question_text: where did the movie 10000 bc take place

question_tokens: where did the movie 10000 bc take place

root

text: 10,000 BC (film)

text: Plot[edit]

text: At about 10,000 BC, a tribe of hunter-gatherers called the Yagahl live in a remote mountain range in the Urals and survive by killing woolly mammoths. The camp is led by a hunter who has proven his bravery by killing a mammoth single-handedly, and taking the White Spear. The people also strongly venerate an elderly Neanderthal woman, the last of her kind, called Old Mother, who has shamanistic powers. As time goes by, the mammoths that supply the people start to dwindle, and the chief of the tribe finds a young girl with blue eyes named Evolet who survived a massacre of her village, perpetrated by what Old Mother calls "four-legged demons" who will come when "the Yagahl go on their last hunt". The chief of the village, not believing in Old Mother's prophecy and desperate to feed his people, leaves and gives the White Spear to his friend Tic'Tic, who also watches over D'Leh, the chief's son. As Tic'Tic alone is entrusted to know of the quest, all the others in the tribe including D'Leh's rival, Ka'Ren, believe that D'Leh's father was a coward and fled. Over time, D'Leh and Evolet fall in love and become close.

tag: p

text: When the mammoths finally come, D'Leh and the other men of the tribe hunt them under Tic'Tic's leadership, and D'Leh manages to kill one by causing the beast into impaling itself on his spear, inadvertently winning the White Spear. He also wins Evolet in marriage. However, consumed by the guilt that he did not earn the White Spear fairly, after speaking with Tic'Tic, he gives the White Spear up and by effect, forfeits his marriage to Evolet. The next day, horse-raiders attack the camp, enslaving Evolet and several others and killing many of the tribe. D'Leh, Tic'Tic, Ka'Ren and the young boy Baku set out to rescue Evolet and their fellow Yagahl, but she is recaptured with Ka'Ren and Baku during an attack on the slavers by Terror Birds. Tic'Tic is wounded by the predators during the battle. D'Leh and the injured Tic'Tic continue on. When D'Leh is out hunting, he falls into a pit-trap. When he wakes from the fall, he rescues a Smilodon trapped with him in the pit and then escapes himself. After Tic'Tic recovers, they make their way to a village nearby and learn of a prophecy from the Naku, a tribe they meet: whoever talks to a Smilodon that they call the "Spear-Tooth" will help free their people. D'Leh realizes the prophecy is about him when the sabertooth refuses to kill him when they next meet. They also learn that D'Leh's father, the chief of the Yagahl, was a guest of the Naku and learned from them until the slavers took him captive and Tic'Tic finally reveals to D'Leh why his father left.

text: Several tribes agree to form a coalition to pursue the raiders that stole their families with D'Leh as their leader. They soon find the ships holding Evolet and their companions. However, with no means to follow the ships, they journey through a vast desert, eventually discovering an advanced civilization similar to ancient Egypt, ruled by an enigmatic figure known as "The Almighty". In this civilization Evolet, Baku and the other kidnapped Yagahl are forced to work as slaves. There, the warlord who kidnapped Evolet tries to coerce her into loving him, only to be arrested by The Almighty when they find he has taken her without permission. During a night scouting raid, D'Leh learns of the Almighty and the fate of his father, who perished as a slave. However, the guards see them and attempt to warn the Almighty. Tic'Tic dies from injuries sustained in the fight that follows with the guards, though not before killing them before they can raise the alarm. The Almighty's priests also meanwhile come to believe that Evolet is destined to kill The Almighty, based on the whip scars on her hands matching the stars they call the "Mark of the Hunter" and an ancient prophecy foreseeing their civilization's downfall. The Almighty realizes that Evolet is not the focus of the prophecy, but the hunter's (D'Leh's) herald. D'Leh then starts a rebellion among the slaves, killing many of the Almighty's forces, though Ka'Ren is killed.

text: The Almighty offers Evolet and the other hunters to D'Leh in exchange for abandoning his rebellion. D'Leh feigns acceptance of the deal but throws a spear at The Almighty and kills him. During the ensuing battle, Evolet dies at the hands of the warlord before he in turn is killed by D'Leh, but is restored to life by the Old Mother sacrificing her own life with her powers. With the Almighty and his people dead and his civilization destroyed, the Yagahl bid farewell to the other tribes and return home with seeds given to them by the Naku people to begin farming and start a new life.

text: Cast[edit]

text:
Steven Strait as D'Leh, a mammoth hunter.
Camilla Belle as Evolet, D'Leh's wife and the only survivor of a tribe which was killed off by the "four-legged demons" (fierce warriors on horseback). She is unique as she has blue eyes.
Cliff Curtis as Tic'Tic, D'Leh's mentor and friend.[4]
Joel Virgel as Nakudu, leader of the Naku tribe.
Affif Ben Badra as Warlord, leader of the "Four Legged Demons."
Mo Zinal as Ka'Ren
Nathanael Baring as Baku
Marco Khan as One-Eye, Warlord's main henchman.
Mona Hammond as Old Mother, the Yagahl wise old woman.
Joel Fry as Lu'Kibu
Reece Ritchie as Moha
Piers Stubbs as Young Moha
Junior Oliphant as Tudu, Nakudu's son.
Kristian Beazley as D'Leh's father, who had lived with the Naku tribe and learned agriculture from them.
Boubacar Badaine as Quina, leader of another tribe.
Farouk Valley-Omar as the High Priest
Tim Barlow as The Almighty, a tall, blue-eyed man who dresses in long white robes and a face-concealing veil. He is the last of three kings, and the last of the Atlanteans.
Omar Sharif as Narrator

tag: ul

text: Development[edit]

text: Visual and sound effects[edit]

text: The mammoths in the movie were based on elephants and fossils of mammoths, while the saber-toothed cat was based on tigers and ligers (a lion/tiger hybrid).[5]

text: The sounds made by the saber-toothed cat in the movie are based on the vocalization of tigers and lions.[6]

text: Casting[edit]

text: Emmerich opened casting sessions in late October 2005.[7] In February 2006, Camilla Belle and Steven Strait were announced to star in the film, with Strait as the mammoth hunter and Belle as his love.[8] Emmerich decided that casting well known actors would distract from the realistic feel of the prehistoric setting. "If like, Jake Gyllenhaal turned up in a movie like this, everybody would be, 'What's that?'", he explained. The casting of unknown actors also helped keep the film's budget down.[9]

text: Production[edit]

text: At the 2008 Wondercon, Emmerich mentioned the fiction of Robert E. Howard as a primary influence for the film's setting, as well as his love for the film Quest for Fire and the book Fingerprints of the Gods.[10]

text: Director Roland Emmerich and composer Harald Kloser originally penned a script for 10,000 BC. When the project received the greenlight from Columbia Pictures, screenwriter John Orloff began work on a new draft of the original script. Columbia Pictures, under Sony Pictures Entertainment, dropped the project due to a busy release calendar, and Warner Bros. picked up the project in Sony's vacancy.[11] The script went through a second revision with Matthew Sand and a final revision with Robert Rodat.[8]

text: Production began in early 2006 in South Africa and Namibia.[8]  Location filming also took place in southern New Zealand[12] and Thailand. Before shooting began, the production had spent eighteen months on research and development for the computer-generated imagery. Two companies recreated prehistoric animals. To cut time (it was taking sixteen hours to render a single frame) 50% of the CGI models' fur was removed, as "it turned out half the fur looked the same" to the director.[9]

text: Language[edit]

text: Emmerich rejected making the film in an ancient language (similar to The Passion of the Christ or Apocalypto), deciding that it would not be as emotionally engaging.[13]

text: Dialect coach Brendan Gunn was hired by Emmerich and Kloser to create "a half dozen" languages for the film.[14] Gunn has stated that he collaborated informally with film lead Steven Strait to improvise what the languages would sound like.[15]

text: Alternate ending[edit]

text: In an alternate ending, the scene shifts forward many years into the future, showing Baku's retelling of the story by the camp fire. It ends with a child asking what had happened to the "Mountains of the Gods", and Baku responds, "They were taken back by the sands. Lost to time, lost to man".

text: Reception[edit]

text: The film received largely negative reviews from critics, stating that the movie is mainly visual and lacks a firm screenplay. Critics noted that the film is archaeologically inaccurate and contains many factual errors and anachronisms. As of December 16, 2014, the review aggregator at Rotten Tomatoes has reported that 8% of critics gave the film positive reviews, based on 146 reviews with the consensus: "With attention strictly paid to style instead of substance, or historical accuracy, 10,000 BC is a visually impressive but narratively flimsy epic."[16] Metacritic reported the film had an average score of 34 out of 100, based on 29 reviews.[17]

text: Composer Thomas Wander won a BMI Film Music Award for his work on the film.

text: Box office[edit]

text: The film was a moderate success at the box office. In its opening weekend, the film grossed $35.8 million in 3,410 theaters in the United States and Canada, ranking No. 1 at the box office, and grossing over $22 million more than the film in second place, College Road Trip.[18][19] As of April 29, 2008, it has grossed approximately $268.6 million worldwide—$94.6 million in the United States and Canada and $174 million in other territories[20]—including $17.2 million in Mexico, $13.1 million in Spain, $11.3 million in the United Kingdom, and $10.8 million in China. This also makes it the first film of 2008 to surpass the $200 million mark.[21]

text: DVD release[edit]

text: The DVD of the film was released on June 24, 2008 in single-disc editions of DVD and Blu-ray Disc in the United States. Best Buy released a 2-disc limited edition along with the DVD and Blu-ray Disc releases. It was released on July 21, 2008 in the United Kingdom.[22] The film grossed $31,341,721 in DVD sales, bringing its total film gross to $300,414,491.[23]


document_title: The Shack (2017 film)

question_text: where is the waterfall in the movie the shack

text: The Shack (2017 film)

text: Plot[edit]

text: Mackenzie "Mack" Phillips suffered physical and emotional abuse as a child at the hands of his drunken father. He witnessed similar abuse of his mother as well. There is the implication that as a 13-year-old boy he attempted to poison his father with strychnine. Whether he succeeded in killing the man is not entirely clear, although subsequent events suggest that he did. But as an adult he has a bountiful life with his wife, Nan, and their three children: Kate, Josh and Missy.

text: Mack's life is shattered, however, when their youngest child Missy disappears during a camping trip while he is saving Kate and Josh during a canoeing accident. The police determine Missy is the victim of a serial killer after finding her torn dress and blood in a vacant cabin. Kate blames herself for Missy's death because of her own reckless behavior in causing the canoe accident in the first place. The tragedy derails Mack's faith and life until the onset of winter when he receives an unstamped, typewritten note in his mailbox. The surrounding snow is devoid of any incriminating tracks. The message is signed "Papa" (which was Nan's nickname for God) and invites him to meet at the cabin.

text: Thinking this may possibly be an opportunity for meeting and capturing or killing the serial killer, Mack drives himself there and, finding the ruined cabin cold and desolate and empty, is overcome with frustration, rage and an almost irresistible impulse to turn his handgun on himself. But he suddenly encounters a mysterious trio of strangers who invite him to stay at their well-furnished, cozy little house that is situated just down the path and, oddly, in the midst of a beautiful, sunshiny, summertime wilderness.

text: The trio of strangers gradually reveal their identities. The purpose of their invitation is to first help him to better understand his life as seen from a much broader context or higher perspective. This realization helps free him from an inclination to pass judgment upon himself as well as upon everyone else who crosses his path. It is from that new starting point that he may then continue his long, slow journey into healing for himself and his family and forgiveness for himself as well as for those who have grievously harmed him and his loved ones.

text: Cast[edit]

text:
Sam Worthington[5] as Mackenzie "Mack" Phillips

Carson Reaume as Young Mack

Octavia Spencer as Papa[6][7]
Graham Greene as Male Papa[8]
Radha Mitchell as Nan Phillips[8]
Aviv Alush as Jesus[8]
Sumire Matsubara as Sarayu[9]
Tim McGraw[10] as Willie
Alice Braga[10] as Sophia
Megan Charpentier as Kate Phillips[10]
Gage Munroe as Josh Phillips[10]
Amélie Eve as Missy Phillips[10]
Ryan Robbins as Emil Ducette[10]

text: Production[edit]

text: This section needs expansion. You can help by adding to it. (January 2017)

tag: table

text: Forest Whitaker was once attached to direct and star in the film.[11]

text: Filming[edit]

text: Principal photography on the film began on June 8, 2015, in Vancouver, Canada.[12][13]

text: The camping scene at the beginning of the movie was filmed at Sayres Lake Campground (Mission) and The waterfall was filmed at Multnomah Falls in the Columbia River Gorge, east of Portland, Oregon according to the website atlasofwonders.com. [14]

text: Soundtrack[edit]

text: The accompanying soundtrack for the film features contributions from popular artists primarily in the genres of country music and contemporary Christian music.[15][16] It was released February 24, 2017 through Atlantic Records.[17]

text: A new duet between Tim McGraw and Faith Hill was written and recorded for the film titled "Keep Your Eyes On Me" which is featured in the trailer.[16] It was released digitally on January 27, 2017 as the soundtrack's first promotional single.[18] This release was followed by Dan + Shay's promotional track, "When I Pray for You", on February 3, 2017.[19] Christian rock band Skillet released an acoustic version of "Stars" from their album, Unleashed, in a music video for the film.[20]

text: Track listing[edit]

text:
No.
Title
Performer(s)
Length

1.
"When I Pray for You"
Dan + Shay
3:29

2.
"Keep Your Eyes on Me"
Tim McGraw and Faith Hill
4:11

3.
"Lay Our Flowers Down"
Lady Antebellum
3:12

4.
"Heaven Knows"
Hillsong UNITED
4:44

5.
"Where Were You"
Francesca Battistelli
3:07

6.
"Love Goes On"
Kelly Clarkson and Aloe Blacc
3:54

7.
"River of Jordan"
Lecrae featuring Breyan Isaac
3:45

8.
"Hard Love"
NEEDTOBREATHE featuring Lauren Daigle
3:37

9.
"Days of Dark"
Dierks Bentley
4:13

10.
"Phone Call to God"
Brett Eldredge
3:57

11.
"Honest to God"
Devin Dawson
3:14

12.
"Stars (The Shack version)"
Skillet
3:45

13.
"I'll Think About You"
We Are Messengers
3:56

14.
"Amazing Grace"
for KING & COUNTRY
3:22

text: Charts[edit]

text:
Chart (2017)
Peak
position

US Billboard 200[21]
40

US Christian Albums (Billboard)[22]
1

US Soundtrack Albums (Billboard)[22]
6

text: Release[edit]

text: Box office[edit]

text: The Shack grossed $57.4 million in the United States and Canada and $39 million in other territories for a worldwide gross of $96.4 million.[3]

text: In North America, The Shack opened on March 3, 2017, alongside Before I Fall and Logan, and was projected to gross around $10 million from 2,888 theaters in its opening weekend.[23] It made $850,000 from Thursday night previews and $5.5 million on its first day. It went on to open to $16.1 million, finishing above expectations and third at the box office behind Logan and Get Out.[24]

text: Critical response[edit]

text: On Rotten Tomatoes the film has an approval rating of 21% based on 63 reviews, with an average rating of 4/10. The site's critical consensus reads, "The Shack's undeniably worthy message is ill-served by a script that confuses spiritual uplift with melodramatic clichés and heavy-handed sermonizing."[25] On Metacritic, has a weighted average score of 32 out of 100, based on 18 critics, indicating "generally unfavorable reviews".[26] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale.[27]

text: Peter Sobczynski of RogerEbert.com gave the film 1.5 stars out of 5, saying it is "both too innocuous and too off-putting for its own good".[28] Adam Graham of The Detroit News said it "feels like an overly long church sermon".[29] The AV Club said, "Most of its running time is taken with mollifying conversations between Mack and the movie's New Age-meets-Bible Belt oversimplifications of the Holy Trinity. It fits right into a long tradition of quasi-mystical pseudo-parables."[30]

text: Focus on the Family said: "What filmgoers do get is that God cares. He loves deeply and unconditionally. He wants to heal our woundedness. And He can do so when we let Him."[31] Kathy Schiffer with the National Catholic Register writes: "I watched The Shack not once, but twice. It was inspiring, beautifully portrayed, and thought-provoking. The love and humor and the sheer joy of the Trinity, bantering over the dinner table in the Shack, was heartwarming, and it made fresh my awareness of God's love for me."[32] Julie Roy's response: "2 Peter 3:9, which says God doesn't wish any 'to perish, but everyone to come to repentance.' That is God's heart towards us. And The Shack masterfully reveals that heart. I think that's why so many have been profoundly impacted by the movie. And I fear that in our zeal for theological correctness, we may be trampling on something beautiful."[33] Others[who?] said the film was successful because it resonated with the desires of its modern audience.[34]

text: Owen Glieberman from Variety sums it up: "'The Shack' has a real chance to connect commercially, because even though its drama is mushy, at heart it's a bit of a theme-park ride: the movie in which you get to know what it’s like to hang out with God and make friends with Jesus. In life, religion isn’t nearly so reassuring. It’s daunting, and our culture is starved for films that portray religious feeling in a way that's both reverent and truthful. 'The Shack' isn’t one of them; it reduces faith to a kind of spiritual comfort food. But thanks, in part, to movies like this one, maybe that's what faith is on its way to becoming."[35]

text: Reaction of theologians and religious leaders[edit]

text: The film attracted the same sort of controversy for unorthodox theology that the book did.[36] Theologian Albert Mohler said the film's depiction of God the Father, Jesus Christ, and the Holy Spirit is "profoundly unbiblical".[36] John Mulderig of Catholic News Service said the film was "an intriguing endeavor" but had many problematic elements.[37] Catholic Bishop Robert Barron said about the book "There's a lot of sweet stuff – but you do have to spit out a few seeds."[38] New Testament scholar James B. DeYoung said the film promotes universalism, which he characterized as heresy.[39]


document_title: Androcles

question_text: who pulled the thorn from the lions paw

question_tokens: who pulled the thorn from the lions paw

text: Androcles

text: Classical tale[edit]

text: The earliest surviving account of the episode is found in Aulus Gellius's 2nd century Attic Nights.[2] The author relates there a story told by Apion in his lost work Aegyptiacorum (Wonders of Egypt), the events of which Apion claimed to have personally witnessed in Rome. In this version, Androcles is given the Latin name of Androclus, a runaway slave of a former Roman consul administering a part of Africa. He takes shelter in a cave, which turns out to be the den of a wounded lion, from whose paw he removes a large thorn. In gratitude, the lion becomes tame towards him and henceforward shares his catch with the slave.

text: After three years, Androclus craves a return to civilization but is soon imprisoned as a fugitive slave and sent to Rome. There he is condemned to be devoured by wild animals in the Circus Maximus in the presence of an emperor who is named in the account as Gaius Caesar, presumably Caligula.[3] The most imposing of the beasts turns out to be the same lion, which again displays its affection toward Androclus. After questioning him, the emperor pardons the slave in recognition of this testimony to the power of friendship, and he is left in possession of the lion. Apion, who claimed to have been a spectator on this occasion, is then quoted as relating:

text: The story was repeated a century later by Claudius Aelianus in his work "On the Nature of Animals".[5]

text: Later use[edit]

text: Later versions of the story, sometimes attributed to Aesop, began to appear from the mid-sixth century under the title "The Shepherd and the Lion".[6] In Chrétien de Troyes' 12th-century romance, "Yvain, the Knight of the Lion", the knightly main character helps a lion that is attacked by a serpent. The lion then becomes his companion and helps him during his adventures.[7] A century later, the story of taking a thorn from a lion's paw was related as an act of Saint Jerome in the Golden Legend of Jacobus de Voragine (c. 1260).[8] Afterwards the lion joins him in the monastery and a different set of stories follows.

text: The later retelling, "Of the Remembrance of Benefits", in the Gesta Romanorum (Deeds of the Romans) of about 1330 in England, has a mediaeval setting and again makes the protagonist a knight.[1] In the earliest English printed collection of Aesop's Fables by William Caxton, the tale appears as The lyon & the pastour or herdman and reverts to the story of a shepherd who cares for the wounded lion. He is later convicted of a crime and taken to Rome to be thrown to the wild beasts, only to be recognised and defended from the other animals by the one that he tended.

text: A Latin poem by Vincent Bourne dating from 1716-17 is based on the account of Aulus Gellius.[9] Titled Mutua Benevolentia primaria lex naturae est, it was translated by William Cowper as “Reciprocal kindness: the primary law of nature”.[10]

text: George Bernard Shaw's play Androcles and the Lion (1912) makes Androcles a tailor; he is also given Christian beliefs for the purposes of the play, which on the whole takes a skeptical view of religion. The first film adaptation of the story in the US was also made in 1912. Afterwards there were several others for both cinema and TV.[11] Rob Englehart's The Lion, the Slave and the Rodent (2010) was a much later American approach to the fable. A one-act chamber opera for five voices, it combined the story of Androcles with the fable of “The Lion and the Mouse”.[12]

text: Artistic depictions[edit]

text: Prints and paintings[edit]

text: Renaissance prints of the story are based on the Classical accounts. Agostino Veneziano depicts the slave Androcles being freed by the Emperor in a work from 1516-17 now in the LACMA collection.[13] There is also an early pen and wash drawing by Baldassare Peruzzi dating from the 1530s in the Hermitage Museum. Dependent on the account by Aulus Gellius, it depicts Androcles walking through a doorway with the lion on a lead at his heel.[14] Other artists have preferred the scene of Androcles pulling the thorn from the lion's paw, as in Bernhard Rode's print of 1784.[15] A later American example is Walter Inglis Anderson's block print scroll of 1950,[16] which was based on his 1935 painting.[17]

text: Paintings of the subject began in the 18th century. That by Charles Meynier, which was exhibited at the Paris Salon of 1795, is now lost. However, a study for the painting has recently been discovered and shows Androcles as a nearly naked warrior brandishing his sword in the stadium while the lion lies on the ground and is, following the account of Aulus Gellius, "gently licking his feet".[18] There are also studies for an unachieved painting by American artist Henry Ossawa Tanner dating from his student years in 1885-6.[19] They include a lion licking its paw and a kneeling and grey-bearded Androcles. [20] At mid-century in 1856 comes “Androcles and the Lion” by the English artist Alexander Davis Cooper (1820–95). There a young man in Arab dress looks towards the viewer as he walks across a desert landscape with his hand in the lion’s mane.[21]

text: In the 20th century, Jean-Léon Gérôme depicted Androcles in a painting tentatively dated 1902 and now in the Museo Nacional de Bellas Artes (Buenos Aires).[22] There Androcles is sitting cross-legged on the floor of the cave as he draws the thorn from the lion's paw while it roars in agony.[23] Briton Riviere's 1908 painting of him standing to perform the same task is in the Auckland Art Gallery.[24] Another approach was to show the earlier incident of Androcles surprised in the cave by the lion's entrance. This was the subject chosen by Vassily Rotschev (d.1803) soon after returning to Russia from training in Rome.[25] It was also the choice of the Chinese painter Xu Beihong. His "Slave and Lion" dates from a stay in Berlin during the early 1920s and shows the lion entering the mouth of a cave while Androcles cowers against the wall.[26]

text: Sculptures[edit]

text: Androcles also became a sculptural subject. Jan Pieter van Baurscheit the Elder's sandstone statue, executed between 1700 and 1725, is now at the Rijksmuseum in Amsterdam and shows a triumphant figure bestriding a very small lion that rears up to look at him.[27] Its frisky behaviour brings to mind Aulus Gellius’ description of the lion “wagging his tail in a mild and caressing way, after the manner and fashion of fawning dogs”.[28] In 1751 the English monumental sculptor Henry Cheere created two white marble chimneypieces showing the slave bending over the lion's paw to draw out the thorn. One is in the Saloon at West Wycombe Park and the other is now in the Lady Lever Art Gallery.[29] A continental example by Jean-Baptiste Stouf was sculpted in 1789 and is now only known through the modern bronze reproduction at the Ashmolean Museum.[30] Formerly it was in the Louvre and showed Androcles tending the lion's paw.[31]

text: In the 19th century Androcles became a subject for French table ornaments. One from 1820 shows him sword in hand in the arena as the lion crouches at his feet,[32] while another from 1825 has him tending the injured paw.[33] About 1898, Jean-Léon Gérôme, who was soon to paint that scene too, produced a sculpture of Androcles leading the lion about on his tour of the Roman taverns. Titled Le Mendiant (the beggar), it is made of bronze gilt and shows the former slave standing with one hand on the lion's mane and a begging bowl at his feet. On its stand is the inscription Date obolum Androcli (spare a penny for Androclus).[34] In the 20th century the American sculptor Frederick Charles Shrady incorporated the theme of removing the thorn from the paw into a modernistic design.[35]

text: Medals[edit]

text: The legend has figured on medals for various reasons over the course of four centuries. One attributed to Gioacchino Francesco Travani, using a design by Gian Lorenzo Bernini, was struck in 1659. It depicts on one side a relief bust of Pope Alexander VII surrounded by an acanthus leaf border. On the reverse a lion prostrates itself at the feet of an armed Androcles. The complimentary Latin inscription reads 'Domenico Jacobacci to the generous prince: Even a wild animal remembers a favor'. Jacobacci was the donor of the medal, which commemorates a pope who had been generous in rebuilding parts of Rome. The lion represents the grateful city paying homage at the feet of the 'warrior' on its behalf.[36]

text: The image of the grateful beast was a natural choice for the medals awarded in yearly recognition of prize-winners at the Royal Dick Veterinary College in Edinburgh. Struck in copper and silver during the 1890s, they picture Androcles kneeling to relieve the suffering lion. In the background are a cliff on the left and palm trees on the right; Androcles is depicted with African features.[37] A more schematic representation now forms the logo of the Faculty of Veterinary Medicine at Utrecht University.[38]

text: In the 20th century, the Dutch Medal of Recognition 1940-1945 also pictured the scene of relieving the lion and was awarded to those who aided the Dutch during the period of World War II, or afterwards helped those who had suffered from the German occupation. The subject was chosen because a lion was the national symbol. The theme of gratitude is reinforced by the inscription about the edge: Sibi benefacit qui benefacit amico (he benefits himself who benefits a friend).

text: Notes[edit]

text:
^ Jump up to: a b Ashliman, D.L. "Androcles and the Lion and other folktales of Aarne-Thompson-Uther type 156". Pitt.edu.
Jump up ^ Aulus Gellius, Noctes Atticae, Book V. xiv
Jump up ^ Based on the dates of Apion's tenure in Rome, see Hazel, John. Who's who in the Roman World. Psychology Press. Retrieved 2009-04-10.
Jump up ^ The Attic Nights of Aulus Gellius, p.258
Jump up ^ Claudius Aelianus, Περὶ Ζῴων Ἰδιότητος, Book VII.xlviii
Jump up ^ "Mythfolklore.net". Mythfolklore.net. Retrieved 2014-06-08.
Jump up ^ "Omacl.org". Omacl.org. 2004-12-01. Retrieved 2014-06-08.
Jump up ^ The story is included in the fourth and fifth paragraphs of this translation Archived February 12, 2011, at the Wayback Machine.
Jump up ^ , Estelle Haan, Classical Romantic: Identity in the Latin Poetry of Vincent Bourne, American Philosophical Society 2007, pp.52-4
Jump up ^ The poetical works, Latin and English, of Vincent Bourne, London 1838, pp.128-31
Jump up ^ IMDb.com
Jump up ^ Lake Superior Theater
Jump up ^ LACMA site
Jump up ^ Gallery site
Jump up ^ Mentioned in Michel Huber, Catalogue raisonné du cabinet d'estampes par feu m. Winckler: L'école allemande, Leipzig 1801, Vol.2, p.684
Jump up ^ See online Archived August 8, 2014, at the Wayback Machine.
Jump up ^ Walter Inglis Anderson, The Art of Walter Anderson, University of Mississippi, 2003, pp.25, 253
Jump up ^ Bonhams Auction site
Jump up ^ Anna O. Marley, Henry Ossawa Tanner: Modern Spirit, University of California 2012, pp.19-20
Jump up ^ Wikiart
Jump up ^ The Saleroom
Jump up ^ Maria Isabel Baldasare, Sobre los inicios del coleccionismo y los museos de arte en la Argentina, Anais do Museu Paulista: História e Cultura Material, São Paulo, vol.14.1, 2006, p.305
Jump up ^ Wikimedia
Jump up ^ Gallery site
Jump up ^ “Biographical notes of Russian artists”, The monthly magazine and British register, Volume 21 (1806) p.399
Jump up ^ Christies site
Jump up ^ Rijksmuseum
Jump up ^ The Attic Nights of Aulus Gellius, p.256
Jump up ^ Silver Tiger site
Jump up ^ Cultural Property Advice: Ashmolean
Jump up ^ Charles Othon Frédéric Jean Baptiste de Clarac, Description du Musée Royal des Antiques du Louvre, Paris 1830, p.249
Jump up ^ Christies site
Jump up ^ 1st dibs site
Jump up ^ Wikimedia
Jump up ^ Shrady site
Jump up ^ Maarten Delbeke, The Art of Religion, Farnham 2012, Google Books
Jump up ^ British school medals, Neocollect Archived August 8, 2014, at the Wayback Machine.
Jump up ^ Faculty site

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Androcles and the Lion


document_title: 2018 iHeartRadio Music Awards

question_text: who won best boy band i heart radio

question_tokens: who won best boy band i heart radio

text: 2018 iHeartRadio Music Awards

text:
2018 iHeartRadio Music Awards

Date
March 11, 2018 (2018-03-11)

Location
The Forum, Inglewood

Country
United States

Hosted by
DJ Khaled and Hailey Baldwin

Most awards
Ed Sheeran (4)

Most nominations
Luis Fonsi
Daddy Yankee (7)

Television/radio coverage

Network
TBS, TNT, and truTV

Runtime
96 minutes

← 2017
iHeartRadio Music Awards

text: The 2018 iHeartRadio Music Awards were held on March 11, 2018 at The Forum in Inglewood, California.[1] The list of nominations was announced on January 10, 2018.[2] DJ Khaled and Hailey Baldwin hosted the ceremony.[3] TBS, TNT, and truTV broadcast the ceremony in the United States, while the red carpet was broadcast live on the network's social media pages.[4] Taylor Swift's music video for her single "Delicate" premiered at the show.[5]

text: Performances[edit]

text: The following performed at the show:[6]

text:
Artist(s)
Song(s)

Cardi B
G-Eazy
"Bartier Cardi"
"MotorSport"
"No Limit"
"Finesse"
"Bodak Yellow"

Ed Sheeran
"Perfect"
(live from Melbourne, Australia)

Camila Cabello
Young Thug
"Havana"

Maroon 5
"Wait"

Eminem
Kehlani
"Nowhere Fast"

Bon Jovi
"It's My Life"
"You Give Love a Bad Name"

Charlie Puth
"How Long"

N.E.R.D.
"Lemon"

text: Winners and nominees[edit]

text: iHeartRadio presented the winners of seven categories in the seven days leading up to the Sunday telecast.[7] Winners are highlighted in boldface.[8]

text:
Song of the Year
(presented by Jenna Dewan-Tatum and Eve)
Female Artist of the Year
(presented by Dustin Lynch and Isla Fisher)

"Shape of You" – Ed Sheeran

"Despacito" – Luis Fonsi and Daddy Yankee featuring Justin Bieber
"Something Just like This" – The Chainsmokers and Coldplay
"That's What I Like" – Bruno Mars
"Wild Thoughts" – DJ Khaled featuring Rihanna and Bryson Tiller

Taylor Swift

Alessia Cara
Halsey
P!nk
Rihanna

Male Artist of the Year
Best New Artist
(presented by The Chainsmokers)

Ed Sheeran

Bruno Mars
Shawn Mendes
Charlie Puth
The Weeknd

Cardi B

Niall Horan
Luke Combs
Christian Nodal
Judah & the Lion
Ozuna
Khalid

Best Duo/Group of the Year
Album of the Year (per genre)

Maroon 5

The Chainsmokers
Imagine Dragons
Migos
Portugal. The Man

Pop: ÷ – Ed Sheeran
Rock: One More Light – Linkin Park[9]
Alternative Rock: Evolve – Imagine Dragons[10]
Country: From A Room: Volume 1 – Chris Stapleton[11]
Dance: Memories...Do Not Open – The Chainsmokers
Hip-Hop: Damn – Kendrick Lamar
R&B: American Teen – Khalid[12]
Latin: El Dorado – Shakira[13]

Best Collaboration
(presented by Rita Ora and Bebe Rexha)
Best New Pop Artist

"Something Just Like This" – The Chainsmokers and Coldplay

"Despacito" – Luis Fonsi and Daddy Yankee featuring Justin Bieber
"Don't Wanna Know" – Maroon 5 featuring Kendrick Lamar
"Stay" – Zedd and Alessia Cara
"Wild Thoughts" – DJ Khaled featuring Rihanna and Bryson Tiller

Niall Horan

Camila Cabello
Logic
Julia Michaels
Liam Payne

Alternative Rock Song of the Year
Alternative Rock Artist of the Year

"Feel It Still" – Portugal. The Man

"Believer" – Imagine Dragons
"Thunder" – Imagine Dragons
"Walk on Water" – Thirty Seconds To Mars
"Wish I Knew You" – The Revivalists

Imagine Dragons

Cage The Elephant
Judah & the Lion
Kings of Leon
Portugal. The Man

Best New Rock/Alternative Rock Artist
Rock Song of the Year

Judah & the Lion

Greta Van Fleet
K.Flay
Rag'n'Bone Man
The Revivalists

"Run" – Foo Fighters

"Go to War" – Nothing More
"Help" – Papa Roach
"Rx (Medicate)" – Theory of a Deadman
"Song #3" – Stone Sour

Rock Artist of the Year
Country Song of the Year

Metallica

Foo Fighters
Highly Suspect
Papa Roach
Royal Blood

"Body Like A Back Road" – Sam Hunt

"Dirt on My Boots" – Jon Pardi
"Hurricane" – Luke Combs
"Small Town Boy" – Dustin Lynch
"Unforgettable" – Thomas Rhett

Country Artist of the Year
Best New Country Artist

Thomas Rhett

Jason Aldean
Luke Bryan
Sam Hunt
Blake Shelton

Luke Combs

Lauren Alaina
Kane Brown
Jon Pardi
Brett Young

Dance Song of the Year
Dance Artist of the Year

"Stay" – Zedd and Alessia Cara

"It Ain't Me" – Kygo and Selena Gomez
"No Promises" – Cheat Codes featuring Demi Lovato
"Rockabye" – Clean Bandit and Anne-Marie featuring Sean Paul
"Something Just Like This" – The Chainsmokers and Coldplay

The Chainsmokers

Calvin Harris
Cheat Codes
Kygo
Zedd

Hip-Hop Song of the Year
(presented by Sean "Diddy" Combs and Christian Combs)
Hip-Hop Artist of the Year

"Wild Thoughts" – DJ Khaled featuring Rihanna and Bryson Tiller

"Bad and Boujee" – Migos featuring Lil Uzi Vert
"Bodak Yellow" – Cardi B
"Humble" – Kendrick Lamar
"Rockstar" – Post Malone featuring 21 Savage

Kendrick Lamar

DJ Khaled
Drake
Future
Migos

Best New Hip-Hop Artist
R&B Song of the Year

Cardi B

21 Savage
GoldLink
Lil Uzi Vert
Playboi Carti

"That's What I Like" – Bruno Mars

"B.E.D." – Jacquees
"Location" – Khalid
"Love Galore" – SZA featuring Travis Scott
"Redbone" – Childish Gambino

R&B Artist of the Year
Best New R&B Artist

Bruno Mars

Khalid
Childish Gambino
Rihanna
The Weeknd

Khalid

6LACK
Kehlani
Kevin Ross
SZA

Latin Song of the Year
Latin Artist of the Year

'"Despacito" – Luis Fonsi and Daddy Yankee

"El Amante" – Nicky Jam
"Hey DJ" – CNCO
"Mi Gente" – J Balvin featuring Willy William
"Súbeme la Radio" – Enrique Iglesias

Luis Fonsi[14]

CNCO
J Balvin
Nicky Jam
Shakira

Best New Latin Artist
Regional Mexican Song of the Year

Ozuna

Abraham Mateo
Bad Bunny
Karol G
Danny Ocean

"Adiós Amor" – Christian Nodal

"Ella Es Mi Mujer" – Banda Carnaval
"Las Ultras" – Calibre 50
"Regresa Hermosa" – Gerardo Ortiz
"Siempre Te Voy A Querer" – Calibre 50

Regional Mexican Artist of the Year
Best New Regional Mexican Artist

Calibre 50

Banda Carnaval
Banda Los Recoditos
Banda Sinaloense MS de Sergio Lizarraga
Gerardo Ortiz

Christian Nodal

Edwin Luna y La Trakalosa de Monterrey
El Fantasma
Ulices Chaidez y Sus Plebes

Producer of the Year
Best Lyrics

Andrew Watt

Benny Blanco
Andrew "Pop" Wansel and Warren "Oak" Felder
Steve Mac
Justin Tranter

"Slow Hands" - Niall Horan

"Bodak Yellow" – Cardi B
"Despacito" – Luis Fonsi and Daddy Yankee
"There's Nothing Holdin' Me Back" – Shawn Mendes
"Look What You Made Me Do" – Taylor Swift
"Perfect" – Ed Sheeran

Best Cover Song
Best Fan Army

"The Chain" – Harry Styles

"All We Got" – Shawn Mendes
"Bad Liar" – HAIM
"Issues" – Niall Horan
"Lost" – Khalid
"Say You Won't Let Go" – Camila Cabello and Machine Gun Kelly
"Touch" – Ed Sheeran
"The Tribute Song" – Thirty Seconds To Mars

BTS A.R.M.Y. - BTS

Arianators - Ariana Grande
Beliebers - Justin Bieber
Camilizers - Camila Cabello
EXO-L - EXO
Harmonizers - Fifth Harmony
Lovatics - Demi Lovato
Mendes Army - Shawn Mendes
Mixers - Little Mix
Selenators - Selena Gomez
Smilers - Miley Cyrus
Swifties - Taylor Swift

Best Music Video
Social Star Award

"Sign of the Times" - Harry Styles

"Bad Liar" - Selena Gomez
"Bodak Yellow" - Cardi B
"Despacito" - Luis Fonsi and Daddy Yankee
"I'm the One" - DJ Khaled featuring Justin Bieber, Quavo, Chance the Rapper and Lil Wayne
"Look What You Made Me Do" - Taylor Swift
"Malibu" - Miley Cyrus
"New Rules" - Dua Lipa
"Shape of You" - Ed Sheeran
"Sorry Not Sorry" - Demi Lovato
"Swish Swish" - Katy Perry featuring Nicki Minaj
"That's What I Like" - Bruno Mars
"There's Nothing Holdin' Me Back" - Shawn Mendes

Anitta

Christian Collins
dodie
Andrew Huang
Conor Maynard
Gabbie Hanna
JoJo Siwa
Mariah Belgrod
Max & Harvey
RoomieOfficial

Best Boy Band
Best Solo Breakout

BTS

AJR
CNCO
In Real Life
PRETTYMUCH
The Vamps
Why Don't We

Louis Tomlinson

Camila Cabello
Niall Horan
Liam Payne
Harry Styles

Best Remix
Cutest Musician's Pet
(presented by Paris Hilton)

"Reggaetón Lento" - CNCO and Little Mix

"Bon Appétit" - Katy Perry, Migos and 3LAU
"Despacito" - Luis Fonsi and Daddy Yankee featuring Justin Bieber
"do re mi" - blackbear featuring Gucci Mane
"Friends" - Justin Bieber and BloodPop with Julia Michaels
"Havana" - Camila Cabello and Daddy Yankee
"Homemade Dynamite" - Lorde, Khalid , Post Malone and SZA
"May I Have This Dance" - Francis & The Lights featuring Chance The Rapper
"Mi Gente" - J Balvin and Willy William featuring Beyoncé

Toulouse - Ariana Grande

Batman - Demi Lovato
Bear Rexha - Bebe Rexha
Nugget - Katy Perry
Olivia Benson - Taylor Swift
Pig Pig - Miley Cyrus

Most Thumbed-Up Song
Most Thumbed-Up Artist

"Shape of You" – Ed Sheeran

Bruno Mars

Best Tour
Label of the Year

U2[13]

Republic Records[13]

Fangirls Award
(presented by Laverne Cox)
iHeartRadio Innovator Award
(presented by Pharrell Williams)

Camila Cabello
Chance the Rapper

iHeartRadio Icon Award
(presented by Shaun White)

Bon Jovi


document_title: 2017 AFL Grand Final

question_text: who sang at the 2017 afl grand final

question_tokens: who sang at the 2017 afl grand final

text: 2017 AFL Grand Final

text: Background[edit]

text: Adelaide claimed the minor premiership for the second time in their history, finishing on top of the 2017 AFL ladder with 15 wins, 6 losses and 1 draw, edging out Geelong via a better percentage.[2] The Crows recorded two dominant wins in the finals series, defeating Greater Western Sydney by 36 points in the qualifying final and then overwhelming Geelong to win the preliminary final by 61 points.[3][4]

text: The Richmond Tigers improved immensely from their 13th-place finish last year, ending the home-and-away season with 15 wins and 7 losses (3 of which were by less than six points), placing them a very close third on the AFL ladder, their percentage giving them the edge over fourth-place Greater Western Sydney. Like Adelaide, Richmond faced tough opposition in the finals series but emerged with convincing victories. After a close first half, they ran away in the last quarter to defeat the higher ranked Geelong by 51 points in the qualifying final, which earnt them a week's break and a home preliminary final against Greater Western Sydney, which they won by 36 points. Both were played at the Melbourne Cricket Ground before crowds in excess of 90,000, despite the first final being a home game for Geelong.[5][6]

text: This was Richmond's first grand final appearance in 35 years since 1982  (the club having last won a premiership in 1980) and Adelaide's third appearance in the grand final (the club having won their last two grand finals in 1997 and 1998). This marked the first grand final since the inaugural VFL grand final 119 years earlier where neither team had any players to have previously played in a grand final.[7]

text: Shortly after both teams qualified for the match, the AFL announced that Richmond would wear their rarely worn clash guernsey of predominantly yellow with a black sash, a decision which received severe criticism from ex-Richmond player Kevin Bartlett.[8]

text: Richmond captain Trent Cotchin was scrutinised for an incident involving Greater Western Sydney midfielder Dylan Shiel in the preliminary final, though was cleared of any charge by the AFL Match Review Panel on the Monday of grand final week.[9]

text: The two teams met only once in the home-and-away season in 2017, in Round 6, with Adelaide recording a 76-point win at the Adelaide Oval.[10] Bookmakers installed Adelaide as the favourites to win the grand final, with the Crows regarded by Sportsbet as $1.72 favourites compared to Richmond valued at $2.15 for the win.[11]

text: Media coverage[edit]

text: The match was televised by the Seven Network. The match commentary line-up included Bruce McAvaney and Brian Taylor as play-by-play commentators, Wayne Carey and Cameron Ling were the analysts, while Tim Watson and Matthew Richardson were on the sideline as boundary riders. Hamish McLachlan and Basil Zempilas rotated hosting duties and Leigh Matthews, Nick Riewoldt and Daisy Pearce provided punditry as part of the pre-game panel.

text: This was the first grand final commentated by Brian Taylor on television, replacing veteran broadcaster Dennis Cometti who retired from television duties at the end of the 2016 season. McAvaney called his seventeenth grand final. It was also the first grand final in which Daisy Pearce was a member of the broadcast team.

text: The grand final was the most watched television program in Australia for the 2017 calendar year, for the fourth year running, with 2.72 million viewers in the five largest Australian metropolitan cities.[12]

text: Radio coverage[edit]

text:
Station

Region

Play-by-play commentators

ABC Grandstand

National

Gerard Whateley, Clint Wheeldon

Triple M

National

James Brayshaw, Luke Darcy

1116 SEN

Victoria

Anthony Hudson, Matt Granland

3AW

Victoria

Tim Lane, Tony Leonard

5AA

South Australia

David Wildy, Stephen Rowe

6PR

Western Australia

Adam Papalia, Mark Readings

KROCK

Geelong, Victoria

Tom King, Darren Berry

AFL Nation

National (regional only)

Stephen Quartermain, Peter Donegan

NIRS

National (regional only)

Bary Denner, Peter Cardamone

text: International coverage[edit]

text:
Region[13]

Rights holder(s)

Asia Pacific

Australia Plus

 Canada

TSN2

 China

GZTV

 India

Australia Plus

 Ireland

BT Sport, ESPN

 Middle East

Orbit Showtime Network

 New Zealand

Sky Sports, TVNZ

 Russia

VIASAT

 United Kingdom

BT Sport, ESPN

 United States

Fox Soccer Plus

Worldwide

WatchAFL.com.au

text: Entertainment[edit]

text: As has become custom in recent grand finals, the 2017 AFL Grand Final featured both pre-match and post-match entertainment on the ground. Several weeks before the match, the AFL announced that American rock band The Killers would headline the entertainment line-up, and would be joined by prominent Australian football singer Mike Brady. Former Australian representative at Eurovision Dami Im sang the national anthem.[14][15] The Killers pre-match and post-match performance was praised highly by several news and entertainment outlets, some of whom described their sets as "the best ever" performed at the Grand Final.[16][17] Among others, the band played signatures songs Mr. Brightside, Somebody Told Me and When You Were Young, as well as newer song The Man and a cover of Midnight Oil's Forgotten Years.[18] The band also returned to the ground for a free concert following the game.

text: Skills events[edit]

text: Richmond's Connor Menadue won the Sprint event at halftime, with Jarrod Pickett of Carlton taking second and Josh Williams of North Melbourne taking third. Broadcast host Basil Zempilas was also the sprint host, while Collingwood's Scott Pendlebury was honorary starter.[19]

text: In the Longest Kick event on the Yarra sponsored by Foxtel, Melton South captain-coach and retired Carlton star Brendan Fevola won with a 66.1m kick, with retired Essendon champion Dustin Fletcher taking second and the Western Bulldogs' Matt Suckling taking third. Other competitors included AFLW stars Katie Brennan (Western Bulldogs) and Sarah Perkins (Adelaide) as well as wildcard entry James Pennycuick. Bounce hosts Jason Dunstall, Danny Frawley and Brian Lake presented the event, broadcast on Fox Footy.[20]

text: Match summary[edit]

text: Weather conditions[edit]

text: The Grand Final was played in cool, mostly cloudy conditions with light winds coming in from the southwest. Rain briefly fell at points during the second quarter but not enough to seriously influence the game.

text: First quarter[edit]

text: Adelaide started the game strongly, with Matt Crouch finding Rory Sloane who kicked the Crows' opener. Shortly afterwards, Nick Vlastuin slipped over near the Adelaide goal mouth and Eddie Betts kicked the Crows' second. Richmond full forward Jack Riewoldt missed a string of chances for goal, and it took until the 16-minute mark for the Tigers to score their first goal when Josh Caddy marked in the left forward pocket, ran round and converted. This was followed shortly after with a goal to Bachar Houli, which briefly gave Richmond the lead, before Sloane and Hugh Greenwood answered with crumbing majors for Adelaide to give the Crows a lead of 11 points at quarter-time.[21][22]

text: Second quarter[edit]

text: The Crows had the first two scoring shots of the second term – behinds to Betts and Tom Lynch– but Richmond dominated the rest of the quarter. Tigers' defender Alex Rance provided a pivotal moment three minutes into the term. With the Crows 13 points up and charging into attack, he effected a desperate diving spoil to deny Adelaide captain Taylor Walker on the lead at centre half-forward. Moments later, Riewoldt finally got on the board but he needed some sloppy defending from Adelaide, letting his kick bounce through with no one on the line and Jake Kelly's late lunge ruled ineffective by a score review. Jacob Townsend, who had not played a game in the senior team before round 22, was then awarded a free kick in a marking contest just inside the 50 metre arc, and he converted the set shot to put Richmond within two points. Then 19-year-old Jack Graham, the youngest player on the field, kicked Richmond's fifth deep in time on to put Richmond in front, and they never trailed from there. A minute later Martin pushed deep forward and orchestrated a mismatch against Luke Brown, marked and kicked the Tigers' fourth straight to put Richmond nine points up at half time.[23]

text: Third quarter[edit]

text: Richmond started the second half in the same manner as they left off in the second. Three minutes into the term, a free for a high tackle from Sloane saw Jack Graham kick his side's seventh. At the eight-minute mark, Shane Edwards managed to find an unguarded Shaun Grigg who converted a mark from 40 metres out. Ninety seconds later Grigg in turn passes to an open Kane Lambert full forward who snaps the Tigers' ninth and the lead was out to 28 points. At the 14-minute mark, Richmond's string of unbroken goals was finally halted at seven as Walker marked inside 50 and converted, the Crows' first major for a quarter and a half. But Graham soon answered with his third goal of the game. In time on, Martin took possession 25 metres out and fed the ball out to Jason Castagna, who snapped over his shoulder to effectively put the game beyond the reach of Adelaide, who trailed by 34 points at three quarter time.[22]

text: Final quarter[edit]

text: Adelaide needed a record-breaking comeback to win, but Richmond opened the quarter with even more pressure. Riewoldt opened the quarter with his second goal from a well-contested mark inside the forward 50, then Lambert took advantage of an opening in the field to run it full forward and then pass to Dion Prestia to finish. The Crows tried to make a game of it, kicking two goals in 90 seconds through Walker and Brad Crouch. But any last hope for Adelaide was snuffed out as Townsend intercepted a kick-in and converted the mark for his second goal, and then Dan Butler added another for the Tigers before Martin kicked his second during time on. Charlie Cameron scored a late consolation goal for Adelaide.[23]

text: Overall report[edit]

text: Richmond dominated the game after quarter time with a streak that included 11 of 12 goals. The Tigers smashed the Crows in contested possessions (170-140) and also won the clearances (45-39). Richmond kept Adelaide to their lowest score of the year and completely nullified a team that looked to have as potent an attack as seen in recent years, with the Crows kicking only four goals in the last three quarters and eight in the game.[21]

text: Norm Smith Medal[edit]

text: With 13 votes out of a maximum possible 15, Dustin Martin was awarded the Norm Smith Medal, becoming the first player in VFL/AFL history to win a premiership, the Brownlow Medal and the Norm Smith Medal in the same season. Bachar Houli was the runner-up with 10 votes, while no other player earned more than two votes. Three quarters of Martin's 29 disposals were contested, and he collected 6 clearances and two goals.[24][25]

text: 2000 winner James Hird was the presenter, which was notable since it was the Essendon champion's first center-stage AFL appearance since being hospitalized after a drug overdose in January. The voters and their choices were as follows:[26]

text:
Voter

3 Votes

2 Votes

1 Vote

Terry Wallace

Bachar Houli

Shane Edwards

Dustin Martin

Chris Judd

Dustin Martin

Bachar Houli

Jack Graham

Daisy Pearce

Dustin Martin

Bachar Houli

Dion Prestia

Jake Niall

Dustin Martin

Bachar Houli

Dion Prestia

Mark McClure

Dustin Martin

Alex Rance

Bachar Houli

text: Teams[edit]

text: The teams were announced on 28 September 2017. Both sides went into the match unchanged from their preliminary final teams.[27][28] Injured Adelaide forward Mitch McGovern failed to recover in time for selection, with Crows' coach Don Pyke ruling him out of contention on the Wednesday of grand final week.[29]

text:
Adelaide Crows

B:

29 Rory Laird

15 Kyle Hartigan

6 Jake Lever

HB:

11 Paul Seedsman

12 Daniel Talia

16 Luke Brown

C:

14 David Mackay

9 Rory Sloane

21 Rory Atkins

HF:

23 Charlie Cameron

4 Josh Jenkins

18 Eddie Betts

F:

27 Tom Lynch

13 Taylor Walker

26 Richard Douglas

Foll:

24 Sam Jacobs

2 Brad Crouch

44 Matt Crouch

Int:

3 Riley Knight

8 Jake Kelly

20 Hugh Greenwood

22 Andy Otten

Coach:

Don Pyke

Richmond Tigers

B:

5 Brandon Ellis

18 Alex Rance

2 Dylan Grimes

HB:

14 Bachar Houli

12 David Astbury

1 Nick Vlastuin

C:

33 Kamdyn McIntosh

9 Trent Cotchin

21 Jacob Townsend

HF:

23 Kane Lambert

4 Dustin Martin

22 Josh Caddy

F:

40 Dan Butler

8 Jack Riewoldt

17 Daniel Rioli

Foll:

25 Toby Nankervis

3 Dion Prestia

6 Shaun Grigg

Int:

10 Shane Edwards

34 Jack Graham

35 Nathan Broad

46 Jason Castagna

Coach:

Damien Hardwick

text: The umpiring panel, comprising three field umpires, four boundary umpires, two goal umpires and an emergency in each position is given below. All three field umpires, Matt Stevic, Simon Meredith and Shaun Ryan, had umpired in previous AFL grand finals.[30]

text:
2017 AFL Grand Final umpires

Position

Emergency

Field:

9 Matt Stevic (5)

21 Simon Meredith (5)

25 Shaun Ryan (6)

Brett Rosebury

Boundary:

Mitchell Lefevre (1)

Matthew Konetschka (1)

Rob Haala (4)

Damien Cusack (1)

Brett Dalgleish

Goal:

Luke Walker (7)

Adam Wojcik (4)

Matthew Dervan

text: Numbers in brackets represent the number of grand finals umpired, including 2017.

text: Scoreboard[edit]

text:
Grand Final

Saturday, 30 September (2:30 pm)

Adelaide

def. by

Richmond

MCG (crowd: 100,021)

Report

4.2 (26)4.7 (31)5.10 (40) 8.12 (60)

Q1Q2Q3 Final

2.3 (15)6.4 (40)11.8 (74) 16.12 (108)

Umpires: Matt Stevic, Simon Meredith, Shaun Ryan Norm Smith Medal: Dustin Martin Television broadcast: Seven Network National anthem: Dami Im

2: Sloane, Walker1: Betts, Cameron, B. Crouch, Greenwood

Goals

3: Graham2: Riewoldt, Martin, Townsend1: Houli, Prestia, Caddy, Butler, Castagna, Grigg, Lambert

M. Crouch, Jacobs, B. Crouch, Sloane, Laird

Best

Martin, Rance, Houli, Astbury, Prestia, Edwards, Graham, Grimes

Nil

Injuries

Rioli (ankle)

Nil

Reports

Nil

Richmond won their first premiership since 1980, breaking the club's longest premiership drought.
Dustin Martin became the first player in VFL/AFL player in history to win a premiership, the Brownlow Medal and the Norm Smith Medal in the same season.
For the first time since the inaugural Grand Final in 1898, no player from either team had played in a previous grand final.
Richmond set a record for the biggest improvement from one season to the next (13th in 2016 to 1st in 2017.)


document_title: Follow You (Bring Me the Horizon song)

question_text: bring me the horizon follow you song meaning

text: Follow You (Bring Me the Horizon song)

text: Background and release[edit]

text: Bring Me the Horizon vocalist Oliver Sykes and keyboardist Jordan Fish originally started writing "Follow You" at around the same time as they wrote "Drown", which was released as a single in 2014.[2] According to Sykes, the song's lyrics were based on his relationship with his wife during "a particular rough patch, when things weren't looking too good"; during a track-by-track commentary of the album for Spotify, he explained that the overarching message was that "no matter how bad being together can sometimes get, the alternative is just so much worse".[2]

text: "Follow You" was first revealed in a short teaser trailer, alongside another for That's the Spirit opening track "Doomed", on 28 August 2015.[3] Alternative Press writer Tom Bryant described it as "an emotional ballad littered with skittering electronics".[4] Andy Biddulph of Rock Sound described it as "a love song – or the closest thing to it that this band has ever written", and as a "cross between PVRIS and Linkin Park".[5] In a pre-release review of the album, Gigwise's Amy Gravelle noted that "Follow You" sees Sykes "pour[ing] out his heart in an emotional epilogue".[6] It is categorized as a pop rock song with hip hop influenced beats by Emmy Mack of Music Feeds.[7] On 26 February 2016, the track was released as a single in the form of a limited edition 7" vinyl.[8]

text: Music video[edit]

text: The music video for "Follow You" was premiered on 16 March 2016 via the band's Vevo channel.[9] Co-directed by Bring Me the Horizon frontman Oliver Sykes and Frank Borin, the video depicts a series of violent events described by a number of commentators as leading to the end of the world, including seemingly random acts of violence, murder, arson and property damage, as a young man listens to the song, dances and sings in the street, oblivious to the events around him.[10][11] Loudwire's Joe DiVita proposed that while the video was "brutally graphic" and "NSFW", this served as "the perfect juxtaposition" to the "somber and emotional song" to which it was the visual accompaniment.[11] Alternative Press writer Caitlyn Ralph merely described it as "intriguing".[12]

text: The video was noted by many critics for its graphic nature. Rock Sound writer Andy Biddulph, for example, described the video as "horrifying", noting that it contained "gore, death, guns and violence against animals".[13] Similarly, James Hingle of Kerrang! warned that it was "not for the faint-hearted".[14] Of particular contention was a scene in which a Golden Retriever is shot and killed by a mail carrier.[10] Fuse's Zach Dionne reacted to the video simply with the phrase "What the fuck", before berating it as "an immense misstep" by the band.[10] Emmy Mack of Music Feeds displayed shock at the video, describing it as "a gruesome, NSFW fucking bloodbath", although did praise the production by noting that "The whole thing is a god damn motherfucking horror movie. But at least it's a blockbuster one."[15] Bring Me the Horizon later responded to the controversy on Twitter, joking about the dog's fate.[10]

text: Reception[edit]

text: Commercial performance[edit]

text: "Follow You" entered the UK Rock & Metal Singles Chart at number six on 18 September 2015, following the release of That's the Spirit,[16] when it also registered on the main UK Singles Chart for a solitary week at number 95.[17] After moving up and down the top ten for a number of months, it later topped the UK Rock & Metal Singles Chart on 25 March 2016, replacing A Day to Remember's "Paranoia".[18] In the United States, the track reached number 34 on the Billboard Hot Rock Songs chart.[19]

text: Critical reception[edit]

text: Critical response to "Follow You" was generally positive. Bradley Zorgdrager of Exclaim! praised the song for "reigning in the force while remaining impactful", in contrast to much of the rest of the album which he criticised for sounding too similar to bands such as Thirty Seconds to Mars and Linkin Park.[20] MTV's Mike Pell described the song as "One of the tamer, more anthemic singles" from That's the Spirit.[21] Reviewing the album for DIY magazine, Sarah Jamieson identified "Follow You" as one of the album's tracks which sees Bring Me the Horizon "stepping further out of their comfort zone than ever before", describing it as "atmospheric".[22]

text: Track listing[edit]

text:
7" vinyl

No.
Title
Length

1.
"Follow You"
3:51

Total length:
3:51

text:
CD single

No.
Title
Length

1.
"Follow You"
3:51

2.
"Follow You" (instrumental)
3:51

Total length:
7:42

text: Chart positions[edit]

text:
Chart (2015)
Peak
position

UK Singles (OCC)[17]
95

UK Rock & Metal Singles (OCC)[18]
1

US Hot Rock Songs (Billboard)[19]
34


document_title: Land tenure

question_text: name the most common type of land tenure in australia

text: Land tenure

text: Feudal tenure[edit]

text: Historically in the system of feudalism, the lords who received land directly from the Crown were called tenants-in-chief. They doled out portions of their land to lesser tenants in exchange for services, who in turn divided it among even lesser tenants. This process—that of granting subordinate tenancies—is known as subinfeudation. In this way, all individuals except the monarch were said to hold the land "of" someone else.

text: Historically, it was usual for there to be reciprocal duties between lord and tenant. There were different kinds of tenure to fit various kinds of duties that a tenant might owe to a lord. For instance, a military tenure might be by knight-service, requiring the tenant to supply the lord with a number of armed horsemen. The concept of tenure has since evolved into other forms, such as leases and estates.

text: Modes of ownership and tenure[edit]

text: There is a great variety of modes of land ownership and tenure:

text:
Traditional land tenure. For example, most of the indigenous nations or tribes of North America had differing notions of land ownership. Whereas European land ownership centered around control, Indigenous notions were based on stewardship. When Europeans first came to North America, they sometimes disregarded traditional land tenure and simply seized land, or they accommodated traditional land tenure by recognizing it as aboriginal title. This theory formed the basis for treaties with indigenous peoples.
Ownership of land by swearing to make productive use of it. In several developing countries as Egypt, Senegal, … this method is still presently in use. In Senegal, it is mentioned as "mise en valeur des zones du terroir"[1] and in Egypt, it is called Wadaa al-yad.[2]
Allodial title, a system in which real property is owned absolutely free and clear of any superior landlord or sovereign. True allodial title is rare, with most property ownership in the common law world (Australia, Canada, Ireland, New Zealand, United Kingdom, United States) being in fee simple. Allodial title is inalienable, in that it may be conveyed, devised, gifted, or mortgaged by the owner, but it may not be distressed and restrained for collection of taxes or private debts, or condemned (eminent domain) by the government.
Feudal land tenure, a system of mutual obligations under which a royal or noble personage granted a fiefdom — some degree of interest in the use or revenues of a given parcel of land — in exchange for a claim on services such as military service or simply maintenance of the land in which the lord continued to have an interest. This pattern obtained from the level of high nobility as vassals of a monarch down to lesser nobility whose only vassals were their serfs.
Fee simple. Under common law, this is the most complete ownership interest one can have in real property, other than the rare Allodial title. The holder can typically freely sell or otherwise transfer that interest or use it to secure a mortgage loan. This picture of "complete ownership" is, of course, complicated by the obligation in most places to pay a property tax and by the fact that if the land is mortgaged, there will be a claim on it in the form of a lien. In modern societies, this is the most common form of land ownership. Land can also be owned by more than one party and there are various concurrent estate rules.
Native title. In Australia, native title is a common law concept that recognizes that some indigenous people have certain land rights that derive from their traditional laws and customs.[3] Native title can co-exist with non-indigenous proprietary rights and in some cases different indigenous groups can exercise their native title over the same land.
Life estate. Under common law, this is an interest in real property that ends at death. The holder has the use of the land for life, but typically no ability to transfer that interest or to use it to secure a mortgage loan.
Fee tail. Under common law, this is hereditary, non-transferable ownership of real property. A similar concept, the legitime, exists in civil and Roman law; the legitime limits the extent to which one may disinherit an heir.
Leasehold or rental. Under both common law and civil law, land may be leased or rented by its owner to another party; a wide range of arrangements are possible, ranging from very short terms to the 99-year leases common in the United Kingdom, and allowing various degrees of freedom in the use of the property.
Rights to use a common, which may include such rights as the use of a road or the right to graze one's animals on commonly owned land.
Sharecropping, under which one has use of agricultural land owned by another person in exchange for a share of the resulting crop or livestock.
Easements, which allow one to make certain specific uses of land that is owned by someone else. The most classic easement is right-of-way, but it could also include (for example) the right to run an electrical power line across someone else's land.

text: In addition, there are various forms of collective ownership, which typically take either the form of membership in a cooperative, or shares in a corporation, which owns the land (typically by fee simple, but possibly under other arrangements). There are also various hybrids; in many communist states, government ownership of most agricultural land has combined in various ways with tenure for farming collectives.

text: Land tenure in archaeology[edit]

text: In archaeology, traditions of land tenure can be studied according to territoriality and through the ways in which people create and utilize landscape boundaries, both natural and constructed. Less tangible aspects of tenure are harder to qualify, and study of these relies heavily on either the anthropological record (in the case of pre-literate societies) or textual evidence (in the case of literate societies).

text: In archaeology, land tenure traditions can be studied across the longue durée, for example land tenure based on kinship and collective property management. This makes it possible to study the long-term consequences of change and development in land tenure systems and agricultural productivity.

text: Moreover, an archaeological approach to land tenure arrangements studies the temporal aspects of land governance, including their sometimes temporary, impermanent and negotiable aspects as well as uses of past forms of tenure. For example, people can lay claim to, or profess to own resources, through reference to ancestral memory within society. In these cases, the nature of and relationships with aspects of the past, both tangible (e.g. monuments) and intangible (e.g. concepts of history through story telling) are used to legitimize the present.

text: Land tenure by country[edit]

text: This section needs expansion. You can help by adding to it. (November 2010)

text: Canada[edit]

text: China[edit]

text: All land in China is owned by the central government. Enterprises, farmers, and householders lease land from the state using long-term leases of 20 to 70 years.[4]

text: England and Wales[edit]

text: For land ownership in England and Wales see Land tenure in England, English land law and History of English land law.

text: Ireland[edit]

text: Land and Conveyancing Law Reform Bill, 2006[5]

text: Scotland[edit]

text:
crofting
aoghairean
half-foot

text: Angola[edit]

text: Land tenure in Angola

text: Importance of tenure today[edit]

text: Although the doctrine of tenure has little importance today, its influence still lingers in some areas.

text: The concepts of landlord and tenant have been recycled to refer to the modern relationship of the parties to land which is held under a lease. It has been pointed out by Professor F.H. Lawson in Introduction to the Laws of Property (1958), however, that the landlord-tenant relationship never really fitted in the feudal system and was rather an "alien commercial element".

text: The doctrine of tenure did not apply to personalty (personal property). However, the relationship of bailment in the case of chattels closely resembles the landlord-tenant relationship that can be created in land.

text: Secure land tenure also recognizes one's legal residential status in urban areas and it is a key characteristics of slum. Slum dwellers don't have legal title to the land and thus are usually marginalized and ignored by the local governments.[6]


document_title: Winnie-the-Pooh

question_text: when was the original winnie the pooh movie made

text: Winnie-the-Pooh

text: History

text: Origin

text: A. A. Milne named the character Winnie-the-Pooh after a teddy bear owned by his son, Christopher Robin Milne, who was the basis for the character Christopher Robin. The rest of Christopher Robin Milne's toys – Piglet, Eeyore, Kanga, Roo, and Tigger – were incorporated into Milne's stories.[2][3] Two more characters, Owl and Rabbit, were created by Milne's imagination, while Gopher was added to the Disney version. Christopher Robin's toy bear is on display at the Main Branch of the New York Public Library in New York City.[4]

text: Christopher Milne had named his toy bear after Winnie, a Canadian black bear he often saw at London Zoo, and "Pooh", a swan they had met while on holiday. The bear cub was purchased from a hunter for $20 by Canadian Lieutenant Harry Colebourn in White River, Ontario, Canada, while en route to England during the First World War.[5] He named the bear "Winnie" after his adopted hometown in Winnipeg, Manitoba. "Winnie" was surreptitiously brought to England with her owner, and gained unofficial recognition as The Fort Garry Horse regimental mascot. Colebourn left Winnie at the London Zoo while he and his unit were in France; after the war she was officially donated to the zoo, as she had become a much loved attraction there.[6] Pooh the swan appears as a character in its own right in When We Were Very Young.

text: In the first chapter of Winnie-the-Pooh, Milne offers this explanation of why Winnie-the-Pooh is often called simply "Pooh":

text: But his arms were so stiff ... they stayed up straight in the air for more than a week, and whenever a fly came and settled on his nose he had to blow it off. And I think – but I am not sure – that that is why he is always called Pooh.

text: The American writer William Safire surmised that the Milnes' invention of the name "Winnie the Pooh" may have also been influenced by the haughty character Pooh-Bah in Gilbert and Sullivan's The Mikado (1885).[7]

text: Ashdown Forest: the setting for the stories

text: The Winnie-the-Pooh stories are set in Ashdown Forest, East Sussex, England. The forest is a large area of tranquil open heathland on the highest sandy ridges of the High Weald Area of Outstanding Natural Beauty situated 30 miles (50 km) south of London. In 1925 Milne, a Londoner, bought a country home a mile to the north of the forest at Cotchford Farm, near Hartfield. According to Christopher Milne, while his father continued to live in London "...the four of us – he, his wife, his son and his son's nanny – would pile into a large blue, chauffeur-driven Fiat and travel down every Saturday morning and back again every Monday afternoon. And we would spend a whole glorious month there in the spring and two months in the summer."[8] From the front lawn the family had a view across a meadow to a line of alders that fringed the River Medway, beyond which the ground rose through more trees until finally "above them, in the faraway distance, crowning the view, was a bare hilltop. In the centre of this hilltop was a clump of pines." Most of his father's visits to the forest at this time were, he noted, family expeditions on foot "to make yet another attempt to count the pine trees on Gill's Lap or to search for the marsh gentian". Christopher added that, inspired by Ashdown Forest, his father had made it "the setting for two of his books, finishing the second little over three years after his arrival".[9]

text: Many locations in the stories can be linked to real places in and around the forest. As Christopher Milne wrote in his autobiography: "Pooh’s forest and Ashdown Forest are identical". For example, the fictional "Hundred Acre Wood" was in reality Five Hundred Acre Wood; Galleon's Leap was inspired by the prominent hilltop of Gill's Lap, while a clump of trees just north of Gill's Lap became Christopher Robin's The Enchanted Place because no-one had ever been able to count whether there were sixty-three or sixty-four trees in the circle.[10]

text: The landscapes depicted in E. H. Shepard's illustrations for the Winnie-the-Pooh books were directly inspired by the distinctive landscape of Ashdown Forest, with its high, open heathlands of heather, gorse, bracken and silver birch punctuated by hilltop clumps of pine trees. Many of Shepard's illustrations can be matched to actual views, allowing for a degree of artistic licence. Shepard's sketches of pine trees and other forest scenes are held at the Victoria and Albert Museum in London.[11]

text: The game of Poohsticks was originally played by Christopher Milne on a footbridge across a tributary of the River Medway in Posingford Wood, close to Cotchford Farm. The wooden bridge is now a tourist attraction, and it has become traditional to play the game there using sticks gathered in nearby woodland.[12][13] When the footbridge recently had to be replaced, the engineer designed a new structure based closely on the drawings of the bridge by Shepard in the books, which were somewhat different than the original structure.

text: First publication

text: Christopher Robin's teddy bear, Edward, made his character début in A. A. Milne's poem, "Teddy Bear", in the edition of 13 February 1924 of Punch, and the same poem was published in Milne's book of children's verse When We Were Very Young (6 November 1924).[14] Winnie-the-Pooh first appeared by name on 24 December 1925, in a Christmas story commissioned and published by the London newspaper The Evening News. It was illustrated by J. H. Dowd.[15]

text: The first collection of Pooh stories appeared in the book Winnie-the-Pooh. The Evening News Christmas story reappeared as the first chapter of the book. At the beginning, it explained that Pooh was in fact Christopher Robin's Edward Bear, who had been renamed by the boy. He was renamed after a black bear at London Zoo called Winnie who got her name from the fact that her owner had come from Winnipeg, Canada. The book was published in October 1926 by the publisher of Milne's earlier children's work, Methuen, in England, and E. P. Dutton in the United States.[16]

text: Character

text: In the Milne books, Pooh is naive and slow-witted, but he is also friendly, thoughtful, and steadfast. Although he and his friends agree that he "has no Brain", Pooh is occasionally acknowledged to have a clever idea, usually driven by common sense. These include riding in Christopher Robin's umbrella to rescue Piglet from a flood, discovering "the North Pole" by picking it up to help fish Roo out of the river, inventing the game of Poohsticks, and getting Eeyore out of the river by dropping a large rock on one side of him to wash him towards the bank.

text: Pooh is also a talented poet, and the stories are frequently punctuated by his poems and "hums." Although he is humble about his slow-wittedness, he is comfortable with his creative gifts. When Owl's house blows down in a storm, trapping Pooh and Piglet and Owl inside, Pooh encourages Piglet (the only one small enough to do so) to escape and rescue them all by promising that "a respectful Pooh song" will be written about Piglet's feat. Later, Pooh muses about the creative process as he composes the song.

text: Pooh is very fond of food, especially "hunny" but also condensed milk and other items. When he visits friends, his desire to be offered a snack is in conflict with the impoliteness of asking too directly. Though intending to give Eeyore a pot of honey for his birthday, Pooh cannot resist eating the honey on his way to deliver the present, and so instead gives Eeyore "a useful pot to put things in". When he and Piglet are lost in the forest during Rabbit's attempt to "unbounce" Tigger, Pooh finds his way home by following the "call" of the honeypots from his house. Pooh makes it a habit to have "a little something" around eleven o'clock in the morning. As the clock in his house "stopped at five minutes to eleven some weeks ago," any time can be Pooh's snack time.

text: Pooh is very social. After Christopher Robin, his closest friend is Piglet, and he most often chooses to spend his time with one or both of them. But he also habitually visits the other animals, often looking for a snack or an audience for his poetry as much as for companionship. His kind-heartedness means he goes out of his way to be friendly to Eeyore, visiting him and bringing him a birthday present and building him a house, despite receiving mostly disdain from Eeyore in return.

text: Sequel

text: An authorised sequel Return to the Hundred Acre Wood was published on 5 October 2009. The author, David Benedictus, has developed, but not changed, Milne's characterisations. The illustrations, by Mark Burgess, are in the style of Shepard.[17]

text: Another authorised sequel, The Best Bear in All the World, was published by Egmont in 2016. The sequel consists of four short stories by four leading children's authors, Kate Saunders, Brian Sibley, Paul Bright, and Jeanne Willis. Illustrations are by Mark Burgess.[18] The Best Bear in All The World sees the introduction of a new character, a Penguin, which was inspired by a long-lost photograph of Milne and his son Christopher with a toy penguin.[19] A further special story, Winnie-the-Pooh Meets the Queen, was published in 2016 to mark the 90th anniversary of Milne's creation and the 90th birthday of Elizabeth II. It sees Winnie the Pooh meet the Queen at Buckingham Palace.[20]

text: Stephen Slesinger

text: On 6 January 1930, Stephen Slesinger purchased US and Canadian merchandising, television, recording and other trade rights to the "Winnie-the-Pooh" works from Milne for a $1000 advance and 66% of Slesinger's income, creating the modern licensing industry. By November 1931, Pooh was a $50 million-a-year business.[21] Slesinger marketed Pooh and his friends for more than 30 years, creating the first Pooh doll, record, board game, puzzle, US radio broadcast (NBC), animation, and motion picture film.[22]

text: Red Shirt Pooh

text: The first time Pooh and his friends appeared in colour was 1932, when he was drawn by Slesinger in his now-familiar red shirt and featured on an RCA Victor picture record. Parker Brothers introduced A. A. Milne's Winnie-the-Pooh Game in 1933, again with Pooh in his red shirt. In the 1940s, Agnes Brush created the first plush dolls with Pooh in his red shirt. Shepard had drawn Pooh with a shirt as early as the first Winnie-The-Pooh book, which was subsequently coloured red in later coloured editions.

text: Disney ownership era (1966–present)

text: After Slesinger's death in 1953, his wife, Shirley Slesinger Lasswell, continued developing the character herself. In 1961, she licensed rights to Walt Disney Productions in exchange for royalties in the first of two agreements between Stephen Slesinger, Inc. and Disney.[23] The same year, A. A. Milne's widow, Daphne Milne, also licensed certain rights, including motion picture rights, to Disney.

text: Since 1966, Disney has released numerous animated productions starring Winnie the Pooh and related characters. These have included theatrical featurettes, television series, and direct-to-video films, as well as the theatrical feature-length films The Tigger Movie, Piglet's Big Movie, Pooh's Heffalump Movie, and Winnie the Pooh.

text: Merchandising revenue dispute

text: Pooh videos, soft toys, and other merchandise generate substantial annual revenues for Disney. The size of Pooh stuffed toys ranges from Beanie and miniature to human-sized. In addition to the stylised Disney Pooh, Disney markets Classic Pooh merchandise which more closely resembles E.H. Shepard's illustrations.

text: In 1991, Stephen Slesinger, Inc. filed a lawsuit against Disney which alleged that Disney had breached their 1983 agreement by again failing to accurately report revenue from Winnie the Pooh sales. Under this agreement, Disney was to retain approximately 98% of gross worldwide revenues while the remaining 2% was to be paid to Slesinger. In addition, the suit alleged that Disney had failed to pay required royalties on all commercial exploitation of the product name.[24] Though the Disney corporation was sanctioned by a judge for destroying forty boxes of evidential documents,[25] the suit was later terminated by another judge when it was discovered that Slesinger's investigator had rummaged through Disney's garbage to retrieve the discarded evidence.[26] Slesinger appealed the termination and, on 26 September 2007, a three-judge panel upheld the lawsuit dismissal.[27]

text: After the Copyright Term Extension Act of 1998, Clare Milne, Christopher Milne's daughter, attempted to terminate any future US copyrights for Stephen Slesinger, Inc.[28] After a series of legal hearings, Judge Florence-Marie Cooper of the US District Court in California found in favour of Stephen Slesinger, Inc., as did the United States Court of Appeals for the Ninth Circuit. On 26 June 2006, the US Supreme Court refused to hear the case, sustaining the ruling and ensuring the defeat of the suit.[29]

text: On 19 February 2007 Disney lost a court case in Los Angeles which ruled their "misguided claims" to dispute the licensing agreements with Slesinger, Inc. were unjustified,[30] but a federal ruling of 28 September 2009, again from Judge Florence-Marie Cooper, determined that the Slesinger family had granted all trademark and copyright rights to Disney, although Disney must pay royalties for all future use of the characters. Both parties have expressed satisfaction with the outcome.[31][32]

text: Adaptations

text: Theatre

text:
Winnie-the-Pooh at the Guild Theater, Sue Hastings Marionettes, 1931[33]
Winnie-the-Pooh, a play in three acts, dramatized by Kristin Sergel, Dramatic Publishing Company, 1957
Winnie-the-Pooh, a musical comedy in two acts, lyrics by A. A. Milne and Kristin Sergel, music by Allan Jay Friedman, book by Kristin Sergel, Dramatic Publishing Company, 1964
A Winnie-the-Pooh Christmas Tail, In Which Winnie-the-Pooh and His Friends Help Eeyore Have a Very Merry Christmas (Or a Very Happy Birthday.), book, music, and lyrics by James W. Rogers, Dramatic Publishing Company, 1977
"Bother! The Brain of Pooh", Peter Dennis, 1986
Winnie-the-Pooh, small cast musical version, dramatized by le Clanché du Rand, music by Allan Jay Friedman, lyrics by A. A. Milne and Kristin Sergel, additional lyrics by le Clanché du Rand, Dramatic Publishing Company, 1992

text: Audio

text: Selected Pooh stories read by Maurice Evans released on vinyl LP:

text:
Winnie-the-Pooh (consisting of three tracks: "Introducing Winnie-the-Pooh and Christopher Robin"; Pooh Goes Visiting and Gets into a Tight Place"; "Pooh and Piglet Go Hunting and Nearly Catch a Woozle") 1956
More Winnie-the-Pooh (consisting of three tracks: "Eeyore Loses a Tail"; "Piglet Meets a Heffalump"; "Eeyore Has a Birthday".)

text: In 1960 HMV recorded a dramatised version with songs (music by Harold Fraser-Simson) of two episodes from The House at Pooh Corner (Chapters 2 and 8), starring Ian Carmichael as Pooh, Denise Bryer as Christopher Robin (who also narrated), Hugh Lloyd as Tigger, Penny Morrell as Piglet, and Terry Norris as Eeyore. This was released on a 45 rpm EP.[34]

text: In the 1970s and 1980s, Carol Channing recorded Winnie the Pooh, The House at Pooh Corner and The Winnie the Pooh Songbook, with music by Don Heckman. These were released on vinyl LP and audio cassette by Caedmon Records.

text: Unabridged recordings read by Peter Dennis of the four Pooh books:

text:
When We Were Very Young
Winnie-the-Pooh
Now We Are Six
The House at Pooh Corner

text: In 1979 a double audio cassette set of "Winnie the Pooh" was produced featuring British actor Lionel Jeffries reading all characters in the stories. This was followed in 1981 by an audio cassette set of stories from "House at Pooh Corner" also read by Lionel Jeffries.[35]

text: In the 1990s, the stories were dramatised for audio by David Benedictus, with music composed, directed and played by John Gould. They were performed by a cast that included Stephen Fry as Winnie-the-Pooh, Jane Horrocks as Piglet, Geoffrey Palmer as Eeyore, and Judi Dench as Kanga.[36]

text: Radio

text:
Winnie-the-Pooh was broadcast by Donald Calthrop over all BBC stations on Christmas Day, 1925.[15]
Pooh made his US radio debut on 10 November 1932, when he was broadcast to 40,000 schools by The American School of the Air, the educational division of the Columbia Broadcasting System.[37]

text: Film

text: 2017: Goodbye Christopher Robin, a drama film exploring the creation of Winnie-the-Pooh by A.A. Milne.

text: Disney adaptations

text: Theatrical shorts

text:
1966: Winnie the Pooh and the Honey Tree
1968: Winnie the Pooh and the Blustery Day
1974: Winnie the Pooh and Tigger Too
1981: Winnie the Pooh Discovers the Seasons
1983: Winnie the Pooh and a Day for Eeyore

text: Theatrical feature films

text:
1977: The Many Adventures of Winnie the Pooh (compilation of Honey Tree, Blustery Day, and Tigger Too)
2000: The Tigger Movie
2003: Piglet's Big Movie
2005: Pooh's Heffalump Movie
2011: Winnie the Pooh
2018: Christopher Robin[38][39]

text: Soviet adaptation

text: In the Soviet Union, three Winnie-the-Pooh, (transcribed in Russian as "Vinni Pukh") (Russian language: Винни-Пух) stories were made into a celebrated trilogy[40] of short films by Soyuzmultfilm (directed by Fyodor Khitruk) from 1969 to 1972.

text:
Винни-Пух (Winnie-the-Pooh, 1969) – based on chapter 1
Винни-Пух идёт в гости (Winnie-the-Pooh Pays a Visit, 1971) – based on chapter 2
Винни-Пух и день забот (Winnie the Pooh and the Blustery Day, 1972) – based on chapters 4 and 6.

text: Films use Boris Zakhoder's translation of the book. Pooh was voiced by Yevgeny Leonov. Unlike the Disney adaptations, the animators did not base their depictions of the characters on Shepard's illustrations, creating a different look. The Soviet adaptations make extensive use of Milne's original text, and often bring out aspects of Milne's characters' personalities not used in the Disney adaptations.

text: Television

text: A version of Winnie The Pooh, in which the animals were played by marionettes designed, made and operated by Bil And Cora Baird, was presented on 3 October 1960, on NBC Television's The Shirley Temple Show. Pooh himself is voiced by Franz Fazakas.

text: During the 1970s the BBC children's television show Jackanory serialised the two books, which were read by Willie Rushton.[41]

text: Magical World of Winnie the Pooh (Note: These are episodes from The New Adventures of Winnie the Pooh)

text: Television shows

text:
Welcome to Pooh Corner (*) (Disney Channel, 1983–1986)
Mini Adventures of Winnie the Pooh (Disney Junior, 2011–2014[42])
The New Adventures of Winnie the Pooh (ABC, 1988–1991)
The Book of Pooh (*) (Disney Channel (Playhouse Disney), 2001–2003)
My Friends Tigger & Pooh (Disney Channel (Playhouse Disney), 2007–2010)

text: (*): Puppet/live-action show

text: Holiday TV specials

text:
1991: Winnie the Pooh and Christmas Too, included in A Very Merry Pooh Year
1996: Boo to You Too! Winnie the Pooh, included in Pooh's Heffalump Halloween Movie
1998: A Winnie the Pooh Thanksgiving, included in Seasons of Giving
1999: A Valentine for You

text: Direct-to-video shorts

text: 1990: Winnie the Pooh's ABC of Me

text: Direct-to-video features

text:
1997: Pooh's Grand Adventure: The Search for Christopher Robin
1999: Seasons of Giving*
2001: The Book of Pooh: Stories from the Heart
2002: A Very Merry Pooh Year*
2004: Springtime with Roo
2005: Pooh's Heffalump Halloween Movie
2007: Super Sleuth Christmas Movie
2009: Tigger & Pooh and a Musical Too
2010: Super Duper Super Sleuths

text: These features integrate stories from The New Adventures of Winnie the Pooh and/or holiday specials with new footage.

text: Special TV appearances

text: 1958: Shirley Temple's Storybook: Winnie-the-Pooh

text: Legacy

text: Winnie the Pooh has inspired multiple texts to explain complex philosophical ideas. Benjamin Hoff used Milne's characters in The Tao of Pooh and The Te of Piglet to explain Taoism. Similarly, Frederick Crews wrote essays about the Pooh books in abstruse academic jargon in The Pooh Perplex and Postmodern Pooh to satirise a range of philosophical approaches.[43] Pooh and the Philosophers by John T. Williams uses Winnie the Pooh as a backdrop to illustrate the works of philosophers including Descartes, Kant, Plato, and Nietzsche.[44]

text: One of the best known characters in British children's literature, a 2011 poll saw Winnie the Pooh voted onto the list of icons of England.[45] Forbes magazine ranked Pooh the most valuable fictional character in 2002, with merchandising products alone generating more than $5.9 billion that year.[46] In 2005, Pooh generated $6 billion, a figure surpassed by only Mickey Mouse.[47] In 2006, Pooh received a star on the Hollywood Walk of Fame, marking the 80th birthday of Milne's creation.[47] The bear is such a popular character in Poland that a Warsaw street is named for him, Ulica Kubusia Puchatka. There is also a street named after him in Budapest (Micimackó utca).[48]

text: In music, Kenny Loggins wrote the song "House at Pooh Corner", which was originally recorded by the Nitty Gritty Dirt Band.[49] Loggins later rewrote the song as "Return to Pooh Corner", featuring on the album of the same name in 1991. In Italy, a pop band took their name from Winnie, and were titled Pooh. In Estonia there is a punk/metal band called Winny Puhh.

text: In the "sport" of Poohsticks, competitors drop sticks into a stream from a bridge and then wait to see whose stick will cross the finish line first. Though it began as a game played by Pooh and his friends in the book The House at Pooh Corner and later in the films, it has crossed over into the real world: a World Championship Poohsticks race takes place in Oxfordshire each year. Ashdown Forest in England where the Pooh stories are set is a popular tourist attraction, and includes the wooden Pooh Bridge where Pooh and Piglet invented Poohsticks.[50] The Oxford University Winnie the Pooh Society was founded by undergraduates in 1982.

text: In the Peoples Republic of China, images of Pooh were censored in mid-2017 from social media websites, when internet memes comparing Chinese president Xi Jinping to Pooh became popular.[51]