document_title: 1975 Cricket World Cup

question_text: who bowled the first ball of the world cup 1975

text: 1975 Cricket World Cup

text: Format[edit]

text: The format of the first world cup was 2 groups of four teams each, and each team playing each other. The top two team from each group then advance to the semi-finals, where the winners then advance (qualified) for the finals.

text: The first Cricket World Cup was played in England on seven different venues. A total of 16 matches were played in the 1975 Cricket World Cup, including two semi-finals and a final.[1]

text: Participants[edit]

text: The following 8 teams qualified for the final tournament. Sri Lanka and East Africa were the only two teams without Test status.

text:
Team
Method of qualification
Previous best performance
Rank
Group

 England
Host
Debut
1
A

 India
Full Members
Debut
5
A

 Australia
Debut
3
B

 Pakistan
Debut
6
B

 West Indies
Debut
2
B

 New Zealand
Debut
4
A

 Sri Lanka
Invitation
Debut
–
B

 East Africa
Debut
–
A

text: Venues[edit]

text:
London

Lord's

The Oval

Nottingham

Birmingham

Leeds

Manchester

London

Lord's Cricket Ground
The Oval

Capacity: 30,000
Capacity: 23,500

Birmingham
Manchester

Edgbaston Cricket Ground
Old Trafford Cricket Ground

Capacity: 21,000
Capacity: 19,000

Nottingham
Leeds

Trent Bridge
Headingley

Capacity: 15,350
Capacity: 14,000

text: Squads[edit]

text: Group stage[edit]

text: Group A[edit]

text:
Team
Pld
W
L
NR
RR
Pts

 England
3
3
0
0
4.94
12

 New Zealand
3
2
1
0
4.07
8

 India
3
1
2
0
3.24
4

 East Africa
3
0
3
0
1.90
0

text:
7 June 1975
Scorecard

text:
England
334/4 (60 overs)

v

 India
132/3 (60 overs)

Dennis Amiss 137 (147)
Syed Abid Ali 58/2 (12 overs)

Gundappa Viswanath 37 (59)
Peter Lever 16/1 (10 overs)

text:
England won by 202 runs
Lord's, London
Umpires: David Constant (Eng) and John Langridge (Eng)
Player of the match: Dennis Amiss (Eng)

text:
7 June 1975
Scorecard

text:
New Zealand
309/5 (60 overs)

v

 East Africa
128/8 (60 overs)

Glenn Turner 171 (201)
Parbhu Nana 34/1 (12 overs)

Frasat Ali 45 (123)
Dayle Hadlee 21/3 (12 overs)

text:
New Zealand won by 181 runs
Edgbaston, Birmingham
Umpires: Dickie Bird (Eng) and Arthur Fagg (Eng)
Player of the match: Glenn Turner (NZ)

text:
11 June 1975
Scorecard

text:
England
266/6 (60 overs)

v

 New Zealand
186 (60 overs)

Keith Fletcher 131 (147)
Richard Collinge 43/2 (12 overs)

John Morrison 55 (85)
Tony Greig 45/4 (12 overs)

text:
England won by 80 runs
Trent Bridge, Nottingham
Umpires: Bill Alley (Eng) and Tom Spencer (Eng)
Player of the match: Keith Fletcher (Eng)

text:
11 June 1975
Scorecard

text:
East Africa
120 (55.3 overs)

v

 India
123/0 (29.5 overs)

Jawahir Shah 37 (84)
Madan Lal 15/3 (9.3 overs)

Sunil Gavaskar 65* (86)

text:
India won by 10 wickets
Headingley, Leeds
Umpires: Dickie Bird (Eng) and Arthur Jepson (Eng)
Player of the match: Farokh Engineer (Ind)

text:
14 June 1975
Scorecard

text:
England
290 (60 overs)

v

 East Africa
94 (52.3 overs)

Dennis Amiss 88 (116)
Zulfiqar Ali 63/3 (12 overs)

Ramesh Sethi 30 (102)
John Snow 11/4 (12 overs)

text:
England won by 196 runs
Edgbaston, Birmingham
Umpires: Bill Alley (Eng) and John Langridge (Eng)
Player of the match: John Snow (Eng)

text:
14 June 1975
Scorecard

text:
India
230 (60 overs)

v

 New Zealand
233/6 (58.5 overs)

Syed Abid Ali 70 (98)
Brian McKechnie 49/3 (12 overs)

Glenn Turner 114* (177)
Syed Abid Ali 35/2 (12 overs)

text:
New Zealand won by 4 wickets
Old Trafford, Manchester
Umpires: Lloyd Budd (Eng) and Arthur Fagg (Eng)
Player of the match: Glenn Turner (NZ)

text: Group B[edit]

text:
Team
Pld
W
L
NR
RR
Pts

 West Indies
3
3
0
0
4.35
12

 Australia
3
2
1
0
4.43
8

 Pakistan
3
1
2
0
4.45
4

 Sri Lanka
3
0
3
0
2.78
0

text:
7 June 1975
Scorecard

text:
Australia
278/7 (60 overs)

v

 Pakistan
205 (53 overs)

Ross Edwards 80* (94)
Naseer Malik 37/2 (12 overs)

Majid Khan 65 (76)
Dennis Lillee 34/5 (12 overs)

text:
Australia won by 73 runs
Headingley, Leeds
Umpires: Bill Alley (Eng) and Tom Spencer (Eng)
Player of the match: Dennis Lillee (AUS)

text:
7 June 1975
Scorecard

text:
Sri Lanka
86 (37.2 overs)

v

 West Indies
87/1 (20.4 overs)

Somachandra de Silva 21 (54)
Bernard Julien 16/2 (12 overs)

Roy Fredericks 33 (38)
Somachandra de Silva 33/1 (8 overs)

text:
West Indies won by 9 wickets
Old Trafford, Manchester
Umpires: Lloyd Budd (Eng) and Arthur Jepson (Eng)
Player of the match: Bernard Julien (WI)

text:
11 June 1975
Scorecard

text:
Australia
328/5 (60 overs)

v

 Sri Lanka
276/4 (60 overs)

Alan Turner 101 (113)
Somachandra de Silva 60/2 (12 overs)

Sunil Wettimuny 53 (102)
Ian Chappell 14/2 (4 overs)

text:
Australia won by 52 runs
The Oval, London
Umpires: Lloyd Budd (Eng) and Arthur Fagg (Eng)
Player of the match: Alan Turner (AUS)

text:
11 June 1975
Scorecard

text:
Pakistan
266/7 (60 overs)

v

 West Indies
267/9 (59.4 overs)

Majid Khan 60 (108)
Viv Richards 21/1 (4 overs)

Deryck Murray 61* (76)
Sarfraz Nawaz 44/4 (12 overs)

text:
West Indies won by 1 wicket
Edgbaston, Birmingham
Umpires: David Constant (Eng) and John Langridge (Eng)
Player of the match: Sarfraz Nawaz (Pak)

text:
14 June 1975
Scorecard

text:
Australia
192 (53.4 overs)

v

 West Indies
195/3 (46 overs)

Ross Edwards 58 (74)
Andy Roberts 39/3 (10.4 overs)

Alvin Kallicharran 78 (83)
Ashley Mallett 35/1 (11 overs)

text:
West Indies won by 7 wickets
The Oval, London
Umpires: Dickie Bird (Eng) and David Constant (Eng)
Player of the match: Alvin Kallicharran (WI)

text:
14 June 1975
Scorecard

text:
Pakistan
330/6 (60 overs)

v

 Sri Lanka
138 (50.1 overs)

Zaheer Abbas 97 (89)
Tony Opatha 67/2 (12 overs)

Anura Tennekoon 30 (36)
Imran Khan 15/3 (7.1 overs)

text:
Pakistan won by 192 runs
Trent Bridge, Nottingham
Umpires: Arthur Jepson (Eng) and Tom Spencer (Eng)
Player of the match: Zaheer Abbas (Pak)

text: Knockout stage[edit]

text:
Semi-finals

Final

18 June – Leeds

  England
93

  Australia
94/6

21 June – London

  Australia
274

  West Indies
291/8

18 June – London

  New Zealand
158

  West Indies
159/5

text: Semi-finals[edit]

text: In the best World Cup performance to date by a bowler, Gary Gilmour took 6/14, as England were bowled out for 93 (36.2 overs), after having fallen to 37/7. Australia initially suffered a collapse just as dramatic, falling to 39/6, before Gilmour (28 from 28 balls, 5 fours) brought them home in a fantastic all-round performance.

text: The West Indies won the toss and sent New Zealand in to bat first. New Zealand batted well against the bowling at first, reaching 98/1. However, when captain Glenn Turner (36 from 74 balls, 3 fours) and Geoff Howarth (51 from 93 balls, 3 fours) fell, breaking a second-wicket partnership of 90 runs, New Zealand lost 9/60 to fall to 158 (all out, 52.2 overs). The West Indies responded, with Alvin Kallicharan (72 from 92 balls, 7 fours, 1 six) and Gordon Greenidge (55 from 95 balls, 9 fours, 1 six) sharing a second-wicket partnership of 125 runs, that brought the West Indies to their target.

text: 18 June 1975

text:
England
93 (36.2 overs)

v

 Australia
94/6 (28.4 overs)

Mike Denness 27 (60)
Gary Gilmour 14/6 (12 overs)

Gary Gilmour 28* (28)
Chris Old 29/3 (7 overs)

text:
Australia won by 4 wickets
Headingley, Leeds
Umpires: Bill Alley (Eng) and David Constant (Eng)
Player of the match: Gary Gilmour (Aus)

text: 18 June 1975

text:
New Zealand
158 (52.2 overs)

v

 West Indies
159/5 (40.1 overs)

Geoff Howarth 51 (93)
Bernard Julien 27/4 (12 overs)

Alvin Kallicharran 72 (92)
Richard Collinge 28/3 (12 overs)

text:
West Indies won by 5 wickets
The Oval, London
Umpires: Lloyd Budd (Eng) and Arthur Fagg (Eng)
Player of the match: Alvin Kallicharran (WI)

text: Final[edit]

text: In the final, the West Indies beat Australia by 17 runs, after an accomplished innings from captain Clive Lloyd (102 from 85 balls, 12 fours, 2 sixes). The Australian innings was marked by top-order batsmen being run out when going for runs after misfields. A total of five of their team were run out, three by Vivian Richards. There was no 'Man of the Series' awarded in 1975.

text: 21 June 1975

text:
West Indies
291/8 (60 overs)

v

 Australia
274 (58.4 overs)

Clive Lloyd 102 (85)
Gary Gilmour 48/5 (12 overs)

Ian Chappell 62 (93)
Keith Boyce 50/4 (12 overs)

text:
West Indies won by 17 runs
Lord's, London
Umpires: Dickie Bird (Eng) and Tom Spencer (Eng)
Player of the match: Clive Lloyd (WI)

text: Statistics[edit]

text:
Leading run scorers

Matches
Player
Team
Runs

4
Turner, GlennGlenn Turner
 New Zealand
333

4
Amiss, DennisDennis Amiss
 England
243

3
Khan , MajidMajid Khan
 Pakistan
220

4
Fletcher, KeithKeith Fletcher
 England
207

5
Turner , AlanAlan Turner
 Australia
201

Leading wicket takers

Matches
Player
Team
Wickets

2
Gilmour, GaryGary Gilmour
 Australia
11

5
Julien, BernardBernard Julien
 West Indies
10

5
Boyce, KeithKeith Boyce
 West Indies
10

4
Hadlee, DayleDayle Hadlee
 New Zealand
8

5
Roberts, AndyAndy Roberts
 West Indies
8


document_title: Home economics

question_text: where was the first home economics conference held

root

text: Home economics

text: Name[edit]

text: Family and consumer science was previously known in the United States as home economics, often abbreviated "home ec" or "HE". In 1994, various organizations, including the American Association of Family and Consumer Sciences, adopted the new term "family and consumer science" to reflect the fact that the field covers aspects outside of home life and wellness.[2]

tag: p

text: The field is also known by other names, including human sciences, home science, and domestic economy. In addition, home economics has a strong historic relationship to the field of human ecology, and since the 1960s a number of university-level home economics programs have been renamed "human ecology" programs, including Cornell University's program.[3]

text: History[edit]

text: The examples and perspective in this section deal primarily with the United States and do not represent a worldwide view of the subject. You may improve this article, discuss the issue on the talk page, or create a new article, as appropriate. (April 2017) (Learn how and when to remove this template message)

tag: table

text: One of the first to champion the economics of running a home was Catherine Beecher, sister to Harriet Beecher Stowe. Catherine and Harriet both were leaders in mid-19th century North America in talking about domestic science. They came from a very religious family that valued education especially for women.

text: The Morrill Act of 1862 propelled domestic science further ahead as land grant colleges sought to educate farm wives in running their households as their husbands were being educated in agricultural methods and processes. Iowa, Kansas, Nebraska, Illinois, Minnesota and Michigan were early leaders offering programs for women. There were women graduates of these institutions several years before the Lake Placid Conferences which gave birth to the home economics movement.

text: The home economics movement started with Ellen Swallow Richards, who was the first woman to attend Massachusetts Institute of Technology and later became the first female instructor. Through her chemistry research, she became an expert in water quality and later began to focus on applying scientific principles to domestic situations. At the Chicago World’s Fair in 1893, she designed the Rumford Kitchen, which was a tiny kitchen that served nutritious meals to thousands of fair goers, along with a healthy dose of nutrition education. She shunned an invitation to participate in the Women’s Building as she said none of her research was just women’s work, but rather information for all.

text: Late in the 19th century, Richards convened a group of contemporaries to discuss the essence of domestic science and how the elements of this discipline would ultimately improve the quality of life for many individuals and families. They met at pristine Lake Placid, New York at the invitation of Melvil Dewey. Over the course of the next 10 years, these educators worked tirelessly to elevate the discipline, which was to become home economics, to a legitimate profession. Richards wanted to call this oekology or the science of right living. Euthenics, the science of controllable environment, was also a name of her choice, but "home economics" was ultimately chosen as the official term in 1899.[4] Richards then founded the American Home Economics Association (now called the American Association of Family and Consumer Sciences) in 1909.[4]

text: In the 1910s the AHEA won passage of two crucial pieces of legislation that allowed home economists to establish formal niches for research and teaching within institutions of higher education. The Smith-Lever Act of 1914 and the Smith-Hughes Act of 1917 provided funding to expand demonstration work in rural communities and to develop and teach a home economics curriculum on the campuses of most state land-grant colleges.[5] This legislation contributed to the creation of the Office of Home Economics, which grew into the Bureau of Home Economics, at the US Department of Agriculture during the early 20th century.

text: Home economics emerged at the turn of the twentieth century as a movement to train women to be more efficient household managers. At the same moment, American families began to consume many more goods and services than they produced. To guide women in this transition, professional home economics had two major goals: to teach women to assume their new roles as modern consumers and to communicate homemakers’ needs to manufacturers and political leaders. The development of the profession progressed from its origins as an educational movement to its identity as a source of consumer expertise in the interwar period to its virtual disappearance by the 1970s.[6] An additional goal of the field was to “rationalize housework”, or lend the social status of a profession to it, based on a theory that housework could be intellectually fulfilling to women engaged in it, along with any emotional or relational benefits.[7]

text: In the 19th century, home economics classes were intended to ready young women for their duties in the home in healthy environments. Classes were first offered in the United States, Canada, Germany and Great Britain, followed by Latin America, Asia, and Africa. International organizations such as those associated with the United Nations have been involved in starting home economics programs around the world.[8]

text: Through the 1940s Iowa State College (later University) was the only program granting a master of science in household equipment. However, this program was centered on the ideals that women should acquire practical skills but also a scientifically based understanding of how technology in the household works. For example, women were required to disassemble and then reassemble kitchen machinery so they could understand basic operations as well as repair the equipment. In doing so, Iowa State effectively created culturally acceptable forms of physics and engineering for women in an era when these pursuits were not generally accessible to them.[9]

text: Home economists … found a receptive audience among many of its young female members who expressed interest in learning about how to improve their homes, spend their leisure time, and make decisions about what to buy, what to make at home, and even what books to read.[10] Though men’s participation in Home Economics programs was encouraged it was not actively recruited, and in future courses at universities such as Cornell, men’s roles became entrenched in such courses as hotel management in the hospitality industry.[7]

text: A Standards Committee’s proposal in 1924 changed the AHEA constitution allowing for a special voting membership section clearing the way for HEIB (Home Economists in Business) section.[11] The largest group of HEIB members worked for food companies such as Washburn Crosby (later General Mills), Kellogg’s, ..or trade associations charged with promoting particular foods such as the Institute of American Meat Packers and the National Dairy Council. [Some] worked as journalists for women’s magazines such as.. the Ladies’ Home Journal. [Others] worked for utility companies.[12]

text: The function that home economists have been performing for more than a century remains key to our experiences as consumers, but the professional identity has disappeared. Indeed, efforts to reposition the discipline ultimately led to its renaming in the late twentieth century. In 1994, “home economics” was replaced by “family and consumer science.”…This renaming signaled a formal break from the field’s association with domesticity, highlighting instead issues of “family” and “consumption.”[13]

text: A new actor that rose to prominence in the 1980s was the charismatic celebrity unaligned with home economists or any other professional group. Martha Stewart and her fellow “domestic celebrities,” in television programs, books, magazines, and websites, attest to the continued importance of independent experts and commercial mass-media organizations in facilitating technological and cultural change in consumer products and services industries.[14]

text: To a great degree, Americans today tap into values once enshrined in a home economics curriculum to express a national identity and assert a standard of living that is distinct not only from Third World cultures but also from the cultures of other industrialized nations.... Even as luxury consumption exerts a cultural pull for many, middle-class culture still celebrates consumers who make sensible, controlled choices in the marketplace, resisting pure pleasure, impulse purchases, and cheap or shoddy goods.[15]

text: Practice Homes in American Colleges[edit]

text: Practice homes were added to American universities in the early 1900’s in order to model a living situation, although the all-women ‘team’ model used for students was different from prevailing expectations of housewives. For example, women were graded on collaboration, while households at the time assumed that women would be working independently.[7]

text: Nevertheless, the practice homes were valued. These practicum courses took place in a variety of environments including single-family homes, apartments, and student dorm-style blocks. For a duration of a number of weeks, students lived together while taking on different roles and responsibilities, such as cooking, cleaning, interior decoration, hosting, and budgeting. Some classes also involved caring for young infants, temporarily adopted from orphanages. Childcare practicums were often included at the same time as other classwork, requiring students to configure their intellectual and home lives as compatible with one another. According to Megan Elias, “in the ideal, domestic work was as important as work done outside the home and it was performed by teams of equals who rotated roles. Each member of the team was able to live a life outside the home as well as inside the home, ideally, one that both informed her domestic work and was informed by it. This balance between home and the wider world was basic to the movement”.[7]

text: By country[edit]

text: FCS is taught worldwide, both as an elective or as a required course in secondary education, and in many tertiary and continuing education institutions. Sometimes it is also taught in primary education. International cooperation in the field is coordinated by the International Federation for Home Economics, established in 1908.[16]

text: Germany[edit]

text: Between 1880 and 1900, the Reifenstein schools concept was initiated by Ida von Kortzfleisch, a Prussian noble woman and early German feminist. Reifenstein refers to Reifenstein im Eichsfeld, a municipality in Thuringia and site of the first permanent school. Reifensteiner Verband comprised from 1897 till 1990 about 15 own schools and cooperated with further operators. About 40 wirtschaftliche Frauenschulen, rural economist women schools were connected to the Reifensteiner concept and movement and allowed higher education for women already in the German Kaiserreich.[17] The 1913 doctorate of Johannes Kramer compared different concepts of home economic education worldwide and praised the system e.g. in Iowa.[18]

text: South Korea[edit]

text: In South Korea, the field is most commonly known as "family studies" or "family science" (가정과학, gajeong-gwahak). The field began in schools taught by Western missionaries in the late 19th century. The first college-level department of family science was established at Ewha Womans University in Seoul in 1929.[19]

text: United States[edit]

text: In the United States, approximately 5 million students in US secondary education take FCS each year.[2]

text: Home science in India[edit]

text: Many Education boards in India such as NIOS,[20] CBSE, ICSE,[21] CISCE[22] and various state boards offer home science as a subject in their courses.

text: Content[edit]

text: Situated in the human sciences, home economics draws from a range of disciplines to achieve optimal and sustainable living for individuals, families, and communities. Historically, home economics has been in the context of the home and household, but this has extended in the 21st century to include the wider living environments as we better understand that the capacities, choices, and priorities of individuals and families impact at all levels, ranging from the household to the local and the global community. Home economists are concerned with promoting and protecting the well-being of individuals, families, and communities; they facilitate the development of attributes for lifelong learning for paid, unpaid, and voluntary work. Home economics professionals are advocates for individuals, families, and communities.

text: The content of home economics comes from the synthesis of multiple disciplines. This interdisciplinary knowledge is essential because the phenomena and challenges of everyday life are not typically one-dimensional. The content of home economics courses vary, but may include: food, nutrition, and health; personal finance; family resource management and planning; textiles and clothing; shelter and housing; consumerism and consumer science; household management; design and technology; food science and hospitality; human development and family studies; communication and extension education and community services, among others. The capacity to draw from such disciplinary diversity is a strength of the profession, allowing for the development of specific interpretations of the field, as relevant to the context.

text: Cleaning[edit]

text: Home cleaning tasks can be separated into four categories: litter removal, storage of belongings, dusting, and washing of surfaces. Washing of surfaces is the most dangerous and complicated part because of the cleaning solutions. For example, hard water deposits are cleaned with acid solutions and grease is cleaned with alkaline solutions; they can both harm the skin and are reactive toward each other, potentially producing unwanted by-products. Mixing together chlorine bleach and strong acids (e.g. limescale remover containing HCl) forms chlorine gas, which is toxic. Solvents such as paint thinner and rubbing alcohol are toxic and flammable. Some disinfectants are toxic. Even dish water can require rubber gloves.[23]

text: Finances[edit]

text: Dealing with finances is a key element of home economics. Understanding concepts such as debt, credit, loaning, interest rates and so on are important to having a healthy economic home. Life skills such as making a budget, keeping financial records and making frugal purchasing choices are all part of this subject area. As home economics is a very holistic field, one must also incorporate concepts like purchasing power and how consumers can affect the global world.

text: Professional associations[edit]

text: The AAFCS (American Association of Family & Consumer Sciences) represents teachers, educators, cooperatives, business, designers and nutritionists.The American Association of Family & Consumer Sciences (AAFCS) is the only national forum where K-12 teachers, university educators, and corporate executives collaborate to improve the quality of individual and family life.

text: The Association for Career and Technical Education (ACTE) is the largest American national education association dedicated to the advancement of education that prepared youth and adults for successful careers. ACTE's core purpose is to provide leadership in developing an educated, prepared, and competitive workforce. The ACTE division of Family and Consumer Sciences Education includes three sections (1) NATFACS - National Association Teachers of Family and Consumer Sciences (2) NATEFACS - National Association Teacher Educators of Family andy Consumer Sciences, andy (3) NASAFACS - National Association State Administrators of Family and Consumer Sciences.

text: The National Council on Family Relations, (NCFR) founded in 1938, is the oldest multidisciplinary, nonpartisan professional organization focused solely on family research, practice and education. They claim to be the premier professional association for the multidisciplinary understanding of families. The members’ interests—as diverse as their careers and backgrounds—are focused on topics and efforts that yield a common benefit: …understanding and strengthening families. NCFR members are professionals dedicated to understanding and strengthening families. The 3,400-plus members come from more than 35 countries and all 50 U.S. states, and include: researchers, demographers, marriage and family therapists, parent/family educators, university faculty, students, social workers, public health workers, extension specialists and faculty, ECFE teachers, clergy, counselors, K-12 teachers, and more.


document_title: List of oldest dogs

question_text: what is the guinness world record for the oldest dog

text: List of oldest dogs

text: Oldest verified dogs by age[edit]

text: The following dogs' ages were authenticated via Guinness World Records.  A document is required by Guinness, such as a birth certificate, to prove his or her age.[citation needed]

text:
Rank

Name

Birth date

Death date

Age

Breed

Country of death

1

Bluey[1][2]

7 June 1910

14 November 1939

7004107520000000000♠29 years, 160 days

Australian Cattle Dog[a]

Australia

2

Butch[5][6]

1975

2003

≥7004102270000000000♠28 years, 0 days

Beagle

United States

3

Taffy[2]

–

–

27 years, 317 days

Welsh Collie

United Kingdom

4

Snookie[7][6]

1 January 1991

12 October 2018

≥7004101460000000000♠27 years, 284 days

Pug

South Africa

5

Bramble[6]

1 September 1975

31 March 2003

7004100730000000000♠27 years, 211 days

Border Collie

United Kingdom

6

Adjutant[6]

14 August 1936

20 November 1963

7003995900000000000♠27 years, 98 days

Labrador Retriever cross

United Kingdom

7

Buksi[8][9]

1990

26 August 2017

27 years

Mutt

Hungary

8

Pusuke[6]

1 April 1985

5 December 2011

7003974400000000000♠26 years, 248 days

Shiba Inu mix

Japan

9

Sugar[6]

18 August 1952

13 August 1977

7003912600000000000♠24 years, 360 days

N/A[clarification needed]

United States

10

Piccolo[6]

1 October 1987

26 December 2010

7003848700000000000♠23 years, 86 days

Mutt

Italy

11

Chanel[6][10]

6 May 1988

28 August 2009

7003778400000000000♠21 years, 114 days

Dachshund

United States

12

Otto[6][10]

14 February 1989

14 January 2010

7003763900000000000♠20 years, 334 days

Dachshund-Terrier cross

United Kingdom

13

Seamus[6]

24 July 1993

18 May 2014

7003760300000000000♠20 years, 298 days

Toy Poodle

United States

14

Sotirakis[6]

11 April 1993

16 January 2014

7003758500000000000♠20 years, 280 days

Stray

Greece

15

Megabyte[6]

11 April 1993

1 January 2014

7003757000000000000♠20 years, 265 days

Chihuahua

United States

16

Winston Rha[6]

12 December 1992

15 May 2013

7003745900000000000♠20 years, 154 days

Schnoodle

United States

17

Willie[6]

21 May 1994

4 September 2014

7003741100000000000♠20 years, 106 days

Jack Russell Terrier

United Kingdom

18

Scolly[6]

15 June 1993

18 July 2013

7003733800000000000♠20 years, 33 days

Dachshund

Mexico


document_title: List of solar eclipses visible from the United States

question_text: when was the last solar eclipse seen in pa

text:
June 28, 1908

Annular
June 8, 1918

Total
November 22, 1919

Annular
September 10, 1923

Total

January 24, 1925

Total
June 29, 1927

Total
April 28, 1930

Hybrid
August 31, 1932

Total

April 19, 1939

Annular
April 7, 1940

Annular
February 4, 1943

Total
July 9, 1945

Total

May 9, 1948

Annular

text:
September 1, 1951

Annular
June 30, 1954

Total
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text:
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Total
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Annular
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Total

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Total
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February 5, 2046[9]

Annular
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Annular

text:
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document_title: The Rare Ould Times

question_text: who wrote dublin in the rare old times

question_tokens: who wrote dublin in the rare old times

text: The Rare Ould Times

text: "The Rare Ould Times" is a song composed by Pete St. John in the 1970s for the Dublin City Ramblers. It is sometimes called "Dublin in the Rare Ould Times", "The Rare Old Times", or "The Rare Auld Times".

text: Description[edit]

text: In the song, the narrator, Sean Dempsey, who comes from Pimlico, a working-class neighbourhood in the Dublin Liberties, recalls his upbringing. He laments the changes that have occurred in the city since his youth, mentioning the loss of Nelson's Pillar, the Metropole ballroom, the "Royal" (Theatre Royal). He dislikes the "new glass cages", the modern office blocks and flats being erected along the quays, and says farewell to Anna Liffey (the River Liffey).

text: Recording history[edit]

text: The song was first recorded by the Dublin City Ramblers.[1] It has since been recorded by dozens of artists such as The Dubliners, the Irish Tenors, The High Kings and Flogging Molly. It was a number 1 hit in Ireland in 1978 for Danny Doyle.

text: The song remains very popular in Ireland, particularly in Dublin.[2][3] It is sung as a sporting anthem by fans of Dublin GAA teams.

text: Irish businessman Bill Cullen used the first two stanzas of the song as the epigraph for his 2004 memoir of growing up in inner-city Dublin, It's a Long Way from Penny Apples.[4]


document_title: Phonological development

question_text: when do babies become able to distinguish different speech sounds

text: Phonological development

text: Prelinguistic development (birth – 1 year)[edit]

text: Perception[edit]

text: Children don’t utter their first words until they are about 1 year old, but already at birth they can tell some utterances in their native language from utterances in languages with different prosodic features.[3]

text: 1 month[edit]

text: Categorical perception[edit]

text: Infants as young as 1 month perceive some speech sounds as speech categories (they display categorical perception of speech). For example, the sounds /b/ and /p/ differ in the amount of breathiness that follows the opening of the lips. Using a computer generated continuum in breathiness between /b/ and /p/, Eimas et al. (1971) showed that English-learning infants paid more attention to differences near the boundary between /b/ and /p/ than to equal-sized differences within the /b/-category or within the /p/-category.[4] Their measure, monitoring infant sucking-rate, became a major experimental method for studying infant speech perception.

text: Infants up to 10–12 months can distinguish not only native sounds but also nonnative contrasts. Older children and adults lose the ability to discriminate some nonnative contrasts.[5] Thus, it seems that exposure to one’s native language causes the perceptual system to be restructured. The restructuring reflects the system of contrasts in the native language.

text: 4 months[edit]

text: At four months infants still prefer infant-directed speech to adult-directed speech. Whereas 1-month-olds only exhibit this preference if the full speech signal is played to them, 4-month-old infants prefer infant-directed speech even when just the pitch contours are played.[6] This shows that between 1 and 4 months of age, infants improve in tracking the suprasegmental information in the speech directed at them. By 4 months, finally, infants have learned which features they have to pay attention to at the suprasegmental level.

text: 5 months[edit]

text: Babies prefer to hear their own name to similar-sounding words.[7] It is possible that they have associated the meaning “me” with their name, although it is also possible that they simply recognize the form because of its high frequency.

text: 6 months[edit]

text: With increasing exposure to the ambient language, infants learn not to pay attention to sound distinctions that are not meaningful in their native language, e.g., two acoustically different versions of the vowel /i/ that simply differ because of inter-speaker variability. By 6 months of age infants have learned to treat acoustically different sounds that are representations of the same sound category, such as an /i/ spoken by a male versus a female speaker, as members of the same phonological category /i/.[8]

text: Statistical learning[edit]

text: Infants are able to extract meaningful distinctions in the language they are exposed to from statistical properties of that language. For example, if English-learning infants are exposed to a prevoiced /d/ to voiceless unaspirated /t/ continuum (similar to the /d/ - /t/ distinction in Spanish) with the majority of the tokens occurring near the endpoints of the continuum, i.e., showing extreme prevoicing versus long voice onset times (bimodal distribution) they are better at discriminating these sounds than infants who are exposed primarily to tokens from the center of the continuum (unimodal distribution).[9]

text: These results show that at the age of 6 months infants are sensitive to how often certain sounds occur in the language they are exposed to and they can learn which cues are important to pay attention to from these differences in frequency of occurrence. In natural language exposure this means typical sounds in a language (such as prevoiced /d/ in Spanish) occur often and infants can learn them from mere exposure to them in the speech they hear. All of this occurs before infants are aware of the meaning of any of the words they are exposed to, and therefore the phenomenon of statistical learning has been used to argue for the fact that infants can learn sound contrasts without meaning being attached to them.

text: At 6 months, infants are also able to make use of prosodic features of the ambient language to break the speech stream they are exposed to into meaningful units, e.g., they are better able to distinguish sounds that occur in stressed vs. unstressed syllables.[10] This means that at 6 months infants have some knowledge of the stress patterns in the speech they are exposed and they have learned that these patterns are meaningful.

text: 7 months[edit]

text: At 7.5 months English-learning infants have been shown to be able to segment words from speech that show a strong-weak (i.e., trochaic) stress pattern, which is the most common stress pattern in the English language, but they were not able to segment out words that follow a weak-strong pattern. In the sequence ‘guitar is’ these infants thus heard ‘taris’ as the word-unit because it follows a strong-weak pattern.[11] The process that allows infants to use prosodic cues in speech input to learn about language structure has been termed “prosodic bootstrapping”.[12]

text: 8 months[edit]

text: While children generally don’t understand the meaning of most single words yet, they understand the meaning of certain phrases they hear a lot, such as “Stop it,” or “Come here.”[13]

text: 9 months[edit]

text: Infants can distinguish native from nonnative language input using phonetic and phonotactic patterns alone, i.e., without the help of prosodic cues.[14] They seem to have learned their native language’s phonotactics, i.e., which combinations of sounds are possible in the language.

text: 10-12 months[edit]

text: Infants now can no longer discriminate most nonnative sound contrasts that fall within the same sound category in their native language.[15] Their perceptual system has been tuned to the contrasts relevant in their native language. As for word comprehension, Fenson et al. (1994) tested 10-11-month-old children’s comprehension vocabulary size and found a range from 11 words to 154 words.[13] At this age, children normally have not yet begun to speak and thus have no production vocabulary. So clearly, comprehension vocabulary develops before production vocabulary.

text: Production[edit]

text: Stages of pre-speech vocal development[edit]

text: Even though children do not produce their first words until they are approximately 12 months old, the ability to produce speech sounds starts to develop at a much younger age. Stark (1980) distinguishes five stages of early speech development:[16]

text: 0-6 weeks: Reflexive vocalizations[edit]

text: These earliest vocalizations include crying and vegetative sounds such as breathing, sucking or sneezing. For these vegetative sounds, infants’ vocal cords vibrate and air passes through their vocal apparatus, thus familiarizing infants with processes involved in later speech production.

text: 6-16 weeks: Cooing and laughter[edit]

text: Infants produce cooing sounds when they are content. Cooing is often triggered by social interaction with caregivers and resembles the production of vowels.

text: 16-30 weeks: Vocal play[edit]

text: Infants produce a variety of vowel- and consonant-like sounds that they combine into increasingly longer sequences. The production of vowel sounds (already in the first 2 months) precedes the production of consonants, with the first back consonants (e.g., [g], [k]) being produced around 2–3 months, and front consonants (e.g., [m], [n], [p]) starting to appear around 6 months of age. As for pitch contours in early infant utterances, infants between 3 and 9 months of age produce primarily flat, falling and rising-falling contours. Rising pitch contours would require the infants to raise subglottal pressure during the vocalization or to increase vocal fold length or tension at the end of the vocalization, or both. At 3 to 9 months infants don’t seem to be able to control these movements yet.[17]

text: 6-10 months: Reduplicated babbling (or canonical babbling[18])[edit]

text: Reduplicated babbling contains consonant-vowel (CV) syllables that are repeated in reduplicated series of the same consonant and vowel (e.g., [bababa]). At this stage, infants’ productions resemble speech much more closely in timing and vocal behaviors than at earlier stages. Starting around 6 months babies also show an influence of the ambient language in their babbling, i.e., babies’ babbling sounds different depending on which languages they hear. For example, French learning 9-10 month-olds have been found to produce a bigger proportion of prevoiced stops (which exist in French but not English) in their babbling than English learning infants of the same age.[19] This phenomenon of babbling being influenced by the language being acquired has been called babbling drift.[20]

text: 10-14 months: Nonreduplicated babbling (or variegated babbling[18])[edit]

text: Infants now combine different vowels and consonants into syllable strings. At this stage, infants also produce various stress and intonation patterns. During this transitional period from babbling to the first word children also produce “protowords”, i.e., invented words that are used consistently to express specific meanings, but that are not real words in the children’s target language.[21] Around 12–14 months of age children produce their first word. Infants close to one year of age are able to produce rising pitch contours in addition to flat, falling, and rising-falling pitch contours.[17]

text: Development once speech sets in (1 year and older)[edit]

text: At the age of 1, children only just begin to speak, and their utterances are not adult-like yet at all. Children’s perceptual abilities are still developing, too. In fact, both production and perception abilities continue to develop well into the school years, with the perception of some prosodic features not being fully developed until about 12 years of age.

text: Perception[edit]

text: 14 months[edit]

text: Children are able to distinguish newly learned ‘words’ associated with objects if they are not similar-sounding, such as ‘lif’ and ‘neem’. They cannot distinguish similar-sounding newly learned words such as ‘bih’ and ‘dih’, however.[22] So, while children at this age are able to distinguish monosyllabic minimal pairs at a purely phonological level, if the discrimination task is paired with word meaning, the additional cognitive load required by learning the word meanings leaves them unable to spend the extra effort on distinguishing the similar phonology.

text: 16 months[edit]

text: Children’s comprehension vocabulary size ranges from about 92 to 321 words.[13] The production vocabulary size at this age is typically around 50 words. This shows that comprehension vocabulary grows faster than production vocabulary.

text: 18-20 months[edit]

text: At 18–20 months infants can distinguish newly learned ‘words’, even if they are phonologically similar, e.g. ‘bih’ and ‘dih’.[22] While infants are able to distinguish syllables like these already soon after birth, only now are they able to distinguish them if they are presented to them as meaningful words rather than just a sequence of sounds. Children are also able to detect mispronunciations such as ‘vaby’ for ‘baby’. Recognition has been found to be poorer for mispronounced than for correctly pronounced words. This suggests that infants’ representations of familiar words are phonetically very precise.[23] This result has also been taken to suggest that infants move from a word-based to a segment-based phonological system around 18 months of age.

text: Fast-mapping[edit]

text: Of course, the reason why children need to learn the sound distinctions of their language is because then they also have to learn the meaning associated with those different sounds. Young children have a remarkable ability to learn meanings for the words they extract from the speech they are exposed to, i.e., to map meaning onto the sounds. Often children already associate a meaning with a new word after only one exposure. This is referred to as “fast mapping”. At 20 months of age, when presented with three familiar objects (e.g., a ball, a bottle and a cup) and one unfamiliar object (e.g., an egg piercer), children are able to conclude that in the request “Can I have the zib,” zib must refer to the unfamiliar object, i.e., the egg piercer, even if they have never heard that pseudoword before.[24][25] Children as young as 15 months can complete this task successfully if the experiment is conducted with fewer objects.[26] This task shows that children aged 15 to 20 months can assign meaning to a new word after only a single exposure. Fast mapping is a necessary ability for children to acquire the number of words they have to learn during the first few years of life: Children acquire an average of nine words per day between 18 months and 6 years of age.[27]

text: 2–6 years[edit]

text: At 2 years, infants show first signs of phonological awareness, i.e., they are interested in word play, rhyming, and alliterations.[1] Phonological awareness does continue to develop until the first years of school. For example, only about half of the 4- and 5-year olds tested by Liberman et al. (1974) were able to tap out the number of syllables in multisyllabic words, but 90% of the 6-year-olds were able to do so.[28] Most 3-4-year olds are able to break simple consonant-vowel-consonant (CVC) syllables up into their constituents (onset and rime). The onset of a syllable consists of all the consonants preceding the syllable’s vowel, and the rime is made up of the vowel and all following consonants. For example, the onset in the word ‘dog’ is /d/ and the rime is /og/. Children at 3–4 years of age were able to tell that the nonwords /fol/ and /fir/ would be liked by a puppet whose favorite sound is /f/.[29][30] 4-year olds are less successful at this task if the onset of the syllable contains a consonant cluster, such as /fr/ or /fl/. Liberman et al. found that no 4-year-olds and only 17% of 5-year-olds were able to tap out the number of phonemes (individual sounds) in a word.[28] 70% of 6-year-olds were able to do so. This might mean that children are aware of syllables as units of speech early on, while they don’t show awareness of individual phonemes until school age. Another explanation is that individual sounds do not easily translate into beats, which makes clapping individual phonemes a much more difficult task than clapping syllables. One reason why phoneme awareness gets much better once children start school is because learning to read provides a visual aid as how to break up words into their smaller constituents.[1]

text: 12 years[edit]

text: Although children perceive rhythmic patterns in their native language at 7–8 months, they are not able to reliably distinguish compound words and phrases that differ only in stress placement, such as ‘HOT dog’ vs. ‘hot DOG’ until around 12 years of age. Children in a study by Vogel and Raimy (2002)[31] were asked to show which of two pictures (i.e., a dog or a sausage) was being named. Children younger than 12 years generally preferred the compound reading (i.e., the sausage) to the phrasal reading (the dog). The authors concluded from this that children start out with a lexical bias, i.e., they prefer to interpret phrases like these as single words, and the ability to override this bias develops until late in childhood.

text: Production[edit]

text: 12-14 months[edit]

text: Infants usually produce their first word around 12 –14 months of age. First words are simple in structure and contain the same sounds that were used in late babbling.[32] The lexical items they produce are probably stored as whole words rather than as individual segments that get put together online when uttering them. This is suggested by the fact that infants at this age may produce the same sounds differently in different words.[33]

text: 16 months[edit]

text: Children’s production vocabulary size at this age is typically around 50 words, although there is great variation in vocabulary size among children in the same age group, with a range between 0 and 160 words for the majority of children.[13]

text: 18 months[edit]

text: Children’s productions become more consistent around the age of 18 months.[32] When their words differ from adult forms, these differences are more systematic than before. These systematic transformations are referred to as “phonological processes”, and often resemble processes that are typically common in the adult phonologies of the world’s languages (cf. reduplication in adult Jamaican Creole: “yellow yellow” = “very yellow” [34]). Some common phonological processes are listed below.[1]

text: Whole word processes (until age 3 or 4)[edit]

text: - Weak syllable deletion: omission of an unstressed syllable in the target word, e.g., [nænæ] for ‘banana’

text: - Final consonant deletion: omission of the final consonant in the target word, e.g., [pikʌ] for ‘because’

text: - Reduplication: production of two identical syllables based on one of the target word syllables, e.g., [baba] for ‘bottle’

text: - Consonant harmony: a target word consonant takes on features of another target word consonant, e.g., [ɡʌk] for ‘duck’

text: - Consonant cluster reduction: omission of a consonant in a target word cluster, e.g., [kæk] for ‘cracker’

text: Segment substitution processes (into the early school years)[edit]

text: - Velar fronting: a velar is replaced by a coronal sound, e.g., [ti] for ‘key’

text: - Stopping: a fricative is replaced by a stop, e.g., [ti] for ‘sea’

text: - Gliding: a liquid is replaced by a glide, e.g., [wæbɪt] for ‘rabbit’

text: 2 years[edit]

text: The size of the production vocabulary ranges from about 50 to 550 words at the age of 2 years.[13] Influences on the rate of word learning, and thus on the wide range of vocabulary sizes of children of the same age, include the amount of speech children are exposed to by their caregivers as well as differences in how rich the vocabulary in the speech a child hears is. Children also seem to build up their vocabulary faster if the speech they hear is related to their focus of attention more often.[1][35] This would be the case if a caregiver talks about a ball the child is currently looking at.

text: 4 years[edit]

text: A study by Gathercole and Baddeley (1989) showed the importance of sound for early word meaning.[36] They tested the phonological memory of 4- and 5-year-old children, i.e., how well these children were able to remember a sequence of unfamiliar sounds. They found that children with better phonological memory also had larger vocabularies at both ages. Moreover, phonological memory at age 4 predicted the children’s vocabulary at age 5, even with earlier vocabulary and nonverbal intelligence factored out.

text: 7 years[edit]

text: Children produce mostly adult-like segments.[37] Their ability to produce complex sound sequences and multisyllabic words continues to improve throughout middle childhood.[32]

text: Biological foundations of infants’ speech development[edit]

text: The developmental changes in infants’ vocalizations over the first year of life are influenced by physical developments during that time. Physical growth of the vocal tract, brain development, and development of neurological structures responsible for vocalization are factors for the development of infants’ vocal productions.[1]

text: Infants’ vocal tract[edit]

text: Infants vocal tracts are smaller, and initially also shaped differently from adults’ vocal tracts. The infant’s tongue fills the entire mouth, thus reducing the range of movement. As the facial skeleton grows, the range for movement increases, which probably contributes to the increased variety of sounds infants start to produce. Development of muscles and sensory receptors also gives infants more control over sound production.[1] The limited movement possible by the infant jaw and mouth might be responsible for the typical consonant-vowel (CV) alternation in babbling and it has even been suggested that the predominance of CV syllables in the languages of the world might evolutionarily have been caused by this limited range of movements of the human vocal organs.[38]

text: The differences between the vocal tract of infants and adults can be seen in figure 3 (infants) and figure 4 (adults) below.

text: The nervous system[edit]

text: Crying and vegetative sounds are controlled by the brain stem, which matures earlier than the cortex. Neurological development of higher brain structures coincides with certain developments in infants’ vocalizations. For example, the onset of cooing at 6 to 8 weeks happens as some areas of the limbic system begin to function. The limbic system is known to be involved in the expression of emotion, and cooing in infants is associated with a feeling of contentedness. Further development of the limbic system might be responsible for the onset of laughter around 16 weeks of age. The motor cortex, finally, which develops later than the abovementioned structures may be necessary for canonical babbling, which start around 6 to 9 months of age.[1]


document_title: Alice in Wonderland (1951 film)

question_text: who plays the white rabbit in alice in wonderland 1951

text: Alice in Wonderland (1951 film)

text: Plot[edit]

text: On a riverbank, Alice spots a White Rabbit in a waistcoat passing by, exclaiming that he is "late for a very important date". She gives chase, following him into a large rabbit hole. She sees him leave through a tiny door, whose talking knob advises her to shrink to an appropriate height by drinking from a bottle marked "Drink Me". She does so and floats out through the keyhole in a sea of her own tears, which she cried after eating a biscuit marked "Eat Me" caused her to grow very large. As she continues to follow the Rabbit, she meets numerous characters, including Tweedledum and Tweedledee, who recount the tale of "The Walrus and the Carpenter".

text: Alice tracks the Rabbit to his house; he sends her to retrieve his gloves after mistaking her for his housemaid. While searching for them, she eats another cookie marked “Eat Me” from his cookie canister and grows large again, getting stuck in the house. Thinking she is a monster, he brings the Dodo over to help him get rid of her. When the Dodo decides to burn the house down, Alice escapes by eating a carrot from the Rabbit's garden, which causes her to shrink to three inches tall, and continues following him. Along the way, she meets a garden of talking flowers who initially welcome her with a song, but then mistake her for a weed and order her to leave, followed by a Caterpillar, who becomes enraged after she tells him she is distressed at her current height, as he is the same height, and turns into a butterfly. Before leaving, he advises her to eat a piece of his mushroom to alter her size. She does so and manages to return to her original height, and continues following the Rabbit.

text: In the woods, Alice meets the Cheshire Cat, who advises her to visit the Mad Hatter or the March Hare to find out where the Rabbit is. She encounters both, along with the Dormouse, at the Hare's house having a mad tea party and celebrating their "unbirthday". They celebrate her unbirthday too, but she becomes frustrated at them interrupting her every time she tries to speak. As she is above to leave, the Rabbit appears, continuing to exclaim that he is late; the Hatter examines his pocket watch and says it is "two days slow", and attempts to “fix” it by filling it with food and tea but ends up having to destroy it after it goes "mad". The Rabbit laments that his watch was an "unbirthday present", and the Hatter and Hare sing "The Unbirthday Song" to him before throwing him back into the woods. Fed up with the nonsense, Alice decides to go home, but her surroundings have completely changed and she gets lost. Fearing she is lost forever, she sits on a rock sobbing.

text: The Cheshire Cat reappears and advises Alice to ask the Queen of Hearts for directions home, showing her a "shortcut" to the King and tyrannical Queen's castle. The Queen orders the beheading of a trio of playing card gardeners who mistakenly planted white roses instead of red ones, and invites (or rather forces) Alice to play against her in a croquet match, in which live flamingos, card guards and hedgehogs are used as equipment. The animals and card guards rig the game in favor of the Queen. The Cat appears again and plays a trick on the Queen, causing her to fall over. The Cat disappears in time to make it look like Alice was the prankster, but before the Queen can order her execution, the King suggests they have a trial.

text: At Alice's trial, the Mad Hatter, March Hare and Dormouse are called to the stand as witnesses, briefly celebrating the Queen's unbirthday and giving her a headpiece as a present, which turns into the Cat. Chaos ensues when the frightened Dormouse runs around the courtroom. As the Queen orders Alice’s execution, Alice eats the pieces of the Caterpillar's mushroom she saved and grows large again. The King and Queen order her to leave the courthouse, but she refuses and insults the Queen. As she does so, she returns to her normal size, and the Queen orders her execution. Alice flees, and the Queen, King, card guards and other characters give chase. When she reaches the small door she encountered at the beginning of the film, he shows her that she is actually already outside, asleep. She wakes up and leaves the riverbank with her sister and Dinah to go home for tea.

text: Cast[edit]

text:
Kathryn Beaumont as Alice
Ed Wynn as Mad Hatter
Jerry Colonna as March Hare
Richard Haydn as Caterpillar
Sterling Holloway as Cheshire Cat
Verna Felton as Queen of Hearts
J. Pat O'Malley as Tweedledum and Tweedledee/The Walrus and the Carpenter/Mother Oyster
Bill Thompson as White Rabbit/The Dodo
Heather Angel as Alice's sister
Joseph Kearns as Doorknob
Larry Grey as Bill the Lizard/Card Painter
Queenie Leonard as A Bird in a Tree/Snooty Flower
Dink Trout as King of Hearts
Doris Lloyd as The Rose
Jimmy MacDonald as The Dormouse
The Mellomen (Thurl Ravenscroft, Bill Lee, Max Smith, and Bob Hamlin) as Card Painters
Don Barclay as Other Cards
Lucille Bliss as Flowers[5]
Pinto Colvig as Flamingos
Tommy Luske as Young Pansy
Marni Nixon as Singing Flowers
Norma Zimmer as White Rose

tag: ul

text: Directing animators[6][edit]

text:
Marc Davis (Alice)
Milt Kahl (The Dodo, Alice, Flamingo)
Eric Larson (Alice, Caterpillar, Queen of Hearts)
Frank Thomas (Doorknob, Queen of Hearts, Wonderland Creatures)
Ollie Johnston (Alice, King of Hearts)
Ward Kimball (Tweedledee and Tweedledum, The Walrus and The Carpenter, Oysters, Cheshire Cat, Mad Hatter, March Hare, Dormouse)
John Lounsbery (Flowers, Caterpillar, Cheshire Cat, Mad Hatter, Wonderland creatures)
Wolfgang Reitherman (White Rabbit, The Carpenter, The Dodo, Mad Hatter, March Hare)
Les Clark (Alice, Wonderland creatures)
Norm Ferguson (The Walrus and The Carpenter)

text: Production[edit]

text: Development[edit]

text: The history of Walt Disney's association with Lewis Carroll's Alice books (Alice's Adventures in Wonderland and Through the Looking-Glass) stretches all the way back to his childhood. Like many children of the time he was familiar with the Alice books and had read them as a school boy.[7]

text: In 1923, Disney was still a 21-year-old filmmaker trying to make a name for himself by working at the Laugh-O-Gram Studio in Kansas City, making the unsuccessful short cartoon series by the name of Newman Laugh-O-Grams. The last of Newman Laugh-O-Grams was called Alice's Wonderland, which was loosely inspired by the Alice books. The short featured a live-action girl (Virginia Davis) interacting in an animated world. Faced with business problems, however, the Laugh-O-Gram Studio went bankrupt in July 1923, and the film was never released to the general public.[8] However, Disney left for Hollywood and used the film as a sort of pilot to show to potential distributors. Margaret J. Winkler of Winkler Pictures agreed to distribute the Alice Comedies, and Disney partnered with his older brother Roy O. Disney and re-hired Kansas City co-workers including Ub Iwerks, Rudolph Ising, Friz Freleng, Carman Maxwell and Hugh Harman to form Disney Bros. Studios (later Walt Disney Productions).[8] The series began in 1924 before being retired in 1927.

text: In 1932, Disney began playing with the idea of making an animated feature film and repeatedly turned to the idea of making a feature-length animated/live-action version of Alice starring Mary Pickford, and even purchased the rights to Sir John Tenniel's illustrations (still under copyright at the time).[7][9] However, these plans were eventually scrapped in favor of Snow White and the Seven Dwarfs, mainly because Disney was put off by Paramount's 1933 live-action adaptation.[7] However, Disney did not completely abandon the idea of adapting Alice, and in 1936 made the Mickey Mouse cartoon Thru the Mirror.

text: In 1938, after the enormous success of Snow White, Disney revived the idea of making an Alice feature and officially registered the title Alice in Wonderland with the Motion Picture Association of America and hired storyboard artist Al Perkins and art director David S. Hall to develop the story and concept art for the film.[7] A storyreel was complete in 1939, but Walt was not pleased as he felt that Hall's drawings resembled Tenniel's drawings too closely making them too difficult to animate and that the overall tone of Perkins' script was too grotesque and dark.[7] Realising the amount of work needed for Alice in Wonderland, as well as the economic devastation of the World War II and the production demands of Pinocchio, Fantasia, and Bambi, Walt shelved production on Alice in Wonderland shortly after the screening.[9]

text: In 1945, shortly after the war ended, Disney once again revived Alice in Wonderland and assigned British author Aldous Huxley to re-write the script. However, Walt felt that Huxley's version was too much of a literal adaptation of Carroll's book.[9] Background artist Mary Blair submitted some concept drawings for Alice in Wonderland. Blair's paintings moved away from Tenniel's sketchy illustrations by taking a modernist stance, using bold and unreal colors. Walt liked Blair's designs, and the script was re-written to focus on comedy, music, and the whimsical side to Carroll's book.[9]

text: Disney toyed with the idea of having a live-action/animated version of Alice in Wonderland (in a similar fashion to his Alice Comedies) that would star Ginger Rogers and would utilize the recently developed sodium vapor process.[10] Lisa Davis Waltz (who would later voice Anita Radcliffe in One Hundred and One Dalmatians) and Luana Patten were also considered for the role of Alice.[9][11] However, Walt soon realized that he could only do justice to the book by making an all-animated feature, and in 1946, work began on an all-animated version of Alice in Wonderland.[7]

text: Writing[edit]

text: Through various drafts of the script, many sequences that were present in Caroll's book drifted in and out of the story. However, Walt insisted that the scenes themselves keep close to those in the novel since most of its humor is in the writing.[7]

text: One omitted scene from the 1939 treatment of the film occurred outside the Duchess' manor, where The Fish Footman is giving a message to The Frog Footman to take to the Duchess saying that she is invited to play croquet with The Queen of Hearts. Alice overhears this and sneaks into the kitchen of the manor, where she finds the Duchess' Cook maniacally cooking and the Duchess nursing her baby. The cook is spraying pepper all over the room causing the Duchess and Alice to sneeze and the Baby to cry. After a quick conversation between Alice and the Duchess, the quick-tempered Cook starts throwing pots and pans at the noisy baby. Alice rescues the baby, but as she leaves the house the baby turns into a pig and runs away.[12] The scene was scrapped for pacing reasons.

text: Another scene that was deleted from a later draft occurred in Tulgey Wood, where Alice encountered what appeared to be a sinister-looking Jabberwock hiding in the dark, before revealing himself as a comical looking dragon-like beast with bells and factory whistles on his head. A song, "Beware the Jabberwock", was also written. However, the scene was scrapped in favor of The Walrus and the Carpenter poem.[7] Out of a desire to keep the Jabberwocky poem in the film, it was made to replace an original song for the Cheshire Cat, "I'm Odd".

text: Another deleted scene in Tulgey Wood shows Alice consulting with The White Knight, who was meant to be somewhat of a caricature of Walt Disney. Although Walt liked the scene, he felt it was better if Alice learned her lesson by herself, hence the song "Very Good Advice".[7]

text: Other characters, such as The Mock Turtle and the Gryphon were discarded for pacing reasons.

text: Music[edit]

text: In an effort to retain some of Carroll's imaginative verses and poems, Disney commissioned top songwriters to compose songs built around them for use in the film. A record number of potential songs were written for the film, based on Carroll's verses—over 30—and many of them found a way into the film, if only for a few brief moments. Alice in Wonderland would boast the greatest number of songs included in any Disney film, but because some of them last for mere seconds (like "How Do You Do and Shake Hands", "We'll Smoke the Monster Out", "'Twas Brillig", "The Caucus Race", and others), this fact is frequently overlooked. The original song that Alice was to sing in the beginning was titled "Beyond the Laughing Sky". The song, like so many other dropped songs, was not used by the producers. However, the composition was kept and the lyrics were changed. It later became the title song for Peter Pan (which was in production at the same time), "The Second Star to the Right".

text: The title song, composed by Sammy Fain, has become a jazz standard, first adopted by jazz pianist Dave Brubeck; featured first in 1952, then on his 1957 Columbia album Dave Digs Disney.

text: Izumi Yukimura sang her own theme song for the Japanese release of the film.

text: The song, "In a World of My Own," is included on the orange disc of Classic Disney: 60 Years of Musical Magic.

text: Release and reception[edit]

text: At the time, these creative decisions were met with great criticism from Carroll fans, as well as from British film and literary critics who accused Disney of "Americanizing" a great work of English literature.[13] Disney was not surprised by the critical reception to Alice in Wonderland – his version of Alice was intended for large family audiences, not literary critics – but despite all the long years of thought and effort, the film met with a lukewarm response at the box office and was a sharp disappointment in its initial release,[14] earning an estimated $2.4 million at the US box office in 1951.[15]

text: Though not an outright disaster, the film was never re-released theatrically in Disney's lifetime, airing instead every so often on network television. In fact, Alice in Wonderland aired as the second episode of Walt Disney's Disneyland TV series on ABC in 1954, in a severely edited version cut down to less than an hour. In The Disney Films, Leonard Maltin relates animator Ward Kimball felt the film failed because "it suffered from too many cooks – directors. Here was a case of five directors each trying to top the other guy and make his sequence the biggest and craziest in the show. This had a self-canceling effect on the final product."[16] Walt Disney himself felt that the film failed because there was no "warmth" in Alice's character.[17]

text: Almost two decades after its original release, after the North American success of George Dunning's animated film Yellow Submarine (1968), Disney's version of Alice in Wonderland suddenly found itself in vogue with the times. In fact, because of Mary Blair's art direction and the long-standing association of Carroll's Alice in Wonderland with the drug culture, the feature was re-discovered as something of a "head film" (along with Fantasia and The Three Caballeros) among the college-aged and was shown in various college towns across the country. Disney resisted this association, and even withdrew prints of the film from universities, but then, in 1974, Disney gave Alice in Wonderland its first theatrical re-release ever, and the company even promoted it as a film in tune with the "psychedelic" times (mostly from the hit song "White Rabbit" performed by Jefferson Airplane). This re-release was so successful it warranted a subsequent re-release in 1981. Its first UK re-release was on July 26, 1979.

text: Later, with the advent of the home video market, Disney chose to make Alice in Wonderland one of the first titles available for the rental market on VHS and Beta and for retail sale on RCA's short-lived CED Videodisc format. The film was released on October 15, 1981 on VHS, CED Videodisc, and Betamax and May 28, 1986 on VHS, Betamax, and Laserdisc in the Walt Disney Classics, (though it was mastered for tape in 1985), staying in general release ever since, with a 40th Anniversary video release in 1991 (this and the 1986 video release were in Disney's Classics Collection), followed by an October 28, 1994 October 14, 1997 VHS and Laserdisc release as a part of the Walt Disney Masterpiece Collection.VHS and Laserdisc release as a part of the Walt Disney Masterpiece Collection. It was released on Region 1 DVD on July 4, 2000 (under the Gold Classic Collection DVD series). A fully restored two-disc "Masterpiece Edition" was released on January 27, 2004, including the full hour-long episode of the Disney television show with Kathryn Beaumont, Edgar Bergen, Charlie McCarthy and Mortimer Snerd, Bobby Driscoll and others that promoted the film, computer games, deleted scenes, songs and related materials, which went back on moratorium in January 2009. Disney released a 2-disc special "Un-Anniversary" edition DVD on March 30, 2010 in order to promote the then-new Tim Burton film.[18] The movie was released in a Blu-ray/DVD combo on February 1, 2011 to celebrate its 60th anniversary[19] featuring a new HD restoration of the movie and many released bonus features. Disney re-released the film on Blu-ray and DVD on April 26, 2016 to celebrate the film's 65th anniversary.

text: On the film aggregator website, Rotten Tomatoes, the overall rating of the film is a "fresh" 79% from 28 critical reviews with an average rating of 6.4/10. Its consensus states that "A good introduction to Lewis Carroll's classic, Alice in Wonderland boasts some of the Disney canon's most surreal and twisted images."[20]

text: The film was nominated for an Academy Award for Best Scoring of a Musical Picture, but lost to An American in Paris.[21]

text: Soundtrack[edit]

text: The film soundtrack was first released on LP record on July 28, 1951. The soundtrack was re-released on Audio CD by Walt Disney Records on February 3, 1998.;[22] Songs in the film

text:
"Alice in Wonderland" – The Jud Conlon Chorus and The Mellomen
"In a World of My Own" – Alice
"I'm Late" – White Rabbit
"The Sailor's Hornpipe" – Dodo
"The Caucus Race" – Dodo and Animals
"How Do You Do and Shake Hands?" – Tweedledee and Tweedledum
"The Walrus and the Carpenter" – Tweedledee and Tweedledum
"Old Father William" – Tweedledee and Tweedledum
"We'll Smoke the Blighter Out" – Dodo and White Rabbit
"All in the Golden Afternoon" – The Flowers and Alice
"A-E-I-O-U" – Caterpillar
"'Twas Brillig" – Cheshire Cat
"The Unbirthday Song" – Mad Hatter, March Hare, and Alice
"Very Good Advice" – Alice
"Painting the Roses Red" – The Playing Cards (The Jud Conlon Chorus) and Alice/"Who's Been Painting My Roses Red?" (Reprise) – Queen of Hearts and The Playing Cards
"The Unbirthday Song" (Reprise) – Mad Hatter, March Hare, The Queen of Hearts, and The Playing Cards
"The Caucus Race" (Reprise) – The Entire Cast Minus Alice
"Alice in Wonderland" (Reprise) – The Jud Conlon Chorus and The Mellomen

text:
"Beyond the Laughing Sky" – Alice (replaced by "In a World of My Own"; this melody was later used for "The Second Star to the Right" in Peter Pan)
"Dream Caravan" – Caterpillar (replaced by "A-E-I-O-U")
"I'm Odd" – Cheshire Cat (replaced by "'Twas Brillig")
"Beware the Jabberwock" – Chorus (Stan Freberg, Daws Butler, and the Rhythmaires), referring to deleted character
"So They Say" – Alice
"If You'll Believe in Me" – The Lion and The Unicorn (deleted characters)
"Beautiful Soup" – The Mock Turtle and The Gryphon (almost yet deleted characters) set to the tune of the Blue Danube (the Walt Disney company also used Blue Danube in the two cartoons, Jungle Rhythm and Night).
"Everything Has a Useness" – Meant for Caterpillar, in which he explains to Alice that everything has a purpose—in this case, the use of the mushroom.
"Curiosity" – unknown purpose
"Humpty Dumpty"
"Speak Roughly to Your Little Boy" – The Duchess (deleted character)
"Will You Join the Dance?"

text: Audio CD track listing[edit]

text:
"Main Title (Alice in Wonderland)"
"Pay Attention/In a World of My Own"
"I'm Late"
"Curiosity Leads to Trouble/Simply Impassable"
"The Sailor's Hornpipe/The Caucus Race"
"We're Not Waxworks"
"How D'Ye Do and Shake Hands/Curious?"
"The Walrus and the Carpenter"
"Old Father William"
"Mary Ann!/A Lizard with a Ladder/We'll Smoke the Blighter Out"
"The Garden/All in the Golden Afternoon"
"What Genus Are You?"
"A-E-I-O-U (Ray the Caterpillar Song/Who R U?)"
"A Serpent!"
"Alone Again/'Twas Brillig/Lose Something"
"The Mad Tea Party/The Unbirthday Song"
"The Tulgey Wood" (Music incomplete on audio CD)
"Very Good Advice"
"Whom Did You Expect"
"Painting the Roses Red/March of the Cards"
"Marie the Queen of Hearts/Who's Been Painting My Roses Red?"
"A Little Girl/Let the Game Begin/I Warn You Child"
"The Trial/The Unbirthday Song (Reprise)/Rule 42/Off with Her Head/The Caucus Race"

tag: ol

text: Media and merchandise[edit]

text: Stage version[edit]

text: Alice in Wonderland has been condensed into a one act stage version entitled, Alice in Wonderland, Jr.. The stage version is solely meant for middle and high school productions and includes the majority of the film's songs and others including Song of the South's "Zip-a-Dee-Doo-Dah", two new reprises of "I'm Late!", and three new numbers entitled "Ocean of Tears", "Simon Says", and "Who Are You?" respectively. This 60–80 minute version is licensed by Music Theatre International in the Broadway, Jr. Collection along with other Disney Theatrical shows such as Disney's Aladdin, Jr., Disney's Mulan, Jr., Beauty and the Beast, Disney's High School Musical: On Stage!, Elton John and Tim Rice's Aida, and many more.[23]

text: References in other Disney films[edit]

text:
In Donald in Mathmagic Land, Donald Duck wears Alice's dress and has her hairstyle but brown not blond. A larger pencil bird is in the film as well.
Bill the Lizard appears as one of Professor Ratigan's henchmen in The Great Mouse Detective.
Alice and several other characters from the film were featured as guests in House of Mouse, and the Queen of Hearts was one of the villains featured in Mickey's House of Villains. The Mad Hatter was also featured in Mickey's Magical Christmas: Snowed in at the House of Mouse.
The Mad Hatter and the March Hare were also featured in several episodes of Bonkers.
Bill the Lizard, Tweedledum, Cheshire Cat and the doorknob also appear in the 1988 Disney film Who Framed Roger Rabbit.
In the opening of Aladdin, the peddler tries to sell a hookah much like the one the Caterpillar used.
In Aladdin and the King of Thieves, the Genie turns into the White Rabbit.
On Darkwing Duck, there is a villain called Tuskernini, a character that somewhat resembles the walrus.
Weebo shows clips of the film on her screen in Flubber.
An episode of Mickey Mouse Clubhouse, entitled "Mickey's Adventures in Wonderland", is based on the film.
During the song When You Wish upon a Star in Disney's Pinocchio, the book for Alice in Wonderland can be seen on the bookshelf where Jiminy Cricket is singing from. This reference can be considered indirect as the film was released 11 years prior to Alice in Wonderland.

text: Theme parks[edit]

text: Costumed versions of Alice, The Mad Hatter, The White Rabbit, The Queen of Hearts, Tweedledum, and Tweedledee make regular appearances at the Disney theme parks and resorts, and other characters from the film (including the Walrus and the March Hare) have featured in the theme parks. More famously, all five Disneyland-style theme parks feature Mad Tea Party, a teacups ride based on Disney's adaptation of Alice in Wonderland.

text: Alice in Wonderland is also frequently featured in many parades and shows in the Disney Theme Parks, including The Main Street Electrical Parade, SpectroMagic, Fantasmic!, Dreamlights, The Move It! Shake It! Celebrate It! Street Party and Walt Disney's Parade of Dreams. Disneyland contains a dark ride based on the film in addition to the teacups,[24] and Disneyland Paris also contains a hedge maze called Alice's Curious Labyrinth, which takes its inspiration from the film.[25] The now-defunct Mickey Mouse Revue, shown at Walt Disney World and later at Tokyo Disneyland, contained characters and scenes from the film.

text: The 2010 Tim Burton adaptation had much less of an effect on the park, only inspiring Mad T Party, a nighttime event at Disney California Adventure.

text: Video games[edit]

text: In Disney's Villains' Revenge, the Queen of Hearts is one of the villains who tries to turn the ending to her story to where she finally cuts off Alice's head. Mickey Mousecapade features various characters from the film. The Japanese version, in fact, is based very heavily on the film, with almost every reference in the game coming from the film.

text: A video game version of the film was released on Game Boy Color by Nintendo of America on October 4, 2000 in North America. Additionally, in the video games Kingdom Hearts and Kingdom Hearts: Chain of Memories, Wonderland is a playable world. Alice is also a major character in the overall plot of the first game due to her role as one of seven "Princesses of Heart". Other characters from the movie that appear include the Queen of Hearts, the Cheshire Cat, the White Rabbit, the Doorknob, the Caterpillar (V Cast only), and the Deck of Cards. The Mad Hatter and the March Hare appear in portrait form as well. All except the Doorknob also appear in Chain of Memories, albeit in the form of illusions made from the main character's memory.[26] While the world is absent in Kingdom Hearts II, it returns in Kingdom Hearts 358/2 Days and Kingdom Hearts coded, the latter featuring a digitized version of the world originating from data in Jiminy Cricket's royal journal.

text: In Toy Story 3: The Video Game, the Mad Hatter's hat is one of the hats you can have the townsfolk wear. In Kinect Disneyland Adventures, Alice, Mad Hatter, White Rabbit, and the Queen of Hearts make appearances.

text: In Disney Infinity there are power discs based on Alice in Wonderland.

text: Several characters of the movie make appearances throughout the Epic Mickey-games. For example, the cards are seen throughout Mickeyjunk Mountain in the original Epic Mickey, Alice appears as a statue carrying a projector screen in Epic Mickey 2 and Alice, the Mad Hatter, the Cheshire Cat and the Queen of Hearts appear as unlockable characters in Epic Mickey: Power of Illusion.