document_title: Smurfs: The Lost Village

question_text: who plays clumsy in smurfs the lost village

text: Smurfs: The Lost Village

text: Plot[edit]

text: In Smurf Village, the Smurfs live peacefully among themselves and their leader is Papa Smurf. Some of the Smurfs include Clumsy Smurf, Brainy Smurf, Hefty Smurf and Smurfette, who was created by Gargamel from a lump of clay, but redeemed by Papa Smurf and became part of the village. Gargamel makes it his mission to capture the Smurfs, steal all of their essence, and become the most powerful wizard in the world.

text: After Smurfette accidentally breaks an invention by Brainy, she sees a blue creature hidden by a leaf and follows it straight into the Forbidden Forest, believing the creature to be a Smurf. She loses sight of the creature but discovers a hat was dropped by the possible Smurf. Smurfette ends up being captured by Gargamel and at his castle, she ends up inadvertently revealing the hat, enabling Gargamel to mix up a brew that causes him to locate the village on a map. Soon enough Hefty, Brainy, and Clumsy help Smurfette escape and return to Smurf Village, where Papa Smurf punishes them for disobeying his orders and confines them to their houses while dismissing their claims of a lost village filled with Smurfs.

text: Smurfette sneaks out into the night to look for the lost village, however, and Brainy, Clumsy, and Hefty volunteer to come with her. Smurfette agrees to let them join her and together the four enter the Forbidden Forest. Gargamel soon discovers them trying to find the lost village and heads out with Azrael and Monty to stop them.

text: The four follow the map and end up in various adventures, all while encountering bizarre creatures; the four encounter a colony of fire-breathing dragonflies, where Gargamel follows them and tries to have them killed by having the dragonflies attack them. Smurfette, Brainy, Hefty and Clumsy survive, but then end up getting lost in a maze of caverns, where they eventually get out thanks to a stampede of glow-in-the-dark rabbits. The four then head off to a river and sail on a handmade raft along the river to get to the lost village, but then they encounter Gargamel, Azrael, and Monty again. Following a brief chase, Gargamel is thrown out of his own raft, so Hefty and Smurfette convince the others to help save him. They do so, but instead of thanking them, he pushes them out of their raft, leaving them to plunge down a waterfall.

text: Meanwhile, back at Smurf Village, Papa Smurf tries to reconcile with Smurfette over his actions on the previous night but soon discovers she, Brainy, Hefty, and Clumsy are gone, so he sets out to find them and set things right with them. The four are soon captured by the leaf-covered creature along with a few others who reveal themselves to be female Smurfs. They are taken to Smurfy Grove where they meet Smurf Willow, Smurf Storm, Smurf Blossom, Smurf Lily and Smurf Melody, who all welcome the Smurfs to their humble home. Smurf Storm and Clumsy head away from the village to locate Gargamel and alert the others. During the trip, Clumsy reveals that Smurfette was created by Gargamel, which causes Smurf Storm to distrust Smurfette. Gargamel, who was led into a piranha-infested swamp, spots Clumsy and Smurf Storm, and has Monty attack them, but they fly away to return to the village.

text: After a while of showing them what they do, Smurf Storm and Clumsy come back with her telling Smurfette was created by Gargamel. The female Smurfs prepare an attack that night but instead of Gargamel, Papa Smurf appears, and the female Smurfs accept him into their home. Soon, Gargamel comes and destroys Smurfy Grove, capturing all the Smurfs, with the exception of Smurfette, who is now alone, feeling heartbroken for her actions. However, Snappy shows her a picture of her and the others, and realizing she is not a real Smurf, heads back to Gargamel's lair to save the Smurfs.

text: At Gargamel's lair, Brainy makes a plan to escape. Papa Smurf hears their plan and he and Smurf Willow decide to help them. Hefty, Brainy, Clumsy, and some of the female Smurfs succeed at the plan until Gargamel and Azrael spot them and put some of the female Smurfs and Clumsy into his Smurfilator, a machine capable of extracting their essence. Smurfette appears, tricking Gargamel into believing she wants to be an evil smurf again. When Gargamel tries to turn Smurfette into an evil smurf, he realizes Smurfette is absorbing his magic powers instead. Gargamel, Azrael, and Monty are sent flying back into the piranha-infested lake. The Smurfs are freed but despite their victory, Smurfette has reverted back to a lifeless lump of clay.

text: Back at Smurf Village, all the Smurfs mourn the loss of Smurfette. Their energy and love for Smurfette revives her, and everybody happily celebrates. Smurf Village and Smurfy Grove rejoice in their new unity; in the end, Smurfette finally finds her purpose and becomes most of all, a true-blue Smurf.

text: Voice cast[edit]

text:
Demi Lovato as Smurfette,[10] a girl smurf who was created by the wizard Gargamel. She is adored by the male Smurfs and is curious about her purpose in the village.
Rainn Wilson as Gargamel,[10] an evil wizard who seeks to find the Smurfs and steal their magic in order to become the greatest wizard in the world.
Mandy Patinkin as Papa Smurf,[11] the fatherly Smurf chief leader of Smurf Village and Smurf Willow's former arch-rival. Patinkin also narrates the film.
Joe Manganiello as Hefty Smurf,[12] a strong Smurf who has a crush on Smurfette.
Jack McBrayer as Clumsy Smurf,[12] an accident-prone Smurf.
Danny Pudi as Brainy Smurf,[12] a nerdy, book-smart Smurf.
Julia Roberts as Smurf Willow,[1] the motherly Smurf leader of Smurfy Grove and Papa Smurf's love interest.
Michelle Rodriguez as Smurf Storm,[1] a tough female Smurf who doesn't trust Smurfette.
Ellie Kemper as Smurf Blossom,[1] an energetic girl Smurf who quickly befriends Smurfette.
Ariel Winter as Smurf Lily,[1] a gentle girl Smurf.
Meghan Trainor as Smurf Melody,[13] a musical girl Smurf.
Jake Johnson as Grouchy Smurf,[1] a Smurf who is always grouchy.
Gordon Ramsay as Baker Smurf,[1] a Smurf who bakes cakes.
Tituss Burgess as Vanity Smurf,[1] a Smurf who is obsessed with his looks.
Gabriel Iglesias as Jokey Smurf,[14][1] a Smurf that plays pranks on others.
Jeff Dunham as Farmer Smurf,[1] a Smurf who is a farmer.
Kelly Asbury as Nosey Smurf,[1] a Smurf who peeks in on private activities.
Alan Mechem as Passerby Smurf
Patrick Ballin as Patient Smurf, who is seen in a session with the silent Therapist Smurf, and Frank the Caterpillar, who works as a masseuse in Smurfy Grove.
Bret Marnell as Snappy Bug,[1] Brainy's ladybug assistant.
Melissa Sturm as Smurf Jade, a female Smurf.
Frank Welker as Azrael, Gargamel's pet cat.
Dee Bradley Baker as Monty, Gargamel's pet vulture.

text: Production[edit]

text: Development[edit]

text: On May 10, 2012, just two weeks after they announced production of The Smurfs 2, Columbia Pictures and Sony Pictures Animation were already developing a script for The Smurfs 3 with scribes Karey Kirkpatrick and Chris Poche.[15] Hank Azaria, who played Gargamel in the first two films, revealed that the third film "might actually deal with the genuine origin of how all these characters ran into each other way back when."[16] It was later confirmed that plans for a second sequel had been folded, with a completely computer-animated reboot being produced instead.[17]

text: Kelly Asbury was confirmed to have been hired to direct the film in March 2014.[17] The plotline was also revealed with the film exploring the origins of the Smurfs, and also the news that the film would feature a new take on the characters, with designs and environments more closely following the artwork created by Peyo, the creator of the Smurfs franchise.[17]

text: Jordan Kerner was hired as producer, with Mary Ellen Bauder co-producing; Asbury was already confirmed as the film's director.[11] On June 14, 2015, Sony Pictures Animation confirmed the original title of Get Smurfy, along with a first look at the film.[10][18] On February 12, 2016, it was confirmed that the film had been retitled to Smurfs: The Lost Village.[19]

text: Casting[edit]

text: On January 16, 2015, Mandy Patinkin was added to the cast of the animated adventure film to voice Papa Smurf, who was previously voiced by Jonathan Winters in the live-action/CGI films.[11] On June 14, 2015, Demi Lovato was revealed as the voice of Smurfette, and Rainn Wilson as Gargamel.[10] Since the release of The Smurfs 2 in 2013, two of the Smurfs voice actors from the previous franchise had died, Jonathan Winters[20] who voiced Papa Smurf, and Anton Yelchin, who voiced Clumsy Smurf.[21]

text: Music[edit]

text: In October 2016, it was confirmed that Christopher Lennertz would be composing the score for the film.[2] In December 2016, it was reported that singer Meghan Trainor had recorded a song for the film titled "I'm a Lady", which was released as a single.[22]

text: Release[edit]

text: The film was initially set for release on August 14, 2015,[23] but on May 1, 2014, the reboot film's release date was pushed back to August 5, 2016.[24] In March 2015, the release date was again pushed back to March 31, 2017.[25] In March 2016, the release date was pushed back to April 7, 2017.[26]

text: Home media[edit]

text: Smurfs: The Lost Village was released on Blu-ray and DVD on July 11, 2017 by Sony Pictures Home Entertainment.[27] The film debuted in second place on the Top 20 NPD VideoScan First Alert chart, behind The Fate of the Furious.[28]

text: Reception[edit]

text: Box office[edit]

text: Smurfs: The Lost Village grossed $45 million in the United States and Canada and $152.2 million in other territories for a worldwide gross of $197.2 million, against a production budget of $60 million.[6]

text: In North America, the film opened alongside Going in Style and The Case for Christ and was projected to gross around $16–20 million in the opening weekend from 3,602 theaters.[5][29] It ended up opening to $13.2 million, marking the lowest debut of the Smurfs franchise and finishing 3rd at the box office.[30]

text: Critical response[edit]

text: Smurfs: The Lost Village received mixed reviews from critics.[31] On Rotten Tomatoes, the film has an approval rating of 38% based on 80 reviews, and an average rating of 4.8/10. The site's critical consensus reads, "Smurfs: The Lost Village may satisfy very young viewers and hardcore Smurfaholics, but its predictable story and bland animation continue the franchise's recent mediocre streak."[32] On Metacritic, which assigns a normalized rating, the film has a score 40 out of 100, based on 25 critics, indicating "mixed or average reviews".[33] Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale, an improvement over the "A–" score earned by both previous Smurfs films.[34]

text: Alonzo Duralde of TheWrap gave the film a positive review and wrote: "It's significant that two female writers have taken a character who's mainly just existed to be cute and seductive and turned her into a full-fledged member of this universe."[35] Owen Glieberman of Variety said "It's a pure digital fantasy, with elegant and tactile animation, so it's more true to the Smurf spirit, and should perform solidly."[7]

text: Frank Scheck of The Hollywood Reporter gave the film a mixed review, saying "Smurfs: The Lost Village is a mediocre effort that nonetheless succeeds in its main goal of keeping its blue characters alive for future merchandising purposes."[3]


document_title: Hoover Dam

question_text: who authorized the construction of the boulder dam

root

text: Hoover Dam

text: Background[edit]

text: Search for resources[edit]

text: As the United States developed the Southwest, the Colorado River was seen as a potential source of irrigation water. An initial attempt at diverting the river for irrigation purposes occurred in the late 1890s, when land speculator William Beatty built the Alamo Canal just north of the Mexican border; the canal dipped into Mexico before running to a desolate area Beatty named the Imperial Valley.[7] Though water from the Imperial Canal allowed for the widespread settlement of the valley, the canal proved expensive to maintain. After a catastrophic breach that caused the Colorado River to fill the Salton Sea,[8] the Southern Pacific Railroad spent $3 million in 1906–07 to stabilize the waterway, an amount it hoped vainly would be reimbursed by the Federal Government. Even after the waterway was stabilized, it proved unsatisfactory because of constant disputes with landowners on the Mexican side of the border.[9]

tag: p

text: As the technology of electric power transmission improved, the Lower Colorado was considered for its hydroelectric-power potential. In 1902, the Edison Electric Company of Los Angeles surveyed the river in the hope of building a 40-foot (12 m) rock dam which could generate 10,000 horsepower (7,500 kW). However, at the time, the limit of transmission of electric power was 80 miles (130 km), and there were few customers (mostly mines) within that limit. Edison allowed land options it held on the river to lapse—including an option for what became the site of Hoover Dam.[10]

text: In the following years, the Bureau of Reclamation (BOR), known as the Reclamation Service at the time, also considered the Lower Colorado as the site for a dam. Service chief Arthur Powell Davis proposed using dynamite to collapse the walls of Boulder Canyon,[11] 20 miles (32 km) north of the eventual dam site, into the river.[12] The river would carry off the smaller pieces of debris, and a dam would be built incorporating the remaining rubble. In 1922, after considering it for several years, the Reclamation Service finally rejected the proposal, citing doubts about the unproven technique and questions as to whether it would in fact save money.[11]

text: Planning and agreements[edit]

text: In 1922, the Reclamation Service presented a report calling for the development of a dam on the Colorado River for flood control and electric power generation. The report was principally authored by Davis, and was called the Fall-Davis report after Interior Secretary Albert Fall. The Fall-Davis report cited use of the Colorado River as a federal concern, because the river's basin covered several states, and the river eventually entered Mexico.[13] Though the Fall-Davis report called for a dam "at or near Boulder Canyon", the Reclamation Service (which was renamed the Bureau of Reclamation the following year) found that canyon unsuitable.[14] One potential site at Boulder Canyon was bisected by a geologic fault; two others were so narrow there was no space for a construction camp at the bottom of the canyon[14] or for a spillway. The Service investigated Black Canyon and found it ideal; a railway could be laid from the railhead in Las Vegas to the top of the dam site.[15] Despite the site change, the dam project was referred to as the "Boulder Canyon Project".[16]

text: With little guidance on water allocation from the Supreme Court, proponents of the dam feared endless litigation. A Colorado attorney proposed that the seven states which fell within the river's basin (California, Nevada, Arizona, Utah, New Mexico, Colorado and Wyoming) form an interstate compact, with the approval of Congress. Such compacts were authorized by Article I of the United States Constitution but had never been concluded among more than two states. In 1922, representatives of seven states met with then-Secretary of Commerce Herbert Hoover.[17] Initial talks produced no result, but when the Supreme Court handed down the Wyoming v. Colorado decision undermining the claims of the upstream states, they became anxious to reach an agreement. The resulting Colorado River Compact was signed on November 24, 1922.[18]

text: Legislation to authorize the dam was introduced repeatedly by two California Republicans, Representative Phil Swing and Senator Hiram Johnson, but representatives from other parts of the country considered the project as hugely expensive and one that would mostly benefit California. The 1927 Mississippi flood made Midwestern and Southern congressmen and senators more sympathetic toward the dam project. On March 12, 1928, the failure of the St. Francis Dam, constructed by the city of Los Angeles, caused a disastrous flood that killed up to 600 people. As that dam was a curved-gravity type,[19] similar in design to the arch-gravity as was proposed for the Black Canyon dam, opponents claimed that the Black Canyon dam's safety could not be guaranteed. Congress authorized a board of engineers to review plans for the proposed dam. The Colorado River Board found the project feasible, but warned that should the dam fail, every downstream Colorado River community would be destroyed, and that the river might change course and empty into the Salton Sea. The Board cautioned: "To avoid such possibilities, the proposed dam should be constructed on conservative if not ultra-conservative lines."[20]

text: On December 21, 1928 President Coolidge signed the bill authorizing the dam.[21] The Boulder Canyon Project Act appropriated $165 million for the Hoover Dam along with the downstream Imperial Dam and All-American Canal, a replacement for Beatty's canal entirely on the U.S. side of the border.[22] It also permitted the compact to go into effect when at least six of the seven states approved it. This occurred on March 6, 1929 with Utah's ratification; Arizona did not approve it until 1944.[23]

text: Design, preparation and contracting[edit]

text: Even before Congress approved the Boulder Canyon Project, the Bureau of Reclamation was considering what kind of dam should be used. Officials eventually decided on a massive concrete arch-gravity dam, the design of which was overseen by the Bureau's chief design engineer John L. Savage. The monolithic dam would be thick at the bottom and thin near the top, and would present a convex face towards the water above the dam. The curving arch of the dam would transmit the water's force into the abutments, in this case the rock walls of the canyon. The wedge-shaped dam would be 660 ft (200 m) thick at the bottom, narrowing to 45 ft (14 m) at the top, leaving room for a highway connecting Nevada and Arizona.[24]

text: On January 10, 1931, the Bureau made the bid documents available to interested parties, at five dollars a copy. The government was to provide the materials; but the contractor was to prepare the site and build the dam. The dam was described in minute detail, covering 100 pages of text and 76 drawings. A $2 million bid bond was to accompany each bid; the winner would have to post a $5 million performance bond. The contractor had seven years to build the dam, or penalties would ensue.[25]

text: The Wattis Brothers, heads of the Utah Construction Company, were interested in bidding on the project, but lacked the money for the performance bond. They lacked sufficient resources even in combination with their longtime partners, Morrison-Knudsen, which employed the nation's leading dam builder, Frank Crowe. They formed a joint venture to bid for the project with Pacific Bridge Company of Portland, Oregon; Henry J. Kaiser & W. A. Bechtel Company of San Francisco; MacDonald & Kahn Ltd. of Los Angeles; and the J.F. Shea Company of Portland, Oregon.[26] The joint venture was called Six Companies, Inc. as Bechtel and Kaiser were considered one company for purposes of 6 in the name. The name was descriptive and was an inside joke among the San Franciscans in the bid, where "Six Companies" was also a Chinese benevolent association in the city.[27] There were three valid bids, and Six Companies' bid of $48,890,955 was the lowest, within $24,000 of the confidential government estimate of what the dam would cost to build, and five million dollars less than the next-lowest bid.[28]

text: The city of Las Vegas had lobbied hard to be the headquarters for the dam construction, closing its many speakeasies when the decision maker, Secretary of the Interior Ray Wilbur came to town. Instead, Wilbur announced in early 1930 that a model city was to be built in the desert near the dam site. This town became known as Boulder City, Nevada. Construction of a rail line joining Las Vegas and the dam site began in September 1930.[29]

text: Construction[edit]

text: Labor force[edit]

text: Soon after the dam was authorized, increasing numbers of unemployed people converged on southern Nevada. Las Vegas, then a small city of some 5,000, saw between 10,000 and 20,000 unemployed descend on it.[30] A government camp was established for surveyors and other personnel near the dam site; this soon became surrounded by a squatters' camp. Known as McKeeversville, the camp was home to men hoping for work on the project, together with their families.[31] Another camp, on the flats along the Colorado River, was officially called Williamsville, but was known to its inhabitants as "Ragtown".[32] When construction began, Six Companies hired large numbers of workers, with more than 3,000 on the payroll by 1932[33] and with employment peaking at 5,251 in July 1934.[34] "Mongolian" (Chinese) labor was prevented by the construction contract,[34] while the number of blacks employed by Six Companies never exceeded thirty, mostly lowest-pay-scale laborers in a segregated crew, who were issued separate water buckets.[35]

text: As part of the contract, Six Companies, Inc. was to build Boulder City to house the workers. The original timetable called for Boulder City to be built before the dam project began, but President Hoover ordered work on the dam to begin in March 1931 rather than in October.[36] The company built bunkhouses, attached to the canyon wall, to house 480 single men at what became known as River Camp. Workers with families were left to provide their own accommodations until Boulder City could be completed,[37] and many lived in Ragtown.[38] The site of Hoover Dam endures extremely hot weather, and the summer of 1931 was especially torrid, with the daytime high averaging 119.9 °F (48.8 °C).[39] Sixteen workers and other riverbank residents died of heat prostration between June 25 and July 26, 1931.[40]

text: The Industrial Workers of the World (IWW or "Wobblies"), though much-reduced from their heyday as militant labor organizers in the early years of the century, hoped to unionize the Six Companies workers by capitalizing on their discontent. They sent eleven organizers,[41] several of whom were arrested by Las Vegas police.[42] On August 7, 1931, the company cut wages for all tunnel workers. Although the workers sent away the organizers, not wanting to be associated with the "Wobblies", they formed a committee to represent them with the company. The committee drew up a list of demands that evening and presented them to Crowe the following morning. He was noncommittal. The workers hoped that Crowe, the general superintendent of the job, would be sympathetic; instead he gave a scathing interview to a newspaper, describing the workers as "malcontents".[43]

text: On the morning of the 9th, Crowe met with the committee and told them that management refused their demands, was stopping all work, and was laying off the entire work force, except for a few office workers and carpenters. The workers were given until 5 p.m. to vacate the premises. Concerned that a violent confrontation was imminent, most workers took their paychecks and left for Las Vegas to await developments.[44] Two days later, the remainder were talked into leaving by law enforcement. On August 13, the company began hiring workers again, and two days later, the strike was called off.[45] While the workers received none of their demands, the company guaranteed there would be no further reductions in wages. Living conditions began to improve as the first residents moved into Boulder City in late 1931.[46]

text: A second labor action took place in July 1935, as construction on the dam wound down. When a Six Companies manager altered working times to force workers to take lunch on their own time, workers responded with a strike. Emboldened by Crowe's reversal of the lunch decree, workers raised their demands to include a $1-per-day raise. The company agreed to ask the Federal government to supplement the pay, but no money was forthcoming from Washington. The strike ended.[47]

text: River diversion[edit]

text: Before the dam could be built, the Colorado River needed to be diverted away from the construction site. To accomplish this, four diversion tunnels were driven through the canyon walls, two on the Nevada side and two on the Arizona side. These tunnels were 56 ft (17 m) in diameter.[48] Their combined length was nearly 16,000 ft, or more than 3 miles (5 km).[49] The contract required these tunnels to be completed by October 1, 1933, with a $3,000-per-day fine to be assessed for any delay. To meet the deadline, Six Companies had to complete work by early 1933, since only in late fall and winter was the water level in the river low enough to safely divert.[50]

text: Tunneling began at the lower portals of the Nevada tunnels in May 1931. Shortly afterward, work began on two similar tunnels in the Arizona canyon wall. In March 1932, work began on lining the tunnels with concrete. First the base, or invert, was poured. Gantry cranes, running on rails through the entire length of each tunnel were used to place the concrete. The sidewalls were poured next. Movable sections of steel forms were used for the sidewalls. Finally, using pneumatic guns, the overheads were filled in. The concrete lining is 3 feet (1 m) thick, reducing the finished tunnel diameter to 50 ft (15 m).[49] The river was diverted into the two Arizona tunnels on November 13, 1932; the Nevada tunnels were kept in reserve for high water. This was done by exploding a temporary cofferdam protecting the Arizona tunnels while at the same time dumping rubble into the river until its natural course was blocked.[51]

text: Following the completion of the dam, the entrances to the two outer diversion tunnels were sealed at the opening and halfway through the tunnels with large concrete plugs. The downstream halves of the tunnels following the inner plugs are now the main bodies of the spillway tunnels.[49] The inner diversion tunnels were plugged at approximately one-third of their length, beyond which they now carry steel pipes connecting the intake towers to the power plant and outlet works.[48] The inner tunnels' outlets are equipped with gates that can be closed to drain the tunnels for maintenance.[48]

text: Groundworks, rock clearance and grout curtain[edit]

text: To protect the construction site from the Colorado River and to facilitate the river's diversion, two cofferdams were constructed. Work on the upper cofferdam began in September 1932, even though the river had not yet been diverted.[52] The cofferdams were designed to protect against the possibility of the river flooding a site at which two thousand men might be at work, and their specifications were covered in the bid documents in nearly as much detail as the dam itself. The upper cofferdam was 96 ft (29 m) high, and 750 feet (230 m) thick at its base, thicker than the dam itself. It contained 650,000 cubic yards (500,000 m3) of material.[53]

text: When the cofferdams were in place and the construction site was drained of water, excavation for the dam foundation began. For the dam to rest on solid rock, it was necessary to remove accumulated erosion soils and other loose materials in the riverbed until sound bedrock was reached. Work on the foundation excavations was completed in June 1933. During this excavation, approximately 1,500,000 cu yd (1,100,000 m3) of material was removed. Since the dam was an arch-gravity type, the side-walls of the canyon would bear the force of the impounded lake. Therefore, the side-walls were excavated too, to reach virgin rock as weathered rock might provide pathways for water seepage.[52] Shovels for the excavation came from the Marion Power Shovel Company. [54]

text: The men who removed this rock were called "high scalers". While suspended from the top of the canyon with ropes, the high-scalers climbed down the canyon walls and removed the loose rock with jackhammers and dynamite. Falling objects were the most common cause of death on the dam site; the high scalers' work thus helped ensure worker safety.[55] One high scaler was able to save life in a more direct manner: when a government inspector lost his grip on a safety line and began tumbling down a slope towards almost certain death, a high scaler was able to intercept him and pull him into the air. The construction site had, even then, become a magnet for tourists; the high scalers were prime attractions and showed off for the watchers. The high scalers received considerable media attention, with one worker dubbed the "Human Pendulum" for swinging co-workers (and, at other times, cases of dynamite) across the canyon.[56] To protect themselves against falling objects, some high scalers took cloth hats and dipped them in tar, allowing them to harden. When workers wearing such headgear were struck hard enough to inflict broken jaws, they sustained no skull damage, Six Companies ordered thousands of what initially were called "hard boiled hats" (later "hard hats") and strongly encouraged their use.[57]

text: The cleared, underlying rock foundation of the dam site was reinforced with grout, called a grout curtain. Holes were driven into the walls and base of the canyon, as deep as 150 feet (46 m) into the rock, and any cavities encountered were to be filled with grout. This was done to stabilize the rock, to prevent water from seeping past the dam through the canyon rock, and to limit "uplift"—upward pressure from water seeping under the dam. The workers were under severe time constraints due to the beginning of the concrete pour, and when they encountered hot springs or cavities too large to readily fill, they moved on without resolving the problem. A total of 58 of the 393 holes were incompletely filled.[58] After the dam was completed and the lake began to fill, large numbers of significant leaks into the dam caused the Bureau of Reclamation to look into the situation. It found that the work had been incompletely done, and was based on less than a full understanding of the canyon's geology. New holes were drilled from inspection galleries inside the dam into the surrounding bedrock.[59] It took nine years (1938–47) under relative secrecy to complete the supplemental grout curtain.[60]

text: Concrete[edit]

text: The first concrete was poured into the dam on June 6, 1933, 18 months ahead of schedule.[61] Since concrete heats and contracts as it cures, the potential for uneven cooling and contraction of the concrete posed a serious problem. Bureau of Reclamation engineers calculated that if the dam was built in a single continuous pour, the concrete would take 125 years to cool, and the resulting stresses would cause the dam to crack and crumble. Instead, the ground where the dam would rise was marked with rectangles, and concrete blocks in columns were poured, some as large as 50 ft square (15 m) and 5 feet (1.5 m) high.[62] Each five-foot form contained a series of 1-inch (25 mm) steel pipes; cool riverwater would be poured through the pipes, followed by ice-cold water from a refrigeration plant. When an individual block had cured and had stopped contracting, the pipes were filled with grout. Grout was also used to fill the hairline spaces between columns, which were grooved to increase the strength of the joins.[63]

text: The concrete was delivered in huge steel buckets 7 feet high (2.1 m) and almost 7 feet in diameter; Crowe was awarded two patents for their design. These buckets, which weighed 20 short tons (18 t) when full, were filled at two massive concrete plants on the Nevada side, and were delivered to the site in special railcars. The buckets were then suspended from aerial cableways, which were used to deliver the bucket to a specific column. As the required grade of aggregate in the concrete differed depending on placement in the dam (from pea-sized gravel to 9-inch or 23 cm stones), it was vital that the bucket be maneuvered to the proper column. When the bottom of the bucket opened up, disgorging 8 cu yd (6.1 m3) of concrete, a team of men worked it throughout the form. Although there are myths that men were caught in the pour and are entombed in the dam to this day, each bucket only deepened the concrete in a form by an inch, and Six Companies engineers would not have permitted a flaw caused by the presence of a human body.[64]

text: A total of 3,250,000 cubic yards (2,480,000 cubic metres) of concrete was used in the dam before concrete pouring ceased on May 29, 1935. In addition, 1,110,000 cu yd (850,000 m3) were used in the power plant and other works. More than 582 miles (937 km) of cooling pipes were placed within the concrete. Overall, there is enough concrete in the dam to pave a two-lane highway from San Francisco to New York.[48] Concrete cores were removed from the dam for testing in 1995; they showed that "Hoover Dam's concrete has continued to slowly gain strength" and the dam is composed of a "durable concrete having a compressive strength exceeding the range typically found in normal mass concrete".[65] Hoover Dam concrete is not subject to alkali–silica reaction (ASR) as the Hoover Dam builders happened to use nonreactive aggregate, unlike that at downstream Parker Dam, where ASR has caused measurable deterioration.[65]

text: Dedication and completion[edit]

text: With most work finished on the dam itself (the powerhouse remained uncompleted), a formal dedication ceremony was arranged for September 30, 1935, to coincide with a western tour being made by President Franklin D. Roosevelt. The morning of the dedication, it was moved forward three hours from 2 p.m. Pacific time to 11 a.m.; this was done because Secretary of the Interior Harold L. Ickes had reserved a radio slot for the President for 2 p.m. but officials did not realize until the day of the ceremony that the slot was for 2 p.m. Eastern Time.[66] Despite the change in the ceremony time, and temperatures of 102 °F (39 °C), 10,000 people were present for the President's speech, in which he avoided mentioning the name of former President Hoover,[67] who was not invited to the ceremony.[68] To mark the occasion, a three-cent stamp was issued by the United States Post Office Department—bearing the name "Boulder Dam", the official name of the dam between 1933 and 1947.[69] After the ceremony, Roosevelt made the first visit by any American president to Las Vegas.[67]

text: Most work had been completed by the dedication, and Six Companies negotiated with the government through late 1935, and early 1936, to settle all claims and arrange for the formal transfer of the dam to the Federal Government. The parties came to an agreement and on March 1, 1936, Secretary Ickes formally accepted the dam on behalf of the government. Six Companies was not required to complete work on one item, a concrete plug for one of the bypass tunnels, as the tunnel had to be used to take in irrigation water until the powerhouse went into operation.[70]

text: Construction deaths[edit]

text: There were 112 deaths reported as associated with the construction of the dam.[72] The first was J. G. Tierney, a surveyor who drowned on December 20, 1922, while looking for an ideal spot for the dam.[72] The last death on the project's official fatality list occurred on December 20, 1935, when an "electrician's helper", Patrick Tierney, the son of J. G. Tierney, fell from an intake tower. Included in the fatality list are three workers, one in 1932 and two in 1933, who committed suicide onsite.[73][74][75] Ninety-six of the deaths occurred during construction at the site.[72] Of the 112 fatalities, 91 were Six Companies employees, three were BOR employees, and one was a visitor to the site, with the remainder employees of various contractors not part of Six Companies.[76]

text: Not included in the official number of fatalities were deaths that were recorded as pneumonia. Workers alleged that this diagnosis was a cover for death from carbon monoxide poisoning (brought on by the use of gasoline-fueled vehicles in the diversion tunnels), and a classification used by Six Companies to avoid paying compensation claims.[77] The site's diversion tunnels frequently reached 140 °F (60 °C), enveloped in thick plumes of vehicle exhaust gases.[78] A total of 42 workers were recorded as having died from pneumonia and were not included in the above total; none were listed as having died from carbon monoxide poisoning. No deaths of non-workers from pneumonia were recorded in Boulder City during the construction period.[77]

text: Architectural style[edit]

text: The initial plans for the facade of the dam, the power plant, the outlet tunnels and ornaments clashed with the modern look of an arch dam. The Bureau of Reclamation, more concerned with the dam's functionality, adorned it with a Gothic-inspired balustrade and eagle statues. This initial design was criticized by many as being too plain and unremarkable for a project of such immense scale, so Los Angeles-based architect Gordon B. Kaufmann, then the supervising architect to the Bureau of Reclamation, was brought in to redesign the exteriors.[79] Kaufmann greatly streamlined the design, and applied an elegant Art Deco style to the entire project. He designed sculptured turrets rising seamlessly from the dam face and clock faces on the intake towers set for the time in Nevada and Arizona — both states are in different time zones, but since Arizona does not observe Daylight Saving Time, the clocks display the same time for more than half the year.[80]

text: At Kaufmann's request, Denver artist Allen Tupper True[79] was hired to handle the design and decoration of the walls and floors of the new dam. True's design scheme incorporated motifs of the Navajo and Pueblo tribes of the region.[81] Although some initially were opposed to these designs, True was given the go-ahead and was officially appointed consulting artist.[82] With the assistance of the National Laboratory of Anthropology, True researched authentic decorative motifs from Indian sand paintings, textiles, baskets and ceramics.[83] The images and colors are based on Native American visions of rain, lightning, water, clouds, and local animals — lizards, serpents, birds — and on the Southwestern landscape of stepped mesas.[81] In these works, which are integrated into the walkways and interior halls of the dam, True also reflected on the machinery of the operation, making the symbolic patterns appear both ancient and modern.[84]

text: With the agreement of Kaufmann and the engineers, True also devised an innovative color-coding for the pipes and machinery, which was implemented throughout all BOR projects.[85] True's consulting artist job lasted through 1942; it was extended so he could complete design work for the Parker, Shasta and Grand Coulee dams and power plants. True's work on the Hoover Dam was humorously referred to in a poem published in The New Yorker, part of which read, "lose the spark, and justify the dream; but also worthy of remark will be the color scheme".[86]

text: Complementing Kaufmann and True's work, the Norwegian-born, naturalized American sculptor Oskar J.W. Hansen designed many of the sculptures on and around the dam. His works include the monument of dedication plaza, a plaque to memorialize the workers killed and the bas-reliefs on the elevator towers. In his words, Hansen wanted his work to express "the immutable calm of intellectual resolution, and the enormous power of trained physical strength, equally enthroned in placid triumph of scientific accomplishment", because "[t]he building of Hoover Dam belongs to the sagas of the daring."[71] Hansen's dedication plaza, on the Nevada abutment, contains a sculpture of two winged figures flanking a flagpole.

text: Surrounding the base of the monument is a terrazzo floor embedded with a "star map". The map depicts the Northern Hemisphere sky at the moment of President Roosevelt's dedication of the dam. This is intended to help future astronomers, if necessary, calculate the exact date of dedication.[71][87] The 30-foot-high (9.1 m) bronze figures, dubbed "Winged Figures of the Republic", were each formed in a continuous pour. To put such large bronzes into place without marring the highly polished bronze surface, they were placed on ice and guided into position as the ice melted.[88] Hansen's bas-relief on the Nevada elevator tower depicts the benefits of the dam: flood control, navigation, irrigation, water storage, and power. The bas-relief on the Arizona elevator depicts, in his words, "the visages of those Indian tribes who have inhabited mountains and plains from ages distant."[71]

text: Operation[edit]

text: Power plant and water demands[edit]

text: Excavation for the powerhouse was carried out simultaneously with the excavation for the dam foundation and abutments. A U-shaped structure located at the downstream toe of the dam, its excavation was completed in late 1933 with the first concrete placed in November 1933. Filling of Lake Mead began February 1, 1935, even before the last of the concrete was poured that May.[89] The powerhouse was one of the projects uncompleted at the time of the formal dedication on September 30, 1935—a crew of 500 men remained to finish it and other structures.[90] To make the powerhouse roof bombproof, it was constructed of layers of concrete, rock, and steel with a total thickness of about 3.5 feet (1.1 m), topped with layers of sand and tar.[91]

text: In the latter half of 1936, water levels in Lake Mead were high enough to permit power generation, and the first three Allis Chalmers built Francis turbine-generators, all on the Nevada side, began operating. In March 1937, one more Nevada generator went online and the first Arizona generator by August. By September 1939, four more generators were operating, and the dam's power plant became the largest hydroelectricity facility in the world. The final generator was not placed in service until 1961, bringing the maximum generating capacity to 1,345 megawatts at the time.[89][92] Original plans called for 16 large generators, eight on each side of the river, but two smaller generators were installed instead of one large one on the Arizona side for a total of 17. The smaller generators were used to serve smaller communities at a time when the output of each generator was dedicated to a single municipality, before the dam's total power output was placed on the grid and made arbitrarily distributable.[3]

text: Before water from Lake Mead reaches the turbines, it enters the intake towers and then four gradually narrowing penstocks which funnel the water down towards the powerhouse. The intakes provide a maximum hydraulic head (water pressure) of 590 ft (180 m) as the water reaches a speed of about 85 mph (140 km/h). The entire flow of the Colorado River passes through the turbines. The spillways and outlet works (jet-flow gates) are rarely used.[3] The jet-flow gates, located in concrete structures 180 feet (55 m) above the river, and also at the outlets of the inner diversion tunnels at river level, may be used to divert water around the dam in emergency or flood conditions, but have never done so, and in practice are only used to drain water from the penstocks for maintenance.[93] Following an uprating project from 1986 to 1993, the total gross power rating for the plant, including two 2.4 megawatt Pelton turbine-generators that power Hoover Dam's own operations is a maximum capacity of 2080 megawatts.[3] The annual generation of Hoover Dam varies. The maximum net generation was 10.348 TWh in 1984, and the minimum since 1940 was 2.648 TWh in 1956.[3] The average power generated was 4.2 TWh/year for 1947–2008.[3] In 2015, the dam generated 3.6 TWh.[94]

text: The amount of electricity generated by Hoover Dam has been decreasing along with the falling water level in Lake Mead due to the prolonged drought in the 2010s and high demand for the Colorado River's water. Lake Mead fell to a new record low elevation of 1,071.61 feet (326.63 m) on July 1, 2016 before beginning to rebound slowly.[95] Under its original design, the dam will no longer be able to generate power once the water level falls below 1,050 feet (320 m), which could occur as early as 2017. To lower the minimum power pool elevation from 1,050 to 950 feet (320 to 290 m), five wide-head turbines, designed to work efficiently with less flow, were installed.[96] Due to the low water levels, by 2014 it was providing power only during periods of peak demand.[97]

text: Control of water was the primary concern in the building of the dam. Power generation has allowed the dam project to be self-sustaining: proceeds from the sale of power repaid the 50-year construction loan, and those revenues also finance the multimillion-dollar yearly maintenance budget. Power is generated in step with and only with the release of water in response to downstream water demands.[98]

text: Lake Mead and downstream releases from the dam also provide water for both municipal and irrigation uses. Water released from the Hoover Dam eventually reaches several canals. The Colorado River Aqueduct and Central Arizona Project branch off Lake Havasu while the All-American Canal is supplied by the Imperial Dam. In total, water from the Lake Mead serves 18 million people in Arizona, Nevada and California and supplies the irrigation of over 1,000,000 acres (400,000 ha) of land.[98][99]

text: Power distribution[edit]

text: Electricity from the dam's powerhouse was originally sold pursuant to a fifty-year contract, authorized by Congress in 1934, which ran from 1937 to 1987. In 1984, Congress passed a new statute which set power allocations to southern California, Arizona, and Nevada from the dam from 1987 to 2017.[100][101] The powerhouse was run under the original authorization by the Los Angeles Department of Water and Power and Southern California Edison; in 1987, the Bureau of Reclamation assumed control.[102] In 2011, Congress enacted legislation extending the current contracts until 2067, after setting aside 5% of Hoover Dam's power for sale to Native American tribes, electric cooperatives, and other entities. The new arrangement began on October 1, 2017.[100]

text: The Bureau of Reclamation reports that the energy generated under the contracts ending in 2017 was allocated as follows:[3]

text:
Area
Percentage

Metropolitan Water District of Southern California
28.53%

State of Nevada
23.37%

State of Arizona
18.95%

Los Angeles, California
15.42%

Southern California Edison
5.54%

Boulder City, Nevada
1.77%

Glendale, California
1.59%

Pasadena, California
1.36%

Anaheim, California
1.15%

Riverside, California
0.86%

Vernon, California
0.62%

Burbank, California
0.59%

Azusa, California
0.11%

Colton, California
0.09%

Banning, California
0.05%

Tourists gather around one of the generators in the Nevada wing of the powerhouse to hear its operation explained, September 1940

A worker stands by the 30 ft (9.1 m) diameter Nevada penstock before its junction with another penstock that delivers water to a turbine

tag: table

text: Spillways[edit]

text: The dam is protected against over-topping by two spillways. The spillway entrances are located behind each dam abutment, running roughly parallel to the canyon walls. The spillway entrance arrangement forms a classic side-flow weir with each spillway containing four 100-foot-long (30 m) and 16-foot-wide (4.9 m) steel-drum gates. Each gate weighs 5,000,000 pounds (2,300,000 kilograms) and can be operated manually or automatically. Gates are raised and lowered depending on water levels in the reservoir and flood conditions. The gates could not entirely prevent water from entering the spillways but could maintain an extra 16 ft (4.9 m) of lake level.[103] Water flowing over the spillways falls dramatically into 600-foot-long (180 m), 50-foot-wide (15 m) spillway tunnels before connecting to the outer diversion tunnels, and reentering the main river channel below the dam. This complex spillway entrance arrangement combined with the approximate 700-foot (210 m) elevation drop from the top of the reservoir to the river below was a difficult engineering problem and posed numerous design challenges. Each spillway's capacity of 200,000 cu ft/s (5,700 m3/s) was empirically verified in post-construction tests in 1941.[103]

text: The large spillway tunnels have only been used twice, for testing in 1941 and because of flooding in 1983. Both times, when inspecting the tunnels after the spillways were used, engineers found major damage to the concrete linings and underlying rock.[104] The 1941 damage was attributed to a slight misalignment of the tunnel invert (or base), which caused cavitation, a phenomenon in fast-flowing liquids in which vapor bubbles collapse with explosive force. In response to this finding, the tunnels were patched with special heavy-duty concrete and the surface of the concrete was polished mirror-smooth.[105] The spillways were modified in 1947 by adding flip buckets, which both slow the water and decrease the spillway's effective capacity, in an attempt to eliminate conditions thought to have contributed to the 1941 damage. The 1983 damage, also due to cavitation, led to the installation of aerators in the spillways.[104] Tests at Grand Coulee Dam showed that the technique worked, in principle.[105]

text: Roadway and tourism[edit]

text: There are two lanes for automobile traffic across the top of the dam, which formerly served as the Colorado River crossing for U.S. Route 93.[106] In the wake of the September 11, 2001 terrorist attacks, authorities expressed security concerns and the Hoover Dam Bypass project was expedited. Pending the completion of the bypass, restricted traffic was permitted over Hoover Dam. Some types of vehicles were inspected prior to crossing the dam while semi-trailer trucks, buses carrying luggage, and enclosed-box trucks over 40 ft (12 m) long were not allowed on the dam at all, and were diverted to U.S. Route 95 or Nevada State Routes 163/68.[107] The four-lane Hoover Dam Bypass opened on October 19, 2010.[108] It includes a composite steel and concrete arch bridge, the Mike O'Callaghan–Pat Tillman Memorial Bridge, 1,500 ft (460 m) downstream from the dam. With the opening of the bypass, through traffic is no longer allowed across Hoover Dam; dam visitors are allowed to use the existing roadway to approach from the Nevada side and cross to parking lots and other facilities on the Arizona side.[109]

text: Hoover Dam opened for tours in 1937 after its completion, but following Japan's attack on Pearl Harbor on December 7, 1941, it was closed to the public when the United States entered World War II, during which only authorized traffic, in convoys, was permitted. After the war, it reopened September 2, 1945, and by 1953, annual attendance had risen to 448,081. The dam closed on November 25, 1963 and March 31, 1969, days of mourning in remembrance of Presidents Kennedy and Eisenhower. In 1995, a new visitors' center was built, and the following year, visits exceeded one million for the first time. The dam closed again to the public on September 11, 2001; modified tours were resumed in December and a new "Discovery Tour" was added the following year.[102] Today, nearly a million people per year take the tours of the dam offered by the Bureau of Reclamation.[110] Increased security concerns by the government have led to most of the interior structure being inaccessible to tourists. As a result, few of True's decorations can now be seen by visitors.[111]

text: Environmental impact[edit]

text: The changes in water flow and use caused by Hoover Dam's construction and operation have had a large impact on the Colorado River Delta.[112] The construction of the dam has been implicated in causing the decline of this estuarine ecosystem.[112] For six years after the construction of the dam, while Lake Mead filled, virtually no water reached the mouth of the river.[113] The delta's estuary, which once had a freshwater-saltwater mixing zone stretching 40 miles (64 km) south of the river's mouth, was turned into an inverse estuary where the level of salinity was higher close to the river's mouth.[114]

text: The Colorado River had experienced natural flooding before the construction of the Hoover Dam. The dam eliminated the natural flooding, which threatened many species adapted to the flooding, including both plants and animals.[115] The construction of the dam devastated the populations of native fish in the river downstream from the dam.[116] Four species of fish native to the Colorado River, the Bonytail chub, Colorado pikeminnow, Humpback chub, and Razorback sucker, are listed as endangered.[117][118]

text: Naming controversy[edit]

text: During the years of lobbying leading up to the passage of legislation authorizing the dam in 1928, the press generally referred to the dam as "Boulder Dam" or as "Boulder Canyon Dam", even though the proposed site had shifted to Black Canyon.[16] The Boulder Canyon Project Act of 1928 (BCPA) never mentioned a proposed name or title for the dam. The BCPA merely allows the government to "construct, operate, and maintain a dam and incidental works in the main stream of the Colorado River at Black Canyon or Boulder Canyon".[119]

text: When Secretary Wilbur spoke at the ceremony starting the building of the railway between Las Vegas and the dam site on September 17, 1930, he named the dam "Hoover Dam", citing a tradition of naming dams after Presidents, though none had been so honored during their terms of office. Wilbur justified his choice on the ground that Hoover was "the great engineer whose vision and persistence ... has done so much to make [the dam] possible".[120] One writer complained in response that "the Great Engineer had quickly drained, ditched, and dammed the country."[120]

text: After Hoover's election defeat in 1932 and the accession of the Roosevelt administration, Secretary Ickes ordered on May 13, 1933, that the dam be referred to as "Boulder Dam". Ickes stated that Wilbur had been imprudent in naming the dam after a sitting president, that Congress had never ratified his choice, and that it had long been referred to as Boulder Dam.[120] Unknown to the general public, Attorney General Homer Cummings informed Ickes that Congress had indeed used the name "Hoover Dam" in five different bills appropriating money for construction of the dam.[121] The official status this conferred to the name "Hoover Dam" had been noted on the floor of the House of Representatives by Congressman Edward T. Taylor of Colorado on December 12, 1930,[122] but was likewise ignored by Ickes.

text: When Ickes spoke at the dedication ceremony on September 30, 1935, he was determined, as he recorded in his diary, "to try to nail down for good and all the name Boulder Dam."[69] At one point in the speech, he spoke the words "Boulder Dam" five times within thirty seconds.[123] Further, he suggested that if the dam were to be named after any one person, it should be for California Senator Hiram Johnson, a lead sponsor of the authorizing legislation.[69] Roosevelt also referred to the dam as Boulder Dam,[90] and the Republican-leaning Los Angeles Times, which at the time of Ickes' name change had run an editorial cartoon showing Ickes ineffectively chipping away at an enormous sign "HOOVER DAM," reran it showing Roosevelt reinforcing Ickes, but having no greater success.[124]

text: In the following years, the name "Boulder Dam" failed to fully take hold, with many Americans using both names interchangeably and mapmakers divided as to which name should be printed. Memories of the Great Depression faded, and Hoover to some extent rehabilitated himself through good works during and after World War II.[125] In 1947, a bill passed both Houses of Congress unanimously restoring the name "Hoover Dam."[126] Ickes, who was by then a private citizen, opposed the change, stating, "I didn't know Hoover was that small a man to take credit for something he had nothing to do with."[125]

text: Recognition[edit]

text: Hoover Dam was recognized as a National Civil Engineering Landmark in 1984.[127] It was listed on the National Register of Historic Places in 1981, and was designated a National Historic Landmark in 1985, cited for its engineering innovations.[5]


document_title: Temple in the Sea

question_text: where is the temple in the sea located in trinidad

text: Temple in the Sea

text: This article does not cite any sources. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2016) (Learn how and when to remove this template message)

text:
Temple in the Sea

Location within Trinidad and TobagoGeographyCoordinates
10°28′54.1″N 61°28′31.9″W / 10.481694°N 61.475528°W / 10.481694; -61.475528Coordinates: 10°28′54.1″N 61°28′31.9″W / 10.481694°N 61.475528°W / 10.481694; -61.475528Country
Trinidad and TobagoDistrict
Couva–Tabaquite–TalparoLocale
WaterlooCultureSanctum
Shiva

DurgaMajor festivals
Diwali, Phagwah, Ganesh Chaturthi, Maha Shivaratri, Kartik Poornima, Chhath, NavratriArchitectureArchitecture
Hindu Architecture and Indian architectureArchitect
Sewdass SadhuNumber of temples
3HistoryDate established
1947Date built
1952Creator
Sewdass SadhuGoverning body
Sanatan Dharma Maha Sabha

text: The Temple in the Sea is a Hindu pilgrimage site in Waterloo, Trinidad and Tobago. It was built by Sewdass Sadhu, an immigrant who came to Trinidad and Tobago from India. It is similar to the Sagar Shiv Mandir in Mauritius.


document_title: Renaissance art

question_text: who was the first major figure of the renaissance art movement

text: Renaissance art

text: History[edit]

text: Proto-Renaissance in Italy, 1280–1400[edit]

text: In Italy in the late 13th and early 14th centuries, the sculpture of Nicola Pisano and his son Giovanni Pisano, working at Pisa, Siena and Pistoia shows markedly classicising tendencies, probably influenced by the familiarity of these artists with ancient Roman sarcophagi. Their masterpieces are the pulpits of the Baptistery and Cathedral of Pisa.

text: Contemporary with Giovanni Pisano, the Florentine painter Giotto developed a manner of figurative painting that was unprecedentedly naturalistic, three-dimensional, lifelike and classicist, when compared with that of his contemporaries and teacher Cimabue. Giotto, whose greatest work is the cycle of the Life of Christ at the Arena Chapel in Padua, was seen by the 16th century biographer Giorgio Vasari as "rescuing and restoring art" from the "crude, traditional, Byzantine style" prevalent in Italy in the 13th century.

text: Early Netherlandish art, 1400–1525[edit]

text: The painters of the Low Countries at this period included Jan van Eyck, his brother Hubert van Eyck, Robert Campin, Hans Memling, Rogier van der Weyden and Hugo van der Goes. Their painting developed independently of Early Italian Renaissance painting, and without the influence of a deliberate and conscious striving to revive antiquity. The style of painting grew directly out of the Medieval arts of tempera painting, stained glass and book illumination. The media used was oil paint, which had long been utilised for painting leather ceremonial shields and accoutrements, because it was flexible and relatively durable. The earliest Netherlandish oil paintings are meticulous and detailed like tempera paintings. The material lent itself to the depiction of tonal variations and texture, so facilitating the observation of nature in great detail.

text: The Netherlandish painters did not approach the creation of a picture through a framework of linear perspective and correct proportion. They maintained a Medieval view of hierarchical proportion and religious symbolism, while delighting in a realistic treatment of material elements, both natural and man-made. Jan van Eyck, with his brother Hubert painted The Altarpiece of the Mystical Lamb. It is probable that Antonello da Messina became familiar with Van Eyck's work, while in Naples or Sicily. In 1475, Hugo van der Goes' Portinari Altarpiece arrived in Florence where it was to have a profound influence on many painters, most immediately Domenico Ghirlandaio who painted an altarpiece imitating its elements.

text: Early Renaissance in Italy, 1400–1479[edit]

text: Although both the Pisanos and Giotto had students and followers, the first truly Renaissance artists were not to emerge in Florence until 1401 with the competition to sculpt a set of bronze doors of the Baptistery of Florence Cathedral which drew entries from seven young sculptors including Brunelleschi, Donatello and the winner, Lorenzo Ghiberti. Brunelleschi, most famous as the architect of the dome of Florence Cathedral and the Church of San Lorenzo, created a number of sculptural works, including a lifesized Crucifix in Santa Maria Novella, renowned for its naturalism. His studies of perspective are thought to have influenced the painter Masaccio. Donatello became renowned as the greatest sculptor of the Early Renaissance, his masterpieces being his Humanist and unusually erotic statue of David, one of the icons of the Florentine republic, and his great monument to Gattamelata, the first large equestrian bronze to be created since Roman times.

text: The contemporary of Donatello, Masaccio, was the painterly descendant of Giotto, furthering the trend towards solidity of form and naturalism of face and gesture that he had begun a century earlier. Masaccio completed several panel paintings but is best known for the fresco cycle that he began in the Brancacci Chapel with the older artist Masolino and which had profound influence on later painters, including Michelangelo. Masaccio's developments were carried forward in the paintings of Fra Angelico, particularly in his frescos at the Convent of San Marco in Florence.

text: The treatment of the elements of perspective and light in painting was of particular concern to 15th-century Florentine painters. Uccello was so obsessed with trying to achieve an appearance of perspective that, according to Vasari, it disturbed his sleep. His solutions can be seen in his masterpiece, the Battle of San Romano. Piero della Francesca made systematic and scientific studies of both light and linear perspective, the results of which can be seen in his fresco cycle of The History of the True Cross in San Francesco, Arezzo.

text: In Naples, the painter Antonello da Messina began using oil paints for portraits and religious paintings at a date that preceded other Italian painters, possibly about 1450. He carried this technique north and influenced the painters of Venice. One of the most significant painters of Northern Italy was Andrea Mantegna, who decorated the interior of a room, the Camera degli Sposi for his patron Ludovico Gonzaga, setting portraits of the family and court into an illusionistic architectural space.

text: The end of the Early Renaissance in Italian art is marked, like its beginning, by a particular commission that drew artists together, this time in cooperation rather than competition. Pope Sixtus IV had rebuilt the Papal Chapel, named the Sistine Chapel in his honour, and commissioned a group of artists, Sandro Botticelli, Pietro Perugino, Domenico Ghirlandaio and Cosimo Rosselli to decorate its wall with fresco cycles depicting the Life of Christ and the Life of Moses. In the sixteen large paintings, the artists, although each working in his individual style, agreed on principals of format, and utilised the techniques of lighting, linear and atmospheric perspective, anatomy, foreshortening and characterisation that had been carried to a high point in the large Florentine studios of Ghiberti, Verrocchio, Ghirlandaio and Perugino.

text: Early Renaissance in France, 1375–1528[edit]

text: The artists of France, (including duchies such as Burgundy) were often associated with courts, providing illuminated manuscripts and portraits for the nobility as well as devotional paintings and altarpieces. Among the most famous were the Limbourg brothers, Flemish illuminators and creators of the Très Riches Heures du Duc de Berry. Jean Fouquet, painter of the royal court, visited Italy in 1437 and reflects the influence of Florentine painters such as Paolo Uccello. Although best known for his portraits such as that of Charles VII of France Fouquet also created illuminations, and is thought to be the inventor of the portrait miniature. There were a number of artists at this date who painted famed altarpieces, that are stylistically quite distinct from both the Italian and the Flemish. These include two enigmatic figures, Enguerrand Quarton to whom is ascribed the Pieta of Villeneuve-lès-Avignon, and Jean Hey, otherwise known as "the Master of Moulins" after his most famous work, the Moulins Altarpiece. In these works realism and close observation of the human figure, emotions and lighting are combined with a Medieval formality, which includes gilt backgrounds.

text: High Renaissance in Italy, 1475–1525[edit]

text: The "universal genius" Leonardo da Vinci was to further perfect the aspects of pictorial art (lighting, linear and atmospheric perspective, anatomy, foreshortening and characterisation) that had preoccupied artists of the Early Renaissance, in a lifetime of studying and meticulously recording his observations of the natural world. His adoption of oil paint as his primary media meant that he could depict light and its effects on the landscape and objects more naturally and with greater dramatic effect than had ever been done before, as demonstrated in the Mona Lisa. His dissection of cadavers carried forward the understanding of skeletal and muscular anatomy, as seen in the unfinished St Jerome. His depiction of human emotion in The Last Supper set the benchmark for religious painting.

text: The art of Leonardo's younger contemporary Michelangelo took a very different direction. Michelangelo, in neither his painting nor his sculpture demonstrates any interest in the observation of any natural object except the human body. He perfected his technique in depicting it, while in his early twenties, by the creation of the enormous marble statue of David and the group the Pieta, in St Peter's Basilica, Rome. He then set about an exploration of the expressive possibilities of the human anatomy. His commission by Pope Julius II to paint the Sistine Chapel ceiling resulted in the supreme masterpiece of figurative composition, which was to have profound effect on every subsequent generation of European artists.

text: Standing alongside Leonardo and Michelangelo as the third great painter of the High Renaissance was the younger Raphael, who in a short life span painted a great number of lifelike and engaging portraits, including those of Pope Julius II and his successor Pope Leo X, and numerous portrayals of the Madonna and Christ Child, including the Sistine Madonna.

text: In Northern Italy the High Renaissance represented by the religious paintings of Giovanni Bellini which include several large altarpieces of a type known as "Sacred Conversation" which show a group of saints around the enthroned Madonna. His contemporary Giorgione left a small number of enigmatic works, including The Tempest, the subject of which has remained a matter of speculation. The earliest works of Titian date from the era of the High Renaissance, including a massive altarpiece The Assumption of the Virgin which combines human action and drama with spectacular colour and atmosphere.

text: German Renaissance art[edit]

text: German Renaissance art falls into the broader category of the Renaissance in Northern Europe, also known as the Northern Renaissance. Renaissance influences began to appear in German art in the 15th century, but this trend was not widespread. Gardner's Art Through the Ages identifies Michael Pacher, a painter and sculptor, as the first German artist whose work begins to show Italian Renaissance influences. According to that source, Pacher's painting, St. Wolfgang Forces the Devil to Hold His Prayerbook (c.1481), is Late Gothic in style, but also shows the influence of the Italian artist, Mantegna.[4] Artisans, such as engravers, became more concerned with aesthetics rather than just perfecting their craft. Germany had master engravers, such as Martin Schongauer, who did metal engravings in the late 1400s. Gardner relates this mastery of the graphic arts to advances in printing which occurred in Germany, and says that metal engraving began to replace the woodcut during the Renaissance.[5] However, some artists, such as Albrecht Dürer, continued to do woodcuts. Both Gardner and Russell describe the fine quality of Dürer's woodcuts, with Russell stating, in The World of Dürer, that Dürer "elevated them into high works of art."[6]

text: In the 1500s, Renaissance art in Germany became more common as, according to Gardner, "The art of northern Europe during the sixteenth century is characterized by a sudden awareness of the advances made by the Italian Renaissance and by a desire to assimilate this new style as rapidly as possible."[7] One of the best known practitioners of German Renaissance art was Albrecht Dürer (1471–1528). Dürer's fascination with classical ideas led him to Italy to study art. Both Gardner and Russell recognized the importance of Durer's contribution to German art in bringing Italian Renaissance styles and ideas to Germany.[6][8] Russell calls this "Opening the Gothic windows of German art,"[6] while Gardner calls it Dürer's "life mission."[8] Importantly, as Gardner points out, Dürer "was the first northern artist who fully understood the basic aims of the southern Renaissance,"[8] although his style did not always reflect that. The same source says that Hans Holbein the Younger (1497–1543) successfully assimilated Italian ideas while also keeping "northern traditions of close realism."[9] This is contrasted against Dürer's tendency to work in "his own native German style"[8] instead of combining German and Italian styles. Other important artists of the German Renaissance were Grünewald, Albrecht Altdorfer, and Lucas Cranach the Elder.[10]

text: Hieronymus Bosch was a painter of the Netherlands, who employed the type of fanciful forms that were often utilized to decorate borders and letters in illuminated manuscripts, combining plant and animal forms with architectonic ones. When taken from the context of the illumination and peopled with humans, these forms give Bosch's paintings a surreal quality which have no parallel in the work of any other Renaissance painter. His masterpiece is the triptych The Garden of Earthly Delights.

text: Britain[edit]

text: Britain was very late to late to develop a Renaissance style and most artists of the Tudor court were imported foreigners, usually from the Low countries, including Hans Holbein the Younger, who died in England. One exception was the portrait miniature, which artists including Nicholas Hilliard developed into a distinct genre, well before it became popular in the rest of Europe. Renaissance art in Scotland was similarly dependent on imported artists, and largely restricted to the court.

text: Themes and symbolism[edit]

text: Renaissance artists painted a wide variety of themes. Religious altarpieces, fresco cycles, and small works for private devotion were very popular. For inspiration, painters in both Italy and northern Europe frequently turned to Jacobus de Voragine's Golden Legend (1260), a highly influential source book for the lives of saints that had already had a strong influence on Medieval artists. The rebirth of classical antiquity and Renaissance humanism also resulted in many Mythological and history paintings. Ovidian stories, for example, were very popular. Decorative ornament, often used in painted architectural elements, was especially influenced by classical Roman motifs.

text: Techniques[edit]

text:
the use of proportion – The first major treatment of the painting as a window into space appeared in the work of Giotto di Bondone, at the beginning of the 14th century. True linear perspective was formalized later, by Filippo Brunelleschi and Leon Battista Alberti. In addition to giving a more realistic presentation of art, it moved Renaissance painters into composing more paintings.
foreshortening – The term foreshortening refers to the artistic effect of shortening lines in a drawing so as to create an illusion of depth.
sfumato – The term sfumato was coined by Italian Renaissance artist, Leonardo da Vinci, and refers to a fine art painting technique of blurring or softening of sharp outlines by subtle and gradual blending of one tone into another through the use of thin glazes to give the illusion of depth or three-dimensionality. This stems from the Italian word sfumare meaning to evaporate or to fade out. The Latin origin is fumare, to smoke.
chiaroscuro – The term chiaroscuro refers to the fine art painting modeling effect of using a strong contrast between light and dark to give the illusion of depth or three-dimensionality. This comes from the Italian words meaning light (chiaro) and dark (scuro), a technique which came into wide use in the Baroque Period.

tag: ul

text: Italian artists[edit]

text:
Renaissance

"The School of Athens", Raphael, 1509–1511

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text:
Leone Battista Alberti (1404–1472)
Fra Angelico (c. 1395 – 1455)
Biagio d'Antonio (1446 – 1 June 1516)
Giotto di Bondone (1267–1337)
Donatello (c. 1386 – December 13, 1466)
Leonardo da Vinci (15 April 1452 – 2 May 1519)
Michelangelo (6 March 1475 – 18 February 1564)
Raphael (April 6 or March 28, 1483 – April 6, 1520)
Sandro Botticelli (c. 1445 – May 17, 1510)
Masaccio (December 21, 1401 – 1428)
Domenico Veneziano (c. 1410 – May 15, 1461)
Filippo Lippi (c. 1406 – 8 October 1469)
Andrea del Castagno (c. 1421 – 19 August 1457)
Piero di Cosimo (2 January 1462 – 12 April 1522)
Paolo Uccello (1397 – 10 December 1475)
Antonello da Messina (c. 1430 – February 1479)
Pisanello (c. 1395 – c. 1455)
Andrea Mantegna (c. 1431 – September 13, 1506)
Luca Signorelli (c. 1445 – 16 October 1523)
Alessio Baldovinetti (14 October 1425 – 29 August 1499)
Piero della Francesca (c. 1415 – 12 October 1492)
Masolino (c. 1383 – c. 1447)
Titian (c. 1488/1490 – 27 August 1576)
Andrea del Verrocchio (c. 1435 – 1488)
Domenico Ghirlandaio (1449 – 11 January 1494)
Benozzo Gozzoli (c. 1421 – 1497)
Carlo Crivelli (c. 1435 – c. 1495)
Marco Cardisco (c. 1486 – c. 1542)
Pietro Negroni (c. 1505 – c. 1565)

text: Artists of the Low Countries[edit]

text: Main articles: Early Netherlandish painting for 15th-century artists, Dutch and Flemish Renaissance painting for 16th-century artists

text:
Jean Bellegambe (c. 1470 – 1535)
Hieronymus Bosch (c. 1450 – 1516)
Dirk Bouts (1415 – 6 May 1475)
Robert Campin (c. 1380 – 1444)
Petrus Christus (1410/1420–1472)
Jacques Daret
Gerard David (c. 1455 – 1523)
Hubert van Eyck (1366?–1426)
Jan van Eyck (1385?–1440?)
Geertgen tot Sint Jans
Hugo van der Goes
Adriaen Isenbrant (c. 1490 – 1551)
Limbourg brothers
Quentin Matsys (1466–1530)
Hans Memling (c. 1430 – 1494)
Joachim Patinir
Rogier van der Weyden (Rogier de la Pasture)

text: German artists[edit]

text:
Albrecht Altdorfer (c. 1480–1538)
Hans Baldung (c. 1480 – 1545), Alsatian
Leonhard Beck (c. 1480 – 1542)
Barthel Bruyn the Elder (1493 – 1555)
Hans Burgkmair (1473 – 1531)
Lucas Cranach the Elder (1472 – 1553)
Lucas Cranach the Younger (1515 – 1586)
Albrecht Dürer (1471 – 1528)
Conrad Faber von Kreuznach (c. 1500 – c. 1553)
Matthias Grünewald (c. 1470 – 1528)
Hans Holbein the Elder (c. 1460 – 1524)
Hans Holbein the Younger (c. 1497 – 1543)
Ambrosius Holbein (1494 – 1519)
Jerg Ratgeb (c. 1480 – 1526)
Wilhelm Stetter (1487 – 1552), Alsatian

text: French artists[edit]

text:
Jean Fouquet (1420–1481)
Jean Clouet (1480–1541)
François Clouet (c. 1510 – 22 December 1572)
Barthélemy d'Eyck (c. 1420 – after 1470)
Nicolas Froment (c. 1435 – c. 1486)
Jean Hey (formerly known as the Master of Moulins) (ca. 1475 – ca. 1505)
Simon Marmion (c. 1425 – 24/25 December 1489)
Enguerrand Quarton (c. 1410 – c. 1466)

text: Spanish artists[edit]

text:
Bartolomé Bermejo
Pedro Berruguete
Ayne Bru
Juan de Flandes
Luis de Morales
Jaume Huguet
Paolo da San Leocadio
Alonso Sánchez Coello
El Greco
Murillo

text: Dalmatian artists[edit]

text:
Francesco Laurana(c. 1430 – 12? March 1502)
Giorgio da Sebenico (c. 1410 – 10 October 1475)
Niccolò di Giovanni Fiorentino
Andrea Alessi (1425–1505)
Nicholas of Ragusa (1460? – 1517)
Giovanni Dalmata (c. 1440 – c. 1514)
Andrea Schiavone (c. 1510/1515–1563)

text: Works[edit]

text:
Ghent Altarpiece, by Hubert and Jan van Eyck
The Arnolfini Portrait, by Jan van Eyck
The Werl Triptych, by Robert Campin
The Portinari Triptych, by Hugo van der Goes
The Descent from the Cross, by Rogier van der Weyden
Flagellation of Christ, by Piero della Francesca
Spring, by Sandro Botticelli
Lamentation of Christ, by Mantegna
The Last Supper, by Leonardo da Vinci
The School of Athens, by Raphael
Sistine Chapel ceiling, by Michelangelo
Equestrian Portrait of Charles V, by Titian
Isenheim Altarpiece, by Matthias Grünewald
Melencolia I, by Albrecht Dürer
The Ambassadors, by Hans Holbein the Younger
Melun Diptych, by Jean Fouquet
Saint Vincent Panels, by Nuno Gonçalves

text: Major collections[edit]

text:
National Gallery, London
Louvre, Paris
National Gallery of Art, Washington
Gemäldegalerie, Berlin
Metropolitan Museum of Art, New York City
National Art Museum of Azerbaijan, Baku

text:
Musee Communal des Beaux-Arts, Bruges, Belgium
Groeningemuseum, Bruges, Belgium
Museo del Prado, Madrid, Spain – for works of Hieronymus Bosch

text: Uffizi, Florence

text: Château d'Écouen (National museum of the Renaissance), Écouen, France


document_title: Rudolph the Red-Nosed Reindeer

question_text: what company originally created rudolph the red-nosed reindeer as a christmas promotion

text: Rudolph the Red-Nosed Reindeer

text: Publication history[edit]

text: Robert L. May created Rudolph in 1939 as an assignment for Chicago-based Montgomery Ward. The retailer had been buying and giving away coloring books for Christmas every year and it was decided that creating their own book would save money. May considered naming the reindeer "Rollo" or "Reginald" before deciding upon using the name "Rudolph."[8] In its first year of publication, Montgomery Ward distributed 2.4 million copies of Rudolph's story.[9] The story is written as a poem in anapestic tetrameter, the same meter as "A Visit from St. Nicholas" (also known as "'Twas the Night Before Christmas").[citation needed] Publication and reprint rights for the book Rudolph the Red-Nosed Reindeer are controlled by Pearson PLC.[citation needed]

text: While May was pondering how best to craft a Christmas story about a reindeer, while staring out his office window in downtown Chicago, a thick fog from Lake Michigan blocked his view—giving him a flash of inspiration. "Suddenly I had it!" he recalled. "A nose! A bright red nose that would shine through fog like a spotlight."[10]

text: The cultural significance of a red nose has changed since the story's publication. In 1930's popular culture, a bright red nose was closely associated with chronic alcoholism and drunkards, so the story idea was initially rejected. May asked his illustrator friend at Montgomery Ward, Denver Gillen, to draw "cute reindeer", using zoo deer as models. The alert, bouncy character Gillen developed convinced management to support the idea.[11]

text: Maxton Books published the first mass-market edition of Rudolph in 1947[citation needed] and a sequel, Rudolph the Red-Nosed Reindeer Shines Again, in 1954.[citation needed] In 1992, Applewood Books published Rudolph's Second Christmas, an unpublished sequel that Robert May wrote in 1947.[citation needed] In 2003, Penguin Books issued a reprint version of the original Rudolph the Red-Nosed Reindeer with new artwork by Lisa Papp.[citation needed] Penguin also reprinted May's sequels, Rudolph Shines Again and Rudolph's Second Christmas (now retitled Rudolph to the Rescue).[12]

text: The story[edit]

text: The story chronicles the experiences of Rudolph, a youthful reindeer buck (male) who possesses an unusual luminous red nose. Mocked and excluded by his peers because of this trait, Rudolph proves himself one Christmas Eve with poor visibility due to inclement weather after Santa Claus catches sight of Rudolph's nose and asks Rudolph to lead his sleigh for the evening. Rudolph agrees and is finally favored by his fellow reindeer for his heroism and accomplishment.

text: In media[edit]

text: Theatrical cartoon short (1948)[edit]

text: Rudolph made his first screen appearance in 1948, in a cartoon short produced by Max Fleischer for the Jam Handy Corporation that was more faithful to May's original story than Marks' song, which had not yet been written.[13] It was reissued in 1951 with the song added.[13]

text: Song (1949)[edit]

text: May's brother-in-law, Johnny Marks, adapted the story of Rudolph into a song. Gene Autry's recording of the song hit No. 1 on the Billboard pop singles chart the week of Christmas 1949. Autry's recording sold 2.5 million copies the first year, eventually selling a total of 25 million, and it remained the second best-selling record of all time until the 1980s.[14]

text: Comic books (beginning in 1950)[edit]

text: DC Comics, then known as National Periodical Publications, published a series of 13 annuals titled Rudolph the Red-Nosed Reindeer from 1950 to 1962.[15][16] Rube Grossman drew most of the 1950s stories.[17]

text: In 1972, DC Comics published a 14th edition in an extra-large format. Subsequently, they published six more in that format: Limited Collectors' Edition C-24, C-33, C-42, C-50[18] and All-New Collectors' Edition C-53, C-60.[19]

text: Additionally, one digest format edition was published as The Best of DC #4 (March–April 1980).[20] The 1970s Rudolph stories were written and drawn by Sheldon Mayer.[21][22]

text: Children's book (1958)[edit]

text: In 1958, Little Golden Books published an illustrated storybook, adapted by Barbara Shook Hazen and illustrated by Richard Scarry. The book, similar in story to the Max Fleischer cartoon short, is no longer in print,[citation needed] but a revised Little Golden Books version of the storybook was reissued in 1972.

text: Stop-motion animation television special (1964) and sequels (1976–79)[edit]

text: Perhaps the most well-known version of all the Rudolph adaptations is the Rankin/Bass Productions version of 1964.[citation needed] Filmed in Japan, with all sound recordings done in Toronto, Canada, the show premièred on NBC. As the producers of the special only had the song as source material and did not have a copy of the original book, they interpolated an original story around the central narrative of the song, one that differed from the book. This re-telling chronicles Rudolph's social rejection among his peers and his decision to run away from home. Rudolph is accompanied by a similarly outcast elf named Hermey, who skipped elf practice to become a dentist, along with a loud, boisterous, eager prospector named Yukon Cornelius who was in search of wealth. Additional original characters include Rudolph's love interest, Clarice; the antagonistic "Abominable Snow Monster"; and, as narrator, the living Sam the Snowman, voiced by Burl Ives.

text: In the 1964 stop-motion movie, Rudolph is born to Donder the Reindeer and Donder's wife. He is discovered by Santa to have a shiny, glowing red nose. Donder, regardless of Rudolph's defect, trains him to be a normal reindeer with skills such as gathering food and hiding from the "Abominable Snow Monster", a giant, furry white beast. To hide Rudolph's nose, Donder puts dirt on it to cover it with a black coating. This causes Rudolph to talk in a funny accent, as told by the Rudolph's peers. A short time later, Rudolph joins his peers at the Reindeer Games, where he meets Fireball, who is initially friendly and has a shock of strawberry blond hair on his head, and Clarice, a female spectator who takes a liking to Rudolph. Clarice's flirtation inspires Rudolph to perform better than all of his peers at flying, but in his excitement he knocks the black cover off his nose, revealing a red glow that causes Fireball and the others to turn against him; this distraction, in turn, prompts the coach (Comet) to ban Rudolph from the Reindeer Games. Clarice remains loyal to him, only to be ordered by her father not to shame the family by associating with "a red-nosed reindeer."

text: Rudolph soon runs into Hermey, an elf who was forced out of his job at the North Pole's toy factory; Hermey showed a total lack of interest in the toymaking and singing aspects of being an elf and instead wanted to pursue dentistry. They come to the conclusion that they're both misfits and decide to run away together. On their aimless journey, they run into Yukon Cornelius, the self-described "greatest prospector of the North" who nevertheless seems to never find any silver or gold, and attempt to stay away from the Bumble, a huge abominable snow monster. Their journey leads them to the Island of Misfit Toys, where sentient but unorthodox toys go when they are abandoned by their owners. King Moonracer, the winged lion that lords over the Island, refuses to let them stay there permanently, instead telling the trio to return home and tell Santa Claus of the toys' plight, in exchange for one night's stay on the island. Rudolph refuses the offer and, fearing for his friends' life, runs off alone.

text: A now older Rudolph, still unable to find a place in the world, returns home to the North Pole, only to find that his family and Clarice had left to look for him and are now about to be eaten by the Bumble. With the help of Hermey and Yukon (who arrived separately), they lure the Bumble away and pacify him by knocking him unconscious and allowing Hermey (with dental skills he has acquired by reading books) to remove his sharp teeth. Everyone eventually returns to Santa's workshop, where a dismayed Santa Claus breaks the bad news that the weather is too bad to take the sleigh out and that Christmas would be canceled. Santa changes his mind when he notices Rudolph's red nose and asks Rudolph to lead the sleigh team, which he happily accepts.

text: After the story's initial broadcast, its closing credits were revised. Images of wrapped presents being dropped from Santa's sleigh were replaced by a scene in which Santa stops to pick up the Misfit Toys and delivers them to the homes of children below, where they were found by children who loved them. The changes were prompted by viewer feedback pleading for a happy ending for each toy. The special now airs annually on CBS, rather than NBC, and is hailed as a classic by many. The special's original assortment of characters have acquired iconic status, and an uncertainty surrounding an error in the special's copyright has allowed the special to be widely parodied and imitated in the decades since its original airing.

text: The sequel Rudolph's Shiny New Year (premier air date December 10, 1976) continued the reindeer's journeys, and the series was made into a trilogy with the 1979 feature-length film Christmas in July, which integrated the Rudolph universe into that of Rankin/Bass's adaptation of Frosty the Snowman.

text: Animated feature-length films[edit]

text: Rudolph the Red-Nosed Reindeer: The Movie (1998) is an animated feature film. It received only a limited theatrical release before debuting on home video. Its inclusion of a villain, a love interest, a sidekick, and a strong protector are more derivative of the Rankin/Bass adaptation of the story than the original tale and song (the characters of Stormella, Zoey, Arrow, Slyly, and Leonard parallel the Rankin/Bass characters of the Bumble, Clarice, Fireball, Hermey, and Yukon, respectively). The movie amplifies the early backstory of Rudolph's harassment by his schoolmates (primarily his cousin Arrow) during his formative years.

text: GoodTimes Entertainment, the producers of Rudolph the Red-Nosed Reindeer: The Movie, brought back most of the same production team for a CGI animated sequel, Rudolph the Red-Nosed Reindeer and the Island of Misfit Toys (2001). Unlike the previous film, the sequel featured the original characters from the Rankin/Bass special (as GoodTimes soon learned that Rankin/Bass had made a copyright error that made the characters unique to their special free to use).

text:
Role
Rudolph the Red-Nosed Reindeer: The Movie
(1998)
Rudolph the Red-Nosed Reindeer:
The Island of Misfit Toys
(2001)

Director
William R. Kowalchuk

Producer

Writer
Michael Aschner

Composer
Al Kasha and Michael Lloyd
Bruce Roberts and Diana B

Editor
Tom Hok
Lennie Nelson

Production Companies
GoodTimes Entertainment
Golden Books Family Entertainment
Tundra Productions

Distributor
Legacy Releasing
GoodTimes Entertainment

Running Time
80 minutes
74 minutes

Release Date
October 6, 1998
October 30, 2001

text: Other[edit]

text: A live-action version of Rudolph (complete with glowing nose) along with Donder and Blitzen appears in the Doctor Who Christmas special, "Last Christmas" which was broadcast on BBC One on 25 December 2014.[23] In this special, Santa is able to park him like a car and turn off his nose.

text: Nathaniel Dominy, an anthropology professor at Dartmouth College (Robert L. May's alma mater), published a scholarly paper on Rudolph's red nose in the open access online journal Frontiers for Young Minds in 2015. In the paper, Dominy noted that reindeer eyes can perceive shorter wavelengths of light than humans, allowing them to see ultraviolet light; ultraviolet light, however, is much more easily scattered in fog, which would blind reindeer. Thus, Rudolph's red nose, emitting longer-wavelength red light, would penetrate the fog more easily. A summary of Dominy's findings was released in an Associated Press article on December 22.[24]

text: Homages in media[edit]

text: This article appears to contain trivial, minor, or unrelated references to popular culture. Please reorganize this content to explain the subject's impact on popular culture rather than simply listing appearances; add references to reliable sources if possible. Unsourced material may be challenged and removed. (November 2017)

text: Film[edit]

text:
In the film remake of Dr. Seuss' How the Grinch Stole Christmas (2000), The Grinch disguises his dog, Max, as Rudolph for his plan to disguise himself as Santa Claus and steal everything in each house in Whoville, to stop Christmas from coming. He also changes Rudolph's story saying, he hates Christmas and is gonna steal it. He then yells "Action!" through a megaphone. But Max takes off the fake red nose the Grinch had put on him.
In the film Fred Claus (2007), Rudolph is mentioned and briefly seen, although his red nose is not glowing. Fred (Vince Vaughn) is filling in for his injured brother Nick (Paul Giamatti) delivering the toys on Christmas Eve. While en route, he crashes the sleigh through a billboard advertisement for Pepsi Cola featuring Santa Claus and tells Rudolph to "shake it off". There are quick edits of Fred flying through the night making his deliveries. Willie the elf says, "Fred, I have a bad feeling about this", followed by a shot of the full moon. The sleigh zips by and turns to go head on into the camera. Here, you can see Rudolph leading the pack. In slow motion, you can clearly count nine reindeer.

text: Games[edit]

text:
Rudolph is mentioned in the video game Army of Two (2008) during a tutorial video about the use of the game's Aggro feature.
In Guild Wars Nightfall (2006), player characters are accompanied by a reindeer named Rudy whose nose begins to glow red when coming into range of presents that the player is tasked to find in a holiday themed quest.

text: Music[edit]

text:
Rudolph is mentioned in the Beach Boys' song "Little Saint Nick" (1963) in the following lyric: "Now haulin' through the snow at a frightening speed with a half a dozen deer with Rudy to lead."[25]
"Run Rudolph Run" (1958) is a Christmas song popularized by Chuck Berry and written by Johnny Marks and Marvin Brodie and published by St. Nicholas Music (ASCAP). The song was released as a single on Chess Records (label no. 1714) and has since been covered by numerous other artists, sometimes under the title "Run, Run, Rudolph". The song is a 12-bar blues and has a clear musical parallel to Chuck Berry's popular and recognizable song, "Johnny B. Goode" (1958);[citation needed] it is also melodically identical to Berry's "Little Queenie" (1959).[citation needed]
In Ray Stevens' novelty song "Santa Claus Is Watching You" (1962), Rudolph is replaced on Santa's team by "Clyde the Camel", a character from Steven's earlier hit, "Ahab the Arab". In the original version, aimed at children in a similar fashion to "Santa Claus Is Coming to Town", Rudolph was said to be recuperating from an injury sustained during "a twist contest"; a later version, warning a lover away from infidelity because Santa is watching, has Rudolph on a "stakeout at (the lover's) house".

text: Television and webisodes[edit]

text:
In the Doctor Who promotional mini-webisode, "Songtaran Carols" (2012), the Sontaran warrior-nurse-detective, Strax, stated: "Rudolph the red-nosed reindeer, had a very shiny nose. It proved to be a tactical disadvantage, because it enabled me to punch him in the dark."
Rudolph along with Donder and Blitzen appear in the Doctor Who Christmas special, Last Christmas.
The anime and manga series One Piece has a main character called Tony Tony Chopper, a shapeshifter born on Christmas Eve, who was often discriminated against because of his blue nose. However his background and story is otherwise very different.
MadTV featured Rudolph in a parody of the 1964 Rankin-Bass special called Raging Rudolph. Rudolph is beaten up for his red nose, and decides to get revenge on Santa Claus with Hermie the Elf by hiring Yukon Cornelius (a hitman in the special) to kill and decapitate Santa. Rudolph then takes over the North Pole. A sequel to the skit, The Reinfather, shows Rudolph exacting revenge for his hitman's death in a nod to The Godfather.

text: Relatives in different adaptations[edit]

text: Parents[edit]

text:
Robert L. May's original book does not name Rudolph's parents.
The animated specials produced by both Rankin/Bass and GoodTimes Entertainment have given Rudolph different sets of parents:

In Rankin/Bass's holiday special, he is Donder's son, and his mother is a tan doe who is called Mrs. Donder.
In GoodTimes' retelling, Rudolph's father is Blitzen, and his mother is named Mitzi.

text: Offspring[edit]

text: Three BBC animations carry on the legend by introducing Rudolph's son, Robbie the Reindeer. However, Rudolph is never directly mentioned by name (references are replaced by the first and second films' villain Blitzen interrupting with the phrase, "Don't say that name!", or something similar, presumably for copyright reasons.)

text: Siblings[edit]

text: Rudolph is also given a younger brother, Rusty Reindeer, in the American special, Holidaze: The Christmas That Almost Didn't Happen (2006). Unlike in the "Robbie the Reindeer" cartoons, Rudolph's name is mentioned in the film.

text: Michael Fry and T. Lewis have given Rudolph another brother in a series of Over the Hedge comic strips: an overweight, emotionally damaged reindeer named Ralph, the Infra-Red nosed Reindeer, who is referred to as Rudolph's older brother. Ralph's red nose is good for defrosting Santa's sleigh and warming up toast and waffles; he enviously complains about his brother Rudolph's publicity and his own anonymity.

text: Aunts, uncles, and cousins[edit]

text:
Rudolph has a cousin, Leroy, in Joe Diffie's 1995 song, "Leroy the Redneck Reindeer" (1995), which tells the story of Leroy's joining the sleigh team to substitute for Rudolph, who was ill.
In GoodTimes' retelling, three of Santa's reindeer (Dasher, Comet, and Cupid) are his uncles, and Cupid's son Arrow is Rudolph's cousin and rival.