yard Stare (2006).[25] Notably, a number of versions of his songs written, but ultimately rejected for, Blue ended up on the album Wunderfoot, including "Lipstick", "Pack a Halo" (reworked into "Palpatations"), "Walk With the Devil" (reworked into "Waiting for Me").[26]

text: The contentious full lyric version of "Slow Motion" never appeared on a later EP, as the Black EP, later re-titled Symphony of Decay, was never released, but the song was eventually released in 2006 on the greatest hits album A Collection.[27] Despite the difficult recording sessions and strife among members, in a 2015 Vice retrospective, Jenkins rated the album as his favorite of the band's releases, feeling that the album marked a sweet spot in the band's career, where they had freedom due to the prior album's success, but hadn't developed a fear of failing to create a followup yet.[6]

text: Critical reception[edit]

text:
Professional ratings

Review scores

Source
Rating

AllMusic
[1]

The A.V. Club
(mixed)[28]

Entertainment Weekly
B+[29]

Robert Christgau
[30]

Rolling Stone
[31]

Spin
[32]

tag: table

text: The album was generally well received by critics. AllMusic's Stephen Thomas Erlewine praised the album for proving that they're "stronger and more serious than many of their post-grunge peers" and concluding that "there's not quite enough of it this time around to make Blue the equal of its predecessor, but it should be enough to please devoted fans."[1] The A.V. Club writer Stephen Thompson agreed, noting that "its second half is particularly aimless and dire—but it's got its moments, particularly the sparkly, hitworthy single "Never Let You Go" and "Anything," which opens the album with two minutes of pop joy."[28] In a mixed review from Spin, Mark Lepage remarked that the band were "lightweights trying their hooks out on the heavy bag", noticing influences from the Rolling Stones, U2, and Kiss.[32]

text: James Hunter of Rolling Stone praised the album for its "finely worked-out chunks of serious gun-metal rockcraft that depend on the San Francisco band's restless, edgy electric guitars" and concluded that the album was a rarity in the way it "works best as either background rock or intimate headphone material."[31] Elysa Gardner of Entertainment Weekly noted Jenkins' lyrics and vocal delivery and Cadogan's guitar-work as standout elements of the album.[29]

text: Track listing[edit]

text:
No.
Title
Writer(s)
Length

1.
"Anything"
Stephan Jenkins
1:59

2.
"Wounded"

Jenkins
Kevin Cadogan

4:51

3.
"10 Days Late"

Jenkins
Arion Salazar

3:05

4.
"Never Let You Go"
Jenkins
3:57

5.
"Deep Inside of You"
Jenkins
4:10

6.
"1000 Julys"

Jenkins
Cadogan

7.
"An Ode to Maybe"

Jenkins
Cadogan

2:36

8.
"The Red Summer Sun"

Jenkins
Cadogan

5:25

9.
"Camouflage"

Jenkins
Cadogan

4:35

10.
"Farther"
Jenkins
4:02

11.
"Slow Motion" (instrumental)

Jenkins
Cadogan

4:34

12.
"Darkness"

Jenkins
Salazar

5:10

13.
"Darwin" (The song "Darwin" ends at 3:50. After 10 minutes and 53 seconds of silence, at minute 14:43 begins the hidden song "The Red Summer Sun [Extended Coda]".)
Jenkins
20:55

Total length:
57:59

text:
[show]Japanese exclusive

No.
Title
Writer(s)
Length

14.
"New Girl"
Jenkins
2:14

text: Personnel[edit]

text:
Stephan Jenkins – vocals, rhythm guitar
Kevin Cadogan – lead guitar
Arion Salazar – bass
Brad Hargreaves – drums

tag: ul

text: Charts[edit]

text:
Chart (1999)
Peak
position

New Zealand Albums (RMNZ)[33]
34

US Billboard 200[34]
40


document_title: Powers of the United States Congress

question_text: where are the powers of congress listed in the constitution

text: Powers of the United States Congress

text: General powers[edit]

text: Article I of the Constitution sets forth most of the powers of Congress, which include numerous explicit powers enumerated in Section 8. Constitutional amendments have granted Congress additional powers. Congress also has implied powers derived from the Necessary and Proper Clause of the Constitution.

text:
Congress has authority over financial and budgetary matters, through the enumerated power to lay and collect taxes, duties, imposts and excises, to pay the debts and provide for the common defense and general welfare of the United States.
The Sixteenth Amendment, ratified in 1913, extended power of taxation to include income taxes.[1] The Constitution also grants Congress exclusively the power to appropriate funds.  This power of the purse is one of Congress' primary checks on the executive branch.[1]  Other powers granted to Congress include the authority to borrow money on the credit of the United States, regulate commerce with foreign nations and among the states, and coin money.[2] Generally both Senate and House have equal legislative authority although only the House may originate revenue bills and, by tradition, appropriation bills.[3]

text: The Constitution also gives Congress an important role in national defense, including the exclusive power to declare war, to raise and maintain the armed forces, and to make rules for the military.[4] Some critics charge that the executive branch has usurped Congress's Constitutionally-defined task of declaring war.[5] While historically presidents initiated the process for going to war, they asked for and received formal war declarations from Congress for the War of 1812, the Mexican–American War, the Spanish–American War, World War I, and World War II,[6] although President Theodore Roosevelt's military move into Panama in 1903 did not get Congressional assent.[6] Presidents have initiated war without Congressional war declarations; Truman called the Korean War a "police action"[7] and the Vietnam War lasted over a decade without a declaration of war.[6] In 1970, Time magazine noted: "All told, it has been calculated, U.S. presidents have ordered troops into position or action without a formal congressional declaration a total of 149 times" before 1970.[6] In 1993, one writer noted "Congress's war power has become the most flagrantly disregarded provision in the Constitution," and that the "real erosion (of Congressional authority to declare war) began after World War II."[8] President George H. W. Bush claimed he could begin Operation Desert Storm and launch a "deliberate, unhurried, post–Cold War decision to start a war" without Congressional approval.[8] Critics charge that President George W. Bush largely initiated the Iraq War with little debate in Congress or consultation with Congress, despite a Congressional vote on military force authorization.[9][10] Disagreement about the extent of congressional versus presidential power regarding war has been present periodically throughout the nation's history.[11]

text: Congress also has the power to establish post offices and post roads, issue patents and copyrights, fix standards of weights and measures, establish courts inferior to the Supreme Court, and "To make all laws which shall be necessary and proper for carrying into execution the foregoing powers, and all other powers vested by this Constitution in the government of the United States, or in any department or officer thereof." Article Four gives Congress the power to admit new states into the Union.

text: One of the foremost non-legislative functions of the Congress is the power to investigate and to oversee the executive branch.[12] Congressional oversight is usually delegated to committees and is facilitated by Congress' subpoena power.[13] Some critics have charged that Congress has in some instances failed to do an adequate job of overseeing the other branches of government. In the Valerie Plame Wilson episode sometimes known as the Plame affair, some critics, including Representative Henry A. Waxman, charged that Congress was not doing an adequate job of oversight in this case.[14] Other critics charge Congress was lax in its oversight duties regarding presidential actions such as warrantless wiretapping, although others respond that Congress did investigate the legality of decisions by President George W. Bush involving such matters.[15]

text: Congress also has the exclusive impeachment power, allowing impeachment, trial, and removal of the President, federal judges and other federal officers.[16]

text: Enumerated powers[edit]

text: Among the powers specifically given to Congress in Article I Section 8, are the following:

text: 1.To lay and collect taxes, duties, imposts and excises, to pay the debts and provide for the common defense and general welfare of the United States; but all duties, imposts and excises shall be uniform throughout the United States;

text: 2. To borrow money on the credit of the United States;

text: 3. To regulate commerce with foreign nations, and among the several states, and with the Native American tribes;

text: 4. To establish a uniform rule of naturalization, and uniform laws on the subject of bankruptcies throughout the United States;

text: 5. To coin money, regulate the value thereof, and of foreign coin, and fix the standard of weights and measures;

text: 6. To provide for the punishment of counterfeiting the securities and current coin of the United States;

text: 7. To establish post offices and post roads;

text: 8. To promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries;

text: 9. To constitute tribunals inferior to the Supreme Court;

text: 10. To define and punish piracies and felonies committed on the high seas, and offenses against the law of nations;

text: 11. To declare war, grant letters of marque and reprisal, and make rules concerning captures on land and water;

text: 12. To raise and support armies, but no appropriation of money to that use shall be for a longer term than two years;

text: 13. To provide and maintain a navy;

text: 14. To make rules for the government and regulation of the land and naval forces;

text: 15. To provide for calling forth the militia to execute the laws of the union, suppress insurrections and repel invasions;

text: 16. To provide for organizing, arming, and disciplining, the militia, and for governing such part of them as may be employed in the service of the United States, reserving to the states respectively, the appointment of the officers, and the authority of training the militia according to the discipline prescribed by Congress;

text: 17. To exercise exclusive legislation in all cases whatsoever, over such District (not exceeding ten miles (16 km) square) as may, by cession of particular states, and the acceptance of Congress, become the seat of the government of the United States, and to exercise like authority over all places purchased by the consent of the legislature of the state in which the same shall be, for the erection of forts, magazines, arsenals, dockyards, and other needful buildings.

text: Other congressional powers have been granted, or confirmed, by constitutional amendments. The Thirteenth (1865), Fourteenth (1868), and Fifteenth Amendments (1870) gave Congress authority to enact legislation to enforce rights of all citizens regardless of race, including voting rights, due process, and equal protection under the law.[17] Generally militia forces are controlled by state governments, not Congress.[18]

text: Implied powers and the commerce clause[edit]

text: Congress also has implied powers, which derive from the Necessary and Proper Clause of the Constitution and permit Congress "To make all laws which shall be necessary and proper for carrying into execution the foregoing powers, and all other powers vested by this Constitution in the government of the United States, or in any department or officer thereof."[19]  Broad interpretations of this clause and of the Commerce Clause, the enumerated power to regulate commerce, in rulings such as McCulloch v Maryland, have effectively widened the scope of Congress' legislative authority far beyond that prescribed in Section 8.[20][21]


document_title: Flowchart

question_text: who gave the concept of flow chart for the first time

text: Flowchart

text: Overview[edit]

text: Flowcharts are used in designing and documenting simple processes or programs. Like other types of diagrams, they help visualize what is going on and thereby help understand a process, and perhaps also find flaws, bottlenecks, and other less-obvious features within it. There are many different types of flowcharts, and each type has its own repertoire of boxes and notational conventions. The two most common types of boxes in a flowchart are:

text:
a processing step, usually called activity, and denoted as a rectangular box
a decision, usually denoted as a diamond.

text: A flowchart is described as "cross-functional" when the page is divided into different swimlanes describing the control of different organizational units. A symbol appearing in a particular "lane" is within the control of that organizational unit. This technique allows the author to locate the responsibility for performing an action or making a decision correctly, showing the responsibility of each organizational unit for different parts of a single process.

text: Flowcharts depict certain aspects of processes and are usually complemented by other types of diagram. For instance, Kaoru Ishikawa defined the flowchart as one of the seven basic tools of quality control, next to the histogram, Pareto chart, check sheet, control chart, cause-and-effect diagram, and the scatter diagram. Similarly, in UML, a standard concept-modeling notation used in software development, the activity diagram, which is a type of flowchart, is just one of many different diagram types.

text: Nassi-Shneiderman diagrams and Drakon-charts are an alternative notation for process flow.

text: Common alternative names include: flow chart, process flowchart, functional flowchart, process map, process chart, functional process chart, business process model, process model, process flow diagram, work flow diagram, business flow diagram. The terms "flowchart" and "flow chart" are used interchangeably.

text: The underlying graph structure of a flowchart is a flow graph, which abstracts away node types, their contents and other ancillary information.

text: History[edit]

text: The first structured method for documenting process flow, the "flow process chart", was introduced by Frank and Lillian Gilbreth to members of the American Society of Mechanical Engineers (ASME) in 1921 in the presentation "Process Charts: First Steps in Finding the One Best Way to do Work".[2] The Gilbreths' tools quickly found their way into industrial engineering curricula. In the early 1930s, an industrial engineer, Allan H. Mogensen began training business people in the use of some of the tools of industrial engineering at his Work Simplification Conferences in Lake Placid, New York.

text: A 1944 graduate of Mogensen's class, Art Spinanger, took the tools back to Procter and Gamble where he developed their Deliberate Methods Change Program. Another 1944 graduate, Ben S. Graham, Director of Formcraft Engineering at Standard Register Industrial, adapted the flow process chart to information processing with his development of the multi-flow process chart to display multiple documents and their relationships.[3] In 1947, ASME adopted a symbol set derived from Gilbreth's original work as the "ASME Standard: Operation and Flow Process Charts."[4]

text: Douglas Hartree in 1949 explained that Herman Goldstine and John von Neumann had developed a flowchart (originally, diagram) to plan computer programs.[5] His contemporary account is endorsed by IBM engineers[6] and by Goldstine's personal recollections.[7] The original programming flowcharts of Goldstine and von Neumann can be seen in their unpublished report, "Planning and coding of problems for an electronic computing instrument, Part II, Volume 1" (1947), which is reproduced in von Neumann's collected works.[8]

text: Flowcharts became a popular means for describing computer algorithms. The popularity of flowcharts decreased in the 1970s when interactive computer terminals and third-generation programming languages became common tools for computer programming. Algorithms can be expressed much more concisely as source code in such languages. Often pseudo-code is used, which uses the common idioms of such languages without strictly adhering to the details of a particular one.

text: Nowadays flowcharts are still used for describing computer algorithms.[9] Modern techniques such as UML activity diagrams and Drakon-charts can be considered to be extensions of the flowchart.

text: Types[edit]

text: Sterneckert (2003) suggested that flowcharts can be modeled from the perspective of different user groups (such as managers, system analysts and clerks) and that there are four general types:[10]

text:
Document flowcharts, showing controls over a document-flow through a system
Data flowcharts, showing controls over a data-flow in a system
System flowcharts, showing controls at a physical or resource level
Program flowchart, showing the controls in a program within a system

text: Notice that every type of flowchart focuses on some kind of control, rather than on the particular flow itself.[10]

text: However, there are several of these classifications. For example, Andrew Veronis (1978) named three basic types of flowcharts: the system flowchart, the general flowchart, and the detailed flowchart.[11] That same year Marilyn Bohl (1978) stated "in practice, two kinds of flowcharts are used in solution planning: system flowcharts and program flowcharts...".[12] More recently Mark A. Fryman (2001) stated that there are more differences: "Decision flowcharts, logic flowcharts, systems flowcharts, product flowcharts, and process flowcharts are just a few of the different types of flowcharts that are used in business and government".[13]

text: In addition, many diagram techniques exist that are similar to flowcharts but carry a different name, such as UML activity diagrams.

text: Building blocks[edit]

text: Common symbols[edit]

text: The American National Standards Institute (ANSI) set standards for flowcharts and their symbols in the 1960s.[14] The International Organization for Standardization (ISO) adopted the ANSI symbols in 1970.[15] The current standard was revised in 1985.[16] Generally, flowcharts flow from top to bottom and left to right.[17]

text:
ANSI/ISO Shape
Name
Description

Flowline (Arrowhead)[15]
Shows the program's order of operation. A line coming from one symbol and ending at another.[14] Arrowheads are added if the flow is not the standard top-to-bottom, left-to right.[15]

Terminal[14]
Beginning or ending of a program or sub-process. Represented as a stadium,[14] oval or rounded (fillet) rectangle. They usually contain the word "Start" or "End", or another phrase signaling the start or end of a process, such as "submit inquiry" or "receive product".

Process[15]
Set of operations that change value, form, or location of data. Represented as a rectangle.[15]

Decision[15]
Conditional operation determining which of two paths the program will take.[14] The operation is commonly a yes/no question or true/false test. Represented as a diamond (rhombus).[15]

Input/Output[15]
Input and output of data,[15] as in entering data or displaying results. Represented as a parallelogram.[14]

Annotation[14] (Comment)[15]
Additional information about a step the program. Represented as an open rectangle with a dashed or solid line connecting it to the corresponding symbol in the flowchart.[15]

Predefined Process[14]
Named process which is defined elsewhere. Represented as a rectangle with double-struck vertical edges.[14]

On-page Connector[14]
Pairs of labeled connectors replace long or confusing lines on a flowchart page. Represented by a small circle with a letter inside.[14][18]

Off-page Connector[14]
A labeled connector for use when the target is on another page. Represented as a home plate-shaped pentagon.[14][18]

text: Other symbols[edit]

text: The ANSI/ISO standards include symbols beyond the basic shapes. Some are:[17][18]

text:
Data File or Database represented by a cylinder (disk drive).
Document represented as a rectangle with a wavy base.
Manual input represented by quadrilateral, with the top irregularly sloping up from left to right like the side view of a keyboard.
Manual operation represented by a trapezoid with the longest parallel side at the top, to represent an operation or adjustment to process that can only be made manually.
Parallel Mode represented by two horizontal lines at the beginning or ending of simultaneous operations[17]
Preparation or Initialization represented by an elongated hexagon, originally used for steps like setting a switch or initializing a routine.

text: For parallel and concurrent processing the Parallel Mode horizontal lines[19] or a horizontal bar[20] indicate the start or end of a section of processes that can be done independently:

text:
At a fork, the process creates one or more additional processes, indicated by a bar with one incoming path and two or more outgoing paths.
At a join, two or more processes continue as a single process, indicated by a bar with several incoming paths and one outgoing path. All processes must complete before the single process continues.[20]

text: Software[edit]

text: Diagramming[edit]

text: Any drawing program can be used to create flowchart diagrams, but these will have no underlying data model to share data with databases or other programs such as project management systems or spreadsheet. Some tools such as yEd, Inkscape and Microsoft Visio offer special support for flowchart drawing. Many software packages exist that can create flowcharts automatically, either directly from a programming language source code, or from a flowchart description language.

text: There are several applications and visual programming languages[21] that use flowcharts to represent and execute programs. Generally these are used as teaching tools for beginner students. Examples include Flowgorithm, Raptor. LARP, Visual Logic, and VisiRule.


document_title: Clash of the Titans (2010 film)

question_text: actress who played andromeda in clash of the titans

text: Clash of the Titans (2010 film)

text: Plot[edit]

text: In ancient times, after defeating their predecessors, the Titans, the gods divided the Universe among themselves. Zeus took the skies, Poseidon took the seas, and Hades was left with the Underworld upon being tricked by Zeus. The gods created the mortals, whose faith and prayers has fueled the gods' immortality. As time passed, however, mortals began to question and soon resist their creators, angering the Olympians.

text: A fisherman named Spyros finds a coffin adrift in the sea, discovering a baby, Perseus, and his mother, Danaë. Spyros and his wife, Marmara, raise Perseus as their own son, alongside their daughter, Tekla. One day, an adult Perseus and his family watch soldiers from the city of Argos destroying the statue of Zeus. Infuriated at this, the Gods unleash the Furies who attack the soldiers and destroy the family's fishing vessel, resulting in Perseus' family drowning. Only Perseus survives and is found by a group of the soldiers.

text: Perseus is brought before King Cepheus and Queen Cassiopeia, who are celebrating their campaign against the gods. Queen Cassiopeia compares her daughter Andromeda to the gods and boasts that she is more beautiful than Aphrodite. The revelry is cut short by the arrival of Hades, who has been given leave by Zeus to punish the mortals for their defiance. Hades threatens to unleash his monster, the Kraken, against Argos, unless Andromeda is offered as a sacrifice. Before leaving, he also reveal that Perseus is a demigod and the son of Zeus. Perseus meets Io, who confirms his origin. According to Io, a king of Argos named Acrisius defied the Gods and laid siege on Olympus. Zeus wanted to teach him a lesson, but did not want to kill the humans, instead, he decided to make an example out of Acrisius and disguised himself as the king, and then had sex with Queen Danae. When Acrisius realized this, he executed his wife and her son, while cursing Zeus. Zeus punished him further by changing him into the deformed creature Calibos, who became obsessed with killing Perseus, the son of Queen Danae and Zeus.

text: Perseus leads the King's Guard to the Stygian Witches, looking for a way to kill the Kraken. After being betrayed by the power-hungry Hades, Zeus gives Perseus a sword forged on Mount Olympus and a winged horse named Pegasus. Perseus refuses the sword, but the captain of the King's guard, Draco, keeps the sword for when Perseus needs it. However, Perseus likes Pegasus. Soon after, they are attacked by Calibos. Draco severs Calibos's hand and forces him to flee. The band gives chase but they are under attacked by giant scorpions called Scorpiochs that spring from spilled drops of Calibos's blood. They are saved by a band of Djinn, non-human desert sorcerers led by Sheik Suleiman, who tame the remaining Scorpioxs. Also wishing for the gods' defeat, the Djinn lend their aid to Perseus and his band.

text: The group arrives at the lair of the Stygian Witches and learn that to kill the Kraken, they must obtain and use the head of Medusa, a gorgon who resides in a temple in the Underworld. Any living creature that looks on Medusa's eyes will turn into stone. Perseus, Io, Solon, Draco, and their remaining men heading into the Underworld. The men enter Medusa's temple lair while Io, being a woman and forbidden from entering, remains outside. Medusa kills most of the band, but Perseus finally manages to behead her by using his reflective shield to see her with his back turned. As he leaves the temple, Calibos appears behind Io and fatally stabs her. As Perseus and Calibos fight, Perseus accepts that he is a son of Zeus, picks up the Olympian sword, and stabs Calibos through the chest, which has restored him to his human form. With his last breath, Calibos urges Perseus not to become a god. As Io lies dying, she urges Perseus to leave her and save Andromeda and Argos. Pegasus takes Perseus back to the city of Argos as the Kraken is released. The people of Argos seize and bind Andromeda to sacrifice her to the Kraken. Meanwhile, Hades reveals he does not require the faith or worship of mortals as Zeus does, as he has learned to survive on their fear. Hades then subdues the weakened Zeus.

text: Perseus arrives at Argos and exposes Medusa's head to the Kraken, which makes eye contact just before it is able to reach Andromeda. The Kraken gradually petrifies and crumbles. Prokopion, the insane leader of the Cult of Hades, attempts to kill Perseus, but Cepheus stops him and is stabbed, before both are killed when the Kraken's petrified hand falls on them. Hades appears, intending to kill Perseus, but Perseus, invoking Zeus, throws his sword at Hades, forcing him back to the Underworld. Perseus rescues Andromeda, who is now crowned as Queen of Argos. She asks Perseus to stay by her side as King, but he declines. Perseus also refuses another offer of godhood from Zeus, who then proclaims that if Perseus is to live as a human, he should not be alone, and subsequently revives Io, intending that she and Perseus become lovers.

text: Cast[edit]

text:
Sam Worthington as Perseus
Gemma Arterton as Io
Mads Mikkelsen as Draco
Alexa Davalos as Princess Andromeda
Liam Neeson as Zeus
Ralph Fiennes as Hades
Liam Cunningham as Solon
Jason Flemyng as King Acrisius/Calibos
Ian Whyte as Sheikh Suleiman

text: Production[edit]

text: The Clash of the Titans remake project started in 2002 under producer Adam Schroeder and writers John Glenn and Travis Wright. They wanted to drop the "cheesy chessboard manipulation of characters" by the gods.[citation needed] In the Wright/Glenn version of Clash, various pantheons were mixed together. The main villain was the Sumerian Sea Goddess of Death and Destruction, Tiamat.[citation needed] Perseus was originally kidnapped by an avatar of an unidentified Chthonian Earth Goddess, who planned to have him married to Andromeda so as to develop better relations with humanity. The Earth Goddess and Perseus proceed to fall in love. Zeus prepared to engage in war with Tiamat; taking the aids of other gods (such as Thoth, Marduk, Yahweh and Osiris). A High Priest named Fantasos starts a Cult of Tiamat that quickly conquers the city. Andromeda was originally a promiscuous spoiled Princess who possessed various male sex slaves. Though the mixing of Mythologies and the Perseus-Earth Goddess romance was abandoned, the concept of a Goddess enraged at arrogant humans and demanding a sacrifice and the Cult of the Evil God (Changed from Tiamat to Hades) was retained into the final production.[8] Producer Basil Iwanyk revived the project in 2006 with a rewrite by Travis Beacham, a fan of the original, who intended the script to be "darker and more realistic".[9] Lawrence Kasdan and director Stephen Norrington signed on in 2007. Kasdan gave the script another rewrite from the Beacham version.[10] But Norrington was unsure about his direction for the project because he did not grow up with the original. Leterrier, who did, contacted Norrington through their shared agent about replacing him.[11] By June 2008 Leterrier joined the project and Warner Bros. greenlit the film.[12] Leterrier noted the original Clash of the Titans inspired the climax of his previous film The Incredible Hulk – a battle in a burnt-down courtroom with temple-like columns – and has compared modern superheroes to Greek mythology.[13][14]

text: Writers Phil Hay and Matt Manfredi took over the script during July 2008 and used Beacham's draft as a starting point. They focused on the mythology and telling the story through Leterrier's eyes. Hay and Manfredi had to rewrite the script in less than a year using a very active process.[15] Leterrier sought Ray Harryhausen's involvement,[11] and reunited with Hulk concept artist Aaron Sims, who had already been working on Clash of the Titans with Norrington.[16]

text: Louis Leterrier, during an interview, revealed that he is a big fan of Masami Kurumada's Saint Seiya manga (also known as Knights of the Zodiac) and its anime adaptation. He specifically cited the armor that the Gods wear in his film remake as a sign of homage and respect to Saint Seiya. Masami Kurumada, the author of Saint Seiya, was even asked to collaborate with the production team on poster designs.[17]

text: Sam Worthington took the role of Perseus because he wanted to make a Clash of the Titans for his nine-year-old nephew's generation. During filming the cast had a few laughs about the costumes, but he took it very seriously "so the audience doesn't have to."[18] Worthington also did not wear sandals while filming; he instead painted toes on his sports shoes so he could perform the stunts better.[19]

text: For the 2D to 3D conversion, Leterrier approached the studio early on about a 3D conversion, but it was expensive and very new technology.[20] After Avatar, the studio put pressure on Leterrier to convert the film. He was worried because of his previous concerns but was convinced after seeing the View-D conversion process.[21] Leterrier considered the 3D conversion to improve the viewing experience, and states that it should not be seen as a gimmick.[20]

text: In 2013 Leterrier said of the 3D conversion;

text: It was famously rushed and famously horrible. It was absolutely horrible, the 3D. Nothing was working, it was just a gimmick to steal money from the audience. I’m a good boy and I rolled with the punches and everything, but it’s not my movie.[22]

text: Filming locations[edit]

text: Filming began April 27, 2009, near London, at Shepperton Studios, and also at Pinewood Studios and at Longcross Studios, near Chertsey, in Surrey.[23] Filming also took place in Wales, the Canary Islands (Spain) (primarily at the World Heritage Site, Teide National Park in Tenerife), Maspalomas Dunes, Gran Canaria, and Timanfaya National Park in Lanzarote. Aerial photography was conducted in Iceland and Ethiopia.[2]

text: Filming of volcano scenes at the Harriet hole in Dinorwic Slate Quarry in Wales wrapped at the end of July.[24] This slate quarry has also been used for locations for Willow and Street Fighter.[25]

text: Homage[edit]

text: Bubo, Athena's mechanical owl in the original 1981 film, makes a cameo appearance in this remake and its sequel.

text: Soundtrack[edit]

text: Release[edit]

text: Clash of the Titans was originally set for standard release on March 26, 2010.[3][4] The Heat Vision Blog reported on January 27, 2010, that after a 3D conversion test of the film which Warner Bros. found to be a "roaring success", the film would be converted to 3D and would premiere on April 2, 2010. The national premiere in Spain took place on March 30 in Santa Cruz de Tenerife, the capital city of the Canary Islands.[5][6][26]

text: Critical reception[edit]

text: Clash of the Titans has received generally negative reviews from critics, who criticized the film for its use of 3D, flat characters and divergences from the original film and the myth. Review aggregator website Rotten Tomatoes reports that 28% of critics have given the film a positive review, based on 239 reviews with an average rating of 4.3/10. The site's consensus stated "An obviously affectionate remake of the 1981 original, Louis Leterrier's Clash of the Titans doesn't offer enough visual thrills to offset the deficiencies of its script."[27] On Metacritic, the film was assigned a weighted average score of 39 out of 100, based on 37 reviews from mainstream critics.[28] Even before release the film attracted some negative attention for its original tagline, "Titans Will Clash".[29]

text: In his review for the Chicago Sun-Times, Roger Ebert gave the film 3 stars out of 4, stating "I don't say it's good cinema, although I recognize the craftsmanship that went into it. I don't say it's good acting, when the men have so much facial hair they all look like Liam Neeson. I like the energy, the imagination, the silliness".[30] Richard Corliss of Time could understand why the film received negative reviews, but found it "a full-throttle action-adventure, played unapologetically straight." He dismissed other critics' complaints, writing that the film is "very watchable in 2-D", that other critics were biased by nostalgia for the original, and that 15 seconds of Bubo is enough for his tastes.[31] Colin Covert gave the film a mildly positive review, stating the film was "all flash, trash, and crash; a tasty hunk of baloney; mindless yet shamelessly thrilling." He considered Worthington to have a "Shatneresque heaviness about him", and found that all the laughs came from the fact that the heavyweight actors were "slumming through their roles".[32] Owen Gleiberman of Entertainment Weekly gave the film a B-, writing "The new Clash isn't a cynical rehash. It has the flavor of a certain pre-CGI innocence."[33] James Berardinelli gave it a mixed review, concluding that Clash of the Titans is a flawed but mildly entertaining regurgitation of Greek mythological elements, but it's also an example of how poorly executed 3D can hamstring a would-be spectacle.[34]

text: Peter Travers of Rolling Stone awarded the film 1 star out of four, stating "The film is a sham, with good actors going for the paycheck and using beards and heavy makeup to hide their shame."[35] In a review for the Chicago Tribune, Turan complained that the film is worse in 3D; he went on further to explain that the action scenes are "more of a distraction than an enhancement", with the battle scenes being cluttered and "harder to follow rather than exciting".[36] Claudia Puig for USA Today wrote that the film's "most outstanding achievement is the ability to be both chaotic and dull". Justification for her opinion came from the frantic action sequences and muddled special effects.[37] Dan Kois blamed the director for making a "muddled disappointment" instead of a "camp classic that could have endured for generations". Kois also accused Leterrier of not knowing how to direct an action scene, and that the film is lacking in "wit and flair".[38] David Stratton also criticized the film's action scenes, suggesting to Leterrier: "check out your local video store for something by Kurosawa, or almost any movie with sword fight scenes, to see how it's done."[39] AskMen.com felt actor Sam Worthington's heavy Australian drawl was so distracting it "manages not only to single-handedly unhinge any suspension of disbelief we might have had, but his fellow actors often seem to be visibly struggling as they impart fantastical ancient truths to a true-blue brickie in a studded leather dress."

text: The film was nominated for "Worst Prequel, Remake, Rip-off or Sequel" and "Worst Eye-Gouging Misuse of 3D" at the 31st Golden Raspberry Awards, but lost to Sex and the City 2 and The Last Airbender, respectively.

text: Box office[edit]

text: Clash of the Titans earned $61,235,105 in its opening weekend in 3,777 theaters in the United States and Canada (not including Thursday previews).[1] The movie was #1 for two weeks in a row, edging out Date Night and the previous winner How to Train Your Dragon.[40] Clash of the Titans made $163,214,888 domestically, as of July 22, 2010, and $330,000,000 overseas, as of September 19, 2010, for a worldwide total of $493,214,888. On the all-time worldwide chart it ranks 80th and in North America it is below #100.[41]

text: Home video[edit]

text: Clash of the Titans was released on DVD and Blu-ray combo pack on July 16 (Mexico), July 26 (UK), July 27 (USA) and (Canada), October 6 (Japan) 2010. A Blu-ray 3D version of the film was also released and also comes packed with the 2D version, the DVD version and a Digital Copy.[42]

text: Video game[edit]

text: Namco Bandai Games.inc & Warner Bros. Interactive Entertainment released a video game adaptation of the movie on July 27, 2010, on PlayStation 3 and Xbox 360 with the film's home video release. It was originally planned to come out in March 2010, though the game was delayed due to difficulties. The game follows Perseus on his quest to fight Hades and his minions.

text: Sequels[edit]

text: Production of a sequel titled, Wrath of the Titans, directed by Jonathan Liebesman began on March 23, 2011, with Sam Worthington, Ralph Fiennes and Liam Neeson returning to star and released on March 30, 2012.[43]

text: In November 2011, Warner Bros. hired Dan Mazeau and David Leslie Johnson' who wrote Wrath of the Titans, to write and develop a sequel with Johnson announced a title called Revenge of the Titans but it was later cancelled.[44]


document_title: List of Family Guy cast members

question_text: who does the voice of stewie on family guy

text: List of Family Guy cast members

text: Current cast[edit]

text: From seasons 1 to 4, Family Guy had four main cast members. Since season 5, there have been five main cast members. The casting of Meg Griffin changed after season 1.

text: Seth MacFarlane[edit]

text: Seth MacFarlane voices four of the show's main characters: Peter Griffin, Brian Griffin, Stewie Griffin, and Glenn Quagmire.[1] MacFarlane chose to voice these characters himself, believing it would be easier to portray the voices he had already envisioned than for someone else to attempt it.[2] MacFarlane drew inspiration for the voice of Peter from a security guard he overheard talking while attending the Rhode Island School of Design.[3] Stewie's voice was based on the voice of English actor Rex Harrison,[4] especially his performance in the 1964 musical drama film My Fair Lady.[5] MacFarlane uses his own voice while portraying Brian.[2]

text: MacFarlane also provides the voices for various other recurring and one-time only characters, most prominently those of news anchor Tom Tucker, Lois' father Carter Pewterschmidt and Dr. Hartman.[6] He is the only voice to be in every episode.

text: Alex Borstein[edit]

text: Alex Borstein voices Lois Griffin, Asian correspondent Tricia Takanawa, Loretta Brown and Lois' mother Barbara Pewterschmidt.[7] Borstein was asked to provide a voice for the pilot while she was working on MADtv. She had not met MacFarlane or seen any of his artwork and said it was "really sight unseen".[8] At the time, Borstein performed in a stage show in Los Angeles, in which she played a redhead mother whose voice she had based on one of her cousins.[7][8] The voice was originally slower (and deeper for the original series), but when MacFarlane heard it, he replied "Make it a little less fucking annoying ... and speed it up, or every episode will last four hours."[7]

text: Mila Kunis[edit]

text: Mila Kunis is the voice of the character named Meg Griffin.[6] Kunis won the role after auditions and a slight rewrite of the character, in part due to her performance on That '70s Show.[9] MacFarlane called Kunis back after her first audition, instructing her to speak slower, and then told her to come back another time and enunciate more. Once she claimed that she had it under control, MacFarlane hired her.[9] Kunis described her character as "the scapegoat". She further explained, "Meg gets picked on a lot. But it's funny. It's like the middle child. She is constantly in the state of being an awkward 14-year-old, when you're kind of going through puberty and what-not. She's just in a perpetual mode of humiliation. And it's fun."[10]

text: Seth Green[edit]

text: Seth Green primarily plays Chris Griffin and Neil Goldman.[6][11] Green stated that he did an impression of the "Buffalo Bill" character from the thriller film The Silence of the Lambs during his audition.[12] His main inspiration for Chris' voice came from envisioning how "Buffalo Bill" would sound if he were speaking through a public address system at a McDonald's.[13]

text: Mike Henry[edit]

text: Mike Henry is the voice of Cleveland Brown, John Herbert The Pervert and other various characters. A Family Guy writer and producer, he began acting on the show as part of the recurring cast repertory (see below) but was promoted to main cast member in 2005. Since the cancellation of The Cleveland Show, he also voices Cleveland's step-son Rallo Tubbs on Family Guy.

text: Recurring cast[edit]

text: In addition to both its main cast and guest stars, Family Guy utilizes a deep bench of regularly appearing supporting voice actors. Some appear in nearly every episode each season, while others appear less frequently. Some of these actors specifically play recurring characters, while others mainly play background citizens of Quahog or characters in cutaway gags.

text: The current supporting cast repertory includes the following actors:

text:
Actor
Character(s)
No. of Episodes
(Out of 245 produced)
Notes

Benjamin, H. JonH. Jon Benjamin
Carl
14
Since 2005

Breckenridge, AlexandraAlexandra Breckenridge
Various
57
Since 2005. Currently voices most female “extras” not voiced by Alex Borstein.

Brennan, JohnnyJohnny Brennan
Goldman, MortMort Goldman, Horace the bartender
77

Callaghan, SteveSteve Callaghan
Various
37
Also the current showrunner and executive producer of Family Guy and former showrunner/EP of American Dad!. [14]

Garman, RalphRalph Garman
Various
138

Lakin, ChristineChristine Lakin
Kinney, JoyceJoyce Kinney
23
Since 2010.

LaMarr, PhilPhil LaMarr
Williams, OllieOllie Williams and the Quahog judge
56

MacFarlane, RachaelRachael MacFarlane
Olivia and various women
54
Formerly one of the most frequent female voices. She reduced her number of appearances per season after joining American Dad! in 2005 but still appears several times per season. Seth MacFarlane's sister.

Osment, EmilyEmily Osment
Various
14
Since 2012.

Richardson, Kevin MichaelKevin Michael Richardson
Jerome and Cleveland Jr.
30
Since 2009.

Sheridan, ChrisChris Sheridan
Various
33
Also a Family Guy writer.

Smith, DannyDanny Smith
Various, including Evil Monkey, Al Harrington and Ernie, the Giant Chicken
189
Also a Family Guy writer.

Sulkin, AlecAlec Sulkin
Christ, JesusJesus Christ and various others
147
Also a Family Guy writer.

Tatasciore, FredFred Tatasciore
Various
36

Tilly, JenniferJennifer Tilly
Swanson, BonnieBonnie Swanson
42
Has recurred as the Griffin's neighbor since the first season.

Viener, JohnJohn Viener
Various
182
Since 2005, he has been one of the most frequently heard male voices aside from Seth MacFarlane. Also a Family Guy writer.

Warburton, PatrickPatrick Warburton
Swanson, JoeJoe Swanson
163
Has appeared as the Griffins' neighbor since the first season, and usually appears in most episodes each season. Warburton is the most frequently appearing one-character actor in the supporting repertory.

Wingert, WallyWally Wingert
Various
41

text: In addition to the above, the following actors were formerly regularly recurring voice actors in the series:

text:
Actor
Character(s)
No. of Episodes
Notes

Alan, LoriLori Alan
Simmons, DianeDiane Simmons
63
Left the show in season nine when her character was killed off. Was replaced in the series' context by Christine Lakin's Joyce Kinney

Alazraqui, CarlosCarlos Alazraqui
Weed, Mr.Mr. Weed
10
Peter's first boss, Mr. Weed, was killed off early in the series' run.

Barrymore, DrewDrew Barrymore
Russell, JillianJillian Russell
12
Played Jillian, Brian's former girlfriend. The character still appears in background roles

Cole, GaryGary Cole
Various
38
Cole appeared frequently in the earlier seasons, but still pops up now and then to play Meg and Chris' principal, Mr. Shepherd.

Hartman, ButchButch Hartman
Various
8

Henry, MikeMike Henry
Cleveland Brown, Herbert, Bruce, Consuela, and various others

Was promoted to main cast in 2005. Also a Family Guy writer.

Hentemann, MarkMark Hentemann
Opie and various others
45
Recently left Family Guy to work on another Seth MacFarlane project. Also a Family Guy writer.

Fisher, CarrieCarrie Fisher
Angela
19
Has recurred as Peter's boss several times per season since 2005. Died in 2016.

Strong, TaraTara Strong
Various, as well as Meg's singing voice
21
Appeared frequently in the first four seasons. Returned briefly in 2010-2011 and again for one episode in 2014.

Sullivan, NicoleNicole Sullivan
Goldman, MurielMuriel Goldman
27
Muriel was killed off in season nine.

Whitman, MaeMae Whitman
Various
10
Was a recurring younger female voice for several seasons between 2007-2010.

Wild, WellesleyWellesley Wild
Various
14
No longer a recurring voice (since 2013). He was a producer, but left the show.

Wilhoit, LisaLisa Wilhoit
D'Amico, ConnieConnie D'Amico
15
Meg's bully Connie has not appeared in the series since 2013.

West, AdamAdam West
Mayor West, AdamAdam West
93
Played a warped version of himself as the mayor of Quahog. Died in 2017.

text: Recurring guest voices[edit]

text: The recurring guest voices include Adam Carolla as Death, Patrick Stewart as Susie Swanson, Scott Grimes as Kevin Swanson and Sanaa Lathan as Donna Tubbs Brown. Previous recurring guests included Phyllis Diller in three episodes as Peter's Mother, Thelma, and Charles Durning as Peter's father, Francis. Both characters have since died, but Durning returned once to play Francis as a ghost. Early in the show's run, Fred Willard and Jane Lynch had a recurring role as a family of nudists. James Woods as James Woods.

text: Casting changes[edit]

text:
Lacey Chabert voiced Meg for the first production season (14 episodes), but, because of a contractual agreement, was never credited.[15] Chabert left the series due to time constraints with her acting role in Party of Five, as well as schoolwork.[16]
Norm Macdonald voiced the character of Death in a second season episode of Family Guy. He was subsequently replaced by Adam Carolla in all other appearances.
Jon Cryer originally voiced Kevin Swanson in his first appearance, before the role was passed temporarily onto Seth MacFarlane. The character was written out of the series for several years, with Scott Grimes taking over the voice when the character returned.
Fairuza Balk was the original voice of high school bully Connie D'Amico until Lisa Wilhoit took over the character in the third season.

text: Awards and nominations[edit]

text:
Year
Actor
Award
Category
Role
Result
Ref.

2000
Seth MacFarlane
Primetime Emmy Award
Outstanding Voice-Over Performance
Stewie Griffin
Won
[17]

2009
Seth MacFarlane
Primetime Emmy Award
Outstanding Voice-Over Performance
Peter Griffin
Won
[18]

2006
Seth MacFarlane
Annie Award
Best Voice Acting in an Animated Television Production
Stewie Griffin
Won
[19]

2007
Mila Kunis
Annie Award
Voice Acting in an Animated Television Production
Meg Griffin
Won
[20]


document_title: Belmont Stakes

question_text: who holds the track record for belmont stakes

text: Belmont Stakes

text: History[edit]

text: 1868–1929: Early years[edit]

text: The first Belmont Stakes was held at Jerome Park Racetrack in The Bronx, built in 1866 by stock market speculator Leonard Jerome (1817–1891) and financed by August Belmont Sr. (1816–1890), for whom the race was named. The first race in 1867 saw the filly Ruthless win, while the following year was won by General Duke.[2] The race continued to be held at Jerome Park until 1890, when it was moved to the nearby facility, Morris Park Racecourse.[3] The 1895 race was almost not held because of new laws that banned bookmaking in New York: it was eventually rescheduled for November 2.[4] The race remained at Morris Park Racecourse until the May 1905 opening of the new Belmont Park, 430-acre (1.7 km2) racetrack in Elmont, New York on Long Island, just outside the New York City borough of Queens.[3] When anti-gambling legislation was passed in New York State, Belmont Racetrack was closed, and the race was cancelled in 1911 and 1912.[5]

text: The first winner of the Triple Crown was Sir Barton, in 1919, before the series was recognized as such.[6] In 1920, the Belmont was won by the great Man o' War, who won by 20 lengths, setting a new stakes and American record.[7]

text: Starting in 1926, the winner of the Belmont Stakes has been presented with August Belmont Trophy. The owner may keep the trophy for one year, and also receives a silver miniature for permanent use.[3]

text: 1930–2000: Evolution of the Triple Crown series[edit]

text: The term Triple Crown was first used when Gallant Fox won the three races in 1930, but the term did not enter widespread use until 1935 when his son Omaha repeated the feat. Sir Barton was then honored retroactively.[8] Since 1931, the order of Triple Crown races has been the Kentucky Derby first, followed by the Preakness Stakes, and then the Belmont Stakes. Prior to 1931, the Preakness was run before the Derby eleven times. On May 12, 1917 and again on May 13, 1922, the Preakness and the Derby were run on the same day. On eleven occasions, the Belmont Stakes was run before the Preakness Stakes.[9] The date of each event is now set by the Kentucky Derby, which is always held on the first Saturday in May. The Preakness Stakes is currently held two weeks later; and the Belmont Stakes is held three weeks after the Preakness (five weeks after the Derby). The earliest possible date for the Derby is May 1, and the latest is May 7; the earliest possible date for the Belmont is thus June 5, and the latest is June 11.[10]

text: In 1937, War Admiral became the fourth Triple Crown winner after winning the Belmont in a new track record time of 2:28 3/5.[11] In the 1940s, four Triple Crown winners followed: Whirlaway in 1941, Count Fleet in 1943, Assault in 1946 and Citation in 1948. Count Fleet won the race by a then-record margin of twenty-five lengths.[12] He also set a stakes record of 2:28 1/5, a record tied by Citation. In 1957, the stakes record was smashed when Gallant Man ran the Belmont in 2:26 3/5 in a year when the Triple Crown series was split three ways.[13]

text: The Belmont Stakes race was held at Aqueduct Racetrack from 1963 to 1967, while the track at Belmont was restored and renovated.

text: The largest crowd of the 20th century was in 1971 with over 80,000 people, supplemented by the city's Latino community, there to cheer on their new hero, Cañonero II, the Venezuelan colt who had won the Kentucky Derby and Preakness Stakes and was poised to win the U.S. Triple Crown. However, due to a foot infection that had bothered the horse for several days, Cañonero II failed to win the Triple Crown when he struggled across the finish line in 4th place behind Pass Catcher, ridden by Walter Blum. Despite this loss, Cañonero II was named the winner of the first Eclipse Award for Outstanding Three-Year-Old Male Horse.[14]

text: On June 9, 1973, Secretariat won the Belmont Stakes by thirty-one lengths in a record time of 2:24, becoming a Triple Crown champion, ending a 25-year gap between Citation, the Belmont and Triple Crown winner in 1948. Secretariat's record still stands as the fastest running of the Belmont Stakes and an American record for 1½ miles on the dirt.[15] In 1977, Seattle Slew became the first horse to win the Triple Crown while undefeated. Affirmed was the last winner of the Triple Crown in the 20th century, taking the Belmont Stakes in 2:26 4/5 on June 10, 1978. Ridden by eighteen-year-old Steve Cauthen, Affirmed defeated rival Alydar with Jorge Velasquez in the saddle. At the time the race was the third-slowest start and the third-fastest finish with the quarter in 25, the half in 50, 3/4 in 1:14, the mile in 1:37 2/5.[16]

text: In 1988, Secretariat's son Risen Star won the Belmont in 2:26 2/5, then the second-fastest time in the history of the race. The next year, Easy Goer lowered the mark for second-fastest time to 2:26. Easy Goer also holds a Beyer Speed Figure of 122 for the race, the best of any Triple Crown race since these ratings were first published in 1987.[17]

text: 2001–present: Recent years[edit]

text: For three years in a row, horses came to the Belmont Stakes with a Triple Crown on the line only to fail. In 2002, Belmont Park hosted what was then the largest crowd in its history when 103,222 saw War Emblem lose to longshot Sarava after stumbling at the start. In 2003, 101,864 watched Funny Cide finish third behind Empire Maker. In 2004, the attendance record was shattered when 120,139 people saw Smarty Jones upset by Birdstone.[18]

text: In 2007, Rags to Riches became the first filly to win the race since Tanya in 1905. Three more failed Triple Crown bids followed: in 2008, Big Brown lost to Da' Tara; in 2012, I'll Have Another was withdrawn due to injury; and in 2014, California Chrome was beaten by Tonalist. This fueled debate about whether the series needed to be changed, for example by lengthening the period between races.[19]

text: American Pharoah won the 2015 race, becoming the 12th horse in history to win the Triple Crown and the first in 37 years. The crowd that year was limited for the first time, to 90,000.[20] His time of 2:26.65 was the sixth-fastest in Belmont Stakes history, and the second-fastest time for a Triple Crown winner.[21]

text: Distance and race details[edit]

text: The Belmont Stakes has been run at a mile and a half since 1926, having been run at that distance in 1874-1889.

text: The race has also been run at the following distances: a mile and five furlongs in 1867-1873; a mile and a quarter in 1890-1892, 1895, and 1904-1905; a mile and a furlong in 1893-1894; and a mile and three furlongs from 1896-1903 and 1906-1925.

text: The purse for the first running in 1867 was $1,500 added,[22] meaning the purse was supplemented by nomination and entry fees. This made the total purse $2,500, with the winner receiving $1,850. The purse increased sharply in the Roaring Twenties, from Man O'War's earnings of $7,950 in 1920 to Gallant Fox's take of $66,040 in 1930. Purses declined as a result of the Great Depression, with War Admiral earning only $28,020 in 1937, then began to recover. Throughout the sixties and early seventies, the value to the winner was roughly $100,000, depending on the added money generated by entry fees (larger fields thus leading to higher prize money). The purse was repeatedly raised in the eighties and nineties, reaching $500,000 added, with the winner receiving roughly $400,000.[2] In 1998, the purse was changed to $1,000,000 guaranteed, with the winner receiving $600,000. In 2014, the purse was raised to $1,500,000.[23]

text: With one exception, the race has been run at a level weight of 126 pounds (with a 5-pound allowance for fillies) since 1900. The 126 pounds comes from the English Classics, where the standard weight is 9 stone, with one stone equaling 14 pounds. In 1913, the Belmont was run as a handicap with the winner carrying only 109 pounds compared to the runner-up carrying 126 pounds. Races run prior to 1900 had varied weight conditions.[2]

text: The first post parade in the United States was at the 14th Belmont, in 1880. Before 1921, the race was run in the clockwise tradition of English racing. Since then, the race has been run in the American, or counter-clockwise, direction. Because of its length (one lap around the enormous Belmont main track), and because it is the final race of the Triple Crown, it is called the "Test of the Champion". Most three-year-olds are unaccustomed to the distance, and lack the experience, if not the stamina, to maintain a winning speed for so long. In a long race such as the Belmont, positioning of the horse and the timing of the move to chase for the lead can be critical.

text: Traditions[edit]

text: The Belmont Stakes is traditionally called "The Test of the Champion" because of its 1.5 mile length—by far the longest of the three Triple Crown races, and one of the longest for a first-class race in the United States on the dirt. It is also known as "The Run for the Carnations" because the winning horse is draped with a blanket of white carnations after the race, in similar fashion to the blanket of roses and black-eyed Susans for the Derby and Preakness, respectively. The winning owner is ceremonially presented with the silver winner's trophy, designed by Paulding Farnham for Tiffany and Co. It was first presented to August Belmont Jr. in 1896 and donated by the Belmont family for annual presentation in 1926.

text: Despite the fact that the Belmont Stakes is the oldest of the Triple Crown races, its traditions have been more subject to change. Until 1996, the post parade song was "The Sidewalks of New York". From 1997 to 2009, the song was changed to broadcast a recording by Frank Sinatra of the "Theme from New York, New York" in an attempt to appeal to younger fans.[24] In 2010, the song was changed to Jay-Z's "Empire State of Mind"[25] before reverting to "Theme from New York, New York" from 2011[26] through the present. This tradition is similar to the singing of the state song at the post parades of the first two Triple Crown races: "My Old Kentucky Home" at the Kentucky Derby and "Maryland, My Maryland" at the Preakness Stakes.[3] The change of song gave rise to "the myth of Mamie O'Rourke," a reference to a character in the lyrics of "The Sidewalks of New York." Before American Pharoah won the Triple Crown in 2015, some claimed that changing the official Belmont song "cursed" the Triple Crown and was why no horse had won since Affirmed in 1978. Others note that there was no Triple Crown winner between 1979 and 1996, even though "Sidewalks" was still played.[27]

text: Along with the change of song in 1997, the official drink was also changed, from the "White Carnation" to the "Belmont Breeze."[28] The New York Times reviewed both cocktails unfavorably, calling the Belmont Breeze "a significant improvement over the nigh undrinkable White Carnation" despite the fact that it "tastes like a refined trashcan punch."[29] In 2011, the Belmont Breeze was again changed to the current official drink known as the "Belmont Jewel."

text: While the origin of the white carnation as the official flower of the Belmont Stakes is unknown, traditionally, pure white carnations stand for love and luck. It takes approximately 700 "select" carnations imported from Colombia to create the 40-pound blanket draped over the winner of the Belmont Stakes. The NYRA has long used The Pennock Company, a wholesale florist based in Philadelphia, Pennsylvania to import the carnations used for the mantle.[30]

text: Broadcasting history[edit]

text: From 1986 until 2005, the Triple Crown television rights comprised a single package. In late 2004, the New York Racing Association withdrew from that agreement to negotiate independently.[31] As a result of this NBC, who was the rights holder for all three events, was only able to keep its broadcast rights to the Kentucky Derby and Preakness Stakes. ABC regained the rights to the Belmont Stakes as part of a five-year contract that expired following the 2010 race; NBC has since regained the rights to the race through 2020.

text:
CBS Sports 1960–1985[32]
ABC Sports 1986–2000
NBC Sports 2001–2005, 2011–2020[33][34]
ESPN on ABC 2006–2010[31]

text: Records[edit]

text: Speed record:[36][a]

text: 2:24 flat – Secretariat (1973). Secretariat also holds the fastest ½-, ¾-, 1- and 1¼-mile fractions in Belmont history.

text: Record Victory Margin:[36]

text: 31 lengths – Secretariat (1973)

text: Most wins by a jockey:[36]

text:
6 – Jim McLaughlin (1882, 1883, 1884, 1886, 1887, 1888)
6 – Eddie Arcaro (1941, 1942, 1945, 1948, 1952, 1955)

text: Most wins by a trainer:[36]

text: 8 – James G. Rowe Sr.

text: Most wins by an owner:[36]

text:
6 – Belair Stud (1930, 1932, 1935, 1936, 1939, 1955)
6 – James R. Keene (1879, 1901, 1904, 1907, 1908, 1910)

text: Trivia[edit]

text:
Only James G. Rowe Sr. and George M. Odom have won the Belmont Stakes as both jockey and trainer.
On June 5, 1993 Thoroughbred racing's all-time leading female jockey, Julie Krone, became the first woman to win a Triple Crown race when she rode to victory in the Belmont Stakes aboard Colonial Affair.
In 1984, Sarah Lundy became the first female trainer to saddle a horse in the Belmont Stakes, sending out Minstrel Star, who finished eleventh.
The 2004 race had the biggest attendance in the park's history with 120,139.
Sarava, at odds of 70–1, upset War Emblem's bid for the Triple Crown.[35]
Braulio Baeza has the distinction of winning three Belmont Stakes over three different surfaces. He won in his Belmont Stakes debut on 65 to 1 long-shot Sherluck in 1961 at the old Belmont Park, won in 1963 on Chateaugay when the race was run at Aqueduct, and won in 1969 on Arts and Letters at the new Belmont Park.
Prior to the 2016 running, bay horses had the most victories with 56. Chestnuts were close behind with 54 wins, followed by 33 dark bay/browns. Only three gray/roan horses had won[36] (Belmar in 1895, Native Dancer in 1953, and High Echelon in 1970). In 2016, gray horses swept the top three positions[37]
Fourteen Belmont Stakes winners have sired at least one Belmont winner. Leading this list is Man o' War, who sired three subsequent winners — American Flag, Crusader and Triple Crown winner War Admiral.[36]
Twenty-three horses missed their chance at a Triple Crown by not winning the Belmont. Eight of these finished second: Pensive (1944), Tim Tam (1958), Forward Pass (1968), Majestic Prince (1969), Sunday Silence (1989), Silver Charm (1997), Real Quiet (1998), and Smarty Jones (2004). Five finished third: Northern Dancer (1964), Spectacular Bid (1979), Pleasant Colony (1981), Charismatic (1999), and Funny Cide (2003). Four finished fourth: Kauai King (1966), Canonero II (1971), Alysheba (1987), and California Chrome (2014). Carry Back (1961) finished seventh, War Emblem (2002) finished eighth and Big Brown (2008) did not finish. Finally, three Derby/Preakness winners did not race in the Belmont: Burgoo King (1932), Bold Venture (1933) and I'll Have Another (2012).[36]

text: Fillies in the Belmont[edit]

text: Only 23 fillies have run in the Belmont; three of which have won:

text:
1867 - Ruthless
1905 - Tanya
2007 - Rags to Riches

text: This gives them a respectable 13% win rate when entered.[38] For context, three fillies have won the Kentucky Derby while five have won the Preakness Stakes. On average, fillies have won between 2% and 3% of the Triple Crown races, with similar numbers for geldings; while about 95% of these races have been won by colts. The last filly as of November 2017 to run in the Belmont was in 2013 when Unlimited Budget ran six behind the winner Palace Malice.

text: Foreign-born winners[edit]

text:
1874 – Saxon
1898 – Bowling Brook
1917 – Hourless
1918 – Johren
1957 – Gallant Man
1958 – Cavan
1960 – Celtic Ash
1990 – Go And Go
1998 – Victory Gallop

text: Belmont Stakes winners[edit]

text:
Belmont Stakes winners since 1867

Year
Winner
Jockey
Trainer
Owner
Track
Length
Time*

2017
Tapwrit
Jose Ortiz
Todd Pletcher
Bridlewood Farm, Eclipse Thoroughbred Partners, Robert V. LaPenta
Belmont
11⁄2-miles
2:30.02

2016
Creator
Irad Ortiz Jr.
Steve Asmussen
WinStar Farm LLC
2:28.51

2015
American Pharoah †
Victor Espinoza
Bob Baffert
Zayat Stables, LLC
2:26.65

2014
Tonalist
Joel Rosario
Christophe Clement
Robert S. Evans
2:28.52

2013
Palace Malice
Mike Smith
Todd Pletcher
Dogwood Stable
2:30.70

2012
Union Rags
John Velazquez
Michael Matz
Phyllis M. Wyeth
2:30.42

2011
Ruler on Ice
Jose Valdivia Jr.
Kelly Breen
George and Lori Hall
2:30.88

2010
Drosselmeyer
Mike Smith
William Mott
WinStar Farm LLC
2:31.57

2009
Summer Bird
Kent Desormeaux
Tim Ice
Kalarikkal & Vilasini Jayaraman
2:27.54

2008
Da'Tara
Alan Garcia
Nick Zito
Robert V. LaPenta
2:29.65

2007
Rags to Riches ‡
John Velazquez
Todd Pletcher
M. Tabor & D. Smith
2:28.74

2006
Jazil
Fernando Jara
Kiaran McLaughlin
Shadwell Farm
2:27.86

2005
Afleet Alex
Jeremy Rose
Timothy Ritchey
Cash is King LLC
2:28.75

2004
Birdstone
Edgar Prado
Nick Zito
Marylou Whitney Stables
2:27.50

2003
Empire Maker
Jerry Bailey
Robert Frankel
Juddmonte Farms
2:28.26

2002
Sarava
Edgar Prado
Kenneth McPeek
New Phoenix Stable
2:29.71

2001
Point Given
Gary Stevens
Bob Baffert
The Thoroughbred Corp.
2:26.56

2000
Commendable
Pat Day
D. Wayne Lukas
Bob & Beverly Lewis
2:31.19

1999
Lemon Drop Kid
Jose Santos
Scotty Schulhofer
Jeanne G. Vance
2:27.88

1998
Victory Gallop
Gary Stevens
W. Elliott Walden
Prestonwood Farm
2:29.16

1997
Touch Gold
Chris McCarron
David Hofmans
Frank Stronach
2:28.82

1996
Editor's Note
Rene R. Douglas
D. Wayne Lukas
Overbrook Farm
2:28.96

1995
Thunder Gulch
Gary Stevens
Michael Tabor
2:32.02

1994
Tabasco Cat
Pat Day
Reynolds/Overbrook
2:26.82

1993
Colonial Affair
Julie Krone
Scotty Schulhofer
Centennial Farms
2:29.97

1992
A.P. Indy
Ed Delahoussaye
Neil Drysdale
Tomonori Tsurumaki
2:26.13

1991
Hansel
Jerry Bailey
Frank L. Brothers
Lazy Lane Farm
2:28.10

1990
Go And Go
Michael Kinane
Dermot K. Weld
Moyglare Stud Farm
2:27.20

1989
Easy Goer
Pat Day
C. R. McGaughey III
Ogden Phipps
2:26.00

1988
Risen Star
Ed Delahoussaye
Louie J. Roussel III
Louie J. Roussel III
2:26.40

1987
Bet Twice
Craig Perret
Jimmy Croll
Blanche P. Levy
2:28.20

1986
Danzig Connection
Chris McCarron
Woody Stephens
Henryk de Kwiatkowski
2:29.80

1985
Creme Fraiche
Eddie Maple
Brushwood Stables
2:27.00

1984
Swale
Laffit Pincay Jr.
Claiborne Farm
2:27.20

1983
Caveat
August Belmont IV
2:27.80

1982
Conquistador Cielo
Henryk de Kwiatkowski
2:28.20

1981
Summing
George Martens
Luis Barrera
Charles T. Wilson Jr.
2:29.00

1980
Temperence Hill
Eddie Maple
Joseph B. Cantey
Loblolly Stable
2:29.80

1979
Coastal
Ruben Hernandez
David A. Whiteley
William Haggin Perry
2:28.60

1978
Affirmed †
Steve Cauthen
Laz Barrera
Harbor View Farm
2:26.80

1977
Seattle Slew †
Jean Cruguet
William H. Turner Jr.
Karen L. Taylor
2:29.60

1976
Bold Forbes
Angel Cordero Jr.
Laz Barrera
E. Rodriguez Tizol
2:29.00

1975
Avatar
Bill Shoemaker
Tommy Doyle
Arthur A. Seeligson Jr.
2:28.20

1974
Little Current
Miguel A. Rivera
Lou Rondinello
Darby Dan Farm
2:29.20

1973
Secretariat †
Ron Turcotte
Lucien Laurin
Meadow Stable
2:24.00

1972
Riva Ridge
Meadow Stud
2:28.00

1971
Pass Catcher
Walter Blum
Eddie Yowell
October House Farm
2:30.40

1970
High Echelon
John L. Rotz
John W. Jacobs
Ethel D. Jacobs
2:34.00

1969
Arts and Letters
Braulio Baeza
J. Elliott Burch
Rokeby Stables
2:28.80

1968
Stage Door Johnny
Heliodoro Gustines
John M. Gaver Sr.
Greentree Stable
2:27.20

1967
Damascus
Bill Shoemaker
Frank Y. Whiteley Jr.
Edith W. Bancroft
Aqueduct
2:28.80

1966
Amberoid
William Boland
Lucien Laurin
Reginald N. Webster
2:29.60

1965
Hail To All
Johnny Sellers
Eddie Yowell
Zelda Cohen
2:28.40

1964
Quadrangle
Manuel Ycaza
J. Elliott Burch
Rokeby Stables
2:28.40

1963
Chateaugay
Braulio Baeza
James P. Conway
Darby Dan Farm
2:30.20

1962
Jaipur
Bill Shoemaker
Bert Mulholland
George D. Widener Jr.
Belmont
2:28.80

1961
Sherluck
Braulio Baeza
Harold Young
Jacob Sher
2:29.20

1960
Celtic Ash
Bill Hartack
Thomas J. Barry
Joseph E. O'Connell
2:29.20

1959
Sword Dancer
Bill Shoemaker
J. Elliott Burch
Brookmeade Stable
2:28.40

1958
Cavan
Pete Anderson
Thomas J. Barry
Joseph E. O'Connell
2:30.20

1957
Gallant Man
Bill Shoemaker
John A. Nerud
Ralph Lowe
2:26.60

1956
Needles
David Erb
Hugh L. Fontaine
D & H Stable
2:29.80

1955
Nashua
Eddie Arcaro
Jim Fitzsimmons
Belair Stud
2:29.00

1954
High Gun
Eric Guerin
Max Hirsch
King Ranch
2:30.80

1953
Native Dancer
Bill Winfrey
Alfred G. Vanderbilt II
2:28.60

1952
One Count
Eddie Arcaro
Oscar White
Sarah F. Jeffords
2:30.20

1951
Counterpoint
David Gorman
Sylvester Veitch
C. V. Whitney
2:29.00

1950
Middleground
William Boland
Max Hirsch
King Ranch
2:28.60

1949
Capot
Ted Atkinson
John M. Gaver Sr.
Greentree Stable
2:30.20

1948
Citation †
Eddie Arcaro
Horace A. Jones
Calumet Farm
2:28.20

1947
Phalanx
Ruperto Donoso
Sylvester Veitch
C. V. Whitney
2:29.40

1946
Assault †
Warren Mehrtens
Max Hirsch
King Ranch
2:30.80

1945
Pavot
Eddie Arcaro
Oscar White
Walter M. Jeffords Sr.
2:30.20

1944
Bounding Home
Gayle Smith
Matt Brady
William Ziegler Jr.
2:32.20

1943
Count Fleet †
Johnny Longden
Don Cameron
Fannie Hertz
2:28.20

1942
Shut Out
Eddie Arcaro
John M. Gaver Sr.
Greentree Stable
2:29.20

1941
Whirlaway †
Ben A. Jones
Calumet Farm
2:31.00

1940
Bimelech
Fred A. Smith
William A. Hurley
Edward R. Bradley
2:29.60

1939
Johnstown
James Stout
Jim Fitzsimmons
Belair Stud
2:29.60

1938
Pasteurized
George M. Odom
Carol Harriman Plunkett
2:29.40

1937
War Admiral †
Charley Kurtsinger
George Conway
Glen Riddle Farm
2:28.60

1936
Granville
James Stout
Jim Fitzsimmons
Belair Stud
2:30.00

1935
Omaha †
Willie Saunders
2:30.60

1934
Peace Chance
Wayne D. Wright
Pete Coyne
Joseph E. Widener
2:29.20

1933
Hurryoff
Mack Garner
Henry McDaniel
2:32.60

1932
Faireno
Tommy Malley
Jim Fitzsimmons
Belair Stud
2:32.80

1931
Twenty Grand
Charley Kurtsinger
James G. Rowe Jr.
Greentree Stable
2:29.60

1930
Gallant Fox †
Earl Sande
Jim Fitzsimmons
Belair Stud
2:31.60

1929
Blue Larkspur
Mack Garner
Herbert J. Thompson
Edward R. Bradley
2:32.80

1928
Vito
Clarence Kummer
Max Hirsch
Alfred H. Cosden
2:33.20

1927
Chance Shot
Earl Sande
Pete Coyne
Joseph E. Widener
2:32.40

1926
Crusader
Albert Johnson
George Conway
Glen Riddle Farm
2:32.20

1925
American Flag
Albert Johnson
Gwyn R. Tompkins
13⁄8-miles
2:16.80

1924
Mad Play
Earl Sande
Sam Hildreth
Rancocas Stable
2:18.80

1923
Zev
2:19.00

1922
Pillory
C. H. Miller
Thomas J. Healey
Richard T. Wilson Jr.
2:18.80

1921
Grey Lag
Earl Sande
Sam Hildreth
Rancocas Stable
2:16.80

1920
Man o' War
Clarence Kummer
Louis Feustel
Glen Riddle Farm
2:14.20

1919
Sir Barton †
Johnny Loftus
H. Guy Bedwell
J. K. L. Ross
2:17.40

1918
Johren
Frank Robinson
Albert Simons
Harry P. Whitney
2:20.40

1917
Hourless
James H. Butwell
Sam Hildreth
August Belmont Jr.
2:17.80

1916
Friar Rock
Everett Haynes
2:22.00

1915
The Finn
George Byrne
Edward W. Heffner
Henry C. Hallenbeck
2:18.40

1914
Luke McLuke
Merritt C. Buxton
John F. Schorr
John W. Schorr
2:20.00

1913
Prince Eugene
Roscoe Troxler
James G. Rowe Sr.
Harry P. Whitney
2:18.00

1912
No races held due to the Hart–Agnew Law.

1911

1910
Sweep
James H. Butwell
James G. Rowe Sr.
James R. Keene
Belmont
13⁄8-miles
2:22.00

1909
Joe Madden
Eddie Dugan
Sam Hildreth
Sam Hildreth
2:21.60

1908
Colin
Joe Notter
James G. Rowe Sr.
James R. Keene
N/A

1907
Peter Pan
George Mountain
N/A

1906
Burgomaster
Lucien Lyne
John W. Rogers
Harry P. Whitney
2:20.00

1905
Tanya ‡
Gene Hildebrand
11⁄4-miles
2:08.00

1904
Delhi
George M. Odom
James G. Rowe Sr.
James R. Keene
Morris Park
2:06.60

1903
Africander
John Bullman
Richard O. Miller
Hampton Stable
13⁄8-miles
2:21.75

1902
Masterman
John J. Hyland
August Belmont Jr.
2:22.60

1901
Commando
Henry Spencer
James G. Rowe Sr.
James R. Keene
2:21.00

1900
Ildrim
Nash Turner
H. Eugene Leigh
H. Eugene Leigh
2:21.25

1899
Jean Bereaud
Richard Clawson
Sam Hildreth
Sydney Paget
2:23.00

1898
Bowling Brook
Fred Littlefield
R. Wyndham Walden
A. H. & D. H. Morris
2:32.00

1897
Scottish Chieftain
Joe Scherrer
Matt Byrnes
Marcus Daly
2:23.25

1896
Hastings
Henry Griffin
John J. Hyland
Blemton Stable
2:24.50

1895
Belmar
Fred Taral
Edward Feakes
Preakness Stables
11⁄4-miles
2:11.50

1894
Henry of Navarre
Willie Simms
Byron McClelland
Byron McClelland
11⁄8-miles
1:56.50

1893
Comanche
Gus Hannon
Empire Stable
1:53.25

1892
Patron
William Hayward
Lewis Stuart
Lewis Stuart
11⁄4-miles
2:17.00

1891
Foxford
Edward R. Garrison
M. Donavan
C. E. Rand
2:08.75

1890
Burlington
Pike Barnes
Albert Cooper
Hough Bros.
2:07.75

1889
Eric
William Hayward
John Huggins
A. J. Cassatt
Jerome Park
11⁄2-miles
2:47.25

1888
Sir Dixon
Jim McLaughlin
Frank McCabe
Dwyer Bros. Stable
2:40.25

1887
Hanover
2:43.50

1886
Inspector B
2:41.00

1885
Tyrant
Paul Duffy
C. Claypool
James B. A. Haggin
2:43.00

1884
Panique
Jim McLaughlin
James G. Rowe Sr.
Dwyer Bros. Stable
2:42.00

1883
George Kinney
2:42.50

1882
Forester
Lewis Stuart
Appleby & Johnson
2:43.00

1881
Saunterer
Tom Costello
R. Wyndham Walden
George L. Lorillard
2:47.00

1880
Grenada
W. Hughes
2:47.00

1879
Spendthrift
George Evans
Thomas Puryear
James R. Keene
2:42.75

1878
Duke of Magenta
W. Hughes
R. Wyndham Walden
George L. Lorillard
2:43.50

1877
Cloverbrook
C. Holloway
Jeter Walden
E. A. Clabaugh
2:46.00

1876
Algerine
Billy Donohue
Thomas W. Doswell
Doswell & Co.
2:40.50

1875
Calvin
Bobby Swim
Ansel Williamson
Hal P. McGrath
2:42.25

1874
Saxon
George Barbee
W. Prior
Pierre Lorillard IV
2:39.50

1873
Springbok
James G. Rowe Sr.
David McDaniel
David McDaniel
15⁄8-miles
3:01.75

1872
Joe Daniels
2:58.25

1871
Harry Bassett
Walter Miller
2:56.00

1870
Kingfisher
Edward D. Brown
Rollie Colston
Daniel Swigert
2:59.50

1869
Fenian
C. Miller
Jacob Pincus
August Belmont
3:04.25

1868
General Duke
Bobby Swim
A. Thompson
McConnell & Co.
3:02.00

1867
Ruthless ‡
Gilbert Patrick
A. Jack Minor
Francis Morris
3:05.00

text: Note: Timed to the 1⁄4 second 1867 to 1901 and 1903, and to the 1⁄5 second in 1902 and from 1904 to 1991. Decimal timing, to the nearest 1⁄100, is now used, though race calls and many charts still use fifths.

text:
A † designates a Triple Crown Winner.
A ‡ designates a filly.