title: West Pakistan

text: In 1970, the Martial Law Office was dissolved by General Yahya Khan who disestablished the state of West Pakistan. On 1 July 1970, the of Balochistan, Punjab, Sindh, and Khyber Pakhtunkhwa, Office of Prime minister, and much of the civil institutions were revived and re-established by the decree signed by Yahya Khan. The four provinces and four administrative units retained their current status and local governments were constitutionally established in 1970 to manage and administer the provisional autonomy given to the provinces in 1970.


title: West Pakistan

text: During West Pakistan's conflict with India, East Pakistan's military government remained silent and did not send any troops to exert pressure on Eastern India. West Pakistan accused East Pakistan of not taking any action, and their inaction caused West Pakistani resentment against East Pakistan's government. In fact, the Indian Air Force Eastern Air Command attacked East Pakistan's Air Force. However, East Pakistan was defended only by the under-strength 14th Infantry Division and sixteen fighter jets; no tanks and no navy were established in East Pakistan.


title: West Pakistan

text: The One Unit policy was regarded as a rational administrative reform that would reduce expenditure and eliminate provincial prejudices. West Pakistan formed a seemingly homogeneous block, but in reality it comprised marked linguistic and ethnic distinctions. The four provinces did not quite fit official definitions of a single nation.


title: West Pakistan

text: The Sindhi and Urdu-speaking class in Sindh Province revolted against the One Unit policy. The violence spread to Balochistan Province, Khyber-Pakhtunkhwa and Punjab Province. The One Unit policy was a failure in West Pakistan, and its survival was seen as improbable. However, with the military coup of 1958, trouble loomed for the province when the office of Chief Minister was abolished and the President took over executive powers for West Pakistan.


title: West Pakistan

text: Due to West Pakistan's close relations with the United States and the capitalist states, the influence of socialism had far more deeper roots in the West Pakistan population. The population favoured socialism but never allied with communism. The Pakistan Socialist Party had previously lost support due to its anti-Pakistan clauses during the time of the pre-independence movement. However, despite initiatives to improve the population during the Ayub Khan's government, the poor masses did not enjoy the benefits and reforms that were enjoyed by the middle and gentry classes of Pakistan.


title: West Pakistan

text: After the Indo-Pakistani war of 1965, the cultural revolution, resentment, hostility towards the government began to arise when the population felt that "Kashmir cause" was betrayed by President Ayub Khan. Problems further mounted after Foreign minister Zulfikar Ali Bhutto was sacked and vowed to take a revenge. After gathering and uniting the scattered democratic socialist and Marxist masses, Bhutto founded the Pakistan Peoples Party in 1967. The socialists tapped a wave of antipathy against the United States-allied president. The socialists integrated in poor and urban provinces of West Pakistan, educating people to cast their vote for their better future, and the importance of democracy was widely sensed in the entire country. The socialists, under Bhutto's guidance and leadership, played a vital role in managing labour strikes and civil disobedience to challenge Khan's authority. The military government responded fiercely after arresting the senior socialists' leadership, notably Bhutto, Mubashir Hassan, and Malick Mirage. This sparked gruesome violence in West Pakistan, thereby increasing pressure on Khan that he was unable to endure. Khan called for a Round Table Conference in Rawalpindi, but socialists led by Bhutto refused to accept Ayub's continuation in office and rejected the 6 Point Movement for regional autonomy put forth in 1966 by East Pakistani politician Sheikh Mujibur Rahman.


title: West Pakistan

text: In 1969, Khan handed over power to Army Chief of Staff General Yahya Khan, who promised to hold elections within two years. Meantime, Bhutto extensively worked to gather and unite the country's left-wing organisations, which, under Bhutto's leadership, participated with full force and became vital players in the country's politics.


title: West Pakistan

text: The long border between West Pakistan and Afghanistan was uneasy. This is due in part to the independent Pashtun tribes that inhabit the area. In addition, the physical boundary is uncertain: the 1893 Durand Line was used by West Pakistan to mark the border between the two countries, but Afghanistan has never recognised that frontier.


title: West Pakistan

text: In 1955, diplomatic relations were severed with the ransacking of Pakistan's embassy. In 1961, Pakistan Armed Forces suppressed an Afghan invasion in the Bajaur region of Pakistan.


title: West Pakistan

text: West Pakistan had hostile relations with India, primarily due to aftermaths of the 1947 independence and the issue of Kashmir.


title: West Pakistan

text: In 1947, the Pakistan Army and Pakistan Air Force attempted to annexe Kashmir, but were pushed back by the Indian army. Although the operation was a partial success, it only occupied 1/3rd of Kashmir, when the Indians had conquered 2/3rds of Kashmir, which was later integrated into Northern Pakistan.


title: West Pakistan

text: In 1965, "Operation Gibraltar" had long-ranging negative effects, outside and inside the country. Foreign minister Zulfikar Ali Bhutto and Defence minister Vice-Admiral Afzal Rahman Khan approached President Ayub Khan for approval of a covert operation to infiltrate Indian Kashmir using airborne troops from the Pakistan Army (Special Service Group) and Pakistan Air Force (Special Service Wing). During nights in August 1965, airborne troops parachuted into Indian Kashmir whilst ground assault began by Pakistan Army's troops. The airborne troops managed to occupy much of Indian-administered Kashmir and were only from Srinagar, but this was the closest Pakistani troops ever got to capturing the city. In September 1965, India launched a counter-attack and the airborne troops were pushed back to what is today Azad Kashmir. The operation failed brutally, and Indian Armed Forces attacked West Pakistan with full force. The Soviet Union intervened in the conflict in September 1965 (for fear of escalation), and the month–long war ended with no permanent territorial changes. West Pakistan and India signed the Tashkent Declaration in January 1966, but the ceasefire was criticised both in India and Pakistan, and public resentment against each other grew. In West Pakistan, Ayub Khan deposed Bhutto as his Foreign minister, and Vice-Admiral Khan blamed Bhutto for the operation's failure. As an aftermath, Bhutto tapped into an anti-Ayub Khan movement and kicked off a storm of civil disobedience. Protests and spontaneous demonstrations broke out around the country, and Ayub Khan lost the control. In 1967, another martial law was imposed by another Army Commander-in-Chief, General Yahya Khan, who designated himself as the Chief Martial Law Administrator.


title: West Pakistan

text: West Pakistan had positive relations with the People's Republic of China, with whom it shared a small northern border.


title: West Pakistan

text: In 1950, Pakistan was among the first countries to end official diplomatic relations with the Taiwanese Republic of China and recognise the PRC. After that, both countries maintained an extremely close and supportive relationship. The PRC provided economic, military and technical assistance to Pakistan during the Cold War, and the two countries considered each other to be close strategic allies.


title: West Pakistan

text: Relations varied from cool to extremely strained between West Pakistan and the Soviet Union. This was during the Cold War, and Pakistan's close ties with the United States came at the expense of relations with the Soviets.


title: West Pakistan

text: Soviet-Pakistan relations were further eroded during the 1960 U-2 incident, when the Soviets shot down a US spyplane; Army Chief-of-Staff Ayub Khan had given the US permission to fly out of Peshawar Air Station on reconnaissance and covert surveillance missions over the Soviet Union.


title: West Pakistan

text: The USSR backed India during the Indo-Pakistani War of 1971. The Soviets were the biggest supplier of military hardware to India at that time.


title: West Pakistan

text: The United States was one of the first nations to establish relations with Pakistan upon its independence.


title: West Pakistan

text: Pakistan was allied with the US during the Cold war against the USSR. Pakistan was an integral member of the Southeast Asia Treaty Organization (SEATO) and the Central Treaty Organization (CENTO), both alliances opposed to the Soviet Union and communism.


title: West Pakistan

text: A major factor in Pakistan's decision to ally with the West was their urgent need for aid. In the years that followed, the US supplied extensive economic, scientific, and military assistance to Pakistan.


title: West Pakistan

text: This close relationship continued through Pakistan's years of democracy and military rule. Relations only soured after West Pakistan had dissolved into Pakistan, when the left-oriented Pakistan Peoples Party came to power in 1971.


title: Michael Raymond-James

text: Michael Raymond-James (born Michael Weverstad; December 24, 1977) is an American actor. He is best known for playing René Lenier in the first season of the HBO series "True Blood", Britt Pollack on the FX series "Terriers", Neal Cassidy/Baelfire on the ABC series "Once Upon a Time", and Mitch Longo on the CBS All Access series "Tell Me a Story".


title: Michael Raymond-James

text: Raymond-James was born in Detroit, Michigan, and graduated Clarkston High School in 1996, where he was a football and track standout. He started out doing theater and studied at the Lee Strasberg Theatre and Film Institute in New York, with George Loros, Geoffrey Horne and Robert Castle. Following several stage appearances in New York, including "The Petrified Forest" at the Pantheon Theater, he relocated to Los Angeles.


title: Michael Raymond-James

text: He has guest starred in such series as "", "Medium", "Boston Legal", "ER" and the season two premiere of "Lie to Me". He starred in the FX original series "Terriers" which was canceled by FX on December 6, 2010 after the first season. Raymond-James also played the role of Rene Lanier on the HBO original series "True Blood".


title: Michael Raymond-James

text: In his feature debut Raymond-James played the best friend of Justin Timberlake's character in "Black Snake Moan" with Christina Ricci and Samuel Jackson. The actor also starred in Jonny Hirschbein's award-winning short film 'The Fix,' working alongside Robert Patrick and David Paymer. His feature-film credits include 'Moonlight Serenade,' starring as a piano prodigy opposite Academy Award Nominee Amy Adams.


title: Michael Raymond-James

text: In an episode of "The Walking Dead" titled "Nebraska", Raymond-James played a young man named Dave, who presents a threat to series protagonist Rick Grimes and his group.


title: Michael Raymond-James

text: He starred in "Once Upon a Time" as Neal Cassidy/Baelfire, who is Henry's father as well as Rumpelstiltskin's son and is later revealed to be the grandson of Peter Pan.


title: Michael Raymond-James

text: In 2020, Raymond-James was cast to play in the lead role of Gavin Wolcott in the NBC apocalyptic drama pilot "La Brea" which was written by David Appelbaum; however, he left the project and was replaced by Eoin Macken. In the 2021-22 season he recurs on "" as Jon Kosta.


title: Potassium chlorate

text: Potassium chlorate is a compound containing potassium, chlorine and oxygen, with the molecular formula KClO. In its pure form, it is a white crystalline substance. After sodium chlorate, it is the second most common chlorate in industrial use. It is a strong oxidizing agent and its most important application is in safety matches. In other applications it is mostly obsolete and has been replaced by safer alternatives in recent decades. It has been used


title: Potassium chlorate

text: On the industrial scale, potassium chlorate is produced by the salt metathesis reaction of sodium chlorate and potassium chloride:


title: Potassium chlorate

text: The reaction is driven by the low solubility of potassium chlorate in water. The equilibrium of the reaction is shifted to the right hand side by the continuous precipitation of the product (Le Chatelier's Principle). The precursor sodium chlorate is produced industrially in very large quantities by electrolysis of sodium chloride, common table salt.


title: Potassium chlorate

text: The direct electrolysis of KCl in aqueous solution is also used sometimes, in which elemental chlorine formed at the anode reacts with KOH "in situ". The low solubility of KClO in water causes the salt to conveniently isolate itself from the reaction mixture by simply precipitating out of solution.


title: Potassium chlorate

text: Potassium chlorate can be produced in small amounts by disproportionation in a sodium hypochlorite solution followed by metathesis reaction with potassium chloride:


title: Potassium chlorate

text: Potassium chlorate was one key ingredient in early firearms percussion caps (primers). It continues in that application, where not supplanted by potassium perchlorate.


title: Potassium chlorate

text: Chlorate-based propellants are more efficient than traditional gunpowder and are less susceptible to damage by water. However, they can be extremely unstable in the presence of sulfur or phosphorus and are much more expensive. Chlorate propellants must be used only in equipment designed for them; failure to follow this precaution is a common source of accidents. Potassium chlorate, often in combination with silver fulminate, is used in trick noise-makers known as "crackers", "snappers", "pop-its", or "bang-snaps", a popular type of novelty firework.


title: Potassium chlorate

text: Another application of potassium chlorate is as the oxidizer in a smoke composition such as that used in smoke grenades. Since 2005, a cartridge with potassium chlorate mixed with lactose and rosin is used for generating the white smoke signaling the election of new pope by a papal conclave.


title: Potassium chlorate

text: Potassium chlorate is often used in high school and college laboratories to generate oxygen gas. It is a far cheaper source than a pressurized or cryogenic oxygen tank. Potassium chlorate readily decomposes if heated while in contact with a catalyst, typically manganese(IV) dioxide (MnO). Thus, it may be simply placed in a test tube and heated over a burner. If the test tube is equipped with a one-holed stopper and hose, warm oxygen can be drawn off. The reaction is as follows:


title: Potassium chlorate

text: The safe performance of this reaction requires very pure reagents and careful temperature control. Molten potassium chlorate is an extremely powerful oxidizer and spontaneously reacts with many common materials such as sugar. Explosions have resulted from liquid chlorates spattering into the latex or PVC tubes of oxygen generators, as well as from contact between chlorates and hydrocarbon sealing greases. Impurities in potassium chlorate itself can also cause problems. When working with a new batch of potassium chlorate, it is advisable to take a small sample (~1 gram) and heat it strongly on an open glass plate. Contamination may cause this small quantity to explode, indicating that the chlorate should be discarded.


title: Potassium chlorate

text: Potassium chlorate is used in chemical oxygen generators (also called chlorate candles or oxygen candles), employed as oxygen-supply systems of e.g. aircraft, space stations, and submarines, and has been responsible for at least one plane crash. A fire on the space station Mir was traced to oxygen generation candles that use a similar lithium perchlorate. The decomposition of potassium chlorate was also used to provide the oxygen supply for limelights.


title: Potassium chlorate

text: Potassium chlorate can react with sulfuric acid to form a highly reactive solution of chloric acid and potassium sulfate:


title: Potassium chlorate

text: The solution so produced is sufficiently reactive that it spontaneously ignites if combustible material (sugar, paper, etc.) is present.


title: Potassium chlorate

text: In schools, molten potassium chlorate is used in the dramatic screaming jelly babies, Gummy bear, Haribo, and Trolli candy demonstration where the candy is dropped into the molten salt.


title: Potassium chlorate

text: Insurgents in Afghanistan also use potassium chlorate extensively as a key component in the production of improvised explosive devices. When significant effort was made to reduce the availability of ammonium nitrate fertilizer in Afghanistan, IED makers started using potassium chlorate as a cheap and effective alternative. In 2013, 60% of IEDs in Afghanistan used potassium chlorate, making it the most common ingredient used in IEDs.


title: Potassium chlorate

text: Potassium chlorate was also the main ingredient in the car bomb used in 2002 Bali bombings that killed 202 people.


title: Potassium chlorate

text: Potassium chlorate is used to force the blossoming stage of the longan tree, causing it to produce fruit in warmer climates.


title: Potassium chlorate

text: Potassium chlorate should be handled with care. It reacts vigorously, and in some cases spontaneously ignites or explodes, when mixed with many combustible materials. It burns vigorously in combination with virtually any combustible material, even those normally only slightly flammable (including ordinary dust and lint). Mixtures of potassium chlorate and a fuel can ignite by contact with sulfuric acid, so it should be kept away from this reagent.


title: Potassium chlorate

text: Sulfur should be avoided in pyrotechnic compositions containing potassium chlorate, as these mixtures are prone to spontaneous deflagration. Most sulfur contains trace quantities of sulfur-containing acids, and these can cause spontaneous ignition - "Flowers of sulfur" or "sublimed sulfur", despite the overall high purity, contains significant amounts of sulfur acids. Also, mixtures of potassium chlorate with any compound with ignition promoting properties (ex. antimony(III) sulfide) are very dangerous to prepare, as they are extremely shock sensitive.


title: Nekromantik

text: Nekromantik (stylized as NEKRomantik) is a 1988 West German horror exploitation film co-written and directed by Jörg Buttgereit. It is known to be frequently controversial, banned in a number of countries, and has become a cult film over the years due to its transgressive subject matter (including necrophilia) and audacious imagery.


title: Nekromantik

text: The film opens at night, as a woman urinates on the grass by the side of the road. She pulls up her underwear, gets into a car driven by her husband, and they drive away. The couple lose their way in the dark and subsequently run off the road. The next day their corpses are discovered, the man inside the vehicle, the woman thrown from it and her body cut in two.


title: Nekromantik

text: The film centers on Rob Schmadtke, the tragic hero, who works for "Joe's Cleaning Agency", a company that removes bodies from public areas and cleans up after traffic accidents. Their emblem is the Totenkopf symbol (skull and crossbones variant) within a pentagram. This job leaves him the opportunity to pursue his full-time hobby: necrophilia. He returns home from his job to his apartment and girlfriend Betty. He plays with his assortment of preserved human remains and watches television while Betty takes a bath in blood-laden water. Their apartment is decorated with centerfolds featuring models, pictures of famed killers, and jars containing human parts, which are preserved in formaldehyde.


title: Nekromantik

text: Rob watches a televised interview of a psychiatrist who speaks on the topic of arachnophobia and ways to overcome phobias. Rob then enters a daydream of a young rabbit being caught on a farm and graphically slaughtered. It is implied that these are memories of his father killing "a beloved childhood pet". A scene of an autopsy on a human cadaver follows. Next, a man drinking beer and shooting at birds with his rifle accidentally kills a nearby gardener, then discards the corpse.


title: Nekromantik

text: Rob returns to work and discovers his new obsession, the corpse of the unnamed gardener, which has been found rotting in a pond. During the removal process, Rob absconds with it. He excitedly returns home with this gift for his waiting wife. They immediately cut a steel pipe and put a condom over it so Betty will have a phallus to straddle during their "ménage à trois". This is immediately followed by a scene of meat being fried.


title: Nekromantik

text: Betty and Rob dine and converse while watching their new "toy" hang on the wall. Plates collect the fluids that drip out of the body. When Rob goes to work the next day, he is confronted by his co-workers, who are tired of his habitual tardiness and the stinking suit festering in his locker. His foreman Bruno (Harald Lundt), who never liked him, bullies him as they climb the stairs to see the boss. Rob is fired on the spot.


title: Nekromantik

text: At the apartment, Betty reads a love story to the corpse. She asks the corpse if it could feel the love in the story and begins to straddle the face of the corpse. When Rob returns, he informs Betty of his termination and she berates him for his failure as well as the fact that he did not stand up for himself. Betty soon leaves and takes the corpse with her. In a violent outburst, he kills their cat and bathes with its blood and entrails in the tub while the animal's body hangs over the tub. He then leaves to go to see a horror film. After being bullied by a fellow movie-goer, Rob leaves to go back to his apartment, visibly despondent.


title: Nekromantik

text: Rob attempts suicide with pills and whiskey. He begins to drift into a dream in which he emerges from a garbage bag in a partially decayed state. He is soon greeted by a woman in white who gives him a corpse's head and they begin to dance, tossing the head and entrails back and forth. Once he wakes up, he leaves his apartment and hires a sex worker. They go to a cemetery, where he hopes the environment will help satisfy his libido, but he fails to perform sexually. When the sex worker mocks him, he strangles her and then rapes her corpse. He is startled as he awakes beside her with an old gardener standing over them. Rob grabs the man's shovel, chops his head off, and runs away.


title: Nekromantik

text: The film closes with Rob's grisly suicide, in which he stabs himself while ejaculating. This scene is filled with flashbacks to the rabbit slaughter seen earlier in the film, but in reverse. In the final scene, a woman starts digging up Rob's grave. Only her foot is seen, in stockings and high heels.


title: Nekromantik

text: Buttgereit had previously directed featurettes in Super 8 format, but this was his first feature-length film. Buttgereit and co-writer Franz Rodenkirchen conceived the basic concept of the film while discussing the relationship between love, sex, and death. The idea to connect an orgasm to the moment of death, somebody actually enjoying his own death, was part of their initial ideas.


title: Nekromantik

text: The film was a no budget film, with inexpensive special effects. The film makes use of actual animal intestines and the eyeballs of pigs. The rabbit-related scene used documentary-style footage of a professional rabbit breeder at work.


title: Nekromantik

text: The original musical score for the film was composed by Hermann Kopp, Bernd Daktari Lorenz and John Boy Walton.


title: Nekromantik

text: According to Bartlomiej Paszylk, the film revealed its roots in amateur film techniques through use of poor acting and inferior cinematography. What actually made it a "must-see" for horror fans were its taboo-breaking scenes and dwelling in filthy, disgusting subjects. According to Kris Vander Lugt, in terms of genre "Nekromantik" is a mix of elements from several genres: splatter film, "schlock" film, black comedy, exploitation film, and softcore pornography. The title itself implies a mix of death (necro-) and romance. The film then serves as both an ode to necrophilia and an attack on the perceptions of morality of the bourgeoisie.


title: Nekromantik

text: Other than his hobby of collecting specimens from corpses, Rob is depicted as a typical member of the German working class. On the other hand, the company which employs him has fascist allusions in its naming and emblem. When Rob loses his job, his romance with Betty also ends. She berates him for his lack of both money and manliness. Then she abandons him, introducing the themes of emotional and financial impotence.


title: Nekromantik

text: Several times in the film, the exterior of the apartment of Rob and Betty is depicted from a streetview. This unexceptional exterior is contrasted with the grotesque scenes taking place behind its walls. Linnie Blake argues this is an evocation of the uncanny in Freudian terms. Rob owns a miniature version of "The Glass Man". Created in 1930 by Franz Tschackert, it was a life-sized model of a male figure with transparent skin, making visible the skeleton and several internal organs. The placement of this artifact, along with specimen jars in the apartment, makes it seem like a mad scientist's laboratory.


title: Nekromantik

text: Linnie Blake finds it telling that the murderer of the young gardener is previously seen shooting at birds, and is so similar to characters from the Heimatfilms. This was an essentially conservative West German genre which depicted "morally unimpeachable family and community lives". She argues that Buttgereit both evokes and derides this genre, and by implication the culture which produced it. The supposedly upstanding member of society kills, hides a corpse, and then disappears from view, getting away with murder.


title: Nekromantik

text: The film includes several occasions of a dream sequence, such as Rob's visions of a woman in white in a rural landscape. She transports a severed head in a box and later plays with it.


title: Nekromantik

text: The film within a film is a slasher film. While a knife-wielding killer traces his knife across a female victim, the desensitized audience of the movie theater seems bored. They kiss or fondle each other, they eat or talk during a misogynist torture scene, a testament to their lack of empathy.


title: Nekromantik

text: The suicide scene is a depiction of extreme masochism, but it also concludes the story of the character's sexual dysfunction, existential crisis, and social isolation. Rob is not only a person with a fetish of the dead, but one who constantly fails in his relationships with the living.


title: Nekromantik

text: "NEKRomantik" defied the censorship standards of West Germany. Since 1984, all horror films released in West Germany have been edited to remove violent scenes, both in cinema release and video release (such as with the 1985 film "Day of the Dead"), while a total of 32 films were banned from release in any format, including "The Texas Chain Saw Massacre" (1974), "Mother's Day" (1980), and "The Evil Dead" (1981). The creators of "Nekromantik" did not submit the film for review by the Freiwillige Selbstkontrolle der Filmwirtschaft and made the film available exclusively to an adult audience.


title: Nekromantik

text: The film has had a polarised reception since the time of its release. It currently holds a 50% on Rotten Tomatoes.


title: Nekromantik

text: The film critics of Berlin were typically favourable to the film, commenting on its taboo-breaking, its artistic merit, and the quality of its special effects. A magazine article on "Sex and Death in the Modern Gay Cinema" perceived a film as an allegory for AIDS and the necessity of safe sex.


title: Nekromantik

text: The film initially faced no significant reprisals. It was only the scandal over the sequel "Nekromantik 2" (1991) which caused the German authorities to temporarily ban sales by mail order of the original film.


title: Nekromantik

text: The film is currently banned outright in Iceland, Malaysia, Singapore, and the provinces of Nova Scotia and Ontario in Canada. In 1992, the Australian Classification Board banned the film outright in Australia due to "graphic necrophilia content". In 1993, the film was banned in Finland. The film was banned outright by the New Zealand Office of Film and Literature Classification in 1999 due to "revolting, objectionable content (necrophilia, high impact violence, animal cruelty and abhorrent behavior)". The film is banned in a number of other countries as well. In 2014, the British Board of Film Classification passed the film uncut with an 18 certificate.


title: Nekromantik

text: The film spawned a sequel three years later, "Nekromantik 2", by the same director. Beatrice Manowski reprised her role as Betty in a short cameo.


title: Nekromantik

text: Norwegian black metal band Carpathian Forest covered the film's opening theme in their album "Strange Old Brew".


title: Carla Hall

text: She appeared in the fifth and eighth seasons of "Top Chef", Bravo's cooking competition show. She was a cohost on "The Chew", a one-hour talk show centered on food from all angles, which premiered on ABC in September 2011.


title: Carla Hall

text: She graduated from Howard University's Business School with a degree in accounting in 1986. She then worked at Price Waterhouse in Tampa, Florida, and became a Certified Public Accountant. Hall hated her job and left after two years.


title: Carla Hall

text: Hall then spent several years working as a model on the runways of Paris, Milan and London. During this time, she decided to pursue a culinary career.


title: Carla Hall

text: Upon returning to the United States, Hall moved to Washington, D.C. When Hall brought some leftover sandwiches to her friend's office, and the friend's coworkers all wanted her to come again, she decided to start a lunch delivery service called the Lunch Bunch. After four years, she enrolled in L'Academie de Cuisine in Bethesda, Maryland, graduating with a Culinary Career Training certificate. From here, she went on to serve an externship at the Henley Park Hotel, where she was then promoted to sous chef. By 1999, Hall was the executive chef at the Garden Cafe in the State Plaza Hotel, a sister hotel. She then served as executive chef of the Washington Club, a private social club.


title: Carla Hall

text: In 2001, Hall started her own catering company, Alchemy Caterers, based in Wheaton, Maryland. Hall remains in charge of the company, which she renamed Alchemy by Carla Hall. Hall has written the cookbook "Cooking with Love: Comfort Food that Hugs You".


title: Carla Hall

text: Hall's big break came in 2008, when she was selected to be a contestant on the fifth season of "Top Chef". In the beginning, she was in the middle in most episodes, but was in the top for the Thanksgiving challenge. After Episode 10, she wowed the judges with her crawfish gumbo, going on to win Super Bowl XLIII tickets for this victory. After this, she won two more challenges and was in the top for several others. Most notably, she impressed Jacques Pépin, who said he could "die happy" after eating her fresh peas, and Emeril Lagasse, who said he loved her gumbo. However, in the final challenge in New Orleans, she and Stefan Richter ended as runners-up to champion Hosea Rosenberg.


title: Carla Hall

text: On the show, Hall gained popularity for her personality, although she did not win Fan Favorite in her season. She became known for her call-and-response catch phrase "Hootie Hoo!", a tradition she and her husband had whenever trying to locate one another in public. Hall also became known on "Top Chef" for her philosophy of "cooking with love", which she defined as putting one's own care and warmth into food. She believes that if one is happy and calm while cooking, then this will show in the food, making it much better, whereas if one feels otherwise, it will degrade their cuisine. For this reason, she says that, “If you’re not in a good mood, the only thing you should make is a reservation."


title: Carla Hall

text: Hall was part of the cast of "Top Chef: All-Stars", the eighth season of the show, which consisted of participants from past seasons. She performed well in this season, which included demonstrating her chicken pot pie recipe on "Late Night with Jimmy Fallon". Hall finished fifth overall in the competition, but was awarded "Fan Favorite" for the season by viewers of the show, which included beating out Fabio Viviani, who was voted Fan Favorite over Hall when they both appeared in Season 5.


title: Carla Hall

text: Since the first show that aired on September 26, 2011, Hall has been one of 5 cohosts on "The Chew", a one-hour show on ABC centered on food from all angles. The show replaced "All My Children". Hall remained a cohost of the show until its cancellation in spring 2018.


title: Carla Hall

text: In 2014, Hall launched a Kickstarter campaign where she raised $264,703 that exceeded her $250,000 goal from 1550 backers for the opening of her restaurant. The restaurant, Carla Hall's Southern Kitchen, opened June 17, 2016, in Brooklyn, New York. The restaurant closed in August 2017.


title: Carla Hall

text: Hall appeared on the May 3, 2009, cover of the "Washington Post Magazine", on a feature called "Fit for Fame", about still exercising while being famous.


title: Carla Hall

text: She portrayed a version of herself named "Spaghetti Scientist Carla Hall" in the "BoJack Horseman" episode "That Went Well". She voiced Mpishi the harrier hawk in a season 2 episode of Disney Junior's "The Lion Guard" titled "Ono and the Egg". She also voiced the president in Season 1, Episode 5, titled "A Grilled Cheese for the Big Cheese!" from Nickelodeon's animated series "Butterbean's Café".


title: Carla Hall

text: On April 17, 2018, "General Hospital" tweeted Hall would appear on the ABC soap opera, and Soap Opera Digest states it will be May 2018.


title: Carla Hall

text: In 2020, Hall appeared as a judge in the Channel 4 competition series "Crazy Delicious". The show took place on an edible set and was hosted by British comedian Jayde Adams alongside chefs and fellow judges Heston Blumenthal and Niklas Ekstedt.


title: Carla Hall

text: As of 2020, Hall is currently with "Sesame Street" characters Cookie Monster and Gonger in a series of segments called "Snack Chat".


title: Carla Hall

text: In 2021, she is hosting Worst Cooks in America with Anne Burrell, and is a host and judge on Best Baker in America.


title: New Glenn

text: New Glenn is a heavy-lift orbital launch vehicle in development by Blue Origin. Named after NASA astronaut John Glenn, design work on the vehicle began in 2012. Illustrations of the vehicle, and the high-level specifications, were initially publicly unveiled in September 2016. New Glenn is a two-stage rocket with a diameter of . Its first stage will be powered by seven BE-4 engines that are also being designed and manufactured by Blue Origin.


title: New Glenn

text: Like the New Shepard suborbital launch vehicle that preceded it, the New Glenn's first stage has been designed to be reusable since its inception in 2016. In 2021, the company initiated conceptual design work on approaches to potentially make the second stage reusable as well, with the project codenamed Project Jarvis.


title: New Glenn

text: Originally aiming for first launch of New Glenn in 2020, Blue Origin has publicly announced delays on three occasions: to 2021 in late 2018, to fourth quarter of 2022 in early 2021, and to no earlier than Q4 2023 in March 2022.


title: New Glenn

text: After initiating the development of an orbital rocket system prior to 2012, and stating in 2013 on their website that the first stage would do a powered vertical landing and be reusable, Blue Origin publicly announced their orbital launch vehicle intentions in September 2015. In January 2016, Blue Origin indicated that the new rocket would be many times larger than New Shepard even though it would be the smallest of the family of Blue Origin orbital vehicles. Blue Origin publicly released the high-level design of the vehicle and announced the name New Glenn — with both two-stage and three-stage variants planned — in September 2016.


title: New Glenn

text: Blue Origin began developing systems for orbital human spacecraft prior to 2012. A reusable first-stage booster was projected to fly a suborbital trajectory, taking off vertically like the booster stage of a conventional multistage launch vehicle. Following stage separation, the upper stage would continue to propel astronauts to orbit while the first-stage booster would descend to perform a powered vertical landing similar to its New Shepard suborbital vehicle. The first-stage booster was to be refueled and relaunched to reduce costs of access for humans to space.


title: New Glenn

text: The booster launch vehicle was projected to lift Blue Origin's biconic Space Vehicle capsule to orbit, carrying astronauts and supplies. After completing its mission in orbit, the Space Vehicle was designed to reenter Earth's atmosphere and land under parachutes on land, to be reused on future missions.


title: New Glenn

text: Engine testing for the (then-named) Reusable Booster System (RBS) launch vehicle began in 2012. A full-power test of the thrust chamber for Blue Origin BE-3 liquid oxygen/liquid hydrogen upper-stage rocket engine (BE-3U) was conducted on a stand at the John C. Stennis Space Center (NASA test facility) in October 2012. The chamber successfully achieved full thrust of . By early 2018, it was announced that the BE-3U hydrolox engine would power the second stage of the New Glenn.


title: New Glenn

text: Design work on the vehicle began in 2012, with the beginning of BE-4 engine development. Further plans for an orbital launch vehicle were made public in 2015. By March 2016, the launch vehicle was referred to by the placeholder name of "Very Big Brother". It was stated to be a two-stage-to-orbit liquid-propellant rocket, with the launcher intended to be reusable. In early 2016, Blue Origin indicated that the first orbital launch was expected no earlier than 2020 from the Florida launch facility, and in September 2017 continued to forecast a 2020 debut. In a February 2016 interview, Blue Origin president Rob Meyerson referred to engine development and orbital launch vehicle milestones.


title: New Glenn

text: The vehicle itself, and the high-level specifications, were initially publicly unveiled in September 2016. New Glenn was described as a in diameter, two- or three-stage rocket, with the first and second stages being liquid methane/liquid oxygen (methalox) designs using Blue Origin engines. The first stage is planned to be reusable and will land vertically, just like the New Shepard suborbital launch vehicle that has been flying suborbitally since the early 2010s. Although these plans would subsequently change, the 2016 plans called for the first stage to be powered by seven of Blue Origin's BE-4 single-shaft oxygen-rich staged combustion liquid methane/liquid oxygen rocket engines, the second-stage to be powered by a single vacuum-variant of the BE-4 (BE-4U) and the third stage to use a single BE-3 hydrolox engine. In 2016, the first stage was planned to be designed to be reused for up to 100 flights. Blue Origin announced that they intended to launch the rocket from Launch Complex 36 (LC-36), and manufacture the launch vehicles at a new facility to be built on nearby land in Exploration Park. Acceptance testing of the BE-4 engines was also announced to be planned for Florida.


title: New Glenn

text: Blue explained in the 12 September 2016 announcement that the rocket would be named New Glenn in honor of the first American astronaut to orbit the Earth, John Glenn. Three weeks of wind tunnel testing of a scale model New Glenn were completed in September 2016 in order to validate the CFD design models of transonic and supersonic flight.


title: New Glenn

text: In March 2017, Jeff Bezos showed graphics of the New Glenn which had two large strakes at the bottom of the booster. In the September 2017 announcement, Blue announced a much larger payload fairing for New Glenn, this one in diameter, up from in the originally announced design.


title: New Glenn

text: By March 2018, the launch vehicle design had changed. It was announced that the New Glenn second stage will now be powered by two vacuum versions of the flight proven BE-3 liquid hydrogen/liquid oxygen rocket engine (BE-3U) with a single BE-3U engine for the third stage deep space option. The three stage booster variant was subsequently cancelled completely in January 2019. By mid-2018, the low-level design was not yet complete and the likelihood of achieving an initial launch by 2020 was being called into question by company engineers, customers, industry experts, and journalists. In October 2018, the Air Force announced Blue Origin was awarded US$500 million for development of New Glenn as a potential competitor in future contracts, including Evolved Expendable Launch Vehicle (EELV) Phase 2. The October 2018 award was terminated in December 2020 after receiving US$255.5 million of the US$500 million.


title: New Glenn

text: By February 2019, several launches for New Glenn had been contracted: five for OneWeb, an unspecified amount of Telesat, one each for Eutelsat, mu Space Corp and SKY Perfect JSAT. In February 2019, Blue Origin indicated that no plans to build a reusable second stage were on the company's roadmap. In the event, by July 2021, Blue was evaluating options for getting to a reusable second-stage design: Project Jarvis.


title: New Glenn

text: In August 2020 the Air Force announced that New Glenn was not selected for the National Security Space Launch Phase 2 launch procurement. Due to this, in February 2021 Blue Origin announced that the first flight would slip to no earlier than late 2022.


title: New Glenn

text: By December 2020, Blue Origin indicated that the BE-4 engine delivery to ULA would slip to summer 2021, and ULA disclosed that the first launch of the New Glenn competitor ULA Vulcan Centaur would now be no earlier than 4Q 2021. Blue announced a further schedule slip for the first launch of New Glenn in March 2021 when the company said New Glenn "would not launch until the fourth quarter of 2022, at the earliest."


title: New Glenn

text: By 2021, Blue had reduced the published reuse specification for New Glenn to a minimum of 25 flights, from the previous design of 2016 to support up to 100 flights.


title: New Glenn

text: By March 2022, planning for the first flight of New Glenn had slipped to no earlier than January 2023


title: New Glenn

text: Information became public in July 2021 that Blue Origin had begun a "project to develop a fully reusable upper stage for New Glenn," under the name "Project Jarvis", just as SpaceX is aiming to do with their Starship second stage. If Blue is able to realize such a second stage design and bring it into operational use, New Glenn would become a fully-reusable launch vehicle and would benefit from a substantial reduction in cost per launch.


title: New Glenn

text: Beyond the technical changes indicated, Bezos has created a new management structure for the new efforts, walling off "parts of the second-stage development program from the rest of Blue Origin [telling] its leaders to innovate in an environment unfettered by rigorous management and paperwork processes." No budget has been publicly released.


title: New Glenn

text: One part of the effort is focusing on developing a stainless steel propellant tank and main structure for the second stage rocket, and evaluating it as a part of a solution for a complete second stage system. By 24 August, Blue had rolled a stainless steel test tank to their Launch Complex 36 facility, on which ground pressure testing with cyrogenic propellants could begin as early as September.


title: New Glenn

text: In addition to the Jarvis team working on a new second stage tank design, Blue Origin has set up another team to focus on design approaches that might be used to make a New Glenn second stage reusable, something that was not a design objective for the original second stage for New Glenn prior to 2021. , three approaches are being explored: adding wings to allow the stage to operate as a spaceplane on reentry; using an aerospike engine on the second stage that could double as a heat shield on reentry; and an approach similar to SpaceX's Starship concept using high-drag flaps in combination with propulsive deceleration. A decision on which approach to take into full development was slated for later in 2021.


title: New Glenn

text: The New Glenn is a in diameter two-stage orbital launch vehicle with a reusable first stage and an expendable second stage. An optional third stage was envisaged with a single BE-3U engine, and was planned as of October 2018.


title: New Glenn

text: The first stage is designed to be reusable for a minimum of 25 flights, and will land vertically, a technology previously developed by Blue Origin and tested in 2015–2016 on its New Shepard suborbital launch vehicle. The second stage will share the same diameter as the first and use two BE-3U vacuum optimized engines. It will use hydrogen/oxygen as propellant and will be expendable. This engine is manufactured by Blue Origin. The company has revealed the planned full operational payload capacity of the two-stage version of New Glenn as to GTO and to a 51.6° inclined LEO, though the initial operating capability may be somewhat lower. Dual-satellite launches will be offered after the first five flights.


title: New Glenn

text: Both stages will use orthogrid aluminum tanks with welded aluminum domes and common bulkheads. Both stages will also use autogenous pressurization. The first stage will be powered by seven BE-4 methane/oxygen engines — designed and manufactured by Blue Origin — producing of liftoff thrust. The second stage will be powered by two BE-3U engines, also designed and manufactured by Blue Origin. BE-3Us are an expander cycle variant of the BE-3 engine, which are explicitly designed for use in upper stages. Preliminary design numbers from 2015 projected the BE-3U to have a vacuum thrust of .


title: New Glenn

text: Launches of the New Glenn are planned to be made from Launch Complex 36 (LC-36), which was leased to Blue Origin in 2015. A launch site at Vandenberg Space Force Base is also planned. New Glenn will also be available for space tourism flights, with priority given to customers of New Shepard. The first stage boosters of New Glenn are intended to be reusable, and were originally intended to be recovered downrange on the Atlantic Ocean via their landing platform ship Jacklyn, which would have acted as a floating movable landing platform. The hydrodynamically stabilized ship would have increased the likelihood of successful recovery in rough seas. Currently there are no clear plans to follow through with ship based recovery as they have scrapped Jacklyn, and the ship has now been sold for scrap. It is not known yet what this means for the reusability of New Glenn. Blue origin could use a barge, similar to how SpaceX currently recovers their boosters, but this could potentially be complicated due to its size.


title: New Glenn

text: The main assembly of the New Glenn launch vehicle will occur in the Blue Origin rocket manufacturing facility in Florida, near Launch Complex 36 (LC-36) which the company leased from Spaceport Florida. Launch Complex 36 (LC-36) has hosted more than 100 launches, formerly launching the Atlas II and Atlas III.


title: New Glenn

text: Tooling and equipment for the factory began to be ordered and built in 2015. In July 2018, the build of the largest device, a tall × long × wide Ingersoll "Mongoose" cryogenic-tank and fairing fabrication machine, was completed after a three-year design/build process. It will be installed in the Florida facility in Exploration Park later in 2018. , Blue Origin had invested over US$1 billion in its Florida manufacturing facility and launch site, and intends to spend much more going forward.


title: New Glenn

text: Blue will offer both single-payload dedicated flights and, after the fifth launch, dual-manifesting of large communications satellites to be transported to geostationary transfer orbit (GTO). All contracted launches from the start will feature a reusable first-stage, so just like the practice in commercial aircraft transport, landing conditions can affect the timing and flight parameters of a launch.


title: New Glenn

text: By 2018, Blue Origin had contracts in place with four customers for New Glenn flights. Eutelsat, Thailand startup mu Space Corp and SKY Perfect JSAT have geosynchronous orbit communications satellite launches planned after 2020, while internet satellite constellation fleet operator OneWeb has an agreement for five launches.


title: New Glenn

text: In January 2019, Telesat signed a multi-launch contract "to launch satellites for its future low-Earth-orbit broadband constellation on multiple New Glenn missions" and thus is Blue's fifth customer.


title: New Glenn

text: In 2022, Amazon announced that it had contracted 15 flights of New Glenn, with an option for 18 more, for deployment of the Kuiper satellite constellation. Amazon, founded by Blue Origin owner Jeff Bezos, had also ordered 38 launches of Vulcan from ULA and 18 launches of Ariane 6 from Arianespace.


title: New Glenn

text: Blue intends to contract for launch services a differently to contract options that have been traditionally offered in the commercial launch market. The company has stated they will contract to aim to have a regular launch cadence of up to eight launches a year. If one of the payload providers for a multi-payload launch is not ready on time, Blue will hold to the launch timeframe, and fly the remaining payloads on time at no increase in price. This is different from how dual-launch manifested contracts have been traditionally handled by Arianespace (Ariane 5 and Ariane 6) and Mitsubishi Heavy Industries (H-IIA and H3). SpaceX and International Launch Services can offer dual-launch contracts, but prefer dedicated missions.


title: New Glenn

text: The development and manufacture of the New Glenn is being funded by Jeff Bezos, founder of Amazon.com, and the Department of the Air Force. Initially funded entirely by Bezos, after 2019 New Glenn will also receive US$500 million in funding under the United States Space Force National Security Space Launch (NSSL) program. By September 2017, Bezos had invested US$2.5 billion into New Glenn.


title: Shirley Temple filmography

text: Shirley Temple (1928–2014) was an American child actress, dancer, and singer who began her film career in 1931, and continued successfully through 1949. When Educational Pictures director Charles Lamont scouted Meglan Dancing School for prospective talent, three-year-old student Temple hid behind the piano. Lamont spotted her and immediately decided she was the one he was looking for. Starting at $10 a day, she was eventually under contract for $50 per film. The production company generated its "Baby Burlesks" one-reeler film short satires of Hollywood films in 1931–1933, produced by Jack Hays and directed by Lamont. Temple made eight "Baby Burlesks" films, and 10 other short films, before being signed to star in feature-length motion pictures.


title: Shirley Temple filmography

text: The role that launched her feature film career was a short song-and-dance sequence in the 1934 movie "Stand Up and Cheer!" for Fox Film, with James Dunn as her father. Her performance impressed studio executives so much that they immediately cast the duo in a follow-up film, "Baby Take a Bow", with Temple again playing Dunn's daughter. Following the release of that film, Temple's parents negotiated two 7-year Fox contracts, one for Shirley as the performer, and the other for her mother as her guardian. Her parents had stipulations inserted to protect their daughter's privacy, while Fox retained control of all her public appearances. The bulk of the financial recompense went into revocable trusts. Later that same year, the film "Bright Eyes" was written as a starring vehicle for Temple, teaming her once again with Dunn. In this film, Temple sang the song most identified with her: "On The Good Ship Lollipop".


title: Shirley Temple filmography

text: In addition to Dunn, Temple danced in her films with some of the most famous and accomplished entertainers of her era: Buddy Ebsen, Jack Haley, Alice Faye, George Murphy, Jimmy Durante, Charlotte Greenwood, and Jack Oakie. Bill "Bojangles" Robinson was her favorite partner. "It was kind of a magic between us", she later reminisced, and said he taught her how to execute her dance moves by syncing with the rhythm of the music, as opposed to watching her steps. In "The Little Colonel" (1935), the first of their four films together, they made history as the first interracial couple to dance on screen.


title: Shirley Temple filmography

text: Temple's films, made for between $400,000 and $700,000 each, earned millions of dollars in gross receipts in the United States and Canada. Her films ranked number-one at the box office in 1935, 1936, 1937, and 1938. The success of her films was also credited with saving her studio, 20th Century Fox, from bankruptcy during the Great Depression.


title: Shirley Temple filmography

text: At the 7th Academy Awards in 1935, Temple was honored with the first Academy Juvenile Award. That same year, her hand prints and bare foot prints were immortalized in cement at Grauman's Chinese Theatre. At previous hand and foot print ceremonies, other celebrities traditionally left hand and shoe prints in the cement. The bare feet distraction was her idea to divert attention away from a gap in her smile left by a baby tooth that had fallen out. She received a star on the Hollywood Walk of Fame on February 8, 1960. Following the end of her film career, Temple had a two-season run of "Shirley Temple's Storybook" anthology on the NBC television network.


title: Shirley Temple filmography

text: During the years 1974–1989, she served in the United States diplomatic corps under her married name of Shirley Temple Black.


title: Cool jazz

text: Cool jazz is a style of modern jazz music that arose in the United States after World War II. It is characterized by relaxed tempos and lighter tone, in contrast to the fast and complex bebop style. Cool jazz often employs formal arrangements and incorporates elements of classical music. Broadly, the genre refers to a number of post-war jazz styles employing a more subdued approach than that found in other contemporaneous jazz idioms. As Paul Tanner, Maurice Gerow, and David Megill suggest, "the tonal sonorities of these conservative players could be compared to pastel colors, while the solos of [Dizzy] Gillespie and his followers could be compared to fiery red colors."


title: Cool jazz

text: The term "cool" started being applied to this music around 1953, when Capitol Records released the album "Classics in Jazz: Cool and Quiet". Mark C. Gridley, writing in the "All Music Guide to Jazz", identifies four overlapping sub-categories of cool jazz:


title: Cool jazz

text: Ted Gioia and Lee Konitz have each identified cornetist Bix Beiderbecke and saxophonist Frankie Trumbauer as early progenitors of the cool aesthetic in jazz. Gioia cites Beiderbecke's softening of jazz's strong rhythmic impact in favor of maintaining melodic flow, while also employing complex techniques such as unusual harmonies and whole tone scales. Trumbauer, through "his smooth and seemingly effortless saxophone work," greatly affected tenor saxophonist Lester Young, who prefigured – and influenced – cool jazz more than any other musician.


title: Cool jazz

text: Young's saxophone playing employed a light sound, in contrast to the "full-bodied" approach of players such as Coleman Hawkins. Young also had a tendency to play behind the beat, instead of driving it. He more strongly emphasized melodic development in his improvisation, rather than "hot" phrases or chord changes. While Young's style initially alienated some observers, the cool school embraced it. (Young would also influence bebop through Charlie Parker's emulation of Young's playing style.) Tanner, Gerow, and Megill point out that "cool developed gradually, as did previous styles." In addition to Lester Young's approach, cool had other antecedents:


title: Cool jazz

text: In 1947, Woody Herman formed a band that included tenor saxophonists Stan Getz, Zoot Sims, and Herbie Steward, and baritone saxophonist Serge Chaloff. The result was the "Four Brothers" sound, in which four strong improvisers could still perform well as a coordinated, blended section. (Jimmy Giuffre composed "Four Brothers," which highlighted this group.) The Herman band's recording of "Early Autumn" launched Getz's career. Meanwhile, between 1946 and 1949, baritone saxophonist and arranger Gerry Mulligan, arranger Gil Evans, and alto saxophonist Lee Konitz were all working for the Claude Thornhill Orchestra, whose instrumentation included a French horn and tuba.


title: Cool jazz

text: In 1948, Miles Davis formed a nonet including Mulligan, Konitz, and Evans from Thornhill's orchestra. Capitol Records recorded the group (at arranger Pete Rugolo's suggestion) in 1949 and 1950. These recordings, originally issued as 78 rpm records, were later compiled as "Birth of the Cool" (1957). Gerry Mulligan explained that the idea behind Davis's Nonet was not to get away from bebop, but "just to try to get a good little rehearsal band together. Something to write for... As far as the 'Cool Jazz' part of it, all of that comes "after" the fact of what it was designed to be." As for Davis, his concern at the time was simply to play with a lighter sound, which he believed to be more expressive. Also his choice of notes suggested deliberation rather than wild exuberance.


title: Cool jazz

text: The Miles Davis Nonet's existence was brief, consisting only of a two-week September 1948 engagement at the Manhattan's Royal Roost and the three recording dates that make up "Birth of the Cool". These recordings were not widely appreciated until some years later. However, they prefigured the work of nonet members John Lewis and Gerry Mulligan.


title: Cool jazz

text: John Lewis went on to co-found the Modern Jazz Quartet, who incorporated classical forms, such as the fugue, in their music. Tanner, Gerow, and Megill note that the Quartet "played classical forms quite precisely. For example, the fugues they played were truly baroque in form except that the exposition parts were improvised." While third stream music would combine classical elements with jazz, the Modern Jazz Quartet used these forms "just to play good, swinging, subtle jazz" and in pursuit of "the joy of collective improvisation and counterpoint."


title: Cool jazz

text: Gerry Mulligan, with Chet Baker, formed a pianoless quartet that was both innovative and successful. Later, Mulligan formed a "Tentette" that further developed the ideas he had brought to the "Birth of the Cool" nonet.


title: Cool jazz

text: George Shearing's quintet, which used a more subtle bebop style, also influenced cool's development. Both Thelonious Monk and Dizzy Gillespie praised Shearing's approach.


title: Cool jazz

text: While Davis, Lewis, Mulligan, and Shearing's efforts were rooted in bebop, other musicians were less indebted to that style. In New York, pianist Lennie Tristano and saxophonist Lee Konitz developed a "somewhat atonal cerebral alternative to bop which concentrated on linear improvisation and interweaving rhythmic complexities". In California, Dave Brubeck hired alto saxophonist Paul Desmond, forming a quartet. Both Konitz and Desmond used an approach that ran counter to bebop, in the sense that neither player employed a sound or style heavily indebted to Charlie Parker (or Parker's blues elements). In a 2013 interview, Konitz noted that "the blues never connected with me," and further explained "I knew and loved Charlie Parker and copied his bebop solos like everyone else. But I didn't want to sound like him. So I used almost no vibrato and played mostly in the higher register. That's the heart of my sound."


title: Cool jazz

text: In 1951, Stan Kenton disbanded his Innovations Orchestra in Los Angeles. Many of the musicians, some of whom had also played in Woody Herman's band, chose to remain in California. Trumpeter Shorty Rogers and drummer Shelly Manne were central figures among this group of musicians. Much of this activity centered on the Hermosa Beach Lighthouse Café, where bassist Howard Rumsey led a house band, the Lighthouse All-Stars.


title: Cool jazz

text: Drummer Chico Hamilton led an ensemble that – unusually for a jazz group – included a cellist, Fred Katz. Tanner, Gerow, and Megill liken Hamilton's music to chamber music, and have noted that Hamilton's "subtle rhythmic control and use of different drum pitches and timbres" was well-suited for this style of music.


title: Cool jazz

text: Tanner, Gerow, and Megill are largely dismissive of the term "West Coast jazz." As it often refers to Gerry Mulligan and his associates in California, "west coast" merely becomes synonymous with "cool," although Lester Young, Claude Thornhill, and Miles Davis were based in New York. At the same time, many musicians associated with West Coast jazz "were much more involved in a hotter approach to jazz. Communication being what it is, it is hardly likely that any style of jazz was fostered exclusively in one area."


title: Cool jazz

text: In 1959, The Dave Brubeck Quartet recorded "Time Out", which reached No. 2 on the "Billboard" "Pop Albums" chart. The cool influence stretches into such later developments as bossa nova, modal jazz (especially in the form of Davis's "Kind of Blue" (1959)), and even free jazz (in the form of Jimmy Giuffre's 1961–1962 trio).


title: Cool jazz

text: Following their work on "Birth of the Cool", Miles Davis and Gil Evans would again collaborate on albums such as "Miles Ahead", "Porgy and Bess", and "Sketches of Spain".


title: Cool jazz

text: Some observers saw the subsequent hard bop style as a response to cool and West Coast jazz. Conversely, David H. Rosenthal sees the development of hard bop as a response to both a perceived decline in bebop and the rise of rhythm and blues. Shelly Manne suggested that cool jazz and hard bop simply reflected their respective geographic environments: the relaxed cool jazz style reflected a more relaxed lifestyle in California, while driving bop typified the New York scene.


title: Cool jazz

text: Ted Gioia has noted that some of the artists associated with the ECM label during the 1970s are direct stylistic heirs of cool jazz. While these musicians may not sound similar to earlier cool artists, they share the same values:clarity of expression; subtlety of meaning; a willingness to depart from the standard rhythms of hot jazz and learn from other genres of music; a preference for emotion rather than mere emoting; progressive ambitions and a tendency to experiment; above all, a dislike for bombast. Gioia also identifies cool's influence upon other idioms, such as new-age, minimalism, pop, folk, and world music.


title: Muppet Babies (1984 TV series)

text: Jim Henson's Muppet Babies, commonly known by the shortened title Muppet Babies, is an American animated television series produced by Marvel Productions and Henson Associates. The show aired from September 15, 1984, to November 2, 1991, as part of the Saturday-morning cartoons lineup on CBS. Due to its popularity, the show remained on television in the United States for a decade.


title: Muppet Babies (1984 TV series)

text: The show portrays toddler versions of the Muppets living together in a nursery under the care of a woman known as Nanny, involving the concepts of the power of imagination and creative problem-solving. The idea of presenting the Muppets as children appeared in a dream sequence in "The Muppets Take Manhattan" (1984), released two months before "Muppet Babies" debuted. The idea was a success, and Jim Henson liked the idea that it was turned into a cartoon spin-off.


title: Muppet Babies (1984 TV series)

text: The show received praise from critics and fans, spawned a successful merchandise, and won seven Daytime Emmy Awards (including four consecutive awards for Outstanding Animated Program), as well as a Humanitas Prize.


title: Muppet Babies (1984 TV series)

text: The rights are now held by The Walt Disney Company which separately acquired both the Muppets characters and Marvel. Outside the United States, the show was distributed by Walt Disney Television. A reboot of the series premiered on Disney Junior on March 23, 2018.


title: Muppet Babies (1984 TV series)

text: The Muppet Babies live in a large nursery watched over by Nanny, who is seen only from the shoulders down. The babies' imaginary games transition from the nursery into scenes that become "real" to the babies, such as outer space and the past. Often, these fantasies have the babies interact with live-action backgrounds, old films and photos, engravings, and hand-drawn backgrounds. The babies used their imaginations to have their own adventures based on everyday things and toys around them. They also use their imaginations to solve a problem, but occasionally their imaginations run away with them.


title: Muppet Babies (1984 TV series)

text: In post-credits scenes, the babies are doing something related to the episode's plot, either in their imaginations or reality, sometimes with an appearance by Nanny. Their activities (mostly Gonzo's) are interrupted by Animal who crashes the scene in a comedic way and calls "Go bye-bye!"


title: Muppet Babies (1984 TV series)

text: The series stars Kermit the Frog, Miss Piggy, Fozzie Bear, Animal, Scooter, Skeeter, Rowlf the Dog, and Gonzo as the main characters in their baby counterparts. Scooter's twin sister, Skeeter, was unique to the "Muppet Babies" animated series, having no live-action puppet incarnation, although she did appear in the "Family Reunions" issues from the Boom Kids! comic adaptation of "The Muppet Show".


title: Muppet Babies (1984 TV series)

text: Supporting characters include Bunsen Honeydew, Beaker, and Camilla in the form of Gonzo's stuffed baby chick. In the final two seasons, Bean Bunny and Statler and Waldorf began making regular appearances. Several Muppets made guest appearances, including Janice as an older preteen, and Kermit's nephew Robin as a tadpole.


title: Muppet Babies (1984 TV series)

text: The idea was originated in Jim Henson's art department. During the creation of Sue Venning's "Muppet Show Bill", Jim Henson suggested to include the Muppets as "tiny little selves and afterwards, as babies." The book was not changed, but the idea was described as "charming". Afterwards, the staff, including Michael K. Frith, created sketches and drawings of the Muppet Babies. After Frith showed a sketch of Baby Piggy to Jim Henson, Henson decided to turn it into a merchandise. Throughout 1983, several marketers promoted prototype versions of the Muppet Babies with playsuits, underwear, dresses, and overalls while Jim Henson was developing baby versions of the Muppets. On January 1, 1984, the Muppet Babies were included in the comic strip adaptation of the Muppets.


title: Muppet Babies (1984 TV series)

text: The Muppet Babies appeared in "The Muppets Take Manhattan." They were included in Miss Piggy's musical fantasy sequence of its imagined early lives of the Muppets, such as Kermit and Miss Piggy. The pitch was an idea that was not in the script, replacing Miss Piggy's original fantasy sequence from the screenplay. The art department asked the workshop to create models of the puppets of the Muppet Babies. The staff of the workshop favored the idea and decided to include them in the film. Despite Frank Oz's dislike on the idea, he thought that the idea was brilliant. It is considered to be one of the most difficult scenes to shoot during production of the film, as the puppeteers had to perform the baby versions of the characters by using their "stubby little limbs." The scene was shot on August 28, 1983. The idea was a success, and it received very favorable reviews from fans. At the same time, Baby Kermit and Piggy plush toys were promoted by Pampers.


title: Muppet Babies (1984 TV series)

text: A music video of Henson's self-directed "I'm Gonna Always Love You", combined with scenes of the film and new footage, was created for MTV. The song was remixed by John Benitez for the project. The set used for the music video was larger than the set used in the film. It was shot on April 10 and 11, 1984. The video became an airplay hit and received a nomination for Best Achievement in Music Video in the VPA Monitor Awards in 1985. Additionally, Jim Jenson received a nomination for Best Director for the video.


title: Muppet Babies (1984 TV series)

text: The concept of the show was created on March 10, 1984. Network executives and several others suggested Henson Associates to transform the Muppet Babies into a Saturday-morning cartoon. On April 13, 1984, CBS colleague, Judy Price, granted permission to Jim Henson and his staff for its proposal. Jim Henson was initially skeptical, as he thought it would not have as much educational value as "Sesame Street". However, he liked the idea a lot that he decided to create the show. He visited every major studio in California, choosing to work with Marvel Productions after a meeting with Hank Saroyan. For the core theme of the show, Henson and Marvel Productions agreed to implement the theme of the power of creativity and encouragement of imagination.


title: Muppet Babies (1984 TV series)

text: Scooter's twin sister, Skeeter, was exclusively created for the show to provide more feminine empowerment. Nanny being seen only from the neck down was done to represent the kids' view of an adult.


title: Muppet Babies (1984 TV series)

text: The team of writers consisted of Jeffrey Scott, Barry O'Brien, Bob Smith, Chuck Lorre, Sindy McKay, Larry Swerdlove, Star Kaplan, Maia Mattise, Barbara Beck, Stephen Robertson, Kathy Selbert, Rich Fogel, Mark Seidenberg, Ken Koonce, David Wiemers, Hank Saroyan, Lois Becker, Mark Stratton, J.R. Young, and Tony Marino. All of the writing scripts for the show were done in Marvel Productions. Jeffrey Scott wrote all 13 episodes of the first season.


title: Muppet Babies (1984 TV series)

text: The show had several cast members: Frank Welker, Laurie O'Brien, Greg Berg, Russi Taylor, Katie Leigh, Howie Mandel, Dave Coulier, and Barbara Billingsley. By the third season, Howie Mandel left the show, and his roles were given to Frank Welker as Baby Skeeter and Dave Coulier as Baby Animal and Baby Bunsen.


title: Muppet Babies (1984 TV series)

text: Henson and other puppeteers, such as Frank Oz and Richard Hunt, decided to not reprise their roles due to scheduling conflicts with their work on "Sesame Street", "Fraggle Rock", and any Muppet special. The team decided to set up auditions for an amount of voice cast that would voice the characters for the series. According to Laurie O'Brien, the audition had gathered 750 people. Katie Leigh was cast as Baby Rowlf, as Hank Saroyan described her as "one of the only people who really knew who Rowlf is." Laurie O'Brien did the audition process by imitating Baby Piggy with a mix between Miss Piggy and her "million dollar voice" while watching a videocassette rental of "The Great Muppet Caper" in her friend's house. Brien was cast due to her potential and physical strength with her character, although, she also auditioned as Baby Gonzo. Greg Breg did the audition process a few years after he moved to Hollywood. All of the voices were recorded in various recording studios in Los Angeles.


title: Muppet Babies (1984 TV series)

text: For the songs, some of the voice cast never had a singing experience prior to the show. Katie Leigh started singing lessons before she recorded the songs. Due to Howie Mandel not having a sense of tune and rhythm, a professional singer was hired to sing to keep him on key.


title: Muppet Babies (1984 TV series)

text: For the animation, Henson's idea was to mix genres and ignore "hard-and-fast rules." Characters and backgrounds were created by artists of Marvel Productions. Due to budget constraints, an idea was made by making Jeffrey Scott incorporate live-action footage and photographic backgrounds into the show for the Muppet Babies' imaginations to have reality. The idea was well-liked, and it became one of the main concepts of the show, as it helped save money for animation. It was considered easy for Henson to secure the rights to films such as "Star Wars" and "Raiders of the Lost Ark" since he was friends with George Lucas and Steven Spielberg.


title: Muppet Babies (1984 TV series)

text: In order for 107 episodes to be produced, Henson and Marvel hired two companies: Toei Animation for seasons 1–3 and the first five episodes of season 4, and AKOM for episode six of season 4 through season 8.


title: Muppet Babies (1984 TV series)

text: The show had approximately 100 of the songs co-written by Alan O'Day and Janis Liebhart. The theme song and "Rocket to the Stars" were written by Hank Saroyan and Rob Walsh, and "Merry-Go-Round", "Dreams for Your Inspiration", "Camilla", and "Best Friends" were written by Scott Brownlee. The song that played during the ending credits was laughingly titled "Hank in the Box" in deference to Hank Saroyan. Most episodes have a song per minute. The seventh season episode "Sing a Song of Superheroes" had nine minutes of songs that required extra recording studio work. Some songs were extended for the albums.


title: Muppet Babies (1984 TV series)

text: Due to an limited amount of the cast having singing talents, all of the songs were recorded with separate voice sessions in a recording studio. The songs and dialogue included in its debut album, "Rocket to the Stars", were mixed by Hank Saroyan, Rob Walsh, and Geni Jackson at Wilder Brothers Studio.


title: Muppet Babies (1984 TV series)

text: During the first season, the show incorporated a "doo-wop feel" of the theme song to carry over the music. As the show evolved, more musical genres were involved, including a more contemporary sound, which often parodies and references popular songs at its time.


title: Muppet Babies (1984 TV series)

text: The show focuses on the central ideas of the power of imagination and creative problem-solving to promote an educational concept of creativity. The show has been a source of significance to Jim Henson's imagination. Hank Saroyan considered the idea as Jim Henson's vision for children to "believe that anything is possible." The techniques of imaginations contributed to the show, such as live-action footage and photographic backgrounds, was stated to interconnect ideas, stories, and characters in a dramatic play. Winnicott, a psychoanalytic theorist, described the show as "the intermediate area... allowed to the infant between primary creativity and objective perception based on reality-testing." Author Marsha Kindle described the show's techniques as the "kind of transgressive identification across other borders" and a "specialty."


title: Muppet Babies (1984 TV series)

text: Other frequent themes involve new ways to play with old toys, imagining adulthood, and facing common childhood firsts. In the book "Playing with Power in Movies, Television, and Games", the sixth-season episode "The Green Ranger" was analyzed for its transmedia intersexuality, commodified masquerade, obsolescence, and death to address readers who are concerned about children's interactions on Saturday-morning shows. The seventh-season episode "Sing a Song of Superheroes" included popular opera arias to interest younger viewers in opera. The episode was served as an unofficial tribute to Jim Henson.


title: Muppet Babies (1984 TV series)

text: "Muppet Babies" premiered on September 15, 1984, at 9:00 am (EST) as part of the Saturday-morning lineup on CBS.


title: Muppet Babies (1984 TV series)

text: For a brief run in the second season, the program became "Muppets, Babies, and Monsters", and a second half-hour was dedicated to a new show called "Jim Henson's Little Muppet Monsters". This show featured live-action puppets and cartoons starring the adult Muppet characters. The program lasted from September 14 to September 28, 1985 before Jim Henson pulled the plug, despite 18 episodes having been made. This was reportedly due to the animation suffering from being produced quickly and the characters being lost in translation from live-action to animation, making the animation production harder for Marvel Productions to deliver the full season's animated segments in time for airing. As a result, Henson and CBS was unhappy about the product. The show then reverted to two episodes of "Muppet Babies." "Muppet Babies" later expanded to three episodes after CBS pulled "Garbage Pail Kids" before it even aired due to controversy. CBS continued to air reruns of the series until the fall of 1992.


title: Muppet Babies (1984 TV series)

text: Syndication rights were sold to Claster Television, Fox (1991–1992), Nickelodeon (1992–1999), and Odyssey Network (1999–2001).


title: Muppet Babies (1984 TV series)

text: Although not every "Muppet Babies" episode was released on VHS, a number of them were released between 1988 and 1999 in the United States. Kraft Foods offered two "Muppet Babies" tapes sponsored by Kraft Marshmallows in 1989. Jim Henson Video and Buena Vista Home Video released "Explore with Us", "Let's Build", and "Time to Play" on January 29, 1993, pricing at $12.99 per tape. The home video series, "Yes, I Can", was released with "Yes, I Can Share" and "Yes, I Can Help" on June 16, 1995 and "Yes, I Can Be a Friend" on September 1, 1995 as part of Jim Henson's Preschool Collection, pricing at $12.99 per tape. The series focused on Robin the Frog, who asks his uncle Kermit for assistance in different chores he was struggling with. Each tape included two "Muppet Babies" episodes. In 1999, Interactive Learning Group released three "Muppet Babies" tapes for the Video Buddy interactive video play system, pricing at $15.95 per tape. In 2003, four episodes were made available, in uncut form, as bonus DVDs with 10-inch "Muppet Babies" plush toys distributed by Toy Play: "The Daily Muppet", "Eight Take Away One Equals Panic", "Piggy's Hyper-Activity Book", and "Gonzo's Video Show".


title: Muppet Babies (1984 TV series)

text: There have been no plans announced of other DVD releases of "Muppet Babies". One possible reason is that clips from other TV shows and movies (such as "", "", "The $25,000 Pyramid", "Raiders of the Lost Ark" and "Batteries Not Included") were used extensively in imagination sequences, closet opening scenes, and scenes on the television in the nursery and thus could pose difficulties in terms of resolving possible copyright issues, such as high prices on licenses.


title: Muppet Babies (1984 TV series)

text: "Muppet Babies" proved highly popular with audiences. In the 1984–1985 television season, the show was ranked as the most popular Saturday-morning cartoon on CBS and in the top five of 42 network shows. In 1985, the ratings for "Muppet Babies" increased from the previous season after the program "Muppets, Babies, and Monsters" was replaced by two episodes of "Muppet Babies". As of 1986, it was the second most popular children's programming among the top 30, and it attracted more than four million audiences on each week. It was also very popular with licensees at the time.


title: Muppet Babies (1984 TV series)

text: Despite the success, ratings has decreased over time. In the 1989–1990 television season, the show only garnered a 2.4 Nielsen household rating with a 14% share due to competition with "Garfield and Friends" and "Teenage Mutant Ninja Turtles" at the time. Despite the decrease in ratings, the show still had success with the 2-11 and 6-11 age groups, garnering a 4.6 Nielsen rating with a 55% share in the 2-11 age group and a 4.9 Nielsen rating with a 63% share in the 6-11 age group.


title: Muppet Babies (1984 TV series)

text: The show was conceived as an advanced social message for children by author and psychologist Gordon L. Berry.


title: Muppet Babies (1984 TV series)

text: Between 1985 and 1991, "Muppet Babies" gained ten awards from 25 nominations, including four consecutive Daytime Emmy Awards for Outstanding Animated Program. On August 1, 1985, the show became the first recipient to receive an award for Outstanding Animated Program at the Daytime Emmy Awards. It continued to win the category until 1989, holding a record for the most wins in the category (tied with "Arthur"). In 1985, Jeffrey Scott received a Humanitas Prize for "Eight Take Away Equals Panic", which earned him a $10,000 prize.


title: Muppet Babies (1984 TV series)

text: "Muppet Babies" was voted "Top Cartoon of the Childhood Days" by the Irvin Hall newspaper's weekly review of the Pennsylvania State University in 2007.


title: Muppet Babies (1984 TV series)

text: In January 2009, IGN named "Jim Henson's Muppet Babies" as the 31st-best in the Top 100 Best Animated TV Shows.


title: Muppet Babies (1984 TV series)

text: The Muppet Babies was known to start a trend of relaunching popular cartoon characters as younger versions of themselves. This trend can be seen in numerous TV series such as "A Pup Named Scooby-Doo", "The Flintstone Kids", "Tiny Toon Adventures" (the main characters actually are the "successors" of the Looney Tunes, the latter themselves as their instructors), and "Tom & Jerry Kids".


title: Muppet Babies (1984 TV series)

text: Nanny's role has been analyzed by various writers. Marsha Kindle described Nanny as an "ambiguous figure", who enables a "wide range of kiddie viewers to cast her as significant other in their own varied family scenario." Kindle also analyzed that her "headlessness" evokes the "Aunt Jemima–type from the old "Tom and Jerry" cartoons" and her "consistent costuming in brightly colored stripe stockings and baggy skirt and sweater" suggests a "subordinate class position– as a hired nanny rather than a biological granny." She concluded that despite her "stabilizing presence", her "ambiguity" makes her parental authority "easily appropriable by patriarchal characters featured in specific episodes." Winnicott analyzed her as a "responsible person, who must be present to alleviate the frightening aspects of play." Hélène Cixous described her as a "displacement of male castration anxiety into a woman."


title: Muppet Babies (1984 TV series)

text: Marsha Kindle divided Baby Skeeter and Baby Piggy into two options of a female spectator: Skeeter, the transvestite position, and Piggy, the subversive female masquerade with narcissism and aggression. She stated that the divided roles are "conveniently for advertisers" and "directly to costuming."


title: Muppet Babies (1984 TV series)

text: In 2007, a specific case dedicated to the show was added in The Jim Henson Exhibit in Leland, Mississippi.


title: Muppet Babies (1984 TV series)

text: There were two "Muppet Babies" albums produced and released. Both albums were produced by Hank Saroyan and Rob Walsh and featured extended versions of songs from certain "Muppet Babies" episodes.


title: Muppet Babies (1984 TV series)

text: The first album, "Rocket to the Stars", was released in July 1985 by Parker Brothers Music on LP and cassette. It featured a fully produced stereo story-adventure starring the "Muppet Babies" characters in which the songs were woven into an all-new story written by Hank Saroyan. It was reissued in 1987 by Columbia Records. The album, renamed "Rock It to the Stars", got its first CD release in 1993 by Jim Henson Records and BMG Kidz. Peter Fawthrop of AllMusic gave the album four stars, praising the songs and voices, but criticized the storybook format of the album, including the "dramatic lengths" and "loaded dialogue".


title: Muppet Babies (1984 TV series)

text: The second album, "Music is Everywhere", was released in 1987 by Columbia Records on LP and cassette.


title: Muppet Babies (1984 TV series)

text: In 1985, Marvel Comics produced a monthly comic book of the "Muppet Babies" with their Star Comics imprint, drawn by Marie Severin. The idea was created by Guy Gilchrist, who submitted approximately twenty samples to Jim Jenson, along with a multi-panel strip. The series lasted for 26 issues. The last two issues, #25 (May 1989) and #26 (July 1989), were drawn by Nate Butler. In 1992, Harvey Comics acquired the rights to produce "Muppet Babies" comics and produced a further three issues (restarting at issue #1).


title: Muppet Babies (1984 TV series)

text: The Muppet Babies also appeared in "Star Comics Digest" (also known as "Star Comics Magazine"). This comic was printed in digest-size format, and features a number of reprinted short stories in each issue. The series itself lasted for thirteen issues from 1986 until 1988. The Muppet Babies appeared in some, but not all, of the issues. Other short stories contained in "Star Comics Digest" included Madballs, Heathcliff, the Care Bears, and Top Dog.


title: Muppet Babies (1984 TV series)

text: "Muppet Babies" had three live performances produced throughout 1986 to 1990. They are produced by VEE Corporation and featured performers in oversized costumes dancing and acting. The production values built in Minneapolis, including the sets, properties, costumes, and lightings, costed $1 million. "Muppet Babies Live!" toured around the United States in 1986. The same premise followed with "Muppet Babies' Magic Box" in 1987 and "Muppet Babies' Where's Animal?" in 1988, which ended in May 1990. Each tour involved 16 cast members, eight crew members, concession staff, and support office staff and ended after 40 cities. All of the voices and music were recorded, and the costumes were produced in Henson Associates, to retain authenticity. Andrew Carl Wilk, director of the live performances, stated that directing them from prerecorded voices to costumes and movements was difficult.


title: Muppet Babies (1984 TV series)

text: For the live performances, professional dancers auditioned in New York City, Los Angeles, and Minneapolis to fill in roles. Once they were cast by the director and choreographer, they rehearsed in Minneapolis for up to 10 hours per day in three weeks. When the show toured, the production stage would be constructed with sets, properties, and lighting for four to seven hours. Once an engagement was done, the dancers were transported by a chartered bus. They had a travel day on each Monday and a day off on each Tuesday. When the tours ended, they traveled back to their homes across the United States six times.


title: Muppet Babies (1984 TV series)

text: A reboot of the series premiered on Disney Junior on March 23, 2018. As opposed to the traditional animation of the original show the reboot instead uses CGI, but is still targeted to children ages 4–7 with each episode consisting of two 11-minute stories. Disney Junior, Disney Consumier Products and Interactive Media's Content & Media group, and TVNZ are co-producing the show. Mr. Warburton, creator of Cartoon Network's "", serves as the executive producer while former "SpongeBob SquarePants" writer Eric Shaw serves as the story editor.


title: Muppet Babies (1984 TV series)

text: In 1987, the live-action version of the lead characters appeared, in the form of an old home movie, during "A Muppet Family Christmas". The segment itself was cut from American and Canadian home video releases due to copyright licensing issues with "Santa Claus Is Coming to Town".


title: Muppet Babies (1984 TV series)

text: In 1990, Baby Kermit, Piggy, and Gonzo made small appearances in the drug prevention television special "Cartoon All-Stars to the Rescue".


title: The Coddling of the American Mind

text: The Coddling of the American Mind: How Good Intentions and Bad Ideas Are Setting Up a Generation for Failure is a 2018 book by Greg Lukianoff and Jonathan Haidt. It is an expansion of a popular essay the two wrote for "The Atlantic" in 2015. Lukianoff and Haidt argue that overprotection is having a negative effect on university students and that the use of trigger warnings and safe spaces does more harm than good.


title: The Coddling of the American Mind

text: Lukianoff and Haidt argue that many problems on campus have their origins in three "great untruths" that have become prominent in education: "What doesn’t kill you makes you weaker"; "always trust your feelings"; and "life is a battle between good people and evil people". The authors state that these three "great untruths" contradict modern psychology and ancient wisdom from many cultures.


title: The Coddling of the American Mind

text: The book goes on to discuss microaggressions, identity politics, "safetyism", call-out culture, and intersectionality. The authors define safetyism as a culture or belief system in which safety (which includes "emotional safety") has become a sacred value, which means that people become unwilling to make trade-offs demanded by other practical and moral concerns. They argue that embracing the culture of safetyism has interfered with young people’s social, emotional, and intellectual development. Continuing on to discuss contemporary partisanship or the "rising political polarization and cross party animosity", they state that the left and right are "locked into a game of mutual provocation and reciprocal outrage".


title: The Coddling of the American Mind

text: The authors call on university and college administrators to identify with freedom of inquiry by endorsing the Chicago principles on free speech, through which university and colleges notify students in advance that they do not support the use of trigger warnings or safe spaces. They suggest specific programs, such as LetGrow, Lenore Skenazy's Free Range Kids, teaching children mindfulness, and the basics of cognitive behavioral therapy (CBT). They encourage a charitable approach to the interpretations of other peoples' statements instead of assuming they meant offense.


title: The Coddling of the American Mind

text: In their conclusion, the authors write that there will be positive changes in the near future as small groups of universities "develop a different sort of academic culture—one that finds ways to make students from all identity groups feel welcome without using the divisive methods." They say that "market forces will take care of the rest" as "applications and enrollment" surge at these schools.


title: The Coddling of the American Mind

text: The book reached number eight on "The New York Times" hardcover nonfiction best-sellers list. It spent four weeks on the list.


title: The Coddling of the American Mind

text: Edward Luce of the "Financial Times" praised the book, saying the authors "do a great job of showing how 'safetyism' is cramping young minds." Conor Friedersdorf, writing in "The Atlantic", gave the book a positive review. Writing for "The New York Times", Thomas Chatterton Williams praised the book's explanations and analysis of recent college campus trends as "compelling".


title: The Coddling of the American Mind

text: Writing for "The Washington Post", Michael S. Roth, president of Wesleyan University, gave the book a mixed review, questioning the book's assertion that students today are "disempowered because they’ve been convinced they are fragile." Roth said that the authors' "insights on the dangers of creating habits of 'moral dependency' are timely and important." Moira Weigel, writing for "The Guardian", criticized Lukianoff and Haidt for insisting that "the crises moving young people to action are all in their heads." The authors say that the students suffer from pathological cognitive distortions that fuel their activism and can be corrected by using self-help methods the authors provide based on CBT. She says that the authors have created their own speech codes, which includes the cant of progress.


title: Abyssinia, Henry

text: "Abyssinia, Henry" is the 72nd episode of the "M*A*S*H" television series, and the final episode of the series' third season. It was written by Everett Greenbaum and Jim Fritzell, and first aired on March 18, 1975. The episode is notable for its shocking ending, in which the unit's amiable commanding officer Lieutenant Colonel Henry Blake (played by McLean Stevenson) receives an honorable discharge and leaves for home, but in the final scene is reported killed by enemy fire. This ending prompted more than 1,000 letters to series producers Gene Reynolds and Larry Gelbart, and drew fire from both CBS and 20th Century Fox.


title: Abyssinia, Henry

text: The title of the episode refers to the 1920s–1930s slang use of "Abyssinia" for "goodbye". ("Abyssinia", pronounced "ab-ee-SIN-ee-ah" can be understood as "I'll be seeing you".)


title: Abyssinia, Henry

text: After the production of this episode, both Stevenson and Wayne Rogers, who played the character of Trapper John McIntyre, left the series to pursue other interests. While Stevenson's departure was announced prior to and written into "Abyssinia, Henry", Rogers unexpectedly left the series during the break between seasons, and so his character's departure takes place off-screen in the following episode, "Welcome to Korea", the first of the show's fourth season. These combined departures and their subsequent cast replacements also signaled the beginning of a shift in focus of the "M*A*S*H" series as a whole, with a greater focus on the character of Hawkeye Pierce, played by Alan Alda.


title: Abyssinia, Henry

text: The episode opens with a typical operating room scene; Radar O'Reilly (Gary Burghoff) enters and informs Henry Blake that Blake has received all of the needed Army service points to be discharged and sent home. Henry begins planning his return and places a telephone call to Bloomington, Illinois to inform his wife and family of the good news.


title: Abyssinia, Henry

text: Majors Margaret Houlihan (Loretta Swit) and Frank Burns (Larry Linville) celebrate privately that Frank will become the unit commander. Henry and Radar share a sentimental moment in which young Radar describes Henry as a father figure, and gives Henry an inscribed Winchester cartridge; a surprised Henry returns the favor by spontaneously giving Radar a rectal thermometer that once belonged to his father. On the night before Henry's departure, Hawkeye Pierce (Alan Alda), Trapper McIntyre (Wayne Rogers), and Radar throw a drunken going-away party for Henry at Rosie's Bar and Grill, and present him with a tailored civilian suit as a parting gift.


title: Abyssinia, Henry

text: The next morning, Frank attempts to assemble the company for a formal send-off, but Hawkeye and Trapper are out of uniform and unshaven, and Corporal Klinger (Jamie Farr) wears a particularly elaborate dress made specially for the occasion. Henry arrives in his new suit, and Frank and Margaret give Blake a formal salute, but Henry chides Frank for being too disciplined. Henry's affectionate individual goodbyes to the others are cut short by the imminent arrival of his helicopter, but Hawkeye pulls him aside and persuades him to give a long parting kiss to Margaret, to her surprise and Frank's annoyance.


title: Abyssinia, Henry

text: The staff follow Henry to the helicopter pad, which also bears a wounded soldier that Henry tries to care for before the other doctors nudge him on. Henry spots an emotional Radar saluting him and approaches to return the salute, hug him, and chide him like a loving father to behave himself, before boarding and flying away.


title: Abyssinia, Henry

text: Towards the end of the episode, in another typical operating-room scene, Radar enters, visibly shaken. Trapper and Hawkeye make joking comments, but Radar announces, "I have a message. Lieutenant Colonel Henry Blake's plane was shot down over the Sea of Japan. It spun in. There were no survivors." Radar then leaves the operating room as the camera pans across the stunned staff, each visibly fighting to retain composure and continue with their work.


title: Abyssinia, Henry

text: After a commercial break, the episode closes with a "reluctant and affectionate farewell" to Blake by means of a light-hearted montage of clips from past episodes.


title: Abyssinia, Henry

text: The final scene, in which Radar informs the 4077th of the death of Henry Blake, was unprecedented: it was the first time in American television history that a main character departing a comedy series was killed off in a tragic way. When Stevenson decided to leave the series partway through the third season, producers Gene Reynolds and Larry Gelbart decided to make a statement regarding the unexpectancies and horror of war, especially with the Vietnam War fresh in viewers' minds.


title: Abyssinia, Henry

text: To evoke genuine emotions of shock and sadness, the final O.R. scene was kept a secret from the cast until immediately before filming; only then did Gelbart hand out the last page of the script. As a result, Stevenson was still on the set and saw the final scene being filmed. After shooting was completed, a season-ending cast party was planned. Stevenson left the set almost immediately after the end of filming, and the party was canceled due to the dour mood of the cast. Stevenson later said in an interview that he was deeply hurt that his character's death was revealed in this fashion and the party was "ruined". Gelbart later said of the event, "I wish we could say to him, 'We didn't mean it, Mac.