title: Beauty and the Beast (Disney song)

text: The scene in "Beauty and the Beast" during which the song is heard is the moment when Belle and the Beast's true feelings for each other are finally established. Set in the ballroom of the Beast's castle, "Beauty and the Beast" is performed by the character Mrs. Potts, an enchanted teapot, midway through the film as she explains the feeling of love to her young teacup son Chip, referring to the emotion as "a tale as old as time". According to Armen Karaoghlanian of Interiors, "Belle familiarizes the Beast with the waltz and as soon he feels comfortable, he gracefully moves her across the floor". Afterwards, the song continues to play instrumentally as Belle and the Beast retire to the balcony for a romantic candlelit dinner. Believed to be the "centerpiece that brings Beauty and her Beast together," the sequence offers an insight into both characters' psyches. From the Beast's perspective, it is the moment he realizes that he wants to confess his true feelings for Belle to her and "decides he wants to tell Belle he is in love with her". Meanwhile, Belle begins to fall in love with her captor. Writing for "The Globe and Mail", Jennie Punter reviewed it as the scene in which "romance finally blossoms". Film critic Ellison Estefan, writing for Estefan Films, believes that the sequence is responsible for "add[ing] another dimension to the characters as they continue to fall deeply in love with each other". Explaining the song's role in the film, director Kirk Wise described the scene as "the culmination of their relationship," while producer Don Hahn pegged it as "the bonding moment of the film when the two main characters finally get together". The scene had long been envisioned as having a more live-action feel to it than the rest of the film, an idea that originated from story artists Brenda Chapman and Roger Allers, who were the first to suggest that the ballroom be built using computers. As the film's executive producer, former Head of Disney's film division Jeffrey Katzenberg recalled that he began working on "Beauty and the Beast" deciding what its "wowie" moment would be, defining this as "the moment in the movie where you see what's on the screen and go, 'Wow-IEE'"; this ultimately became the film's ballroom sequence. According to Hahn, the scene was conceived out of the filmmakers' desire to manipulate the camera in order to "sweep" the audience away. Allers and Chapman conceived the ballroom in order to provide the characters with an area in which they could linger, and were surprised by the amount of artistic freedom with which they were provided by the animators, who agreed to adjust to the changes in perspective that would result from the moving camera. While Allers decided to raise the camera in order to view the dancing couple from the overhead chandelier, Chapman decided to rotate the camera around Belle's skirt as the couple danced past it.


title: Beauty and the Beast (Disney song)

text: Regarded as an example of "a pronounced use of height and of vertical movement in sets and settings, in virtual camera movement ... and in the actions of characters" by "Epics, Spectacles and Blockbusters: A Hollywood History" author Sheldon Hall, "Beauty and the Beast" was one of the first feature-length animated films to use computer-generated imagery, which is prominently exhibited throughout the film's "elaborate" ballroom sequence. "Light Science: Physics and the Visual Arts" author Thomas D. Rossing believes that the filmmakers aimed to achieve "a moving perspective that would follow the dancers around the room, giving visual expression to the soaring emotions of the scene". CGI supervisor Jim Hillin was hired by Hahn to oversee the design of the scene's graphics. However, because the computer-animation medium was so unfamiliar to the filmmakers at the time, at one point they had considered having Belle and the Beast simply dance in complete darkness – save for a single spotlight – should the project be unsuccessful; they jokingly referred to this idea as the "Ice Capades" version.


title: Beauty and the Beast (Disney song)

text: First rendered as a simple cube, the filmmakers used computers to design the ballroom as a production set, making it the first full-dimensional computer-generated colored background in history. Unlike Disney's previous CGI ventures, "Beauty and the Beast" ballroom was a much more detailed task that required animators to work exclusively with computers to compose, animate and color the scene. According to Hillin, the revolutionary use of computers allowed for a combination of theatrical lighting and "sweeping" perspectives, which ultimately introduced live-action techniques to animation. To make the scene a "special moment" for the characters, a "virtual camera" was used to allow the animators to create the illusion of tracking, panning and zooming that "establish[es] the mood" while helping audiences experience what the characters themselves are experiencing. Imitating tracking shots, the camera frequently soars and zooms around the couple. The camera first follows Belle and the Beast as they enter the ballroom before panning until it finally returns to focus on the two characters. In his book "Basics Animation 02: Digital Animation", author Andrew Chong wrote that "The sweeping camera move with a constantly shifting perspective during the ballroom sequence was a composition of traditionally drawn elements for the characters with digitally animated scenery". Several computer animators, layout artists, art directors and background artists used their combined efforts to achieve the scene's end results; the ballroom's official dimensions read 72 feet high, 184 feet long and 126 feet wide. The space also houses 28 windows and a dome that measures 86 by 61 feet; the dome's mural was first hand-painted before it was texture-mapped onto it using a computer. Each element was carefully constructed individually. Timothy Wegner described the finished product in his book "Image Lab" as a "huge and elegant" ballroom in which "the walls are decorated with elaborate moldings, Corinthian columns, and hundreds of candles".


title: Beauty and the Beast (Disney song)

text: Writing for Combustible Celluloid, Jeffrey M. Anderson believes that "The animators understood that the new technology couldn't be used to represent organic beings, so they simply used it for backgrounds; i.e. the swirling, spinning ballroom during the 'Beauty and the Beast' dance number". At first, Belle and the Beast were vaguely represented by computer-animated box and egg-shaped "stand-ins" in order to choreograph their dance while the ballroom was still little more than a "chicken wire" frame. Andrew Osmond, author of "100 Animated Feature Films", described this crude depiction of the characters as "wire frames moving in staccato". The characters were eventually updated to "stiff, line-drawn" versions of themselves. Because Belle and the Beast are so "interconnected" during this scene, both characters were animated solely by Belle's supervising animator James Baxter; the Beast's supervising animator Glen Keane eventually traced over Baxter's work. Baxter prepared himself for animating the scene by studying ballet dancers in addition to taking dance lessons himself. Throughout the entire film, Belle moves with a ballerina's turnout; the "Los Angeles Times" film critic Charles Solomon observed that Belle looks "liveliest and prettiest" during this scene. At one point, both Baxter and Keane plotted out their characters' routine themselves under the guidance of a professional dance coach. A software created by Pixar named CAPS (Computer Animation Production System) allowed the animators to paint Belle and the Beast using computers as opposed to the more conventional and time-consuming method of painting animated characters by hand. Art director Brian McEntee suggested a blue and gold colour scheme for the characters' costumes at a late-night meeting because he felt that the colors were "compelling" and "regal". Adhering to the ballroom's blue and gold color scheme, Belle's gold ballgown complements the trim on the Beast's tuxedo, as well as the color of the ballroom itself, while the Beast's royal blue attire complements his eyes, the night sky, the curtains and the floor tiles. Meanwhile, Julia Alexander of Movie Mezzanine wrote that "The elegance of their costumes against the background of a golden hall and a star filled sky adds to the whimsical romanticism of the movie". The entire sequence took several months to complete, much of which was spent syncing the traditionally animated couple with their computer-animated environment, which otherwise would have been virtually impossible had the filmmakers decided to use a more traditional method.


title: Beauty and the Beast (Disney song)

text: When "Beauty and the Beast" was released, many animators were impressed with the studio for "pushing the envelope", while some considered the scene to be "a miserable failure", accusing its new technology of distracting from "the moment". Describing the scene as "an early experiment in computer animation," Josh Larsen of Larsen on Film observed that the ballroom sequence features "the camera swooping in and around to provide an expansive sense of space that 3-D still isn't able to capture". In her book "The Beautiful Ache", author Leigh McLeroy wrote that the scene represents "one of those strange moments where love creeps in against all odds and insists on staying put". Audiences tend to remember the ballroom sequence as "the one in which Belle and the Beast share a romantic dance as the camera files and spins around them". Angela Lansbury recalled being "astonished" when she first saw the "huge" and "unique" scene. In Moviepilot's Chris Lucas' opinion, "The ballroom scene remains the one that truly symbolizes their adoration for each other". IGN believes that the scene "signals the completion of [the Beast's] inner change - from irascible recluse into [Belle's] true love".


title: Beauty and the Beast (Disney song)

text: The original film version of "Beauty and the Beast" performed by Lansbury was written in the key of D-flat major at a "moderately slow" tempo of 84 beats per minute (Andante), at a duration of two minutes and forty-six seconds. An "eloquent" rock-influenced pop song with a "calm" and "lilting" melody, Stephen Whitty of NJ.com described "Beauty and the Beast" as a "Broadway ballad". Film critic Roger Ebert described the song's melody as "haunting", while "Entertainment Weekly"'s Lisa Schwarzbaum dubbed the song as a "lullaby". "The Disney Song Encyclopedia" author Thomas S. Hischak described Menken's melody as "flowing", while BuzzFeed's Aylin Zafar wrote that the song is "Tender and warm". Writing for the "Chicago Tribune", Gene Siskel described Lansbury's voice, which spans two octaves from F to B♭, as "richly textured". Meanwhile, Michael Cheang of "The Star" and Bill Gibron of PopMatters wrote that Lansbury performed using a "fragile" "calm, motherly" tone. Instrumentally, "Beauty and the Beast" features several chord changes, woodwinds, and violins. GamesRadar observed that "Beauty and the Beast" includes a key change during which "the music swells, and then the orchestra subsides to leave just trembling violins". Describing the ballad as "soaring", "TV Guide" compared "Beauty and the Beast" to "Shall We Dance?" from the musical "The King and I".


title: Beauty and the Beast (Disney song)

text: R.L. Shaffer of IGN identified "Beauty and the Beast" as a "tear-jerking poetic ballad". "Film Genre 2000: New Critical Essays" author Wheeler W. Dixon believes that the song's lyrics are about the couple's "implicit promise of regeneration through love". 29 lines in length, all of which are exactly five syllables, "Beauty and the Beast" is a love song about a couple's transformation from friends into "something more". The film's theme song, its lyrics "capture the essence of the film" by describing the relationship between "Beauty and the Beast" two main characters, specifically citing ways in which the two have changed each other for the better and finally learned to accept their differences and mistakes. According to Jake Cole of Not Just Movies, the first stanza begins "in earnest, and the subtlety of it has the ironic effect of being overpowering". Beginning with Lansbury singing the lyrics "Tale as old as time, true as it can be," JoBlo.com wrote that the song "offers a sure sign of romance between the Beauty and her Beast". Meanwhile, Songfacts believes that "The message of the song is that a couple can be 'as old as time' no matter how different they are". According to Chris Lucas of Moviepilot, Ashman's lyrics describe the couple's "hesitation and surprise at falling in love unexpectedly," while author Thomas S. Hischak wrote in "The Disney Song Encyclopedia" that the song is "about how two tentative hearts are united in love". Featuring the line "Barely even friends, then somebody bends, unexpectedly," Gene Siskel of the "Chicago Tribune" believes that the ballad "makes the case for all lovers to look past their partners' faults and into their hearts," while Cole wrote, "Ashman goes for the truth ... we don't know we're in love until we spend time with someone and unforced adjustments make the pieces fall into place". "The Emperor's Old Groove: Decolonizing Disney's Magic Kingdom" author Brenda Ayres cited the song as an "[indicator] that a reciprocal power relationship has developed between Belle and the Beast ... confirm[ing] 'his transformation, her legitimacy, and their powerful unity". According to the lyricist's website, "Beauty and the Beast" summarizes the way in which "Belle tames the beast and finds the happy ending she has dreamed about". "The Meanings of "Beauty and the Beast": A Handbook" author Jerry Griswold believes that the song's opening line "tale as old as time" alludes to the fact that Belle's story is an ancient, timeless one "deliberately situated within the context of other traditional tales;" hers is simply "the newest incarnation" of it. "The Translation of the Songs in Disney's "Beauty and the Beast": an example of Manipulation" author Lucía Loureiro Porto agrees that although the song "does not tell any story, it is made of phrases that imply that love is as old a feeling as mankind". According to Perry Seibert of AllMovie, "Beauty and the Beast" is "as sappy as Ashman ever got as a lyricist". Seibert believes that the song "acknowledges its own banality ... without minimizing or mocking its inherently sweet description of true love". Reflecting upon Ashman's death, Roger Moore of the "Chicago Tribune" believes that the song "was [Ashman's] farewell to love and life and imagination".


title: Beauty and the Beast (Disney song)

text: "Beauty and the Beast" received widespread acclaim from film and music critics alike. Film critic Janet Maslin of "The New York Times" praised "Beauty and the Beast", describing it as "a glorious ballad" while dubbing it Ashman and Menken's "biggest triumph". Beliefnet called the song "stirring", while Hal Hinson of "The Washington Post" considers it to be among the film's best. Roger Moore of the "Chicago Tribune" referred to "Beauty and the Beast" as a "brilliant" song that "can move you to tears," while James Berardinelli of "ReelViews" cited it among the film's most "memorable" songs. Anthony Quinn of "The Independent" highlighted "Beauty and the Beast" as the film's best song, going on to praise Lansbury's "magnificent" performance, while the "Deseret News" Chris Hicks called it "beautiful". Simon Brew of "Den of Geek" specifically enjoyed the lyrics "bittersweet and strange, finding you can change," describing the song as "superb". Lansbury's vocal performance has also been singled out for praise: "Slant Magazine"s Jaime N. Christley wrote that Lansbury "delivers the film's title tune, gooey treacle that it is, like nobody's business". Describing the song as "beautiful", the "Chicago Tribune"s Gene Siskel wrote that "Beauty and the Beast" is "performed poignantly by the richly textured voice of Angela Lansbury". Similarly, PopMatters' Bill Gibron penned, "the moment Angela Lansbury's trite teapot steps up to sing the title song, all dry eye bets are off". The "New York Post"s Lou Lumenick wrote that "Beauty and the Beast" was "unforgettably delivered by Angela Lansbury". Aylin Zara of BuzzFeed opined that Lansbury's version is superior to the single, penning, "Though the commercial pop version of 'Beauty and the Beast,' sung by Celine Dion and Peabo Bryson, is great, the film version — performed by Angela Lansbury as Mrs. Potts — is even better. Tender and warm ... it tugs at all the right heartstrings to get your eyes a little misty". Rachael Monaco of AXS cited "Tale as old as time. Tune as old as song. Bittersweet and strange. Finding you can change. Learning you were wrong. Certain as the sun rising in the East. Tale as old as time, song as old as rhyme, Beauty and the Beast" as the film's best lyric. "Entertainment Weekly" Darren Franich, however, admitted to preferring "Be Our Guest" and "Belle" over "Beauty and the Beast".


title: Beauty and the Beast (Disney song)

text: The ballroom sequence during which Belle and the Beast dance to "Beauty and the Beast" continues to be praised, especially for its use of computer animation. The first time the "Beauty and the Beast" musical sequence was made available to the public, it was in the form of an unfinished scene at the New York Film Festival in September 1991, to which Disney had been invited to premiere an incomplete version of "Beauty and the Beast" that largely consisted of uncolored pencil tests and storyboards"." "The New York Times"' Janet Maslin appreciated being previewed to the unfinished ballroom scene, writing, "when the radiant sight of Beauty and the Beast waltzing together, to the sound of the lilting theme song by Alan Menken and Howard Ashman stirs emotion even in this sketchy form, then both the power and the artifice of animation make themselves felt". Lisa Schwarzbaum of "Entertainment Weekly" crowned the sequence the film's "centerpiece". Writing for "The Seattle Times", Candice Russel described it as an "irresistible highlight", while "The Globe and Mail"s Jennie Punter called the scene "glorious". David Parkinson of "Radio Times" identified the ballroom sequence as the scene in which the film's use of CGI is "seen to best advantage". The "Chicago Tribune" Dave Kehr praised both layout artist Lisa Keene and computer animator Jim Hillin's combined efforts on the scene, identifying it as the film's "most impressive setting".


title: Beauty and the Beast (Disney song)

text: When "Beauty and the Beast" was re-released in 3D in 2012, Annlee Ellingson of "Paste" appreciated the way in which the sequence was adapted, describing it as "positively vertiginous". Mike Scott of "The Times-Picayune" hailed it as a "gorgeous" and "memorable" scene that "still stands out as one of the film's more dazzling", while Joanna Berry of "The National" wrote that "the ballroom sequence now seems to sparkle even more". Although "Boxoffice"s Todd Gilchrist's response towards the film's 3D conversion overall was mixed, the critic admitted that "the times when the animators use computer animation to render the backgrounds", including during "the dance sequence between Belle and Beast ... are effective, immersive and maybe even memorable". Contrastingly, Chris Hicks of the "Deseret News" felt that "Today, the ballroom sequence no longer feels fresh and new after so many recent computer-animated 3-D efforts, but that doesn't diminish the power of its gorgeous design". Although James Berardinelli of "ReelViews" had originally reviewed the sequence as "the best scene in the movie", he felt that the 3D conversion "diminishes the romance and emotion of the ballroom dance".


title: Beauty and the Beast (Disney song)

text: To viewers at the time, the computer effects in this climactic sequence were astonishing. The Beauty and the Beast ballroom sequence "thematized marriage in the dance" by illustrating a "nuptial rehearsal" which contrasts the "now" (3D animation) with "then" (2D animation) in a "successful marriage of character and set". "The Studios After the Studios" explains: "This chronological fusion was itself classicised by Mrs Potts' song: she turns a moment of industrial novelty into balance".


title: Beauty and the Beast (Disney song)

text: "Beauty and the Beast" has won several awards. The song garnered the Golden Globe Award for Best Original Song at the 49th Golden Globe Awards in January 1992. The following March, "Beauty and the Beast" won the Academy Award for Best Original Song at the 64th Academy Awards. The award was for Ashman, who had died of AIDS on March 14, 1991, eight months before the film's release. Menken acknowledged Ashman in his acceptance speech, while thanking Lansbury, Dion, Bryson and Afanasieff for their contributions. Ashman's domestic partner Bill Lauch accepted the award on his behalf. The following year, "Beauty and the Beast" garnered two wins out of eight nominations at the 35th Grammy Awards, one for Best Song Written Specifically for a Motion Picture or Television. An instrumental version arranged and conducted by Richard S. Kaufman won the 1993 Grammy for Best Pop Instrumental Performance. This rendition was performed by the Nuremberg Symphony Orchestra for the album "Symphonic Hollywood", under the record company Varèse Sarabande. The James Galway instrumental movie version performed by The Galway Pops Orchestra and featured on the album "Galway at the Movies" was nominated in 1994 for the Best Pop Instrumental Performance Grammy.


title: Beauty and the Beast (Disney song)

text: The American Film Institute ranked "Beauty and the Beast" 62nd on the organization's list of the 100 greatest songs in film history. "Beauty and the Beast" is one of only four songs from Disney animated films to have appeared on the list. When BuzzFeed organized "The Definitive Ranking Of The 102 Best Animated Disney Songs" list, "Beauty and the Beast" was placed at number four, while the same website ranked the ballad Disney's fifth greatest love song. Similarly, "Beauty and the Beast" is the fourth greatest Disney song according to "M". "Beauty and the Beast" finished 14th on GamesRadar's "30 best Disney songs in history" ranking. On the website's list of the "Top 25 Disney Songs", IGN ranked "Beauty and the Beast" 22nd. While Broadway.com ranked the song the second greatest Academy Award-winning Disney song, "Spin" placed "Beauty and the Beast" at number 30 on the magazine's ranking of "Every Oscar Winner for Best Original Song". On her list of the "11 Highest-Charting Songs From Disney Movies", author Nicole James of Fuse wrote that the Dion-Bryson version "cracked the Top 10, going to No. 9 on the charts (but No. 1 in our hearts)". The same website included the pop version on its "Top 20 Disney Songs by Pop Stars" list.


title: Beauty and the Beast (Disney song)

text: IGN placed the scene at number 83 on its ranking of the 100 greatest moments in film history. "Total Film "ranked the scene ninth on its list of the "50 Greatest Disney Movie Moments". In Den of Geek's article "Top 12 most memorable dance scenes in films", the ballroom sequence was ranked fifth. GamesRadar also included the scene on the website's "50 Greatest Movie Dance Sequences", with author Kim Sheehan lauding it as "more moving and romantic than most live-action dances". Oh No They Didn't ranked the song 2nd in its "The Top 25 Disney Songs of All Time" article, writing of its "vintage feel...brimming with life and originality", the "surprising effectiveness" of Lansbury's performance, and the "captivating on-screen animation". The song was listed 8th is Metro's article "Ranked – the top 20 Disney songs ever", with writer Duncan Lindsay commenting "...this dance sequence with Angela Lansbury's gorgeous tones was one of Disney's most romantic. What a song".


title: Beauty and the Beast (Disney song)

text: Much to Disney's surprise, "Beauty and the Beast" received three separate Academy Award nominations for Best Original Song. To avoid dividing Academy voters and prevent a draw, Disney decided to promote the film's title song ahead of its fellow nominees "Belle" and "Be Our Guest" by releasing "Beauty and the Beast" as a single, similar to the way in which Universal Pictures released "Somewhere Out There" from the animated film "An American Tail" as a single in 1986. Coincidentally, Ashman and Menken had written the song so that it could potentially experience success outside of the "Beauty and the Beast" film itself. Although Lansbury's rendition was very much appreciated, it was considered to be unsuitable for a commercial release or radio airplay. Thus, the studio decided to make "Beauty and the Beast" the first Disney song to be arranged into a pop version of itself for the film's end credits. Menken referred to this experience as a "turning point" in his career because it was also the first time one of his own compositions had ever undergone such a transformation. The song was produced by Walter Afanasieff and arranged by musician Robbie Buchanan. Menken commended Afanasieff for successfully making the song his own.


title: Beauty and the Beast (Disney song)

text: Actress and singer Paige O'Hara, who voices Belle, was among the first artists to express interest in recording the pop version of "Beauty and the Beast", but Disney dismissed her for being "too Broadway". Unable to afford to hire a "big singer" at the time, Disney hired rising Canadian recording artist Celine Dion. Because she was relatively unknown to American audiences at the time, the studio doubted that Dion would have much of an impact in the United States on her own and subsequently hired the more well-known American singer Peabo Bryson to perform the song alongside her as a duet. Disney contacted Dion's manager René Angélil about having the singer record "Beauty and the Beast" while she was on tour in England. A fan of Dion's music, Menken personally wrote the singer a letter of approval.


title: Beauty and the Beast (Disney song)

text: Hailing from the French-Canadian province of Quebec, Dion had just begun to learn English. At first Dion was hesitant to commit to the project due to having just recently been replaced from recording "Dreams to Dream", the theme song of the animated film "" (1991), in favor of American singer Linda Ronstadt, who had previously experienced great success with her rendition of "Somewhere Out There". Ronstadt, who was producer Steven Spielberg's first choice, only agreed to record "Dreams to Dream" after hearing Dion's demo. Devastated by her termination, Dion eventually agreed to record "Beauty and the Beast" after listening to and being moved by Lansbury's performance. Meanwhile, Bryson became involved with the project via Walt Disney Records Senior Vice President Jay Landers, who was friends with Walt Disney Pictures President of Music Chris Montan at the time. The song's instruments were recorded first at The Plant Recording Studios in California. The singers later quickly recorded their vocals at The Power Station in New York over the Labor Day long weekend, while mixing was completed at The Record Plant in Los Angeles. The song was released as the only single from the film's soundtrack, on which the song appears alongside Lansbury's version, on November 25, 1991, by Walt Disney Records, Sony Music's labels Columbia Records and Epic Records.


title: Beauty and the Beast (Disney song)

text: The single is a pop ballad that lasts a total of four minutes and three seconds. It begins in the key of F major at a moderately slow tempo of 72 beats per minute, before modulating to D major, then G major, and ending in E major. The orchestration of the "conservatively-rendered pop song", as described by Filmtracks, includes an electric oboe, keyboard, synthesizer and acoustic guitar. Additionally, the song's "jazzy" instrumentation heavily relies on drums, an instrument that is noticeably absent from the remainder of the soundtrack. According to Molly Lambert of Grantland, the track is "a sweeping downtempo ... ballad" that evokes the "early '90s gossamer high-tech style", while Molly Horan of Refinery29 described it as a slow jam. According to the "Chicago Tribune" Brad Webber, Dion and Bryson's vocals are "resonant and multiflavored". The opening line "Tale as old as time" is preceded by Dion ad-libbing "Ooh". Similarities have been drawn between the song and "Somewhere Out There" from the animated film "An American Tail".


title: Beauty and the Beast (Disney song)

text: Unlike Lansbury's version, the Dion-Bryson single has earned generally mixed reviews; critics generally voice their preference for Lansbury's version over Dion and Bryson's. Filmtracks.com wrote that Dion's performance "made many fans wish that she had been given it as a solo". Arion Berger of "Entertainment Weekly" praised Dion's vocals, describing "Beauty and the Beast" as "a perfect showcase for what she's best at". Describing the duet as "extremely effective", Sputnikmusic's Irving Tan lauded the single, writing, "As the entirety of the film's poignancy is hinged on the chemistry between Bryson and Dion, having the pair pull their assignment off beautifully is ultimately a fantastic conclusion to events". Jeff Benjamin of Fuse described the song as "a fantastic duet". However, the "Chicago Tribune" Brad Webber panned the rendition as a "sickly sweet, by-the-book ... standard" that "belie[s] [Dion's] talent", while "The Star" Michael Cheang accused the single of being "over-wrought". Critics have been vocal in their preference for Lansbury's rendition; while praising the film version, "Spin"s Andrew Unterberger dismissed the single as "unbearably cloying". Similarly, Kristian Lin of "Fort Worth Weekly" panned the single while complimenting Lansbury's version, advising audience members to "Clear out of the theater before Celine Dion and Peabo Bryson butcher the title song over the end credits," while "Consequence of Sound"s Dan Caffrey felt that "It's a shame that the most globally known version of 'Beauty and the Beast' is the one sang by Celine Dion and Peabo Bryson as opposed to the one sung by" Lansbury.


title: Beauty and the Beast (Disney song)

text: At the 35th Grammy Awards, "Beauty and the Beast" won the award for Best Pop Performance by a Duo or Group With Vocals. Additionally, the song was nominated for Record of the Year and Song of the Year, but lost both to Eric Clapton's "Tears in Heaven". In Canada, "Beauty and the Beast" won a Juno Award for Single of the Year, beating Dion's own "If You Asked Me To". In 1993, "Beauty and the Beast" also won an ASCAP Film and Television Music Award and ASCAP Pop Award for most performed song in the United States. Awarding the Dion-Bryson version an 'A' grade, Grantland ranked the song second in its article "Counting Down the Top 10 in ... KIDS MUSIC!", while Refinery29 ranked it the fifth greatest cover of a Disney song. AXS included "Beauty and the Beast" among Dion's "Top five song lyrics or verses".


title: Beauty and the Beast (Disney song)

text: "Beauty and the Beast" was a commercial success all around the world. Billboard ranked it as the 5th biggest hit from animated Disney movies on Hot 100 history. The song peaked at No. 9 on the "Billboard" Hot 100, becoming Dion's second top-ten hit on the chart after "Where Does My Heart Beat Now". The song peaked at number three on the "Billboard" Hot Adult Contemporary chart. In Canada, "Beauty and the Beast" peaked at number two. Outside of North America, the song peaked within the top ten in New Zealand and the United Kingdom, while peaking within the top twenty in Australia, Netherlands and Ireland. The song sold over a million copies worldwide.


title: Beauty and the Beast (Disney song)

text: Dion and Bryson's recording session at The Power Station was filmed and later interpolated with various scenes from the film in order to create a music video, was directed by Dominic Orlando. The video premiered on the music channel VH-1, thus airing to an audience who was not accustomed to seeing animated characters appear in the midst of their regular programming. The music video was made available for the first time on October 8, 2002, on the two-disc Platinum Edition DVD of the 1991 Disney animated feature film of the same name. Some years later the music video was made available again on the Diamond Edition of the various edition of the 1991 Disney animated feature film of the same name available from November 23, 2010. At the end the most recent edition that made available this music video was The Signature Collection edition that celebrate the 25th anniversary of the 1991 Disney animated feature film of the same name available since February 28, 2017.


title: Beauty and the Beast (Disney song)

text: At the 1992 Oscars, Angela Lansbury, Celine Dion, and Peabo Bryson sang a composite of both versions from the film, backed by dancers dressed as Belle and the Beast. Celine and Peabo also duetted at the Grammys, World Music Awards, AMA's, "Wogan", "The Tonight Show", and "Top of the Pops" later that year. The duo reunited in 1996 to perform the song for the television special "Oprah in Disneyland", while Lansbury provided an encore performance at the 25th Anniversary screening of the film. Each of the 3 respective artists have performed the song in concerts later in their careers, outside the context of Disney's "Beauty and the Beast". For example, Lansbury sang it at the 2002 Christmas concert with Mormon Tabernacle Choir. Similarly, Dion and Bryson duetted at the JT Super Producers 94 tribute concert to David Foster, and as part of Dion's 1994-95 The Colour of My Love Tour, though they have also often sung with different duet partners. Dion has sung with Tommy Körberg, Brian McKnight, Terry Bradford, Maurice Davis, Barnev Valsaint, and René Froger among others; Peabo has sung with Coko and Regine Velasquez.


title: Beauty and the Beast (Disney song)

text: American singers Ariana Grande and John Legend covered "Beauty and the Beast" for the 2017 live-action adaption of the same name. The accompanying music video, directed by Dave Meyers, premiered on Freeform on March 5, 2017. In March 2017, Jennifer Thomas arranged an orchestral cover of the song featuring cellist Armen Ksajikian to coincide with the release of the 2017 film.


title: Beauty and the Beast (Disney song)

text: In 1993, jazz singer Chris Connor covered "Beauty and the Beast" for her album "My Funny Valentine". In 1998, O'Hara recorded a version of "Beauty and the Beast" for her album "Dream with Me". This marked the first time O'Hara had ever recorded the song, although she has covered it live several times. "Billboard" reviewed O'Hara's performance positively, writing that the actress provides each song with "the right youthful and gentle touch". In 2000, singer Kenny Loggins covered the song on his children's music album "More Songs from Pooh Corner". In 2002, music group Jump5 covered "Beauty and the Beast" for the Walt Disney Records compilation album "Disneymania"; a music video was released later that year and included as a bonus feature on the film's Platinum Edition DVD re-release, "Beauty and the Beast: Special Edition". Belonging to a segment known as "Chip's Fun and Games - For the Young at Heart", the music video features the group performing their "bouncy" teen pop rendition of the song interpolated with scenes from the film. Lauren Duca of "The Huffington Post" described the group's uptempo cover as "ridiculously '90s pop". Meanwhile, musical duo H & Claire covered the song for the film's Platinum Edition re-release in the United Kingdom, which Betty Clarke of "The Guardian" dismissed as a "boring" rendition.


title: Beauty and the Beast (Disney song)

text: On the country-themed compilation album "The Best of Country Sing the Best of Disney" (2006), "Beauty and the Beast" was covered by country band Diamond Rio. To support the film's Diamond Edition re-release in 2010, singer Jordin Sparks recorded an R&B version of "Beauty and the Beast", which was released on iTunes in September. A music video directed by Philip Andelman was included on the re-release as a bonus feature, part of the disc's "Music and More" segment. The video depicts Sparks performing "Beauty and the Beast" in a castle. In 2011, Sparks performed her rendition of the song live at the 30th anniversary of the televised Independence Day concert "A Capitol Fourth". The cover is believed to have initiated the singer's gradual transition from music to film. The compilation album "Eurobeat Disney" (2010) features a Eurobeat cover by singer Domino. In 2014, actors Clare Bowen and Sam Palladio covered "Beauty and the Beast" for the television special "Backstage with Disney on Broadway: Celebrating 20 Years", which documents the development of eight of Disney's Broadway musicals. Both known for their roles in the television musical drama "Nashville", Bowen, a fan of the film, arranged the cover herself to satisfy the documentary producers' vision, who "were looking for performers who could offer unexpected interpretations of the [musicals'] familiar tunes". Hilary Lewis of "The Hollywood Reporter" observed that Bowen and Palladio's rendition "is more stripped down" than the stage, Lansbury and Dion-Bryson versions. The song has been covered multiple times as part of the We Love Disney album series. "We Love Disney" France (2013) features a cover by singers Garou and Camille Lou while "We Love Disney" Australia (2014) features a cover by operatic pop vocal group Sole Mio (2014). (2015) featured a cover by Chilla Kiana, while "We Love Disney" Latino (2016) featured a cover by Jencarlos and Paula Rojo.


title: Beauty and the Beast (Disney song)

text: The song appears in the Broadway musical adaptation of the film, which premiered in 1994. When the song first premiered on Broadway, there were few Broadway musicals at the time that featured ballads about love. Originally covered live by actress Beth Fowler as Mrs. Potts, "Beauty and the Beast" was included on the Original Broadway Cast Recording of the musical, again performed by Fowler. While critical reception towards the musical ranged from negative to mixed, John Simon of "New York" commended Fowler for "manag[ing] to heat up and brighten [her] material". Within the realm of reality television talent competitions, "Beauty and the Beast" was covered on "The Voice Australia" by contestants Lionel Cole and Sabrina Batshon in 2014. Candice Barnes of "The Sydney Morning Herald" reviewed that the "song suited Sabrina best" while it was "too high" for Cole, in the end accusing both contestants of "destroying one of the best loved Disney songs with their vocal gymnastics". In 1998, a version of the song, called "Beauty and the Bees", was made for the 3D movie "It's Tough to Be a Bug!" queue at Disney's Animal Kingdom and Disney California Adventure Park. The song, written by Bruce Broughton and George Wilkins, was released on the album "". In 2021, the song was featured in the second season of "".


title: Beauty and the Beast (Disney song)

text: The overall success of "Beauty and the Beast" is partially attributed to the song's popularity. Andrew Unterberger of "Spin" believes that the song "set the template for the quivering love theme in '90s Disney movies". "Beauty and the Beast" was the first Disney song to undergo a complete pop rearrangement for commercial purposes. After the success of Disney's "The Little Mermaid" revived the Disney musical in 1989, Gary Trust of "Billboard" determined that "Once "Beauty and the Beast" followed in 1991 ... Disney was dominating charts like never before". The single ended a thirty-year-long absence of Disney-released chart hits between the 1960s and 1990s, and inspired several similar hits; popular recording artists such as Elton John, Vanessa Williams, Michael Bolton, Christina Aguilera, Sting, Randy Newman and Phil Collins each experienced varying degrees of success with their own pop renditions of Disney songs throughout the decade. When a then-unknown Aguilera was selected to record a pop version of "Reflection" from Disney's "Mulan" in 1998, she felt honored "to be in such wonderful company as" Dion. Writing for Sputnikmusic, Irving Tan wrote that "Although the number's 1992 Academy Award for Best Original Song is something of an old chestnut at this point, it still bears some worth repeating - mainly as it is very likely the most famous of all the feature theme songs ever commissioned by Walt Disney Studios".


title: Beauty and the Beast (Disney song)

text: Bill Gibron of PopMatters believes that the song "proved that the pen and ink designs that drove the company for nearly 80 years could transcend the genre and turn into something seminal ... something special ... something sensational". The ballroom sequence continues to be held in high regard as one of Disney's crowning achievements. Famous for successfully combining volumetric depth with dancing animated characters, the scene is now revered by film critics as a classic, groundbreaking and iconic moment in animation history, responsible for "chang[ing] the game" of contemporary animation. Gaye Birch of Den of Geek pegged the scene as a Disney landmark because its accomplishments were "visually impressive in a way we hadn't experienced in a Disney movie before". Huw Evans of Bournemouth University hailed the scene as "quite possibly the best piece of animation done on any feature film". On the sequence's pioneering use of computer-generated imagery, Annie Ellingson of "Paste" wrote that the ballroom was "innovative at the time for compositing hand-drawn characters on a computer-generated backdrop to enable dramatic sweeping camera moves". Similarly, "Empire"s Helen O'Hara believes that the scene "paved the way for the new digital style of animation". Mike Scott of "The Times-Picayune" holds the scene responsible for the subsequent success of Pixar' computer-animated films, concluding that "the warm reaction to that single scene would serve as a major springboard for the computer-animation industry -- and a major blow to hand-drawn animation". In his 1995 review of "Toy Story", film critic Roger Ebert encouraged audiences to re-watch "Beauty and the Beast" ballroom sequence to better understand the newer computer-animated film's technology"." According to "Moving Innovation: A History of Computer Animation" author Tom Vito, the scene "made many skeptics in Hollywood begin to look at CG seriously," inspiring formerly "hostile" studio executives to pursue the new art form. Additionally, the scene is also appreciated as a dance sequence. The "Houston Press"' Adam Castaneda extolled it as "one of the finest dance sequences in the history of film". The golden ballgown Belle wears in the scene is now revered as iconic, with "Vogue" ranking it among the most famous dresses in history.


title: Beauty and the Beast (Disney song)

text: "Beauty and the Beast: Original Motion Picture Soundtrack" continues to be best remembered for spawning the Dion-Bryson single, which established itself as an instant classic. The success of song is believed to have established Dion as a bankable recording artist. Before agreeing to record "Beauty and the Beast", Dion had been fired from recording the theme song of "An American Tail: Fievel Goes West" in favor of the more well-known Linda Ronstadt. Although both singles were released around the same time, the success of Dion's song ultimately eclipsed Ronstadt's "Dreams to Dream". Biography.com referred to "Beauty and the Beast" as Dion's "real breakthrough into pop music stardom". According to Lifetime, the song "cemented her international success," while "People" wrote that the release of "Beauty and the Beast" is when the singer truly went "global". In the wake of "Beauty and the Beast"'s success, young fans who had not yet learned Dion's name would simply refer to her as "Beauty and the Beast". The commercial success of "Beauty and the Beast" ultimately earned Dion a $10 million recording contract with Sony Music International; the song was then included on Dion's successful self-titled studio album, serving as the record's "cornerstone". American musician Prince was so moved by Dion's performance on "Beauty and the Beast" after hearing it on the radio that he personally wrote a song for her to include on the album. According to Filmtracks.com, "Beauty and the Beast" offered "a glimpse at a forthcoming mega-movie song presence for Celine Dion". Evidently, the singer has since recorded the theme songs of several blockbuster films, including "When I Fall in Love" from "Sleepless in Seattle" (1993), "Because You Loved Me" from "Up Close & Personal" (1996) and finally her signature song "My Heart Will Go On" from "Titanic" (1997). "Beauty and the Beast" has since appeared on several of Dion's greatest hits albums, while the singer has returned to Disney as a special guest to host various segments for certain "Beauty and the Beast" re-releases.


title: Beauty and the Beast (Disney song)

text: In addition to establishing Bryson as a mainstream recording artist, the singer has since returned to Disney on two separate occasions to record pop versions of "A Whole New World" and "As Long as There's Christmas", the theme songs of the animated films "Aladdin" (1992) and "" (1997), respectively, both of which are duets. Although "A Whole New World" was very successful, "Beauty and the Beast" remains a larger hit for the singer. Bryson also included "Beauty and the Beast" on some of his compilation albums, including "Through the Fire" (1994) and "Super Hits" (2000). Meanwhile, Afanasieff would go on to produce several Disney singles, including "A Whole New World" from "Aladdin", for which he reunited with Bryson, and "Go the Distance" from "Hercules" (1997). In 2004, Bryson was forced by the International Revenue Service (IRS) to auction off several of his personal belongings in order to help repay the singer's $1.2 million tax dept, among them his Grammy Awards for "Beauty and the Beast" and "A Whole New World". While the latter song's Grammy was purchased by a friend and gifted back to the singer, Bryson's Best Pop Performance by a Duo or Group with Vocals trophy for "Beauty and the Beast" was ultimately sold to a stranger for $15,500.


title: Beauty and the Beast (Disney song)

text: Both the song's film and single versions have been included on several compilation albums released by Disney, including (1992), (1995), Disney's Superstar Hits (2004), Ultimate Disney Princess (2006), The Best Disney Album in the World ...Ever! (2006), and Now That's What I Call Disney (2011). In 2005, actress and singer Julie Andrews, a Disney Legend, included Lansbury's rendition of "Beauty and the Beast" on her album "Julie Andrews Selects Her Favorite Disney Songs", although she does not cover the song herself; the album is a simply compilation of Andrews' favourite Disney songs.


title: Beauty and the Beast (Disney song)

text: The pilot episode of the animated TV series "The Critic" featured a minute-long "musical lampoon" of the Beauty and the Beast ballroom sequence and song entitled "Beauty and King Dork", written and composed by "The Simpsons" writer Jeff Martin. In the context of the episode, the unappealing protagonist Jay Sherman falls in love with a beautiful actress named Valerie, and this song is performed as they dance in his apartment where they are serenaded by a sentient vacuum cleaner and toilet. AnimatedViews deemed it "a spot-on rendition" due to its use of singing furniture and "lavish" CGI-animated backgrounds. Hollywood.com listed it in its article "The Best Parodies of Disney Songs from Cartoons", writing " It's a quick one, but the inclusion of singing dust busters, a Mork and Mindy reference, and Jay Sherman's attempts to cover up the embarrassing lyrics make for one of the best gags on the list". It was TelevisionWithoutPity's "favorite musical number" from the series. Slant Magazine saw it as a "gut-busting parody". CantStopTheMovies said the "nice scene" was "a bit crass" due to the singing toilet, yet had mostly "pretty great" lyrics.


title: Beauty and the Beast (Disney song)

text: In Disney's fantasy film "Enchanted" (2007), the Jon McLaughlin ballad "So Close" serves as a "deliberate" reference to both the song and scene. Because director Kevin Lima had always wanted to recreate the cinematography exhibited in "Beauty and the Beast" ballroom sequence in live-action, an entire dance sequence was filmed to accommodate his vision. In addition to being composed by Alan Menken, one-half of "Beauty and the Beast"'s songwriters, "So Close" was arranged by Robbie Buchanan, who arranged the Dion-Bryson single.


title: Beauty and the Beast (Disney song)

text: In a duet with Jimmy Fallon, American singer Ariana Grande impersonated Dion while performing "Beauty and the Beast" live on the comedian's late-night talk show in 2015. M Magazine deemed it "amazing", while 2DayFM said "the singing is so good it gave me goosebumps". SugarScape deemed it "pretty hilarious and surprisingly pretty much spot on". Billboard said the duo "put their own spin" on the song, and that she "nailed her Celine impression". NineMSN called it a "pitch-perfect rendition", while Access Hollywood said she belted out the song like a diva.


title: Flat engine

text: A flat engine, also known as a horizontally opposed engine, is a piston engine where the cylinders are located on either side of a central crankshaft. A flat engine should not be confused with the opposed-piston engine, in which each cylinder has two pistons sharing a central combustion chamber.


title: Flat engine

text: The most common configuration of flat engines is the boxer engine, in which the pistons of each opposed pair of cylinders move inwards and outwards at the same time. Boxer engines are a type of flat engine; however, flat engines are not necessarily boxer engines. The other configuration is effectively a V engine with a 180-degree angle between the cylinder banks. Each pair of cylinders shares a single crankpin, so that as one piston moves inward, the other moves outward.


title: Flat engine

text: The first flat engine was built in 1897 by Karl Benz. Flat engines have been used in aviation, motorcycle and automobile applications. They are now less common in cars than straight engines (for most sub-6 cylinder applications, although straight/inline 6 cylinder engines are widely used by German brands) and V engines (for engines with six or more cylinders). They are much more common in aircraft, where straight engines are a rarity and V engines have almost vanished except in historical aircraft. They have even replaced radial engines in many smaller installations.


title: Flat engine

text: The advantages of flat engines are a short length, low centre of mass and suitability for air cooling.


title: Flat engine

text: Compared with the more common straight engines, flat engines have better primary balance (resulting in less vibration); however the disadvantages are increased width and the need to have two cylinder heads. Compared with V engines— the most common layout for engines with six cylinders or more— flat engines have a lower centre of mass (and a better primary balance than V6 engines), however they usually have a larger width.


title: Flat engine

text: Most flat engines use a "boxer" configuration, where each pair of opposing pistons move inwards and outwards at the same time, somewhat like boxing competitors punching their gloves together before a fight. Boxer engines have low vibrations, since they are the only common configuration that have no unbalanced forces regardless of the number of cylinders. Boxer engines therefore do not require a balance shaft or counterweights on the crankshaft to balance the weight of the reciprocating parts. However, a rocking couple is present, since each cylinder is slightly offset from its opposing pair, due to the distance between the crankpins along the crankshaft.


title: Flat engine

text: An alternative configuration for flat engines is as a 180-degree V engine, which has been used on most twelve-cylinder flat engines. In this configuration, each pair of pistons shares a crankpin, rather than the boxer configuration where each piston has its own crankpin.


title: Flat engine

text: In 1902, the Pearse monoplane (which would later become one of the first aircraft to achieve flight) was powered by a flat-twin engine. Amongst the first commercially produced aircraft to use a flat engine is the 1909 Santos-Dumont Demoiselle range of airplanes, which was powered by boxer-twin engines.


title: Flat engine

text: Several boxer-four engines have been produced specifically for light aircraft. Several manufacturers produced boxer-six aircraft engines during the 1930s and 1940s.


title: Flat engine

text: During World War II, boxer-twin engines called the "Riedel starter" were used as a starter motor/mechanical APU for the early German jet engines such as the Junkers Jumo 004 and BMW 003. Designed by Norbert Riedel, these engines have a very oversquare stroke ratio of 2:1 so that they could fit within the intake diverter, directly forward of the turbine compressor.


title: Flat engine

text: Flat engines offer several advantages for motorcycles including a low center of mass, low vibration, suitability for shaft drive, and even cooling of the cylinders (for air-cooled engines). The most common design of flat engines for motorcycles is the boxer-twin, beginning with the 1905 Fée manufactured by the Light Motors Company flat-twin, which was the first production motorcycle to use a flat engine. BMW Motorrad have a long history of boxer-twin motorcycles, beginning in 1923 with the BMW R32


title: Flat engine

text: Several motorcycles have been produced with flat-four engines, such as the 1938-1939 Zündapp K800 and the 1974-1987 Honda Gold Wing. In 1987, the Honda Gold Wing engine was upsized to a flat-six design.


title: Flat engine

text: When used in cars, advantages of flat engines are a low center of mass (which improves the handling of the car), short length, low vibration and suitability for air cooling (due to the well exposed, large surface area, cylinder heads and short length). However the larger width of flat engines (compared with the more common inline and V layouts) is a drawback, particularly when the engine is located between the steered wheels.


title: Flat engine

text: Flat engines were used by various automobile manufacturers— mostly with a boxer-four design— up until the late 1990s. Since then, only Porsche and Subaru have remained as significant manufacturers of flat engines.


title: Flat engine

text: Due to the short length of flat engines, locating a flat engine outside of the car's wheelbase results in minimal overhang. Therefore, many cars with flat engines have used a rear-engine, rear-wheel-drive layout. Examples include the flat-twin BMW 600 (1957-1959) and BMW 700 (1959-1965); the flat-four Tatra 97 (1936-1939), Volkswagen Beetle (1938-2003) and Porsche 356 (1948-1965); and the flat-six Chevrolet Corvair (1959-1969), Porsche 911 (1963-present), and Tucker 48 (1947-1948).


title: Flat engine

text: The opposite layout, front-engine front-wheel drive, was also common for cars with flat engines. Examples include the Citroën 2CV (1948-1990), Panhard Dyna X (1948-1954), Lancia Flavia (1961-1970), Citroën GS (1970-1986), Alfa Romeo Alfasud (1971-1989) and Subaru Leone (1971-1994).


title: Flat engine

text: Subaru have been producing cars with a front-engine, four-wheel-drive layout powered by flat engines (mostly boxer-four engines) since 1971. Examples include the Subaru Leone (1971-1994), Subaru Legacy (1989-present) and Subaru Impreza (1992–present). The front half-shafts come out of a front differential that is part of the gearbox. A rear driveshaft connects the gearbox to the rear half-shafts.


title: Flat engine

text: The traditional front-engine, rear-wheel-drive layout is relatively uncommon for cars with flat engines, however some examples include the Toyota 86 / Subaru BRZ (2012–present), Jowett Javelin (1947-1953), Glas Isar (1958-1965) and the Tatra 11 (1923-1927).


title: Flat engine

text: The first flat engine was produced in 1897 by German engineer Karl Benz. Called the "kontra" engine, it was a boxer-twin design. Early uses of flat engines in cars include the 1900 Lanchester 8 hp Phaeton boxer-twin, the 1901 Wilson-Pilcher boxer-four, the 1904 Wilson-Pilcher "18/24 HP" boxer-six and the 1903 Ford Model A, the 1904 Ford Model C and the 1905 Ford Model F.


title: Flat engine

text: In 1938, the Volkswagen Beetle (then called the "KdF-Wagen") was released with a rear-mounted flat-four engine. This Volkswagen air-cooled engine was produced for many years and also used in the Volkswagen Type 2 (Transporter, Kombi or Microbus), the Volkswagen Karmann Ghia sports car and the Volkswagen Type 3 compact car. A water-cooled version, known as the Wasserboxer, was introduced in 1982 and eventually replaced the air-cooled versions.


title: Flat engine

text: The majority of sports cars throughout Porsche's history are powered by flat engines, beginning with its first car; the 1948-1965 Porsche 356 used an air-cooled boxer-four engine. Also using boxer-four engines were the 1969-1976 Porsche 914, the 1965-1969 Porsche 912 and the 2016-present Porsche Boxster/Cayman (982). The Porsche 911 has exclusively used boxer-six engines from its introduction in 1964 until the present. In 1997, the Porsche 911 switched from being air-cooled to water-cooled.


title: Flat engine

text: Porsche flat-eight engines were used in various racing cars throughout the 1960s, such as the 1962 Porsche 804 Formula One car and the 1968-1971 Porsche 908 sports car. A flat-twelve engine was also produced by Porsche for the 1969-1973 Porsche 917 sports car.


title: Flat engine

text: Chevrolet used a horizontally opposed air-cooled 6 cylinder engine in its Corvair line during its entire production run from 1960-1969 in various applications and power ratings, including one of the first uses of a turbocharger in a mass-produced automobile.


title: Flat engine

text: The Subaru EA engine was introduced in 1966 and began Subaru's line of boxer-four engines that remain in production to this day. Most of Subaru's models are powered by a boxer-four engine in either naturally aspirated or turbocharged form. A print ad for the 1973 Subaru GL coupe referred to the engine as "quadrozontal". The company also produced boxer-six engines from 1988–1996 and 2001–2019. In 2008, the Subaru EE engine became the world's first passenger car diesel boxer engine. This engine is a turbocharged boxer-four with common rail fuel injection.


title: Flat engine

text: Ferrari used flat-twelve engines for various Formula One cars in the 1970s. A road car flat-twelve engine (using a 180-degree V12 configuration) was used for the 1973-1984 Ferrari Berlinetta Boxer, 1984-1996 Ferrari Testarossa and their derivatives.


title: Flat engine

text: Toyota uses the designation "Toyota 4U-GSE" for the boxer-four engine in the Toyota-badged versions of the Toyota 86 / Subaru BRZ twins, although the engine is actually designed and built by Subaru as the Subaru FA20 engine.


title: Posterior probability

text: The posterior probability is a type of conditional probability that results from updating the prior probability with information summarized by the likelihood via an application of Bayes' rule. From an epistemological perspective, the posterior probability contains everything there is to know about an uncertain proposition (such as a scientific hypothesis, or parameter values), given prior knowledge and a mathematical model describing the observations available at a particular time. After the arrival of new information, the current posterior probability may serve as the prior in another round of Bayesian updating.


title: Posterior probability

text: In the context of Bayesian statistics, the posterior probability distribution usually describes the epistemic uncertainty about statistical parameters conditional on a collection of observed data. From a given posterior distribution, various point and interval estimates can be derived, such as the maximum a posteriori (MAP) or the highest posterior density interval (HPDI). But while conceptually simple, the posterior distribution is generally not tractable and therefore needs to be either analytically or numerically approximated.


title: Posterior probability

text: In variational Bayesian methods, the posterior probability is the probability of the parameters formula_1 given the evidence formula_2, and is denoted formula_3.


title: Posterior probability

text: It contrasts with the likelihood function, which is the probability of the evidence given the parameters: formula_4.


title: Posterior probability

text: Given a prior belief that a probability distribution function is formula_5 and that the observations formula_6 have a likelihood formula_7, then the posterior probability is defined as


title: Posterior probability

text: Suppose there is a school having 60% boys and 40% girls as students. The girls wear trousers or skirts in equal numbers; all boys wear trousers. An observer sees a (random) student from a distance; all the observer can see is that this student is wearing trousers. What is the probability this student is a girl? The correct answer can be computed using Bayes' theorem.


title: Posterior probability

text: The event formula_15 is that the student observed is a girl, and the event formula_16 is that the student observed is wearing trousers. To compute the posterior probability formula_17, we first need to know:


title: Posterior probability

text: Given all this information, the posterior probability of the observer having spotted a girl given that the observed student is wearing trousers can be computed by substituting these values in the formula:


title: Posterior probability

text: An intuitive way to solve this is to assume the school has N students. Number of boys = 0.6N and number of girls = 0.4N. If N is sufficiently large, total number of trouser wearers = 0.6N+ 50% of 0.4N. And number of girl trouser wearers = 50% of 0.4N. Therefore, in the population of trousers, girls are (50% of 0.4N)/(0.6N+ 50% of 0.4N) = 25%. In other words, if you separated out the group of trouser wearers, a quarter of that group will be girls. Therefore, if you see trousers, the most you can deduce is that you are looking at a single sample from a subset of students where 25% are girls. And by definition, chance of this random student being a girl is 25%. Every Bayes theorem problem can be solved in this way.


title: Posterior probability

text: The posterior probability distribution of one random variable given the value of another can be calculated with Bayes' theorem by multiplying the prior probability distribution by the likelihood function, and then dividing by the normalizing constant, as follows:


title: Posterior probability

text: gives the posterior probability density function for a random variable formula_2 given the data formula_30, where


title: Posterior probability

text: Posterior probability is a conditional probability conditioned on randomly observed data. Hence it is a random variable. For a random variable, it is important to summarize its amount of uncertainty. One way to achieve this goal is to provide a credible interval of the posterior probability.


title: Posterior probability

text: In classification, posterior probabilities reflect the uncertainty of assessing an observation to particular class, see also Class membership probabilities.


title: Posterior probability

text: While statistical classification methods by definition generate posterior probabilities, Machine Learners usually supply membership values which do not induce any probabilistic confidence. It is desirable to transform or re-scale membership values to class membership probabilities, since they are comparable and additionally more easily applicable for post-processing.


title: War scythe

text: A war scythe or military scythe is a form of pole weapon with a curving single-edged blade with the cutting edge on the concave side of the blade. Its blade bears a superficial resemblance to that of an agricultural scythe from which it is likely to have evolved, but the war scythe is otherwise unrelated to agricultural tools and is a purpose-built infantry melee weapon. The blade of a war scythe has regularly proportioned flats, a thickness comparable to that of a spear or sword blade, and slightly curves along its edge as it tapers to its point. This is very different from farming scythes, which have very thin and irregularly curved blades, specialised for mowing grass and wheat only, unsuitable as blades for improvised spears or polearms.


title: War scythe

text: Compared to a fauchard (which is believed to have evolved from the war scythe), the blade of the war scythe has the cutting edge on the concave side like the agricultural tool whereas the fauchard has the edge along the convex side.


title: War scythe

text: As an infantry weapon, the military scythe had practical applications both in offensive actions against enemy infantry and as a defensive measure against enemy cavalry.


title: War scythe

text: Farming tools such as the scythe and pitchfork have frequently been used as a weapon by those who could not afford or did not have access to more expensive weapons such as pikes, swords, or later, guns. Scythes and pitchforks were stereotypically carried by angry mobs or gangs of enraged peasants. The process usually involved reforging the blade of a scythe at a 90 degree angle, strengthening the joint between the blade and the shaft with an additional metal pipe or bolts and reinforcing the shaft to better protect it against cuts from enemy blades. At times, instead of a scythe blade, a blade from a hand-operated chaff cutter was used.


title: War scythe

text: War scythes were a popular weapon of choice and opportunity of many peasant uprisings throughout history. The ancient Greek historian Xenophon describes in his work ("Anabasis") the chariots of Artaxerxes II, which had projecting scythes fitted. Later, Jan Žižka's Hussite warriors, recruited mostly from peasantry, used modified scythes. Called originally 'kůsa -scythe' and later "sudlice", it doubled as both a stabbing and cutting weapon, developing later into the "ušatá sudlice"—Bohemian earspoon, more suitable for combat—thanks to side spikes (ears), acting as end stops, it did not penetrate too deep, and so was easier to draw from fallen foes. War scythes were widely used by Polish and Lithuanian peasants during revolts in the 18th and 19th centuries. Polish peasants used war scythes during the 17th-century Swedish invasion (The Deluge). In the 1685 battle of Sedgemoor, James Scott, 1st Duke of Monmouth, fielded a 5000 strong peasant unit armed with war scythes. They were used in the 1784 Transylvanian peasants' Revolt of Horea, Cloşca and Crişan, in the war in the Vendée by royalist peasant troops, in the 1st War of Schleswig in 1848 in Denmark, and again in various Polish uprisings: the Kościuszko Uprising in 1794 and the battle of Racławice, in which scythe wielders successfully charged and captured Russian artillery. In that year Chrystian Piotr Aigner published a field manual, "Short Treatise on Pikes and Scythes", detailing the training and operation of scythe-equipped forces, the first and probably only such book in the history of warfare. War scythes were later used in the November Uprising in 1831, January Uprising in 1863, and Silesian Uprising in 1921. The description of a fighting unit as "scythemen" was used in Poland as late as 1939; however, the Gdynia "kosynierzy" were armed with hunting guns rather than scythes.


title: War scythe

text: As a pole weapon, the war scythe is characterised by long range and powerful force (due to leverage). They could be used, depending on construction and tactics, to make slashing or stabbing attacks, and with their uncommon appearance and considerable strength could have a psychological impact on an unprepared enemy. However, like most pole weapons, their disadvantages were weight (which could quickly exhaust the user) and slow speed. After the German Peasants' War during 1524–1525, a fencing book edited by Paulus Hector Mair described in 1542 techniques how to fence using a scythe.


title: Hate Story 4

text: Hate Story 4 (styled as Hate Story IV) is a 2018 Indian Hindi-language revenge thriller film directed by Vishal Pandya and written by Sammeer Arora. The film features Urvashi Rautela, Karan Wahi and Vivan Bhatena in the lead roles. The film marks Bollywood debut of Punjabi film actress Ihana Dhillon. It is the fourth installment in the Hate Story film series and it received mostly negative reviews from critics. The film was declared "Below Average" at the box office by BoxOfficeIndia.com.


title: Hate Story 4

text: The movie starts with Tasha confronting Aryan about their intimate photo, which had been sent to her phone anonymously. Aryan's girlfriend Rishma appears with a gun to kill him. In a tussle, Rishma is shot and dies.


title: Hate Story 4

text: The story moves back, introducing Aryan and Rajveer, sons of London based billionaire and politician Vikram Khurana. Looking for a fresh face to represent their company, Rajveer goes to a bar, where he is smitten by Tasha. He woos Tasha by promising her to make her a star and hires her for their company. In an attempt to lure her into bed, he pays some goons to attack her so he can swoop in as the hero. As he is paying the goons, someone takes a picture of the transaction. Aryan too is captivated by Tasha's beauty and is able to get her drunk at a party. That night, he sleeps with her, and she wakes up regretting the event. This is when their photo is sent to her phone.


title: Hate Story 4

text: In the present, Aryan convinces Tasha to quietly dispose of Rishma's body. They dump the body in a river. Tasha then reveals to the audience that she herself is the person behind all of this – the mastermind behind all the events thus far. She had known that Rajveer had hired goons and had bribed them as well; she also spiked Aryan's drink at the party, and after he passed out, took photos with him in compromising positions to make it look like they slept together. She then sent the photos to Rishma.


title: Hate Story 4

text: Tasha continues to avoid Rajveer, making him desperate for her. Playing the brothers against each other, she publicly rejects Rajveer's proposal, telling him that Aryan told her about how Rajveer lures girls into bed, then leaves them. She also reveals that she and Aryan are involved. Aryan receives a video clip of him dumping Rishma's body.


title: Hate Story 4

text: Vikram is baffled by Rajveer's behaviour when he receives the compromising picture of Aryan and Tasha and the video of Aryan dumping a dead body. He gets a threatening call in which the blackmailer (Tasha) demands that his sons confess to the crime they committed two years ago in India. It is revealed that two years ago, Rajveer tried to force a girl named Bhavna into his car. When a passerby named Ashwin came to help her, Aryan shot him. Overcome by rage, Rajveer shot him multiple times, killing him. In the hospital, Ashwin is declared dead as his sister Natasha (Tasha) and his mother arrive. Bhavna's family is threatened by Vikram to keep silent, with Natasha vowing to avenge her brother's murder.


title: Hate Story 4

text: Presently, Rajveer, heartbroken, is unable to overcome the pain when he is informed that Aryan is the one who kidnapped his love. He confronts Aryan and threatens to reveal that Aryan killed Rishma. In the struggle to stop him, Aryan ends up killing Rajveer, then dumps him in a grave as suggested by Tasha. Rajveer's ex Monica discovers the truth about Tasha and tells Aryan. Aryan tries to kill Tasha but she successfully knocks him out and injures herself, acting innocent in front of the police, who then arrest Aryan.


title: Hate Story 4

text: In the ending credits, Tasha blames Vikram for being a bad father. At Natasha's home, Rishma, revealed to be alive, stands in front of Ashwin's picture: she had been his fiancé when he was alive.


title: Hate Story 4

text: The pre-production of the film began in June 2017. Principal photography commenced in London from September 2017 and concluded on 11 November 2017. The official trailer was launched on 26 January 2018 by T-Series.


title: Hate Story 4

text: The music for the film's soundtrack album was composed by Tanishk Bagchi, Arko Pravo Mukherjee, Mithoon, Tony Kakkar and Baman-Chand. Lyrics were penned by Manoj Muntashir, Kumaar, Rashmi Virag and Shabbir Ahmed. The background score is composed by Sunny and Inder Bawra. The songs featured in the film were sung by Jubin Nautiyal, Neha Kakkar, Neeti Mohan, Armaan Malik, Tony Kakkar, Himesh Reshammiya, Amrita Singh and Sukriti Kakar.


title: Hate Story 4

text: The first song, "Aashiq Banaya Aapne" from the 2005 film of the same title, originally composed by Reshammiya, was recreated for this film in the voices of Neha Kakkar and Reshammiya, and was released on 31 January 2018. The second song, "Boond Boond", sung by Nautiyal and Neeti Mohan, was released on 7 February 2018. This was the second collaboration of Arko Pravo Mukherjee and Nautiyal after "Meherbani" in "The Shaukeens". The third song released was "Tum Mere Ho", sung by Nautiyal and Amrita Singh and released on 13 February 2018. This was the first collaboration between Mithoon and Nautiyal following "Baaghi 2". It was also the first Bollywood song for Amrita. The fourth song to be released was "Mohabbat Nasha Hai", sung by Tony Kakkar and Neha Kakkar and released on 17 February 2018. There is also a solo version of the song sung by Tony Kakkar. The fifth song was "Badnaamiyan", sung by Armaan Malik and released on 21 February 2018. This was the second collaboration of Armaan Malik and Baman-Chand after "Wajah Tum Ho" from "Hate Story 3". There is also a female version of the song sung by Sukriti Kakar. The sixth and last song, "Naam Hai Mera", originally composed by Himesh Reshammiya, was also recreated for this film in the voice of Neeti Mohan and released on 23 February 2018.


title: Eleni Kounalakis

text: Eleni Kounalakis (née Tsakopoulos; born March 3, 1966) is an American politician, businesswoman, and former diplomat serving as the 50th lieutenant governor of California since 2019. A member of the Democratic Party, she is the first woman elected to the office.


title: Eleni Kounalakis

text: Kounalakis previously served as the United States Ambassador to Hungary from 2010 to 2013. She was sworn into office on January 7, 2010, and presented her credentials to President László Sólyom on January 11, 2010. On April 24, 2017, Kounalakis announced her bid for the office of Lieutenant Governor of California in the 2018 election. She came in first place in the June 5, 2018 primary election; she was elected on November 6, 2018.


title: Eleni Kounalakis

text: Before accepting President Barack Obama's nomination to an ambassadorship, Kounalakis was President of AKT Development Corporation, one of California's largest housing development firms, which was founded by her father. Kounalakis earned her undergraduate degree from Dartmouth College and a Master of Business Administration from the University of California, Berkeley's Haas School of Business.


title: Eleni Kounalakis

text: Kounalakis and her husband, print and broadcast journalist Markos Kounalakis, founded two university chairs in Hellenic studies, the Markos and Eleni Tsakopoulos Kounalakis chair at Georgetown University, held by the scholar of late Classical and early Hellenistic Greek literature, Dr. Alexander Sens, and the Tsakopoulos Kounalakis chair in honor of Constantine Mitsotakis at Stanford University, held by Josiah Ober. Both chairs focus on the understanding of the origins of Athenian democracy. They also established the Tsakopoulos Kounalakis lecture series at the Woodrow Wilson International Center for Scholars to focus on democracy and international relations.


title: Eleni Kounalakis

text: Kounalakis served for nearly ten years as a Trustee of the World Council of Religions for Peace. In recognition for her work with the WCRP, she was awarded the medal of St. Paul, the Greek Orthodox Church of America’s highest honor. San Francisco Mayor Gavin Newsom appointed her to serve as a Trustee of the War Memorial and Performing Arts Center. San Francisco Mayor Ed Lee appointed her to serve on the Port Commission Board.


title: Eleni Kounalakis

text: She served four times as a delegate to the Democratic National Convention and as an at-large member of the California State Democratic Central Committee. She also served as a member of the First 5 California Commission, and the California Blue Ribbon Commission on Autism. She served as a Trustee of Robert Redford's Sundance Preserve and on the Conservation Fund’s National Forum on Children and Nature. She is also a senior advisor at Albright Stonebridge Group.


title: Eleni Kounalakis

text: On April 24, 2017, Kounalakis announced her bid for the office of Lieutenant Governor of California in the 2018 election. She came in first place on June 5, 2018 in the top-two statewide primary; Democratic State Senator Ed Hernandez placed second. On November 6, Kounalakis was elected by a 56.6% to 43.3% margin against her opponent. Kounalakis, along with then Governor-elect Gavin Newsom, took office on January 7, 2019.


title: Eleni Kounalakis

text: After her candidacy announcement, she visited all 58 counties in California during her campaign. Her grassroots campaign earned the recognition of "Time" magazine for engaging hundreds of volunteers to text over 1 million voters before Election Day. On November 6, 2018, Kounalakis became the first female elected Lieutenant Governor of California in history; Mona Pasquil was appointed in an acting capacity in 2009 following the resignation of John Garamendi but was not elected to the post.


title: Eleni Kounalakis

text: Kounalakis and Markos married in 2000. They have two sons. She is the daughter of Angelo Tsakopoulos, a Sacramento developer. Kounalakis is of Greek descent and grew up a member of the Greek Orthodox Church. In 2011, she received an Honorary Doctor of Law from the American College of Greece.


title: Phoebe (Titaness)

text: In ancient Greek religion and mythology, Phoebe ( ; , associated with "phoîbos", "shining") was one of the first generation of Titans, who were one set of sons and daughters of Uranus and Gaia. She was the grandmother of the sun god Apollo, the moon goddess Artemis, and the witchcraft goddess Hecate. According to myth, she was the original owner of the Oracle of Delphi before gifting it to her grandson Apollo. Her name, meaning "bright", was also given to a number of lunar goddesses like Artemis and later the Roman goddesses Luna and Diana, but Phoebe herself was not actively treated as a moon goddess on her own right in ancient mythology.


title: Phoebe (Titaness)

text: Greek , feminine form of "" means "pure, bright". Another meaning is "prophet", a reference to her role in myth. Used for water and fire both, it can thus be explained as generally meaning "pure", "clear", or "bright".


title: Phoebe (Titaness)

text: Phoebe is a Titaness, one of the twelve (or thirteen) divine children born to Uranus (Sky) and Gaia (Earth). Phoebe's consort was her brother Coeus, with whom she had two daughters, first Leto, who bore Apollo and Artemis, and then Asteria, a star goddess who bore an only daughter, Hecate. Hesiod in the "Theogony" describes Phoebe as "" ("khrysostéphanos", meaning "golden-crowned").


title: Phoebe (Titaness)

text: Through Leto, Phoebe was the grandmother of Apollo and Artemis. The names "Phoebe" and "Phoebus" (masculine) came to be applied as synonyms for Artemis/Diana and Apollo respectively, as well as for Luna and Sol, the lunar goddess and the solar god, by the Roman poets; the late-antiquity grammarian Servius writes that "Phoebe is Luna, like Phoebus is Sol." Phoebe was, like Artemis, identified by Roman poets with the Roman moon goddess Diana. Phoebe means "bright" but is functionally only a name; in mythology, the role of moon goddess is fulfilled by other deities as her grandchildren inherit her name.


title: Phoebe (Titaness)

text: According to a speech that Aeschylus puts into the mouth of the Delphic priestess herself in "The Eumenides", Phoebe received control of the Oracle at Delphi from her sister Themis, who herself had received it from their mother Gaia, and then passed it on Apollo, her grandson, as a gift for his birthday: D. S. Robertson noted "Phoebe in this succession seems to be his private invention," reasoning that in the three great allotments of oracular powers at Delphi, corresponding to the three generations of the gods, "Ouranos, as was fitting, gave the oracle to his wife Gaia and Kronos appropriately allotted it to his sister Themis." Robertson also speculates that in Zeus' turn to make the gift, Aeschylus could not report that the oracle was given directly to Apollo, who had not yet been born, and thus Phoebe was interposed. These supposed male delegations of the powers at Delphi as expressed by Aeschylus are not borne out by the usual modern reconstruction of the sacred site's pre-Olympian history.


title: Phoebe (Titaness)

text: Phoebe's name appears on the southeast corner of the Pergamon Altar which depicts the Gigantomachy, fighting against a Giant with animal features, similar to the one her daughter Leto is fighting. Phoebe, wearing a diadem and a very creased dress, is seen wielding a flaming torch and fighting next to her other daughter Asteria.


title: Phoebe (Titaness)

text: Phoebe, one of the moons of Saturn is named after this goddess, as sister of Cronus, Saturn's Greek equivalent. Phoebe (also spelled Phebe) is also a popular feminine given name in the English-speaking world.


title: Aneri Vajani

text: Aneri Vajani (born 26 March 1994) is an Indian actress who primarily works in Hindi television. She has starred in "Nisha Aur Uske Cousins", "Beyhadh", "Silsila Badalte Rishton Ka", "Pavitra Bhagya" and "Anupamaa". In 2022, she participated in "".


title: Aneri Vajani

text: Vajani made her acting debut with the role of Paakhi in "Kaali – Ek Punar Avatar" in 2012. It ended in 2013 and was based on the famous Nitish Katara murder case. She then played Shanaya Khan in the 2013 show "Crazy Stupid Ishq" alongside Hiba Nawab, Harsh Rajput and Vishal Vashishtha.


title: Aneri Vajani

text: Vajani portrayed Nisha Gangwal Kumar in "Nisha Aur Uske Cousins" opposite Mishkat Varma from 2014 to 2015. Her performance as Nisha earned her nomination at Indian Telly Award for Indian Telly Award for Fresh New Face - Female. She next played Arushi, a swimmer in "Pyaar Tune Kya Kiya" Season 7.


title: Aneri Vajani

text: Vajani next portrayed Saanjh Mathur Sharma in "Beyhadh" opposite Kushal Tandon and Jennifer Winget from 2016 to 2017. She received praises for her performance. She then appeared as Riddhi in "Yeh Hai Aashiqui" Season 4 where she reunited with Varma.


title: Aneri Vajani

text: In 2016, she featured in Arre's "I Don't Watch TV" as Tulsi. It marked her web debut. In 2018, she played Shreya in "Laal Ishq" opposite Samridh Bawa. She portrayed Pari Malhotra in her second web show, Voot's "Silsila Badalte Rishton Ka Season 2" opposite Kunal Jaisingh.


title: Aneri Vajani

text: Vajani then played Pranati Mishra Khurana in "Pavitra Bhagya", where she reunited with Jaisingh. She received ITA Award for Best Actress Popular nomination for her performance. She next appeared as Arundhati Singh in MX Player's web series "Cookiees".


title: Aneri Vajani

text: She made her film debut with the Telugu film "" where she was seen as Priyanka. She also played a character named Aneri in the short film "I Hate Goodbyes".


title: Aneri Vajani

text: In 2021, she started portraying Malvika Kapadia in "Anupamaa". She quit the show permanently in 2022 to participate in "" claiming that ""there is no scope of coming back as it's all over for her role"".


title: DoubleClick

text: DoubleClick Inc. was an advertisement company that developed and provided Internet ad serving services from 1995 until its acquisition by Google in March 2008. DoubleClick offered technology products and services that were sold primarily to advertising agencies and mass media, serving businesses like Microsoft, General Motors, Coca-Cola, Motorola, L'Oréal, Palm, Inc., Apple Inc., Visa Inc., Nike, Inc., and Carlsberg Group. The company's main product line was known as "DART" (Dynamic Advertising, Reporting, and Targeting), which was intended to increase the purchasing efficiency of advertisers and minimize unsold inventory for publishers.


title: DoubleClick

text: DoubleClick was founded in 1995 by Kevin O'Connor and Dwight Merriman and had headquarters in New York City, United States. It was acquired by private equity firms Hellman & Friedman and JMI Equity in July 2005. On March 11, 2008, Google acquired DoubleClick for $3.1 billion. In June 2018, Google announced plans to rebrand its ads platforms, and DoubleClick was merged into the new Google Marketing Platform brand. DoubleClick Bid Manager became Display and Video 360, DoubleClick Search became Search Ads 360, and DoubleClick for Publishers (DFP) became Google Ad Manager 360.


title: DoubleClick

text: In 1995, Kevin O'Connor and Dwight Merriman developed the concept for DoubleClick in O'Connor's basement. They created a system to display banner ads across a network of websites and track their performance to better target internet users. The product caught the attention of entrepreneur Kevin Ryan, who later joined as the company's CFO and later became its CEO.


title: DoubleClick

text: Later that year, O'Connor and Merriman met Fergus O'Daily, the CEO of Poppe Tyson. Poppe Tyson had created an Interactive Sales division, but lacked the technology to deliver online ads across its network of client's sites. O'Connor, Merriman, and O'Daily decided to merge the two companies. To prevent competition from each company's sales teams, in November 1995 DoubleClick was spun off as an independent, wholly owned subsidiary. DoubleClick was founded as one of the earliest known Application Service Provider (ASP) for internet "ad-serving"—primarily banner ads.


title: DoubleClick

text: In February 1998, during the dot-com bubble, the company became a public company via an initial public offering. Shares rose 75% on the first day of trading.


title: DoubleClick

text: In June 1999, DoubleClick acquired Abacus Direct, which marketed consumer-purchasing data to catalog firms.


title: DoubleClick

text: In July 1999, DoubleClick acquired NetGravity and rebranded NetGravity AdServer as "DART" Enterprise.


title: DoubleClick

text: Privacy groups complained that DoubleClick's plan to combine its online profiling information with offline information gathered by Abacus Direct would violate privacy rules, as it would allow the company to match a person's identity with their online habits, which it tracks through cookies. In February 2000, the FTC announced it had launched an investigation into the matter. The investigation was concluded in January 2001, with the FTC stating that it found no evidence that DoubleClick used or disclosed consumers personal identifying information.


title: DoubleClick

text: In 2004, DoubleClick acquired Performics, which offered affiliate marketing, search engine optimization, and search engine marketing products. These products were integrated into the core DART system and rebranded DART search. DoubleClick Advertising Exchange connected both media buyers and sellers on an advertising exchange much like a traditional stock exchange. Google sold Performics in 2008 to Publicis.


title: DoubleClick

text: In April 2005, Hellman & Friedman, a San Francisco-based private equity firm, agreed to acquire the company for $1.1 billion.


title: DoubleClick

text: On April 13, 2007, Google agreed to acquire DoubleClick for US$3.1 billion in cash. The deal raised concerns surrounding competition with both the Federal Trade Commission (FTC) and the European Union. In May 2007, the FTC requested additional information about the deal after it was urged by competitors, including Microsoft, which believed it would give Google too much control over online advertising. On December 20, 2007, the FTC approved Google's purchase of DoubleClick from its owners Hellman & Friedman and JMI Equity. European Union regulators granted approval on March 11, 2008, and Google completed the acquisition later that day. On April 2, 2008, Google announced it would cut 300 jobs at DoubleClick due to organizational redundancies. Selected employees would be matched within the Google organization as per position and experience.


title: DoubleClick

text: In November 2007, shortly after the announcement of the acquisition, it was reported that DoubleClick had been serving ads designed to trick users into buying malware. This occurred after a malicious website tricked several name-brand websites into serving the ads.


title: DoubleClick

text: In June 2010, Google confirmed its acquisition of Invite Media, a demand-side platform which it later renamed DoubleClick Bid Manager.


title: DoubleClick

text: On July 24, 2018, names and logos of all DoubleClick products have been updated, and DoubleClick Bid Manager is now 'Display & Video 360' (DV360).


title: Kaiserschmarrn

text: Kaiserschmarrn or Kaiserschmarren (Emperor's Mess) is a lightly sweetened pancake that takes its name from the Austrian emperor (Kaiser) Franz Joseph I, who was fond of this fluffy shredded pancake. It is served as a dessert or as a light lunch. It is normally served with apple sauce and contains raisins or dried cranberries.


title: Kaiserschmarrn

text: Kaiserschmarrn is a popular meal or dessert in Austria, Bavaria, and many parts of the former Austro-Hungarian empire, e.g. Hungary, Slovenia, and northern Croatia, which usually use the name as a loan word or translations of it. In Slovenia, it is called "cesarski praženec" or "šmorn". Its Hungarian name is "császármorzsa"; its Czech name is "(Císařský) trhanec" or "kajzršmorn".


title: Kaiserschmarrn

text: The name "Kaiserschmarren" is a compound of the words "Kaiser" (emperor) and "Schmarren" (a scrambled or shredded dish). "Schmarren" is also a colloquialism used in Austrian and Bavarian to mean trifle, mishmash, mess, rubbish, or nonsense. The word "Schmarren" is related to "scharren" (to scrape) and "schmieren" (to smear [see "schmear"]).


title: Kaiserschmarrn

text: Kaiserschmarren is a light, caramelized pancake made from a sweet batter using flour, eggs, sugar, salt, and milk, baked in butter. Kaiserschmarren can be prepared in different ways. When making Kaiserschmarren the egg whites are usually separated from the yolk and beaten until stiff; then the flour and the yolks are mixed with sugar, and the other ingredients are added, including: nuts, cherries, plums, apple jam, or small pieces of apple, or caramelized raisins and slivered almonds. The last mentioned ingredients (nuts, cherries, plums, apple jam, or small pieces of apple, or caramelized raisins and chopped almonds) aren't in the original recipe and just additions made by some cooks based on their personal preferences. In the original recipe there are only raisins (which, before cooking, are soaked in rum).


title: Kaiserschmarrn

text: The pancake is split with two forks into pieces while frying and usually sprinkled with powdered sugar, then served hot with apple or plum sauce or various fruit compotes, including plum, lingonberry, strawberry, or apple. Kaiserschmarren is eaten like a dessert, or it can also be eaten for lunch at tourist places like mountainside restaurants and taverns in the Austrian Alps, as a filling meal.


title: Kaiserschmarrn

text: Traditionally, Kaiserschmarren is accompanied with "Zwetschgenröster", a fruit compote made out of plums.


title: Kaiserschmarrn

text: Like the closely related dish Sterz the "Schmarrn" derived from the simple but hearty cuisine of the alpine regions, there are different versions like Erdäpfelschmarrn (with potatoes), Äpfelschmarrn (with apples) or Kirschschmarren (with cherries), usually prepared on an open fireplace of a so-called "Rauchkuchl". The Kaiserschmarrn is simply a more refined and richer version of this former staple food, which sometimes consisted of only flour and lard.


title: Kaiserschmarrn

text: It is generally agreed that the dish was first prepared for the Austrian Emperor Francis Joseph I (1830–1916). There are several stories. One apocryphal story involves the Emperor and his wife, Elisabeth of Bavaria, of the House of Wittelsbach. Obsessed with maintaining a minimal waistline, the Empress Elisabeth directed the royal chef to prepare only light desserts for her, much to the consternation and annoyance of her notoriously austere husband. Upon being presented with the chef's confection, she found it too rich and refused to eat it. The exasperated Francis Joseph quipped, “Now let me see what 'Schmarren' our chef has cooked up.” It apparently met his approval as he finished his and even his wife's serving.


title: Kaiserschmarrn

text: Another story is that Francis Joseph and his wife were traveling the Alps and stopped by a farmer's home for lunch. The farmer was so nervous that he threw all the fanciest ingredients he had into a pan to make a delicious pancake; worse yet, due to his nervousness and shaky hands he scrambled the pancake. Hoping to cover up the mess he then covered it with plum jam. Luckily, the Kaiser thought it was delicious.


title: Kaiserschmarrn

text: Another popular tale is that his wife was a poor cook and couldn't flip a pancake efficiently. She decided to play to her strengths and shred the pancakes altogether and would serve them up to the Kaiser on a regular basis with jam. He liked them with jam. It was his favourite dessert.


title: Our Homeland Movement

text: Our Homeland Movement (Hungarian: "Mi Hazánk Mozgalom," MHM) is a Hungarian far-right political party founded by Ásotthalom mayor and former Jobbik Vice-President László Toroczkai and other Jobbik dissidents that left the organization after the party's leadership moved away from its radical beginnings.


title: Our Homeland Movement

text: On 14 October 2018, the party's politicians announced the party would organize a youth wing. On November 7, 2018, László Toroczkai announced to the media that 3 former Jobbik politicians, István Apáti, Erik Fülöp and János Volner joined his political party. János Volner later left.


title: Our Homeland Movement

text: In early 2019, the party made an alliance with the right-wing Hungarian Justice and Life Party and the agrarian Independent Smallholders, Agrarian Workers and Civic Party.


title: Our Homeland Movement

text: In May 2019, it was announced the party would be forming the National Legion, a uniformed 'self-defense' group similar to Magyar Gárda, the paramilitary wing Jobbik, which was banned in 2009.


title: Our Homeland Movement

text: In 2022 parliamentary elections, the party surpassed the 5% threshold to enter parliament, winning 6 seats and forming the second largest faction in the Hungarian Parliament.


title: Our Homeland Movement

text: In 2022, Mi Hazank formed links with the Swedish Alternative for Sweden party. Our Homeland Movement party leader László Toroczkai, as well as Alternative for Germany's Stefan Korte, both held individual speeches at Alternative for Sweden's election campaign meeting held in Rålambshovsparken in Stockholm on 6 August 2022.


title: Our Homeland Movement

text: Although the party identifies itself as a "third way" party, opposing the policies of both the left-wing opposition and the right-wing governing party Fidesz, Our Homeland Movement and its ideologies have been described as far-right and extremist, and even as neo-fascist by the European Roma Rights Centre. The party supports the segregation of Hungarian and Roma pupils in educational institutions.


title: Our Homeland Movement

text: The party strongly opposes LGBT rights. After the release of a children's book, "Meseország mindenkié," which features LGBT members and ethnic minorities as characters, the Deputy President of the party, Dóra Dúró, proceeded to call the book "homosexual propaganda" on a press conference, and promptly ripping the pages out of the book and then shredding them. The move caused significant controversy and garnered international attention. On the Budapest Pride website, the party has been described as neo-nazi and Orbán-friendly. The party has called for a Ban on LGBT pride marches.


title: Our Homeland Movement

text: In an interview to "Mandiner", party leader László Toroczkai described MHM as "a unique green party in Europe", stating that "we are unwilling to accept that only anti-social and anti-human liberal parties can be green parties. We think that those who do not want to protect our environment, our forests, our beautiful Great Plain, Lake Balaton, our rivers cannot really love their homeland". Thus, the party is sometimes referred to as supporting some form of green conservatism.


title: Our Homeland Movement

text: Amidst the COVID-19 pandemic, the party has protested lockdown measures set in place by the government, accusing them of "inciting panic" and ruining the country. The party also promotes vaccine hesitancy, launching a petition against using COVID-vaccines on children aged 12–15.


title: Amazon Lumberyard

text: Amazon Lumberyard is a now-superseded freeware cross-platform game engine developed by Amazon and based on CryEngine (initially released in 2002), which was licensed from Crytek in 2015.


title: Amazon Lumberyard

text: In July 2021, Amazon and the Linux Foundation announced that parts of the engine would be used to create a new open source game engine called Open 3D Engine, which would replace it. A new Open 3D Foundation, run by the Linux Foundation, will manage the new engine, which will be licensed under the open source Apache 2.0 license. The new engine is reportedly partially based on Lumberyard but with many parts rewritten, and is considered a new engine.


title: Amazon Lumberyard

text: The Lumberyard engine features integration with Amazon Web Services to allow developers to build or host their games on Amazon's servers, as well as support for livestreaming via Twitch.


title: Amazon Lumberyard

text: Additionally, the engine includes Twitch ChatPlay, allowing viewers of the Twitch stream to influence the game through the associated chat, a method of play inspired by the "Twitch Plays Pokémon" phenomenon.