document_title: List of Power episodes

question_text: how many episodes in the season 4 of power

text: List of Power episodes

text: Series overview[edit]

text:
Season
Episodes
Originally aired

First aired
Last aired

1
8
June 7, 2014 (2014-06-07)
August 2, 2014 (2014-08-02)

2
10
June 6, 2015 (2015-06-06)
August 15, 2015 (2015-08-15)

3
10
July 17, 2016 (2016-07-17)
September 25, 2016 (2016-09-25)

4
10
June 25, 2017 (2017-06-25)
September 3, 2017 (2017-09-03)

text: Episodes[edit]

text: Season 1 (2014)[edit]

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

1
1
"Not Exactly How We Planned"
Anthony Hemingway
Courtney A. Kemp
June 7, 2014 (2014-06-07)
0.462[2]

James "Ghost" St. Patrick is the owner of 'The Truth' a recently opened and trendy New York City nightclub. Ghost hopes his new club's success will allow him to leave behind his previous life as a local drug kingpin, that his loyal wife, Tasha, supported to finance her lavish and self-indulgent lifestyle. But an attack by an unknown enemy threatens to tear his new life apart. With the help of his loyal friend, Tommy, Ghost must uncover who is after him.

2
2
"Whoever He Is"
Anthony Hemingway
Courtney A. Kemp
June 14, 2014 (2014-06-14)
0.614[3]

Ghost hosts a party for Vogue Magazine at Truth, while he and Tommy have to make a tough decision when their drug business is attacked. While Tasha laments Ghost's new nightclub career, he rekindles his relationship with Angela, who is a US State attorney working in pursuing Ghost's drug distributor Lobos.

3
3
"This Is Real"
John David Coles
Lauren Schmidt Hissrich
June 21, 2014 (2014-06-21)
0.472[4]

A model gets hospitalized after snorting bad cocaine at the nightclub. Ghost, Tommy and Josh investigate, while Josh suggests to involve the police. Meanwhile, the rift between Tasha and Ghost deepens when she visits the bank to find a lot of their money missing.

4
4
"Who Are You?"
John David Coles
Sascha Penn
June 28, 2014 (2014-06-28)
0.557[5]

Ghost and Tommy call a meeting between the gang leaders, while Angela plans to surveillance the encounter.

5
5
"I Gotta Go"
George Tillman Jr.
Randy Huggins
July 12, 2014 (2014-07-12)
0.528[6]

Ghost and Angela heat up their secret affair. Meanwhile, Tasha meddles with her daughters school audition, while at the same time she also interferes with the club's business. Tommy and Ghost begin to disagree over various aspects of both businesses and over Ghost's belief that gang leader Ruiz is the one behind the attacks.

6
6
"Who You With?"
George Tillman Jr.
Salvatore Stabile
July 19, 2014 (2014-07-19)
0.745[7]

Tommy makes peace with Ruiz while Angela places a wire on Nomar, a member of Ruiz's gang, so he can catch whoever was going to go make peace with Ruiz. Meanwhile, Ghost forgets Tasha's birthday, as he and Angela realize the wider effect that their affair may have. Also, Tommy's relationship with Holly deepens, and Angela has a family emergency.

7
7
"Loyalty"
Kari Skogland
Raphael Jackson Jr. & Damione Macedon
July 26, 2014 (2014-07-26)
0.754[8]

Tasha finally sees Angela for the first time. Ghost finally learns a friend may be responsible for the hits. Meanwhile, Angela attempts to stop an upcoming attack. Ghost makes a promise to Angela.

8
8
"Best Laid Plans"
Kari Skogland
Courtney A. Kemp & Vladimir Cvetko
August 2, 2014 (2014-08-02)
1.08[9]

Ghost plans a big party at Truth and makes a major decision in an attempt to become a legitimate businessman. Tommy decides to take more charge of the business.

text: Season 2 (2015)[edit]

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

9
1
"Consequences"
Simon Cellan Jones
Courtney A. Kemp
June 6, 2015 (2015-06-06)
1.43[10]

Ghost recommits himself to the drug business following the failed attempt on his life.

10
2
"No Friends on the Street"
Stefan Schwartz
Gary Lennon
June 13, 2015 (2015-06-13)
1.12[11]

Tommy offers to help Ghost if he agrees to one major condition to use Angela to find out what she knows about them; Kanan's release from jail is a surprise to Ghost.

11
3
"Like We're Any Other Couple"
David Knoller
Randy Huggins
June 20, 2015 (2015-06-20)
1.11[12]

Ghost and Angela enjoy a vacation in Miami until reality intrudes on their fantasy life as a couple.

12
4
"You're the Only Person I Can Trust"
Bill Johnson
Lauren Schmidt
June 27, 2015 (2015-06-27)
1.30[13]

Ghost struggles to keep Angela, Tommy, Tasha and Simon Stern in his control.

13
5
"Who You Are and Who You Want to Be"
David Knoller
Raphael Jackson Jr. & Damione Macedon
July 11, 2015 (2015-07-11)
1.25[14]

Ghost and Tommy hustle to sell their product and pay Lobos; the FBI questions Holly.

14
6
"Why Her?"
Sanford Bookstaver
Gary Lennon
July 18, 2015 (2015-07-18)
1.25[15]

Angela learns that Jamie and Ghost are the same person; the drug syndicate welcomes a new member. Holly tells Tommy she was questioned by the feds. She handcuffs Tommy to the bed telling him to pick between her or Ghost thus ending their relationship. Tasha asks Ghost Why Her

15
7
"You're Not the Man"
Dennie Gordon
Vladimir Cvetko
July 25, 2015 (2015-07-25)
1.26[16]

Tommy becomes worried after Holly speaks with the feds. Tommy becomes paranoid and moves the drug money. Tasha wants to get a divorce from Ghost; but soon realize she will lose everything. Lobos arrives in New York; Ghost explains his actions to Angela. Angela clones Ghost's phone.

16
8
"Three Moves Ahead"
Rob Hardy
Randy Huggins
August 1, 2015 (2015-08-01)
1.04[17]

Ghost attempts to distance himself from Lobos before Angela gets to him. Ghost tells Tasha that he has a plan. Angela sees Ghost and Tommy entering a hotel to meet with Lobos. She calls for backup, both Tommy and Lobos are arrested. Ghost then messages Angela that he got a new phone causing her to toss the cloned one.

17
9
"Time's Up"
Jim McKay
Raphael Jackson Jr. & Damione Macedon
August 8, 2015 (2015-08-08)
1.37[18]

Tommy is pressured to flip on Lobos or go to jail; Ghost tries to do the right thing. Tommy goes to trial, and is later released. Shawn attempts to leave town with Tasha and the kids. Kanan sends his son Shawn to kill Ghost, but fails. Kanan finds out he didn't finish the job and later kills him.

18
10
"Ghost Is Dead"
Michael J. Bassett
Courtney A. Kemp & Safia Dirie
August 15, 2015 (2015-08-15)
1.54[19]

Bodies from Ghost's organization drop left and right, each death inching closer to Ghost and Tommy. Tasha learns of Shawn's death, believing it to have been Ghost's work. Kanan and Ghost fight with Ghost the victor, leaving him for dead and burning the evidence. Tommy learns of Ghost's involvement with Holly. Ghost reveals to Tommy that he was the one killing most of the members from the organization. Soon after, Tommy shows Ghost the fake ID of Holly and goes solo. Lobo's calls Tommy wanting him to work with him or lose everything. Angela and Ghost reconcile telling her Ghost is dead, but at the risk of her possibly losing her job. Greg threatens to put Angela and Ghost in jail. The police investigate a fire at Ghost's and Kanan's fight, revealing someone escaped, strongly implying Kanan is still alive.

text: Season 3 (2016)[edit]

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

19
1
"Call Me James"
George Tillman Jr.
Courtney A. Kemp
July 17, 2016 (2016-07-17)
2.26[20]

Season 3 begins with Ghost out of the drug game, and Angela having to decide between love and honor. Also, Tasha is reeling from Shawn's death, and Tommy feels compelled to make some adventurous moves.

20
2
"It's Never Over"
Sanford Bookstaver
Gary Lennon
July 24, 2016 (2016-07-24)
1.74[21]

Ghost deals with loose ends before tangling with some new nightlife competition. Tommy confronts Tasha, who must learn to coexist with Angela. Later, Tommy finds an advisor in a former lover.

21
3
"I Got This on Lock"
Lukas Ettlin
Randy Huggins
July 31, 2016 (2016-07-31)
1.88[22]

Ghost sees an opportunity to take the clubs to the next level, but the past may catch up to him; Tommy joins Tasha in a scheme, while dealing with an uncontrollable contact.

22
4
"Don't Worry, Baby"
Larysa Kondracki
Heather Zuhlke
August 7, 2016 (2016-08-07)
1.72[23]

As the opportunity to expand the clubs evolves, Ghost is spread even thinner between Angela, the kids, business, and Tommy. While Tommy struggles with his decision, Kanan gets back into the life, and Angela starts to doubt her relationship with Ghost.

23
5
"Help Me"
Sanford Bookstaver
Damione Macedon & Raphael Jackson Jr.
August 14, 2016 (2016-08-14)
1.80[24]

Tommy searches for the person who tried to kill him; Ruiz is pressured by Greg to give up the true Ghost, while Angela attempts to keep them away; Proctor tells Ghost that he may have a new problem. Tommy kills Holly.

24
6
"The Right Decision"
Michael J. Bassett
Vladimir Cvetko
August 21, 2016 (2016-08-21)
2.11[25]

Tommy and Ghost get back together to take on a ruthless foe and enlist Tasha in hopes of evading detection by Angela and her team. Later, Tommy soldiers on, but Ghost comes undone at a vital juncture.

25
7
"Don't Go"
Rob Hardy
Safia M. Dirie
August 28, 2016 (2016-08-28)
1.84[26]

Angela reels after her breakup and faces difficult questions at work; Ghost scrambles to keep the club deal alive as he and Tommy are forced to re-enter the game; Dre learns the meaning of the La Arana card.

26
8
"Trust Me"
Jim McKay
Gary Lennon
September 4, 2016 (2016-09-04)
1.99[27]

Mike and Angela hunt for the mole; Angela gets a lead, while she must solidify Tommy's alibi; Tasha receives a warning as Tariq makes a dangerous new friend; Milan issues an edict to push a new product.

27
9
"I Call the Shots"
Magnus Martens
Damione Macedon & Raphael Jackson Jr.
September 18, 2016 (2016-09-18)
2.04[28]

Angela searches for the mole; Ghost works to regain the club deal; Kanan exerts a dark influence upon Tariq; Milan warns Tommy about the price of betrayal.

28
10
"In My Best Interest"
Michael J. Bassett
Courtney A. Kemp & Jeff Dix
September 25, 2016 (2016-09-25)
2.01[29]

While in the middle of throwing the party of a lifetime, Ghost must slip away to retrieve evidence; Tasha's attempt to save her family requires she enter an unlikely alliance, while Tommy contemplates a move that will impact everyone's present and future.

text: Season 4 (2017)[edit]

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

29
1
"When I Get Out"
Stefan Schwartz
Courtney A. Kemp
June 25, 2017 (2017-06-25)
1.68[30]

In the Season 4 premiere, Ghost's arrest for the murder of Agent Knox leaves him facing threats from a number of sources, while Tasha scrambles to raise bail as the Feds build a case. Meanwhile, Tommy tries to get comfortable in his new role and seeks help recovering Tariq.

30
2
"Things Are Going to Get Worse"
Sanford Bookstaver
Heather Zuhlke
July 2, 2017 (2017-07-02)
1.44[31]

Ghost faces harassment; Proctor works to protect his client; the team discusses strategy for taking down St. Patrick; Tommy struggles to let go of his old duties; and Tasha tells the kids what's going on.

31
3
"The Kind of Man You Are"
Larysa Kondracki
Jeff Dix
July 9, 2017 (2017-07-09)
1.72[32]

Prosecutors turn up the heat, forcing Tommy's plan to divert their attention; Teresi obtains information about Ghost and engineers a blackmail scheme; in his father's absence, Tariq seeks out Kanan.

32
4
"We're in This Together"
J. Michael Muro
Warren Hsu Leonard
July 16, 2017 (2017-07-16)
1.72[33]

Mak brings back Angela to the prosecution team and assigns her a task that brings her face-to-face with Tasha; Julio struggles to manage the primeras below him and Tommy's behavior; Tariq continues running with Kanan.

33
5
"Don't Thank Me"
Sanford Bookstaver
Raphael Jackson, Jr. & Damione Macedon
July 23, 2017 (2017-07-23)
1.79[34]

With tensions high after Proctor's disqualification, Silver warns Ghost that Tasha may have to testify. Meanwhile, now aware of Ghost's innocence, Angela struggles to find a way to stop the prosecution. As Tommy faces mounting pressure from LaKeisha around their relationship and the weave shop, he's forced to come clean about his past. An old colleague resurfaces to offer Ghost and Tasha financial support with strings attached. And Teresi sets a plan in motion to eliminate Ghost, but things suddenly change when Ghost inadvertently proves he still has value.

34
6
"New Man"
Dennie Gordon
Gary Lennon
July 30, 2017 (2017-07-30)
1.83[35]

Returning to Truth -- and life as a free man -- Ghost finds himself trapped in a new business venture. Meanwhile, Tasha and LaKeisha plan to reopen the weave shop. Tommy escapes to Chicago for a meeting with the suppliers that takes an unexpected turn. Dre and Cristobal set a plan in motion to get rid of Julio. And with Ghost released from prison, Jukebox and Kanan revisit their plan to kidnap Tariq, sending Ghost on a wild chase to save him.

35
7
"You Lied to My Face"
Sanford Bookstaver
Vladimir Cvetko
August 6, 2017 (2017-08-06)
1.69[36]

As Ghost moves forward with his new business venture, the entire St. Patrick family is thrust into a new role in the public eye. Tasha seeks out Silver's help and their relationship deepens. When Tommy returns to New York, Dre talks himself into a promotion. And when Mak tells the whole prosecution team they're suspended, they start to form new alliances to find and take down Greg's real killer.

36
8
"It's Done"
Hernán Otoño
Raphael Jackson, Jr. & Damione Macedon
August 13, 2017 (2017-08-13)
1.81[37]

When Ghost sees the location for the business is gang-infested, he re-teams with Tommy to clean it up. As Tommy threatens war, his organization starts to destabilize. And, unhappy, Tariq looks to some old friends.

37
9
"That Ain't Me"
Victoria Mahoney
Raphael Jackson, Jr. & Damione Macedon
August 20, 2017 (2017-08-20)
1.90[38]

When Ghost realizes he's getting screwed, he starts playing dirty. After meeting the boss, Angela explores other options. Tommy gets proof that paints Kate in a new light. And with people after him, Tariq hatches a plan.

38
10
"You Can't Fix This"
Rob Hardy
Courtney A. Kemp & Monica Mitchell
September 3, 2017 (2017-09-03)
2.00[39]

Ghost and Tommy seek retribution after tragedy befalls the St. Patrick family; Tasha tries to keep things together at home; Angela attempts to figure out what Ghost is hiding.


document_title: U-boat

question_text: when were submarines first used in world war 1

root

text: U-boat

text: Early U-boats (1850–1914)[edit]

text: The first submarine built in Germany, the three-man Brandtaucher, sank to the bottom of Kiel harbor on 1 February 1851 during a test dive.[2][3] The inventor and engineer Wilhelm Bauer had designed this vessel in 1850, and Schweffel & Howaldt constructed it in Kiel. Dredging operations in 1887 rediscovered Brandtaucher; it was later raised and put on historical display in Germany.

tag: p

text: There followed in 1890 the boats WW1 and WW2, built to a Nordenfelt design. In 1903 the Friedrich Krupp Germaniawerft dockyard in Kiel completed the first fully functional German-built submarine, Forelle,[4] which Krupp sold to Russia during the Russo-Japanese War in April 1904.[5] The SM U-1 was a completely redesigned Karp-class submarine and only one was built. The Imperial German Navy commissioned it on 14 December 1906.[6] It had a double hull, a Körting kerosene engine, and a single torpedo tube. The 50%-larger SM U-2 (commissioned in 1908) had two torpedo tubes. The U-19 class of 1912–13 saw the first diesel engine installed in a German navy boat. At the start of World War I in 1914, Germany had 48 submarines of 13 classes in service or under construction. During that war the Imperial German Navy used SM U-1 for training. Retired in 1919, it remains on display at the Deutsches Museum in Munich.[7]

text: World War I (1914–1918)[edit]

text: On 5 September 1914, HMS Pathfinder was sunk by SM U-21, the first ship to have been sunk by a submarine using a self-propelled torpedo. On 22 September, U-9 sank the obsolete British warships HMS Aboukir, HMS Cressy and HMS Hogue (the "Live Bait Squadron") in a single hour.

text: In the Gallipoli Campaign in early 1915 in the eastern Mediterranean, German U-boats, notably the U-21, prevented close support of allied troops by 18 pre-Dreadnought battleships by sinking two of them.[8]

text: For the first few months of the war, U-boat anticommerce actions observed the "prize rules" of the time, which governed the treatment of enemy civilian ships and their occupants. On 20 October 1914, SM U-17 sank the first merchant ship, the SS Glitra, off Norway.[9] Surface commerce raiders were proving to be ineffective, and on 4 February 1915, the Kaiser assented to the declaration of a war zone in the waters around the British Isles. This was cited as a retaliation for British minefields and shipping blockades. Under the instructions given to U-boat captains, they could sink merchant ships, even potentially neutral ones, without warning.

text: In February 1915, a submarine U-6 (Lepsius) was rammed and both periscopes were destroyed off Beachy Head by the collier SS Thordis commanded by Captain John Bell RNR after firing a torpedo.[10] On 7 May 1915, SM U-20 sank the liner RMS Lusitania. The sinking claimed 1,198 lives, 128 of them American civilians, and the attack of this unarmed civilian ship deeply shocked the Allies. According to the ship's manifest, Lusitania was carrying military cargo, though none of this information was relayed to the citizens of Britain and the United States who thought that the ship contained no ammunition or military weaponry whatsoever and it was an act of brutal murder. Munitions that it carried were thousands of crates full of ammunition for rifles, 3-inch artillery shells, and also various other standard ammunition used by infantry. The sinking of the Lusitania was widely used as propaganda against the German Empire and caused greater support for the war effort. A widespread reaction in the U.S was not seen until the sinking of the ferry SS Sussex. The sinking occurred in 1915 and the United States entered the war in 1917.

text: The initial U.S. response was to threaten to sever diplomatic ties, which persuaded the Germans to issue the Sussex pledge that reimposed restrictions on U-boat activity. The U.S. reiterated its objections to German submarine warfare whenever U.S. civilians died as a result of German attacks, which prompted the Germans to fully reapply prize rules. This, however, removed the effectiveness of the U-boat fleet, and the Germans consequently sought a decisive surface action, a strategy that culminated in the Battle of Jutland.

text: Although the Germans claimed victory at Jutland, the British Grand Fleet remained in control at sea. It was necessary to return to effective anticommerce warfare by U-boats. Vice-Admiral Reinhard Scheer, Commander in Chief of the High Seas Fleet, pressed for all-out U-boat war, convinced that a high rate of shipping losses would force Britain to seek an early peace before the United States could react effectively.

text: The renewed German campaign was effective, sinking 1.4 million tons of shipping between October 1916 and January 1917. Despite this, the political situation demanded even greater pressure, and on 31 January 1917, Germany announced that its U-boats would engage in unrestricted submarine warfare beginning 1 February. On 17 March, German submarines sank three American merchant vessels, and the U.S. declared war on Germany in April 1917.

text: Unrestricted submarine warfare in early 1917 was initially very successful, sinking a major part of Britain-bound shipping. With the introduction of escorted convoys, shipping losses declined and in the end the German strategy failed to destroy sufficient Allied shipping. An armistice became effective on 11 November 1918 and all surviving German submarines were surrendered. Of the 360 submarines that had been built, 178 were lost, but more than 11 million tons of shipping had been destroyed. Of the 178 submarines destroyed, SM U-103 was sunk when the troopship RMS Olympic rammed it as it attempted to crash dive, killing all on board.

text: Classes[edit]

text:
Körting kerosene-powered boats

Type U 1, Type U 2, Type U 3, Type U 5, Type U 9, Type U 13, Type U 16, Type U 17

Mittel-U MAN diesel boats

Type U 19, Type U 23, Type U 27, Type U 31, Type U 43, Type U 51, Type U 57, Type U 63, Type U 66, Type Mittel U

U-Cruisers and Merchant U-boats

Type U 139, Type U 142, Type U 151, Type UD 1

UB coastal torpedo attack boats

Type UB I, Type UB II, Type UB III, Type UF, Type UG

UC coastal minelayers

Type UC I, Type UC II, Type UC III

UE ocean minelayers

Type UE I, Type UE II

tag: ul

text: Surrender of the fleet[edit]

text: Under the terms of armistice, all U-boats were to immediately surrender. Those in home waters sailed to the British submarine base at Harwich. The entire process was done quickly and in the main without difficulty, after which the vessels were studied, then scrapped or given to Allied navies. Stephen King-Hall wrote a detailed eyewitness account of the surrender.[11]

text: Interwar years (1919–1939)[edit]

text: At the end of World War I, as part of the Paris Peace Conference, 1919, the Treaty of Versailles restricted the total tonnage of the German surface fleet. The treaty also restricted the independent tonnage of ships and forbade the construction of submarines. However, a submarine design office was set up in the Netherlands and a torpedo research program was started in Sweden. Before the start of World War II, Germany started building U-boats and training crews, labeling these activities as "research" or concealing them using other covers. When this became known, the Anglo-German Naval Agreement limited Germany to parity with Britain in submarines. When World War II started, Germany already had 65 U-boats, with 21 of those at sea, ready for war.[citation needed]

text: World War II (1939–1945)[edit]

text: During World War II, U-boat warfare was the major component of the Battle of the Atlantic, which lasted the duration of the war. Germany had the largest submarine fleet of the revived German War Navy (Kriegsmarine) since 1935 into World War II (1939-1945), since the Armistice of November 11th, 1918, scuttled most of the old Imperial German Navy from the First World War and the following Treaty of Versailles of 1919, had limited the surface navy of Germany's new Weimar Republic to only six battleships (of less than 10,000 tons each), six cruisers, and 12 destroyers.[12] British Prime Minister Winston Churchill later wrote "The only thing that really frightened me during the war was the U-boat peril."

text: In the early stages of the war the U-boats were extremely effective in destroying Allied shipping due to the large gap in mid-Atlantic air cover. Cross-Atlantic trade in war supplies and food was extensive and critical for Britain's survival. The continuous action surrounding British shipping became known as the Battle of the Atlantic, as the British developed technical defences such as ASDIC and radar, and the German U-boats responded by hunting in what were called "wolfpacks" where multiple submarines would stay close together, making it easier for them to sink a specific target. Britain's vulnerable shipping situation existed until 1942, when the tides changed as the U.S. merchant marine and Navy entered the war, drastically increasing the amount of tonnage of supplies sent across the Atlantic. The combination of increased tonnage and increased naval protection of shipping convoys made it much more difficult for U-boats to make a significant dent in British shipping. Once the United States entered the war, U-boats ranged from the Atlantic coast of the United States and Canada to the Gulf of Mexico, and from the Arctic to the west and southern African coasts and even as far east as Penang. The U.S. military engaged in various tactics against German incursions in the Americas; these included military surveillance of foreign nations in Latin America, particularly in the Caribbean, to deter any local governments from supplying German U-boats.

text: Because speed and range were severely limited underwater while running on battery power, U-boats were required to spend most of their time surfaced running on diesel engines, diving only when attacked or for rare daytime torpedo strikes. The more ship-like hull design reflects the fact that these were primarily surface vessels that could submerge when necessary. This contrasts with the cylindrical profile of modern nuclear submarines, which are more hydrodynamic underwater (where they spend the majority of their time), but less stable on the surface. While U-boats were faster on the surface than submerged, the opposite is generally true of modern submarines. The most common U-boat attack during the early years of the war was conducted on the surface and at night. This period, before the Allied forces developed truly effective antisubmarine warfare tactics, which included convoys, was referred to by German submariners as "die glückliche Zeit" or The First Happy Time[13]

text: Torpedoes[edit]

text: The U-boats' main weapon was the torpedo, though mines and deck guns (while surfaced) were also used. By the end of the war, almost 3,000 Allied ships (175 warships; 2,825 merchant ships) were sunk by U-boat torpedoes.[14] Early German World War II torpedoes were straight runners, as opposed to the homing and pattern-running torpedoes that were fielded later in the war. They were fitted with one of two types of pistol triggers: impact, which detonated the warhead upon contact with a solid object, and magnetic, which detonated upon sensing a change in the magnetic field within a few meters.

text: One of the most effective uses of magnetic pistols would be to set the torpedo's depth to just beneath the keel of the target. The explosion under the target's keel would create a detonation shock wave, which could cause a ship's hull to rupture under the concussive water pressure. In this way, even large or heavily armored ships could be sunk or disabled with a single, well-placed hit.

text: In practice, however, the depth-keeping equipment and magnetic and contact exploders were notoriously unreliable in the first eight months of the war. Torpedoes often ran at an improper depth, detonated prematurely, or failed to explode altogether—sometimes bouncing harmlessly off the hull of the target ship. This was most evident in Operation Weserübung, the invasion of Norway, where various skilled U-boat commanders failed to inflict damage on British transports and warships because of faulty torpedoes. The faults were largely due to a lack of testing. The magnetic detonator was sensitive to mechanical oscillations during the torpedo run, and to fluctuations in the Earth's magnetic field at high latitudes. These were eventually phased out, and the depth-keeping problem was solved by early 1942.[15]

text: Later in the war, Germany developed an acoustic homing torpedo, the G7/T5. It was primarily designed to combat convoy escorts. The acoustic torpedo was designed to run straight to an arming distance of 400 m and then turn toward the loudest noise detected. This sometimes ended up being the U-boat itself; at least two submarines may have been sunk by their own homing torpedoes. Additionally, these torpedoes were found to be only effective against ships moving at greater than 15 knots (28 km/h). The Allies countered acoustic torpedoes with noisemaker decoys such as Foxer, FXR, CAT and Fanfare. The Germans, in turn, countered this by introducing newer and upgraded versions of the acoustic torpedoes, like the late-war G7es, and the T11 torpedo. However, the T11 torpedoes did not see active service.[16]

text: U-boats also adopted several types of "pattern-running" torpedoes that ran straight out to a preset distance, then traveled in either a circular or ladder-like pattern. When fired at a convoy, this increased the probability of a hit if the weapon missed its primary target.

text: U-boat developments[edit]

text: During World War II, the Kriegsmarine produced many different types of U-boats as technology evolved. Most notable is the Type VII, known as the "workhorse" of the fleet, which was by far the most-produced type, and the Type IX boats, which were larger versions of the VII designed for long-range patrols, some traveling as far as Japan and the east coast of the United States.

text: With the increasing sophistication of Allied detection and subsequent losses, German designers began to fully realise the potential for a truly submerged boat. The Type XXI "Elektroboot" was designed to favor submerged performance, both for combat effectiveness and survival. It was the first true submersible. The Type XXI featured an evolutionary design that combined several different strands of the U-Boat development program, most notably from the Walter U-boats, the Type XVII, which featured an unsuccessful yet revolutionary hydrogen peroxide air-independent propellant system. These boats featured a streamlined hull design, which formed the basis of the later USS Nautilus nuclear submarine, and was adapted for use with more conventional propulsion systems. The larger hull design allowed for a greatly increased battery capacity, which enabled the XXI to cruise submerged for longer periods and reach unprecedented submerged speeds for the time.

text: Throughout the war, an arms race evolved between the Allies and the Kriegsmarine, especially in detection and counterdetection. Sonar (ASDIC in Britain) allowed Allied warships to detect submerged U-boats (and vice versa) beyond visual range, but was not effective against a surfaced vessel; thus, early in the war, a U-boat at night or in bad weather was actually safer on the surface. Advancements in radar became particularly deadly for the U-boat crews, especially once aircraft-mounted units were developed. As a countermeasure, U-boats were fitted with radar warning receivers, to give them ample time to dive before the enemy closed in, as well as more anti aircraft guns. However, by early to mid-1943, the Allies switched to centimetric radar (unknown to Germany), which rendered the radar detectors ineffective. U-boat radar systems were also developed, but many captains chose not to use them for fear of broadcasting their position to enemy patrols and lack of sufficient electronic countermeasures.

text: Early on, the Germans experimented with the idea of the Schnorchel (snorkel) from captured Dutch submarines, but saw no need for them until rather late in the war. The Schnorchel was a retractable pipe that supplied air to the diesel engines while submerged at periscope depth, allowing the boats to cruise and recharge their batteries while maintaining a degree of stealth. It was far from a perfect solution, however. Problems occurred with the device's valve sticking shut or closing as it dunked in rough weather; since the system used the entire pressure hull as a buffer, the diesels would instantaneously suck huge volumes of air from the boat's compartments, and the crew often suffered painful ear injuries. Waste disposal was a problem when the U-boats spent extended periods without surfacing, as it is today. Speed was limited to 8 knots (15 km/h), lest the device snap from stress. The Schnorchel also had the effect of making the boat essentially noisy and deaf in sonar terms. Finally, Allied radar eventually became sufficiently advanced that the Schnorchel mast could be detected beyond visual range.

text: Several other pioneering innovations included acoustic- and electro-absorbent coatings to make them less of an ASDIC or RADAR target. The Germans also developed active countermeasures such as facilities to release artificial chemical bubble-making decoys, known as Bold, after the mythical kobold.

text: Classes[edit]

text:
Type I: first prototypes
Type II: small submarines used for training purposes
Type V: uncompleted experimental midget submarines
Type VII: the "workhorse" of the U-boats, with 700 active in World War II
Type IX: these long-range U-boats operated as far as the Indian Ocean with the Japanese (Monsun Gruppe), and the South Atlantic
Type X: long-range minelayers and cargo transports
Type XI: uncompleted experimental artillery boats
Type XIV: used to resupply other U-boats; nicknamed the Milchkuh ("Milk Cow")
Type XVII: small coastal submarines powered by high-test peroxide propulsion systems
Type XXI: known as the Elektroboot; first subs to operate primarily submerged
Type XXIII: smaller version of the XXI used for coastal operations
Midget submarines, including Biber, Hai, Molch, and Seehund
Uncompleted U-boat projects

text: Countermeasures[edit]

text: Advances in convoy tactics, high-frequency direction finding (referred to as "Huff-Duff"), radar, active sonar (called ASDIC in Britain), depth charges, ASW spigot mortars (also known as "hedgehog"), the intermittent cracking of the German Naval Enigma code, the introduction of the Leigh light, the range of escort aircraft (especially with the use of escort carriers), the use of mystery ships, and the full entry of the U.S. into the war with its enormous shipbuilding capacity, all turned the tide against the U-boats. In the end, the U-boat fleet suffered extremely heavy casualties, losing 793 U-boats and about 28,000 submariners (a 75% casualty rate, the highest of all German forces during the war).

text: At the same time, the Allies targeted the U-boat shipyards and their bases with strategic bombing.

text: Enigma machine[edit]

text: The British had a major advantage in their ability to read some German naval Enigma codes. An understanding of the German coding methods had been brought to Britain via France from Polish code-breakers. Thereafter, code books and equipment were captured by raids on German weather ships and from captured U-boats. A team including Alan Turing used special purpose "Bombes" and early computers to break new German codes as they were introduced. The speedy decoding of messages was vital in directing convoys away from wolf packs and allowing interception and destruction of U-boats. This was demonstrated when the Naval Enigma machines were altered in February 1942 and wolf-pack effectiveness greatly increased until the new code was broken.

text: The German submarine U-110, a Type IXB, was captured in 1941 by the Royal Navy, and its Enigma machine and documents were removed. U-559 was also captured by the British in October 1942; three sailors boarded her as she was sinking, and desperately threw all the code books out of the submarine so as to salvage them. Two of them, Able Seaman Colin Grazier and Lieutenant Francis Anthony Blair Fasson, continued to throw code books out of the ship as it went under water, and went down with it. Further code books were captured by raids on weather ships. U-744 was boarded by crew from the Canadian ship HMCS Chilliwack on 6 March 1944, and codes were taken from her, but by this time in the war, most of the information was known.[17] The U-505, a Type IXC, was captured by the United States Navy in June 1944. It is now a museum ship in Chicago at the Museum of Science and Industry.

text: Battle of Bell Island[edit]

text: Two events in the battle took place in 1942 when German U-boats attacked four allied ore carriers at Bell Island, Newfoundland. The carriers SS Saganaga and SS Lord Strathcona were sunk by U-513 on 5 September 1942, while the SS Rosecastle and PLM 27 were sunk by U-518 on 2 November with the loss of 69 lives. When the submarine launched a torpedo at the loading pier, Bell Island became the only location in North America to be subject to direct attack by German forces in World War II.

text: Operation Deadlight[edit]

text: "Operation Deadlight" was the code name for the scuttling of U-boats surrendered to the Allies after the defeat of Germany near the end of the war. Of the 154 U-boats surrendered, 121 were scuttled in deep water off Lisahally, Northern Ireland, or Loch Ryan, Scotland, in late 1945 and early 1946.

text: Memorial[edit]

text: Möltenort U-Boat Memorial

text: Post–World War II and Cold War (after 1945)[edit]

text: From 1955, the West German Bundesmarine was allowed to have a small navy. Initially two sunken Type XXIIIs and a Type XXI were raised and repaired. In the 1960s, the Federal Republic of Germany (West Germany) re-entered the submarine business. Because West Germany was initially restricted to a 450 tonne displacement limit, the Bundesmarine focused on small coastal submarines to protect against the Soviet Union (Russian) threat in the Baltic Sea. The Germans sought to use advanced technologies to offset the small displacement, such as amagnetic steel to protect against naval mines and magnetic anomaly detectors.

text: The initial Type 201 was a failure because of hull cracking; the subsequent Type 205, first commissioned in 1967, was a success, and 12 were built for the German navy. To continue the U-boat tradition, the new boats received the classic U designation starting with the U-1.

text: With the Danish government's purchase of two Type 205 boats, the West German government realized the potential for the submarine as an export. Three of the improved Type 206 boats were later sold to the Israeli Navy, becoming the Gal-class. The German Type 209 diesel-electric submarine was the most popular export-sales submarine in the world from the late 1960s into the first years of the 21st century. With a larger 1,000–1,500 tonne displacement, the class was very customizable and has seen service with 14 navies with 51 examples being built as of 2006.

text: Germany has brought the U-boat name into the 21st century with the new Type 212. The 212 features an air-independent propulsion system using hydrogen fuel cells. This system is safer than previous closed-cycle diesel engines and steam turbines, cheaper than a nuclear reactor and quieter than either. While the Type 212 is also being purchased by Italy, the Type 214 has been designed as the follow-on export model and has been sold to Greece, South Korea and Turkey.

text: In July 2006, Germany commissioned its newest U-boat, the U-34, a Type 212.


document_title: List of Padma Shri award recipients (1954–1959)

question_text: who was awarded with 1st padmashree in athletics

text: List of recipients[edit]

text:
Award recipients by year[1]

Year

Number of recipients

1954

17

1955

14

1956

9

1957

16

1958

19

1959

20

Award recipients by field[1]

Field

Number of recipients

Arts

9

Civil Service

19

Literature & Education

11

Medicine

13

Public Affairs

9

Science & Engineering

15

Social Work

13

Sports

4

Trade & Industry

2

tag: table

text:
List of Padma Shri award recipients, showing the year, field, and state/country[1]

Year

Recipient

Field

State

1954

Asha Devi Aryanayakam

Public Affairs
Maharashtra

1954

Bir Bhan Bhatia

Medicine
Delhi

1954

Perin Captain

Public Affairs
Maharashtra

1954

K. R. Chakravorty

Science & Engineering
West Bengal

1954

Amalprava Das

Public Affairs
Assam

1954

Mathura Das

Medicine
Assam

1954

Surinder Kumar Dey

Civil Service
West Bengal

1954

Ramji Vasant Khanolkar

Medicine
Maharashtra

1954

Achamma Mathai

Public Affairs
Maharashtra

1954

Bhag Mehta

Civil Service
Gujarat

1954

Akhil Chandra Mitra

Science & Engineering
Uttar Pradesh

1954

Apa Saheb Bala Saheb Pant

Civil Service
Maharashtra

1954

K. Shankar Pillai

Literature & Education
Delhi

1954

Mirnamayee Ray

Public Affairs
Andhra Pradesh

1954

Tarlok Singh

Civil Service
Punjab

1954

Machani Somappa

Public Affairs
Andhra Pradesh

1954

S. P. Patil Thorat

Civil Service
Maharashtra

1955

Perakath Verghese Benjamin

Medicine
Kerala

1955

Kewal Singh Choudhary

Civil Service
Punjab

1955

Zarina Currimbhoy

Social Work
Maharashtra

1955

Krishna Kanta Handique

Literature & Education
Assam

1955

Mary Clubwala Jadhav

Social Work
Tamil Nadu

1955

Digamber Vasudev Joglekar

Civil Service
Maharashtra

1955

Sidda Nath Kaul

Medicine
Delhi

1955

Manak Jehangir Bhickaji Maneckji

Civil Service
Maharashtra

1955

Mahesh Prasad Mehray

Medicine
Uttar Pradesh

1955

Humayun Mirza

Civil Service
Karnataka

1955

Habibur Rahman

Science & Engineering
Delhi

1955

Laxminarayan Sahu

Literature & Education
Odisha

1955

Ratan Shastri

Literature & Education
Rajasthan

1955

Omkarnath Thakur

Arts
Gujarat

1956

Sohan Singh Bhakna

Medicine
Punjab

1956

Surya Kumar Bhuyan

Literature & Education
Rajasthan

1956

Mohan Lal

Medicine
Uttar Pradesh

1956

Satish Chandra Majumdar

Science & Engineering
West Bengal

1956

Murugappa Channaveerappa Modi

Medicine
Karnataka

1956

Sukhdav Pande

Literature & Education
Uttarakhand

1956

Chintaman Govind Pandit

Medicine
Gujarat

1956

Sthanam Narasimha Rao

Arts
Andhra Pradesh

1956

Isaac Santra

Medicine
West Bengal

1957

Jaswantrai Jayantilal Anjaria

Civil Service
Maharashtra

1957

Atmaram Ramchand Chellani

Civil Service
Andhra Pradesh

1957

Laxman Mahadeo Chitale

Science & Engineering
Maharashtra

1957

Nalini Bala Devi

Literature & Education
Assam

1957

Narayan Swami Dharmarajan

Civil Service
Tamil Nadu

1957

Gurbaksh Singh Dhillon

Civil Service
Tamil Nadu

1957

Ram Prakash Gehlote

Science & Engineering
Delhi

1957

Thackkadu Natesasastrigal Jagadisan

Social Work
Tamil Nadu

1957

Sudhir Khastgir

Arts
Uttar Pradesh

1957

Ralengnao Khathing

Public Affairs
Manipur

1957

Dwaram Venkataswamy Naidu

Arts
Andhra Pradesh

1957

Krishnaswami Ramiah

Science & Engineering
Andhra Pradesh

1957

S. R. Ranganathan

Literature & Education
Karnataka

1957

Samarendranath Sen

Civil Service
West Bengal

1957

Balbir Singh

Sports
Chandigarh

1957

Khushdeva Singh

Medicine
Punjab

1958

Debaki Bose

Arts
West Bengal

1958

Punamalai Ekambaranathan

Social Work
Tamil Nadu

1958

Fatima Ismail

Social Work
Maharashtra

1958

Shambhu Maharaj

Arts
Uttar Pradesh

1958

 Nargis

Arts
Maharashtra

1958

Bal Raj Nijhawan

Science & Engineering
Australia

1958

Benjamin Peary Pal

Science & Engineering
Delhi

1958

Navalpakkam Parthasarthy

Science & Engineering
 – [a]

1958

Balwant Sing Puri

Social Work
Punjab

1958

Lakshminarayana Pulram Ananthakrishnan Ramdas

Science & Engineering
Delhi

1958

Devika Rani

Arts
Karnataka

1958

Argula Nagaraja Rao

Trade & Industry
Andhra Pradesh

1958

Satyajit Ray

Arts
West Bengal

1958

Moturi Satyanarayana

Public Affairs
Tamil Nadu

1958

Brig. Ram Singh

Civil Service
Punjab

1958

Kunwar Digvijai Singh

Sports
Uttar Pradesh

1958

R. S. Subbalakshmi

Social Work
Tamil Nadu

1958

Ram Chandra Varma

Literature & Education
Uttar Pradesh

1958

Magan Lal Tribhuvandas Vyas

Literature & Education
Gujarat

1959

K. S. Chandrasekharan

Literature & Education
Tamil Nadu

1959

Sailabala Das

Social Work
Odisha

1959

Manchar Balvant Diwan

Social Work
Maharashtra

1959

Mary Ratnamma Issac

Social Work
Karnataka

1959

Lakshman Singh Jangpangi

Social Work
Odisha

1959

Surendranath Kar

Science & Engineering
West Bengal

1959

Ganesh Gobind Karkhanis

Social Work
Karnataka

1959

Parixitalal Lallu Bhai Majumdar

Social Work
Gujarat

1959

Mathew Kandathil Mathulla

Civil Service
Karnataka

1959

Om Prakash Mathur

Science & Engineering
West Bengal

1959

Pratapri Girdhari Lal Mehta

Public Affairs
Maharashtra

1959

Onkar Srinivasa Murthy

Civil Service
Tamil Nadu

1959

Balwant Singh Nag

Civil Service
Punjab

1959

Parameswaran Kuttapp Panikkar

Civil Service
Kerala

1959

Shivaji Ganesh Patwardhan

Medicine
Maharashtra

1959

Atma Ram

Trade & Industry
West Bengal

1959

Mihir Sen

Sports
West Bengal

1959

Homi Sethna

Science & Engineering
Maharashtra

1959

Milkha Singh

Sports
Chandigarh

1959

Badri Nath Uppal

Science & Engineering
Chandigarh


document_title: California Community Colleges System

question_text: when did california community colleges start charging tuition

text: California Community Colleges System

text: History[edit]

text: In 1907, the California State Legislature, seeing a benefit to society in education beyond high school but realizing the load could not be carried by existing colleges, authorized the state's high schools to create "junior colleges" to offer what were termed "postgraduate courses of study" similar to the courses offered in just the first two years of university studies.[5] A collegiate "department" of Fresno High School was set up in the fall of 1910 that later developed into becoming Fresno City College, which is the oldest existing public community college in California and the second oldest existing public community college in the United States.

text: Thanks to the efforts of people such as Professor Alexis F. Lange, Dean of the School of Education at the University of California, Berkeley, the Junior College Act was passed in 1917, expanding the mission by adding trade studies such as mechanical and industrial arts, household economy, agriculture, and commerce. In the early 1920s, the Legislature authorized the creation of separate colleges, in addition to the programs offered in high schools.[5] In 1921, California passed legislation which allowed for the creation of community college districts. In September 1921, Modesto Junior College (the 16th oldest community college) became the first ever community college district. That launched the current model of community colleges that continued to offer trade studies such as mechanical and industrial arts but now included general education. The first ever transfer student was from Modesto Junior College and transferred to Stanford in 1922. By 1932 there were 38 junior colleges in the state. The 1944 GI Bill dramatically increased college enrollments, and by 1950 there were 50 junior colleges. By 1960 there were 56 districts in California offering junior college courses, and 28 of those districts were not high school districts but were "junior college districts" formed expressly for the governance of those schools.

text: The 1960 Master Plan for Higher Education and the resulting Donahoe Act was a turning point in higher education in California. The UC and CSU systems were to limit their enrollments, yet an overall goal was to "provide an appropriate place in California public higher education for every student who is willing and able to benefit from attendance", meaning the junior colleges were to fulfill this role. In 1967, the Governor and Legislature created the Board of Governors for the Community Colleges to oversee the community colleges and formally established the community college district system, requiring all areas of the state to be included within a community college district.[6] The degree of local control in this system, a side effect of the origins of many colleges within high school districts, can be seen in that 52 of the 72 districts (72%) govern only a single college; only a few districts in major metropolitan areas control more than four colleges.

text: The Master Plan for Higher Education also banned tuition, as it was based on the ideal that public higher education should be free to students (just like K-12 primary and secondary education). As officially enacted, it states that public higher education "shall be tuition free to all residents." Thus, California residents legally do not pay tuition. However, the state has suffered severe budget deficits ever since the enacting of Proposition 13 in 1978, which led to the imposition of per-unit enrollment fees for California residents (equivalent in all but name to tuition) at all community colleges and all CSU and UC campuses to get around the legal ban on tuition. Non-resident and international students, however, do pay tuition, which at community colleges is usually an additional $100 per unit (or credit) on top of the standard enrollment fee. Since no other American state bans tuition in public higher education, this issue is unique to California. In summer 2010, the state's public higher education systems began investigating the possibility of dropping the semantic confusion and switching to the more accurate term, tuition.[7]

text: In the past decade, tuition and fees have fluctuated with the state's budget. For much of the 1990s and early 2000s, enrollment fees ranged between $11 and $13 per credit. However, with the state's budget deficits in the early-to-mid 2000s, fees rose to $18 per unit in 2003, and, by 2004, reached $26 per unit. Since then, fees dropped to $20 per unit, down $6 from January 2007. It was the lowest enrollment fee of any college or university in the United States. On July 28, 2009, Governor Arnold Schwarzenegger signed AB2X (the education trailer bill to the 2009-10 state budget), setting the community college enrollment fee back at $26 per unit, effective for the Fall 2009 term. As of July, 2011, per-unit fees at California's community colleges stand at $36 per unit. Effective Summer 2012, tuition will be raised to $46 per unit.

text: The newest additions to the California Community Colleges system are Moreno Valley College and Norco College, which became the 111th and 112th colleges of the CCC system in 2010. Clovis Community College became the 113th college in 2015. Compton College became the 114th college in 2017.

text: Governance[edit]

text: The CCCS is governed by the Board of Governors which, within the bounds of state law, sets systemwide policy. The 17 Board members, who represent the public, faculty, students, and classified employees, are appointed by the Governor of California as directed by Section 71000 of the California Education Code.[8] The Board is also directed by the Education Code to allow local authority and control of the community college districts to the "maximum degree permissible" and AB 1725 in 1974 added a formal consultation process which has resulted in the formation of a Consultation Council[9] to assure the Board of Governors and Chancellor's Office remain responsive in this respect.

text: The system is administered by the Chancellor's Office located in Sacramento, which is responsible for allocating state funding and provides leadership and technical assistance to the colleges. The Chancellor brings policy recommendations to the Board of Governors, and possesses the authority to implement the policies of the Board through his leadership of the Chancellor's Office. The Chancellor plays a key role in the consultation process.

text: Student government[edit]

text: California Education Code § 76060 allows the governing board of a community college district to authorize the students of a college to organize a student body association.[10] The student body association may conduct any activities, including fundraising activities, that is approved by the appropriate college officials.[10] The governing board of the community college district may also authorize the students of a college to organize more than one student body association when the governing board finds that day students and evening students each need an association or geographic circumstances make the organization of only one student body association impractical or inconvenient.[10]

text: Students have a right to participate. The BOG has established minimum standards governing procedures established by governing boards of community college districts to ensure faculty, staff, and students the right to participate effectively in district and college governance, and the opportunity to express their opinions at the campus level and to ensure that these opinions are given every reasonable consideration.[11][12] The BOG standards state that the governing board of a community college district shall adopt policies and procedures that provide students the opportunity to participate effectively in district and college governance, including:[13]

text:
providing an opportunity to participate in formulation and development of district and college policies and procedures that have or will have a significant effect on students, including the opportunity to participate in processes for jointly developing recommendations to the governing board;
not taking action on a matter having a significant effect on students until it has provided students with an opportunity to participate in the formulation of the policy or procedure or the joint development of recommendations;
ensuring that recommendations and positions developed by students are given every reasonable consideration at the district and college levels; and
recognizing each associated student organization or its equivalent within the district as provided by Education Code § 76060 as the representative body of the students to offer opinions and to make recommendations to the administration of a college and to the governing board of a district with regard to district and college policies and procedures that have or will have a significant effect on students; and
ensuring that the selection of student representatives to serve on college or district committees, task forces, or other governance groups shall be made, after consultation with designated parties, by the appropriate officially recognized associated student organization(s) within the district.

tag: ol

text: District and college policies and procedures that have or will have a "significant effect on students" includes:[13]

text:
grading policies;
codes of student conduct;
academic disciplinary policies;
curriculum development;
courses or programs which should be initiated or discontinued;
processes for institutional planning and budget development;
standards and policies regarding student preparation and success;
student services planning and development;
student fees within the authority of the district to adopt; and
any other district and college policy, procedure, or related matter that the district governing board determines will have a significant effect on students.

text: The governing body of the association may order that an election be held for the purpose of establishing a student representation fee of $1 per semester, and a student may, for religious, political, financial, or moral reasons, refuse to pay the student representation fee in writing at the time the student pays other fees.[14] Regulations in the California Code of Regulations (CCR) require district governing boards to include information pertaining to the representation fee in the materials given to each student at registration, including its purpose, amount, and their right to refuse to pay the fee for religious, political, moral or financial reasons.[15]

text: The students of this largest system of education in the world are represented through a statewide students' union known as the Student Senate for California Community Colleges (SSCCC). The SSCCC has a General Assembly composed of Delegates. Meetings of the General Assembly are held twice in each academic year. The Delegates are selected by community college-associated student organizations. The SSCCC also has a Student Senate Council composed of 30 Senators. The SSCCC has 10 regional subdivisions and each subdivision or "Region" annually elects three Senators. Meetings of the Student Senate Council are held about 10 times during each academic year. The Student Senate Council may nominate students for appointment to seats on the Board of Governors and it may appoint two representatives to the Chancellor's Consultation Council.

text: Students[edit]

text: The 2.4 million students within the California Community Colleges system serve as the basis for the economic revitalization of California's workforce. Through its vocational endeavors, the CCC system has played a pivotal role in preparing nurses, firefighters, police, welders, auto mechanics, airplane mechanics, and construction workers to help mold the society of California.

text: Enrollment[edit]

text:
Racial and/or ethnic background (2013)

Students[16]
California[17]
United States[18]

Asian
11%
10%
5%

Black
7%
7%
13%

Filipino
3%
3.9%
1.1%

Hispanic
(of any race)
41%
38%
17%

Non-Hispanic White
29%
39%
63%

Native American
0.4%
2%
1%

Multi-ethnic
4%
N/A
N/A

Other races
5%
N/A
N/A

text: Public transportation[edit]

text: All 114 CCCs are empowered to establish their own college transit programs as state legislation allows for the collection of transportation fees. A transportation fee and program can be created if a majority of students vote in favor of such a program in a publicly held campus election. There are now a handful of these transit programs at several colleges.[20]

text: Faculty and staff[edit]

text: The California Community College system had a total employee headcount of 89,497 in fall 2006. While tenured and tenure tracked faculty were relatively well-compensated, they comprise a very small fraction of overall faculty compared to California's other two tertiary education systems. While 86% of CSU faculty members were tenured or tenure-tracked, only 30% of CCCS faculty were tenured or tenure-tracked. Temporary faculty, those who are not tenure tracked, earned an average of $62.86 per hour for those teaching for-credit courses, $47.46 for non-credit instruction, $54.93 for instructional support and $63.86 for "overload" instruction.[21]

text: Staff and faculty compensation varied greatly by district. The overall average salary for tenured and tenure tracked faculty was $78,498 as of Fall 2006, with 48.7% earning more than $80,001. Salaries ranged from $64,883 in Siskiyous to $90,704 in Santa Barbara. The average for educational administrators was $116,855, while classified administrators earned an average of $87,886, classified professional earned $62,161 and classified support staff earned an average of $43,773.[22]

text:
Data[22]
Headcount
Percent of total
Less than $25,000
$25,000 to $40,000
$40,000 to $50,000
$50,000 to $60,000
$60,000 to $70,000
$70,000 to $80,000
More than $80,000
Mean

Educational administrators
1,965
2.2%
1.93%
0.51%
0.92%
0.97%
1.42%
2.85%
90.08%
$116,855

Tenured and tenure tracked faculty
18,196
20.3%
0.21%
0.92%
2.21%
7.85%
16.24%
23.10%
48.70%
$78,498

Classified administrators
1,470
2.0%
1.6%
1.22%
4.29%
8.71%
11.29%
15.24%
57.69%
$87,816

Classified professionals
1,817
2.0%
7.82%
7.93%
10.24%
18.66%
17.56%
14.14%
21.79%
$62,161

Classified support staff
24,425
27.3%
10.51%
25.85%
30.62%
16.68%
7.42%
2.80%
1.85%
$43,773

Academic temporary instructors
41,624
46.5%
N/A
N/A
N/A
N/A
N/A
N/A
N/A
N/A

text: Accreditation[edit]

text: In 2006, Compton College in Compton, California lost its accreditation. Arrangements were made to have the college's governance transferred to El Camino College, a neighboring college.[23] Its new name, as a division of El Camino College, is "El Camino College Compton Center." Under El Camino College the "Center" is fully accredited. Plans are being made to re-establish Compton College as a separate college several years in the future.

text: In July 2013, City College of San Francisco was notified by its accreditor, the Accrediting Commission for Community and Junior Colleges (ACCJC), that its accreditation would be revoked in 2014 if the college failed an appeals process. Brice Harris, the systemwide chancellor of the California Community Colleges system, then appointed a "special trustee with extraordinary powers," an individual granted unilateral powers, to attempt to bring the college back into compliance with the ACCJC's accreditation standards.[24] In January 2017, CCSF was reaffirmed of its accreditation for the full seven year term by the ACCJC. [25]


document_title: A Bug's Life

question_text: who voices flik in a bug's life

question_tokens: who voices flik in a bug 's life

text: A Bug's Life

text: Plot[edit]

text: Ant Island is a colony of ants led by the Queen and her daughter, Princess Atta. Every season, they are forced to give food to a gang of marauding grasshoppers led by Hopper. One day, when Flik, an individualist and would-be inventor, inadvertently knocks the offering into a stream with his latest invention, a grain harvesting device, Hopper demands twice as much food as compensation. When Flik suggests in earnest that they seek help from other stronger bugs, the other ants see it as an opportunity to remove him and send him off.

text: At the "bug city", which is a heap of trash under a trailer, the naïve Flik mistakes a troupe of Circus Bugs who were recently dismissed by their greedy ringmaster, P.T. Flea, for the warrior bugs he seeks. The bugs, in turn, mistake Flik for a talent agent and accept his offer to travel with him back to Ant Island. During a welcome ceremony upon their arrival, the Circus Bugs and Flik both discover their mutual misunderstandings. The Circus Bugs attempt to leave but are attacked by a bird; while fleeing, they save Dot, Atta's younger sister, gaining the ants' respect in the process. At Flik's request, they continue the ruse of being "warriors" so the troupe can continue to enjoy the hospitality of the ants. Hearing that Hopper fears birds inspires Flik to create a false bird to scare away the grasshoppers. Meanwhile, Hopper tells his gang how greatly the ants outnumber them and worries that they will eventually rebel against them.

text: The ants finish constructing the fake bird, but during a celebration, P.T. Flea arrives searching for his troupe and he inadvertently reveals their secret. Outraged by Flik's deception, the ants exile him and desperately gather food for a new offering to the grasshoppers. However, when Hopper returns to discover the mediocre offering, he takes over the island and demands the ants' winter food supply, planning to assassinate the Queen afterwards. Overhearing the plan, Dot informs Flik and the Circus Bugs and convinces them to return to Ant Island.

text: After rescuing the Queen, Flik deploys the bird; it initially fools the grasshoppers, but P.T. Flea, also mistaking it for a real bird, burns it, exposing it as a decoy. Hopper beats Flik in retaliation and says that the ants are humble and lowly life forms who live to serve the grasshoppers. However, Flik responds that Hopper actually fears the colony, because he has always known what they are capable of, inspiring the ants and the Circus Bugs to fight back against the grasshoppers. The ants attempt to force Hopper out of Ant Island, but it suddenly begins to rain. In the ensuing chaos, Hopper kidnaps Flik and flees. After the Circus Bugs fail to catch them, Atta rescues Flik. As Hopper pursues them, Flik lures him to the nest of the bird he, Dot, and the Circus Bugs encountered earlier. Thinking that the bird is another decoy, Hopper taunts it before discovering it is real, and is captured and fed to its chicks.

text: Sometime later, Flik has improved his inventions and the quality of life for Ant Island, and Atta professes her love for him, and they give Hopper's younger brother Molt, and a few ants to P.T. Flea as new members of his act. Atta and Dot respectively become the new queen and princess. The ants congratulate Flik as a hero and bid a fond farewell to the circus troupe, who promise to return in the future.

text: Voice cast[edit]

text:
Dave Foley as Flik, an inventive, but mostly accident-prone, ant
Kevin Spacey as Hopper, the leader of the grasshopper gang
Julia Louis-Dreyfus as Princess Atta, the soon-to-be queen of the colony
Hayden Panettiere as Dot, Princess Atta's younger sister and initially Flik's only friend in the ant colony
Phyllis Diller as the Queen, the leader of the ant colony
Richard Kind as Molt, Hopper's dim-witted younger brother
David Hyde Pierce as Slim, a walking stick and Francis and Heimlich's friend
Joe Ranft as Heimlich, a plump, German-accented caterpillar that longs to be a butterfly
Denis Leary as Francis, a short-tempered ladybug that is constantly mistaken for a female
Jonathan Harris as Manny, a praying mantis and magician in P.T. Flea's circus
Madeline Kahn as Gypsy, a gypsy moth and Manny's beautiful wife and assistant
Bonnie Hunt as Rosie, a black widow spider and Dim's tamer
Michael McShane as Tuck and Roll, twin[5] pillbug brothers from Hungary
John Ratzenberger as P.T. Flea, the owner of the circus
Brad Garrett as Dim, a rhinoceros beetle that plays the "Ferocious Beast" in the circus act
Roddy McDowall as Mr. Soil, the lead thespian
Edie McClurg as Dr. Flora, the doctor of the ant colony
Alex Rocco as Thorny, Princess Atta's assistant
David Ossman as Cornelius, an elderly ant

text: Production[edit]

text: Development[edit]

text: During the summer of 1994, Pixar's story department began turning their thoughts to their next film.[6] The storyline for A Bug's Life originated from a lunchtime conversation between John Lasseter, Andrew Stanton, Pete Docter, and Joe Ranft, the studio's head story team; other films such as Monsters, Inc. and Finding Nemo were also conceived at this lunch.[7] Lasseter and his story team had already been drawn to the idea of insects serving as characters. Like toys, insects were within the reach of computer animation back then, due to their relatively simple surfaces. Stanton and Ranft wondered whether they could find a starting point in Aesop's fable The Ant and the Grasshopper.[7] Walt Disney had produced his own version with a cheerier ending decades earlier in the 1934 short film The Grasshopper and the Ants. In addition, Walt Disney Feature Animation had considered producing a film in the late-1980s entitled Army Ants, that centered around a pacifist ant living in a militaristic colony, but this never fully materialized.[8]

text: As Stanton and Ranft discussed the adaptation, they rattled off scenarios and storylines springing from their premise.[7] Lasseter liked the idea and offered some suggestions. The concept simmered until early 1995, when the story team began work on the second film in earnest.[7] During an early test screening for Toy Story in San Rafael in June 1995, they pitched the film to Disney CEO Michael Eisner. Eisner thought the idea was fine and they submitted a treatment to Disney in early-July under the title Bugs.[7] Disney approved the treatment and gave notice on July 7 that it was exercising the option of a second film under the original 1991 agreement between Disney and Pixar.[9] Lasseter assigned the co-director job to Stanton; both worked well together and had similar sensibilities. Lasseter had realized that working on a computer-animated feature as a sole director was dangerous while the production of Toy Story was in process.[9] In addition, Lasseter believed that it would relieve stress and that the role would groom Stanton for having his own position as a lead director.[10]

text: Writing[edit]

text: In The Ant and the Grasshopper, a grasshopper squanders the spring and summer months on singing while the ants put food away for the winter; when winter comes, the hungry grasshopper begs the ants for food, but the ants turn him away.[7] Andrew Stanton and Joe Ranft hit on the notion that the grasshopper could just take the food.[7][11] After Stanton had completed a draft of the script, he came to doubt one of the story's main pillars – that the Circus Bugs that had come to the colony to cheat the ants would instead stay and fight.[10] He thought the Circus Bugs were unlikable characters as liars and that it was unrealistic for them to undergo a complete personality change. Also, no particularly good reason existed for Circus Bugs to stay with the ant colony during the second act.[12] Although the film was already far along, Stanton concluded that the story needed a different approach.[10]

text: Stanton took one of the early circus bug characters, Red the red ant, and changed him into the character Flik.[12] The Circus Bugs, no longer out to cheat the colony, would be embroiled in a comic misunderstanding as to why Flik was recruiting them. Lasseter agreed with this new approach, and comedy writers Donald McEnery and Bob Shaw spent a few months working on further polishing with Stanton.[13] The characters "Tuck and Roll" were inspired by a drawing that Stanton did of two bugs fighting when he was in the second grade.[11] Lasseter had come to envision the film as an epic in the tradition of David Lean's 1962 film Lawrence of Arabia.[12][14]

text: Casting[edit]

text: The voice cast was heavy with television situation-comedy stars of the time: Flik was voiced by Dave Foley (from NewsRadio), Princess Atta was voiced by Julia Louis-Dreyfus (from Seinfeld), Molt was voiced by Richard Kind (from Spin City), Slim was voiced by David Hyde Pierce (from Frasier) and Dim was voiced by Brad Garrett (from Everybody Loves Raymond). Joe Ranft, member of Pixar's story team, played Heimlich the caterpillar at the suggestion of Lasseter's wife, Nancy, who had heard him playing the character on a scratch vocal track.[15]

text: The casting of Hopper, the film's villain, proved problematic. Lasseter's top choice was Robert De Niro, who repeatedly turned the part down, as did a succession of other actors.[15] Kevin Spacey met John Lasseter at the 1995 Academy Awards and Lasseter asked Spacey if he would be interested in doing the voice of Hopper. Spacey was delighted and signed on immediately.[12]

text: A Bug’s Life was the final film appearance of actor Roddy McDowell, who played Soil the ant, before passing away shortly before the film’s theatrical release.[16]

text: Art design and animation[edit]

text: It was more difficult for animators during the production of A Bug's Life than that of Toy Story, as computers ran sluggishly due to the complexity of the character models. Lasseter and Stanton had two supervising animators to assist with directing and reviewing the animation: Rich Quade and Glenn McQueen. The first sequence to be animated and rendered was the circus sequence that culminated with P.T. Flea's "Flaming Wall of Death". Lasseter placed this scene first in the pipeline because he believed it was "less likely to change".[17] Lasseter thought it would be useful to look at a view of the world from an insect's perspective. Two technicians obliged by creating a miniature video camera on Lego wheels, which they dubbed as the "Bugcam".[10][18] Fastened to the end of a stick, the Bugcam could roll through grass and other terrain and send back an insect's-eye outlook. Lasseter was intrigued by the way grass, leaves, and flower petals formed a translucent canopy, as if the insects were living under a stained-glass ceiling. The team also later sought inspiration from Microcosmos (1996), a French documentary on love and violence in the insect world.[10]

text: The transition from treatment to storyboards took on an extra layer of complexity due to the profusion of storylines. Where Toy Story focused heavily on Woody and Buzz, with the other toys serving mostly as sidekicks, A Bug's Life required in-depth storytelling for several major groups of characters.[13] Character design also presented a new challenge, in that the designers had to make ants appear likable. Although the animators and the art department studied insects more closely, natural realism would give way to the film's larger needs.[14] The team took out mandibles and designed the ants to stand upright, replacing their normal six legs with two arms and two legs. The grasshoppers, in contrast, received a pair of extra appendages to appear less attractive.[14] The story's scale also required software engineers to accommodate new demands. Among these was the need to handle shots with crowds of ants.[14] The film would include more than 400 such shots in the ant colony, some with as many as 800. It was impractical for animators to control them individually, but neither could the ants remain static for even a moment without appearing lifeless, or move identically. Bill Reeves, one of the film's two supervising technical directors, dealt with the quandary by leading the development of software for autonomous ants.[14] The animators would only animate four or five groups of about eight individual "universal ants". Each one of these "universal ants" would later be randomly distributed throughout the digital set. The program also allowed each ant to be automatically modified in subtle ways (e.g. different color of eye or skin, different heights, different weights, etc.). This ensured that no two ants were the same.[18] It was partly based on Reeves's invention of particle systems a decade and a half earlier, which had let animators use masses of self-guided particles to create effects like swirling dust and snow.[15]

text: The animators also employed subsurface scattering—developed by Pixar co-founder Edwin Catmull during his graduate student days at the University of Utah in the 1970s—to render surfaces in a more lifelike way. This would be the first time that subsurface scattering would be used in a Pixar film, and a small team at Pixar worked out the practical problems that kept it from working in animation. Catmull asked for a short film to test and showcase subsurface scattering and the result, Geri's Game (1997), was attached alongside A Bug's Life in its theatrical release.[19]

text: Controversy[edit]

text: During the production of A Bug's Life, a public feud erupted between DreamWorks' Jeffrey Katzenberg, and Pixar's Steve Jobs and John Lasseter. Katzenberg, former chairman of Disney's film division, had left the company in a bitter feud with CEO Michael Eisner. In response, he formed DreamWorks SKG with Steven Spielberg and David Geffen and planned to rival Disney in animation.[20] After DreamWorks' acquisition of Pacific Data Images (PDI)—long Pixar's contemporary in computer animation—Lasseter and others at Pixar were dismayed to learn from the trade papers that PDI's first project at DreamWorks would be another ant film, to be called Antz.[21] By this time, Pixar's project was well-known within the animation community.[22] Both Antz and A Bug's Life center on a young male, a drone with oddball tendencies that struggles to win a princess's hand by saving their society. Whereas A Bug's Life relied chiefly on visual gags, Antz was more verbal and revolved more around satire. The script of Antz was also heavy with adult references, whereas Pixar's film was more accessible to children.[23]

text: It was clear that Lasseter and Jobs believed that the idea was stolen by Katzenberg.[8][20] Katzenberg had stayed in touch with Lasseter after the acrimonious Disney split, often calling to check up. In October 1995, when Lasseter was overseeing postproduction work on Toy Story at the Universal lot's Technicolor facility in Universal City, where DreamWorks was also located, he called Katzenberg and dropped by with Stanton.[20][24] When Katzenberg asked what they were doing next, Lasseter described what would become A Bug's Life in detail. Lasseter respected Katzenberg's judgment and felt comfortable using him as a sounding board for creative ideas.[24] Lasseter had high hopes for Toy Story, and he was telling friends throughout the tight-knit computer-animation business to get cracking on their own films. "If this hits, it's going to be like space movies after Star Wars" for computer animation companies, he told various friends.[8] "I should have been wary," Lasseter later recalled. "Jeffrey kept asking questions about when it would be released."[20]

text: When the trades indicated production on Antz, Lasseter, feeling betrayed, called Katzenberg and asked him bluntly if it were true, who in turn asked him where he had heard the rumor. Lasseter asked again, and Katzenberg admitted it was true. Lasseter raised his voice and would not believe Katzenberg's story that a development director had pitched him the idea long ago. Katzenberg claimed Antz came from a 1991 story pitch by Tim Johnson that was related to Katzenberg in October 1994.[8] Another source gives Nina Jacobson, one of Katzenberg's executives, as the person responsible for the Antz pitch.[22] Lasseter, who normally did not use profane language, cursed at Katzenberg and hung up the phone.[25] Lasseter recalled that Katzenberg began explaining that Disney was "out to get him" and that he realized that he was just cannon fodder in Katzenberg's fight with Disney.[8][22] In truth, Katzenberg was the victim of a conspiracy: Eisner had decided not to pay him his contract-required bonus, convincing Disney's board not to give him anything.[22] Katzenberg was further angered by the fact that Eisner scheduled Bugs to open the same week as The Prince of Egypt, which was then intended to be DreamWorks' first animated release.[22][25] Lasseter grimly relayed the news to Pixar employees but kept morale high. Privately, Lasseter told other Pixar executives that he and Stanton felt terribly let down by Katzenberg.[22]

text: Katzenberg moved the opening of Antz from spring 1999 to October 1998 to compete with Pixar's release.[22][26] David Price writes in his 2008 book The Pixar Touch that a rumor, "never confirmed", was that Katzenberg had given PDI "rich financial incentives to induce them to whatever it would take to have Antz ready first, despite Pixar's head start".[22][25] Jobs was furious and called Katzenberg and began yelling. Katzenberg made an offer: He would delay production of Antz if Jobs and Disney would move A Bug’s Life so that it did not compete with The Prince of Egypt. Jobs believed it "a blatant extortion attempt" and would not go for it, explaining that there was nothing he could do to convince Disney to change the date.[8][25] Katzenberg casually responded that Jobs himself had taught him how to conduct similar business long ago, explaining that Jobs had come to Pixar's rescue by making the deal for Toy Story, as Pixar was near bankruptcy at that time.[15] "I was the one guy there for you back then, and now you're allowing them to use you to screw me," Katzenberg said.[25] He suggested that if Jobs wanted to, he could simply slow down production on A Bug's Life without telling Disney. If he did, Katzenberg said, he would put Antz on hold.[8] Lasseter also claimed Katzenberg had phoned him with the proposition, but Katzenberg denied these charges later.[17]

text: As the release dates for both films approached, Disney executives concluded that Pixar should keep silent on the DreamWorks battle. Regardless, Lasseter publicly dismissed Antz as a "schlock version" of A Bug's Life.[19] Lasseter, who claimed to have never seen Antz, told others that if DreamWorks and PDI had made the film about anything other than insects, he would have closed Pixar for the day so the entire company could go see it.[8][23] Jobs and Katzenberg would not back down and the rivaling ant films provoked a press frenzy. "The bad guys rarely win," Jobs told the Los Angeles Times. In response, DreamWorks' head of marketing Terry Press suggested, "Steve Jobs should take a pill."[25] Despite the successful box office performance of both Antz and A Bug's Life, tensions would remain high between Jobs and Katzenberg for many years. According to Jobs, Katzenberg came to Jobs after the success of Shrek (2001) and insisted he had never heard the pitch for A Bug's Life, reasoning that his settlement with Disney would have given him a share of the profits if that were so.[27] Although the contention left all parties estranged, Pixar and PDI employees kept up the old friendships that had arisen from spending a long time together in computer animation.[17]

text: Music[edit]

text:
A Bug's Life: An Original Walt Disney Records Soundtrack

Soundtrack album by Randy Newman

Released
October 27, 1998

Recorded
1998

Genre
Score

Length
47:32

Label
Walt Disney

Randy Newman chronology

Michael
(1996)Michael1996
A Bug's Life
(1998)
Pleasantville
(1998)Pleasantville1998

Pixar soundtrack chronology

Toy Story
(1995) Toy Story1995
A Bug's Life
(1998) A Bug's Life1998
Toy Story 2
(1999) Toy Story 21999

text: The film's score was composed and conducted by Randy Newman. The soundtrack album was produced and released on October 27, 1998, by Walt Disney Records. The album's first track is a song called "The Time of Your Life" written and performed by Newman, while all the other 19 tracks are orchestral cues. The album is no longer manufactured into physical media, but is available for purchase on iTunes. The time duration is 47 minutes and 32 seconds.[28] Out of five stars, Allmusic,[29] Empire Online,[30] and Film Tracks rated the album three stars.[31] Movie Wave rated it four and a half.[32] The score won the Grammy Award for Best Instrumental Composition.[28]

text: Reception[edit]

text: Critical reception[edit]

text: On review aggregator Rotten Tomatoes the film has a rating of 92%, based on 85 reviews, with an average rating of 7.9/10. The site's critical consensus reads, "A Bug's Life is a rousing adventure that blends animated thrills with witty dialogue and memorable characters – and another smashing early success for Pixar."[33] Another review aggregator, Metacritic, gave the film a score of 77 out of 100, based on 23 critics, indicating "generally favorable reviews".[34]

text: Todd McCarthy of Variety gave the film a positive review, saying "Lasseter and Pixar broke new technical and aesthetic ground in the animation field with Toy Story, and here they surpass it in both scope and complexity of movement while telling a story that overlaps Antz in numerous ways."[35] James Berardinelli of ReelViews gave the film three and a half stars out of four, saying "A Bug's Life, like Toy Story, develops protagonists we can root for, and places them in the midst of a fast-moving, energetic adventure."[36] Roger Ebert of the Chicago Sun-Times gave the film three and a half stars out of four, saying "Will A Bug's Life suffer by coming out so soon after Antz? Not any more than one thriller hurts the chances for the next one. Antz may even help business for A Bug's Life by demonstrating how many dramatic and comedic possibilities can be found in an anthill."[37] Kenneth Turan of the Los Angeles Times gave the film four out of five stars, saying "What A Bug's Life demonstrates is that when it comes to bugs, the most fun ones to hang out with hang exclusively with the gang at Pixar."[38] Peter Stack of the San Francisco Chronicle gave the film four out of four stars, saying "A Bug's Life is one of the great movies – a triumph of storytelling and character development, and a whole new ballgame for computer animation. Pixar Animation Studios has raised the genre to an astonishing new level".[39]

text: Richard Corliss of Time gave the film a positive review, saying "The plot matures handsomely; the characters neatly converge and combust; the gags pay off with emotional resonance."[40] Owen Gleiberman of Entertainment Weekly gave the film a B, saying "A Bug's Life may be the single most amazing film I've ever seen that I couldn't fall in love with."[41] Paul Clinton of CNN gave the film a positive review, saying "A Bug's Life is a perfect movie for the holidays. It contains a great upbeat message ... it's wonderful to look at ... it's wildly inventive ... and it's entertaining for both adults and kids."[42] Michael Wilmington of the Chicago Tribune gave the film three and a half stars out of four, and compared the movie to "Akira Kurosawa's Seven Samurai (with a little of another art-film legend, Federico Fellini, tossed in)." where "As in Samurai, the colony here is plagued every year by the arrival of bandits."[43] On the contrary, Stephen Hunter of The Washington Post gave the film a negative review, saying "Clever as it is, the film lacks charm. One problem: too many bugs. Second, bigger world for two purposes: to feed birds and to irk humans."[44]

text: Box office[edit]

text: A Bug's Life grossed approximately $33,258,052 on its opening weekend, ranking number 1 for that weekend.[45] It managed to retain its number 1 spot for two weeks.[46][47] The film grossed $162.8 million in its United States theatrical run, covering its estimated production costs of $120 million. The film made $200,460,294 in foreign countries, pushing its worldwide gross to $363.3 million, surpassing the competition from DreamWorks Animation's Antz.[2]

text: Awards and honors[edit]

text: A Bug's Life won a number of awards and numerous nominations. The film won the Broadcast Film Critics Association Awards for Best Animated Film (tied with The Prince of Egypt) and Best Family Film, the Satellite Award for Best Animated Film and the Grammy Award for Best Instrumental Composition by Randy Newman. It was also nominated for the Academy Award for Best Original Musical or Comedy Score, the Golden Globe Award for Best Original Score and the BAFTA Award for Best Achievement in Special Visual Effects.[48] In 2008, the American Film Institute nominated this film for its Top 10 Animation Films list.[49]

text: Home media[edit]

text: A Bug's Life was the first ever home video release to be entirely created using a digital transfer, with every single frame of animation being readded from the film’s computer data as opposed to the standard analog film-to-videotape transfer process. This allowed for the film’s DVD release to retain its original 2:35:1 anamorphic widescreen format which it was presented with in movie theaters.[50] The DVD was released on DVD on April 20, 1999 alongside a VHS release which was presented in a standard 1:33:1 “fullscreen” format. The movie’s fullscreen transfer was performed by entirely “reframing” the film shot by shot; more than half of the film’s footage was modified by Pixar animators in order for them to fit within the film’s aspect ratio, with several characters and objects being moved closer together in order to avoid being cut out of frame.[50] The film’s VHS release was the best-selling VHS in the United Kingdom, with 1.76 million units sold by the end of the year.[51]

text: On August 1, 2000, the film was rereleased on VHS and DVD under the Walt Disney Gold Classic Collection banner.[52] On May 20, 2003, another DVD was released as a 2-disc Collector's Edition. This DVD was fully remastered and has substantial bonus features.[53][54]On May 19, 2009, the film was released on Blu-ray.[55]

text: Media and merchandise[edit]

text: Attached short film[edit]

text: The film's theatrical and video releases include Geri's Game, an Academy Award winning Pixar short made in 1997, a year before this film was released.[56]

text: Video game[edit]

text: A game, based on the film, was developed by Traveller's Tales and Tiertex Design Studios and released by Sony Computer Entertainment, Disney Interactive, THQ and Activision for various systems. The game's storyline was similar to the film's, with a few changes. However, unlike the film, the game received mixed to negative reviews.[57] Aggregating review website GameRankings gave the Nintendo 64 version 54.40%,[58] the PlayStation version 51.90%[59] and the Game Boy Color version 36.63%.[60] GameSpot gave the PlayStation version a 2.7/10, concluding that it was "obvious that Disney was more interested in producing a $40 advertisement for its movie than in developing a playable game."[61] IGN gave the Nintendo 64 version a 6.8/10, praising the presentation and sound by stating "It was upbeat, cheery look and feel very much like the movie of the same name with cheery, happy tunes and strong sound effects but again criticised the gameplay by saying the controls were sluggish with stuttering framerate and tired gameplay mechanics".[62] while they gave the PlayStation version a 4/10, criticizing the gameplay as slow and awkward but praising the presentation as cinematic.[63]

text: Theme park attractions[edit]

text: A Bug's Land is a section of Disney California Adventure that is inspired by A Bug's Life. One of the main attractions is the 3D show It's Tough to Be a Bug! which is also in Disney's Animal Kingdom. The Disney California Adventure nighttime show World of Color features a segment that includes Heimlich, the caterpillar from the film.[64]


document_title: Legend (2015 film)

question_text: who played ronnie and reggie kray in legend

text: Legend (2015 film)

text: Plot[edit]

text: In the 1960s, Reggie Kray is a former boxer who has become an important part of the criminal underground in London. At the start of the film, his twin brother Ron is locked up in a psychiatric hospital for insanity and paranoid schizophrenia. Reggie uses threats to obtain the premature release of his brother, who is rapidly discharged from hospital. The two brothers unite their efforts to control a large part of London's criminal underworld. One of their first efforts is to muscle-in on the control of a local night club, using extortion and brutal violence.

text: Reggie enters into a relationship with Frances, the sister of his driver, and they ultimately marry; however, he is imprisoned for a previous criminal conviction, which he cannot evade. While Reggie is in prison, Ron's mental problems and violence lead to severe setbacks at the nightclub. The club is almost forced to close after Ron scares away most of the customers. When Reggie is finally released from prison, the two brothers have an all-out fist fight on the first night after Reggie's release, but they manage to partially patch things up.

text: The brothers are approached by Angelo Bruno of the Philadelphia crime family who, on behalf of Meyer Lansky and the American Mafia, wants to interest them in a crime syndicate deal. Bruno agrees to a fifty-fifty deal with Reggie to split London's underground gambling profits in exchange for local protection from the Kray brothers. Initially, this system is highly lucrative for the Kray brothers. However, Ron's barely concealed volatility results in him publicly murdering George Cornell, an associate of the Torture Gang, rivals of the Krays. Scotland Yard, as a result, opens a full investigation of the Kray brothers.

text: Reggie beats and rapes Frances and she leaves him. Reggie then approaches her to start afresh offering her a holiday to Ibiza. However, she is soon found dead after committing suicide with an overdose of prescription drugs. The brothers' criminal activities continue and Ron pays petty criminal, Jack McVitie to kill Leslie Payne, Reggie's partner who controls the legal side of the Kray's operations. He only wounds Payne, who then turns the brothers over to Detective Superintendent Leonard "Nipper" Read, the head of the investigation. Reggie finds out and brutally stabs McVitie during a party hosted by Ron. The testimony given by Payne means that Ron is arrested and charged with Cornell's murder. The final scene shows a police squad breaking down the door to Reggie's flat in order to apprehend him for McVitie's murder.

text: The closing captions indicate both brothers receiving criminal convictions for murder. They died five years apart, Ron from a heart attack in 1995, and Reggie from cancer in 2000.

text: Cast[edit]

text: Tom Hardy as Ronald "Ronnie" Kray and Reginald "Reggie" Kray[8]

text: Emily Browning as Frances Shea[13][14]

text: Christopher Eccleston as Leonard "Nipper" Read[13]

text: David Thewlis as Leslie Payne[13]

text: Taron Egerton as Edward "Mad Teddy" Smith[19]

text: Chazz Palminteri as Angelo Bruno[13]

text: Paul Bettany as Charlie Richardson

text: Colin Morgan as Frankie Shea[22]

text:
Tara Fitzgerald as Mrs. Shea, Frances and Frankie's mother.
Aneurin Barnard as David Bailey[25]

text: Paul Anderson as Albert Donoghue

text:
Duffy as Timi Yuro
Kevin McNally as Harold Wilson
John Sessions as Lord Boothby
Alex Giannini as Antonio Caponigro
Sam Spruell as Jack McVitie
Adam Fogerty as Big Pat[28]

text: Production[edit]

text: Development[edit]

text: On 12 October 2013, it was announced that Brian Helgeland had written a script and would be directing a film focusing on the life of Reggie Kray who, with identical brother Ronald, formed the notorious Kray twins. Helgeland said the film would concentrate on Reggie's attempts to control the psychopathic tendencies of his younger twin.

text: Helgeland spoke of hanging out in London with well-known Krays associate Freddie Foreman, saying, "I had drinks with him in his local haunt. When we finished he got up to go and they feted him at the bar. I said to him, 'what about the bill?' and he replied, 'we don't pay."[29]

text: Helgeland attended the Cannes Film Festival with Working Title's Tim Bevan and Chris Clark to talk to potential buyers of the film and showing test footage of Hardy playing the twins.[30][31]

text: Casting[edit]

text: On 18 April 2014, it was announced that Helgeland would write and direct the film, with the shooting being based in the United Kingdom and with Hardy starring as the male leads.[32] Five days later it was stated that Browning was in negotiations for a role as the film's female lead.[33]

text: Filming[edit]

text:
Crews and cast were spotted filming scenes at Falmouth Road, London, St Anne's Limehouse in Limehouse[34][35] and in the Windmill Walk area around London Waterloo.[36]
Filming also took place in Caradoc Street in Greenwich, London in June 2014.

text: Principal photography started on 12 June 2014. The film was released in September 2015.[19][37]

text: Release[edit]

text: Financing for Legend was provided by StudioCanal, which also distributed the film throughout the territories of the United Kingdom, France, New Zealand and Germany in addition to handling international sales, which started at the beginning of the Cannes Film Festival.[38] On 30 April 2014, Brian Oliver's Cross Creek Pictures acquired the North American distribution rights to Legend from StudioCanal, with a planned 2015 theatrical release through Universal Pictures in its distribution deal with the studio and Oliver also named as a producer on the film.[39][40] Sales to other territories such as Asia, Africa and much of Europe are being completed.[41] The film was originally set for a 2 October 2015, U.S. release, but it was moved to 20 November 2015.[42]

text: Legend premiered at the Toronto International Film Festival on 12 September 2015 at Roy Thomson Hall.

text: Marketing[edit]

text: On 13 June 2014, the first image of the film was published, featuring Hardy as the Kray twins.[8][43] A promotional poster attracted publicity because it made a two-star review from The Guardian appear to be a four- or five-star review by placing the two stars between the heads of the Krays.[44][45]

text: Home media[edit]

text: Legend was released on DVD and Blu-ray in the United Kingdom on 25 January 2016 and in the United States on 1 March 2016.[46]

text: Reception[edit]

text: Box office[edit]

text: As of  31 January 2016[update], Legend has grossed $41,636,816 worldwide; $27,960,112 in the United Kingdom and $1,872,994 in North America.[6]

text: Critical response[edit]

text: On Rotten Tomatoes, the film holds an approval rating of 61% based on 164 reviews and an average rating of 5.9/10. The website's critical consensus reads, "As a gangster biopic, Legend is deeply flawed, but as a showcase for Tom Hardy – in a dual role, no less – it just about lives up to its title."[47] On Metacritic the film has a score of 55 out of 100 based on 31 critics, indicating "mixed or average reviews".[48]

text: Awards and nominations[edit]

text:
Year

Award

Category

Nominee(s)

Result

Ref

2015

British Independent Film Awards

Best Performance by an Actor in a British Independent Film

Tom Hardy

Won

[49]

Detroit Film Critics Society

Best Actor

Tom Hardy

Nominated

[49]

Las Vegas Film Critics Society

Best Picture

Nominated

[49]

Satellite Awards

Best Actor – Motion Picture

Tom Hardy

Nominated

[49]

2016

Empire Awards

Best British Film

Nominated

[50][51]

Best Actor

Tom Hardy

Nominated

[50][51]

Houston Film Critics Society

Best Actor

Tom Hardy

Nominated

[49]

London Film Critics' Circle

Actor of the Year

Tom Hardy

Nominated

[52]

British/Irish Actor of the Year

Tom Hardy

Won

[52]

Saturn Awards

Best International Film

Nominated

[53]

Toronto Film Critics Association

Best Actor

Tom Hardy

Won

[49]