title: Clan Campbell

text: In 1567, a conflict took place between the Clan Campbell and Clan Arthur. Duncan MacArthur and his son of the Loch Awe MacArthur family, became the victims of their own success when jealousy of their power drove neighbours to drown them in Loch Awe during a skirmish with the Clan Campbell. In the archives of Inveraray Castle a charter dated 1567 confirms that a pardon was granted to the Campbells of Inverawe for what became known as the "drowning of Clan Arthur". It is believed that the MacArthurs trying to defend themselves were driven into the loch. Centuries later in the 1970s an ancient sword was unearthed on the shore of the loch.


title: Clan Campbell

text: For two centuries from the mid-15th century the Clan Gordon and Clan Campbell controlled the north-east and west of Scotland respectively, as the magnates who straddled the divide between the Scottish Highlands and Scottish Lowlands. In 1594, Archibald Campbell, 7th Earl of Argyll was granted a Royal Commission against George Gordon, 6th Earl of Huntly but was defeated at the Battle of Glenlivet.


title: Clan Campbell

text: The support that the Campbells gave to the central Government brought them rewards: In 1607 Archibald Campbell, 7th Earl of Argyll was granted the former MacDonald lands of Kintyre and in 1615 Campbell of Cawdor was allowed to purchase the Isle of Islay which had previously belonged to the Macleans of Duart.


title: Clan Campbell

text: At the Battle of Inverlochy (1645), the Scottish Covenanter forces led by Archibald Campbell, 1st Marquess of Argyll were defeated by the Royalist forces of James Graham, 1st Marquess of Montrose whose army was mainly made up of Scots of the Clan MacDonald, Clan Maclean and others from Ireland. After the Battle of Inverlochy, Montrose and the Macleans burnt Castle Campbell, but the castle remained in Campbell hands. In the wake of the Battle of Inverlochy the Clan Lamont took the opportunity to raid the Campbell lands. The vengeful Campbells also ravaged the lands of the Clan Maclean who had fought against them at Inverlochy and in due course the Maclean's Duart Castle surrendered.


title: Clan Campbell

text: In 1648 at the Battle of Stirling (1648) the Kirk Party Covenanter forces of Archibald Campbell, 1st Marquess of Argyll were defeated by the Engager Covenanter forces of Sir George Munro, 1st of Newmore who supported the Earl of Lanark. Among Argyll's dead was William Campbell of Glenfalloch killed in action.


title: Clan Campbell

text: In 1672 a feud took place between the Clan Campbell and Clan Sinclair. Debt had forced George Sinclair, 6th Earl of Caithness to resign his titles and estates in favour of Sir John Campbell. Campbell took possession of the estates on Sinclair's death in May 1676, and was created earl of Caithness in June the following year. Sinclair's heir, George Sinclair of Keiss disputed the claim and seized the land in 1678. This was followed by the Battle of Altimarlech, 13 July 1680, between the Clan Campbell and the Clan Sinclair in which the Campbells were victorious. Legend has it that so many Sinclairs were killed that the Campbells were able to cross the river without getting their feet wet. Having failed to regain his inheritance by force, Sinclair of Keiss then turned to the law. He took his place as Earl of Caithness on 15 July 1681, and his lands were restored on 23 September. Campbell was made Earl of Breadalbane by way of compensation.


title: Clan Campbell

text: In 1678 Archibald Campbell, 9th Earl of Argyll led the Campbell of Argyll militia on an expedition to the Isle of Mull and took Duart Castle from the Clan Maclean. However, Argyll was beheaded on 30 June 1685 for his participation in Argyll's Rising in support of the Monmouth Rebellion to depose Catholic James VII and II and place the Protestant James, Duke of Monmouth on the throne. Later in 1692 Archibald Campbell, 1st Duke of Argyll again gained possession of the Maclean's Duart Castle.


title: Clan Campbell

text: In 1692, 38 unarmed people of the Clan MacDonald of Glencoe were killed in the Massacre of Glencoe when a Government initiative to suppress Jacobitism was entangled in the long running feud between Clan MacDonald and Clan Campbell. The slaughter of the MacDonalds at the hands of the soldiers, led by Captain Robert Campbell of Glenlyon, after enjoying their hospitality for over a week was a major affront of Scots Law and Highland tradition. The majority of soldiers were not Campbells, but a roll call from a few months before included six Campbells in addition to Cpt. Robt. Campbell: Corporal Achibald Campbell, Private Archibald Campbell (elder), Private Donald Campbell (younger), Private Archibald Campbell (younger), Private James Campbell, Private Donald Campbell (elder), and Private Duncan Campbell. See also: Earl of Argyll's Regiment of Foot.


title: Clan Campbell

text: During the Jacobite risings of the 18th century the Clan Campbell supported the British-Hanoverian Government. On 23 October 1715, chief John Campbell, 2nd Duke of Argyll learned that a detachment of rebels was passing by Castle Campbell, towards Dunfermline. He sent out a body of cavalry which attacked the rebel party and defeated it in what is now known as the Skirmish of Dunfermline and took a number of prisoners, taking only light casualties. A month later the British Government forces, including men from Clan Campbell, fought and defeated the Jacobites at the Battle of Sheriffmuir in 1715. However, there were in fact a small number of Campbells who took the side of the Jacobites led by the son of Campbell of Glenlyon whose father had commanded the Government troops at the Massacre of Glencoe against the MacDonalds 22 years earlier. These two families then settled their differences and swore to be brothers in arms, fighting side by side in the Sheriffmuir. However, the British Government forces led by chief John Campbell, 2nd Duke of Argyll defeated the Jacobites.


title: Clan Campbell

text: General Wade's report on the Highlands in 1724 estimated the strength of the clan who supported the Government under the Duke of Argyll as 4,000 men, whilst those under Campbell of Breadalbane who had supported the Jacobites in 1715, as 1000 men. In 1725, six Independent Highland Companies were formed to support the Government: three from Clan Campbell, one from Clan Fraser of Lovat, one from Clan Munro and one from Clan Grant. These companies were known by the name "Reicudan Dhu", or "Black Watch". The Regiment of the Line was formed officially in 1739 as the 43rd Regiment of Foot and first mustered in 1740, at Aberfeldy.


title: Clan Campbell

text: Just before 1745, the strength of the Clan Campbell had been put at a total of 5,000 men. During the Jacobite rising of 1745, the Clan Campbell continued their support for the British Government. They fought against the rebel Jacobites at the Battle of Falkirk (1746) where Government forces were defeated. However, shortly afterwards the Campbells held out during the Siege of Fort William where the Jacobites were defeated. The Campbells were also involved in the Skirmish of Keith around the same time. At the Battle of Culloden in 1746 where the Jacobites were finally defeated, involved in the fighting on the Government side were four companies from the Campbell of Argyll Militia, three companies from Loudon's Highlanders who were under the command of Lieutenant Colonel John Campbell and one company from the 43rd Highlanders who were under the command of Captain Dugald Campbell of Auchrossan.


title: Clan Campbell

text: Although mills produce many fabrics based on the Campbell tartan, the Clan Chief recognizes only four:


title: Clan Campbell

text: George Campbell, 6th Duke of Argyll added a white line to his tartan to distinguish himself as the clan chief. He was the only member of the family to do so, but the tartan has persisted as "Campbell of Argyll" which, as with any other tartan not listed above, is not recognized as official by the clan.


title: Meghana Raj

text: Meghana Sunder Raj Sarja (born 3 May 1990) is an Indian actress who primarily works in Malayalam and Kannada films along with a few Telugu and Tamil films. She made her acting debut in the 2009 Telugu film "Bendu Apparao R.M.P". She has won Karnataka State Film Award for Best Actress for her performance in "Iruvudellava Bittu", a 2018 Kannada film. She is the wife of late Kannada actor Chiranjeevi Sarja.


title: Meghana Raj

text: Meghana Raj was born on 3 May 1990 as the only daughter to film actors Sundar Raj and Pramila Joshai. Her father Sundar has acted in more than 180 films, predominantly in Kannada language, while her mother Pramila Joshai is a noted Kannada film actress and film producer. She completed her schooling from Baldwin Girls' High School and holds Bachelor's degree in psychology at Christ University, Bangalore.


title: Meghana Raj

text: Meghana Raj debuted as a theatre artist, when she was a child, acting alongside her father Sunder Raj in the play "Jokumaraswamy". During the audio launch function of the Tamil film "Poi" in February 2006, she was invited by its director K. Balachander to pursue an acting career, starring in one of his forthcoming films. Accepting his offer, she was given the lead female role in the Tamil film "Krishnaleelai", a Balachander production, directed by Selvan. However, despite continuing shooting throughout 2008, which was completed in early 2009, the film got stuck in production hell, and its release got delayed for various reasons.


title: Meghana Raj

text: Even before the release of that film, she commenced shooting for a Telugu film "Bendu Apparao R.M.P", which would eventually be her first feature film release. She played the character of a school teacher in the comedy entertainer, starring Allari Naresh and Kamna Jethmalani as well, which released in October 2009 and went on to become highly successful at the box office. She debuted in the Kannada films by enacting the female lead role in "Punda", a remake of the 2007 Tamil film "Polladhavan". Meghana's next release was her debut Tamil film, the Boopathy Pandian-directed "Kaadhal Solla Vandhen", while she also signed up her first Malayalam project, the horror film "Yakshiyum Njanum" under Vinayan's direction, which was released in August 2010. Although the film was just an average grosser, its glamorous and sensual songs on Meghana was a hit among the youth and made her an instant favorite among the youth. During that time she also acted in two more projects, "Nanda Nanditha", which is a remake of the 2008 Kannada film "Nanda Loves Nanditha" and the Tamil film "Kalla Siripazhaga".


title: Meghana Raj

text: After a series of flops for most of 2011 where she was seen repeatedly cast merely as a glamour actress, Meghana reverted to winning ways with the Malayalam film "Beautiful" which was released in the first week of December. The film was a success both commercially and critically and critics widely regarded it as one of the best Malayalam movies of 2011. Meghana's portrayal of Anjali, a home nurse in the film won her very good reviews. Since getting noticed with "Beautiful", Meghana got a lot of Malayalam films offers and for a brief period of time was the most sought out actress in Malayalam.


title: Meghana Raj

text: It was during this time when Meghana started to undergo a total physique revamp by going through a strict diet and exercise regime. She made this decision partly because she was getting constantly ignored in Kannada films (her mother tongue) and the reason told was she was fat.


title: Meghana Raj

text: Her 2012 Malayalam film "Namukku Parkkan" did a decent business at the box office. Subsequent films "Mullamottum Munthiricharum", "Banking Hours 10 to 4", "Maad Dad", "Madirasi" and "Red Wine" failed to perform. However, her next film "Memories" opposite Prithviraj Sukumaran opened to overwhelmingly positive reviews and was a box office success.


title: Meghana Raj

text: After a gap of almost four years, Meghana Raj returned to Kannada films in late 2013 with the successful film "Raja Huli", She followed it with another hit, "Bahuparak"; her performances in both films were well appreciated. Meghana's next Kannada movie "Aatagara" was released in late August 2015 to both critical and commercial acclaim and thus achieving a hat-trick of hits in Sandalwood. She is currently concentrating more on Kannada films as she has lot of offers from Sandalwood at the moment. Her next film Vamshodharaka got mixed to negative reviews and thus failed at the box office.


title: Meghana Raj

text: Post 2016 Meghana Raj's releases such as Hallelooya, Lakshmana, Bhujanga and Allama all turned out to be non-performers at the box office. She has committed few more Kannada and Malayalam films as of now. Meghana was recently chosen to portray princess Bhanumati in the Kannada magnum opus "Kurukshetra".


title: Meghana Raj

text: After a 10-year relationship with fellow Kannada actor Chiranjeevi Sarja, Meghana got engaged to him on 22 October 2017. They got married on 2 May 2018. Sarja died on 7 June 2020 from cardiac arrest when they were expecting their first child. Their son Raayan Raj Sarja was born on 22 October 2020.


title: Meghana Raj

text: Meghana's official Facebook page has received more than 2.5 million likes. She was ranked No.19 in the Kochi Times 'Most desirable Woman 2015' poll. Meghana Raj was also ranked No.10 in the Bangalore Times 'Most desirable Women 2015' poll.


title: Baby Shark's Big Show!

text: Baby Shark's Big Show! () is an animated children's television series based on the "Baby Shark" brand from the South Korean company Pinkfong. SmartStudy, Pinkfong's parent company, co-produces the show with Nickelodeon Animation Studio from the United States.


title: Baby Shark's Big Show!

text: In South Korea, "Baby Shark's Big Show!" debuted on the Educational Broadcasting System (EBS) with a Christmas special on December 25, 2020. From September 2021 onward, the series airs regularly on EBS1 on Wednesdays and Thursdays. In the United States, it premiered on Nickelodeon on December 11, 2020.


title: Baby Shark's Big Show!

text: On June 5, 2019, it was announced that the series was in development at Nickelodeon. On June 25, 2020, it was announced that Nickelodeon officially green-lit the series, with a 26-episode order. On November 12, 2020, it was announced that the series would premiere on December 11, 2020.


title: Baby Shark's Big Show!

text: On July 20, 2021, it was announced that Nickelodeon renewed the series for a 26-episode second season, which premiered on October 18, 2022.<ref name="S2Renewal/Movie"></ref>


title: Baby Shark's Big Show!

text: Emily Ashby, a reviewer for Common Sense Media, gave the show a 2 (out of 5) star rating. She wrote that "Pinkfong's franchise name carries this show only so far and the lackluster writing and plot can't quite compensate for the rest."


title: Baby Shark's Big Show!

text: On July 20, 2021, it was announced that Nickelodeon was developing a "Baby Shark" movie. In March 2022, it was announced that the film was in development at Paramount+, for a 2023 release. On August 4, the film's title, "Baby Shark's Big Movie!", and the plot were announced, along with a holiday 2023 release.


title: Aaron Hotchner

text: Aaron "Hotch" Hotchner is a fictional character from the CBS crime drama "Criminal Minds", portrayed by Thomas Gibson. He is a Supervisory Special Agent and the unit chief of the FBI's Behavioral Analysis Unit, and has appeared from the series' pilot episode "Extreme Aggressor", which was originally broadcast on September 22, 2005.


title: Aaron Hotchner

text: Hotchner begins the series married to his high school sweetheart Haley (Meredith Monroe). They have a son named Jack (Cade Owens), though they later separate over Hotchner's dedication to his job. Haley is killed in season five by a serial killer Hotchner and the team are pursuing.


title: Aaron Hotchner

text: On August 12, 2016, CBS producers announced that Gibson had been dismissed from "Criminal Minds" following a physical altercation with one of the show's writers, and that "creative details" regarding the character's departure would be announced at a later date. After appearing in the first two episodes of the 2016–2017 season, the Hotchner character was removed from the opening credits of subsequent episodes.


title: Aaron Hotchner

text: Gibson was cast as Hotchner having previously starred in the comedy series "Dharma & Greg". Of the transition to "Criminal Minds", he explained: "It's very nice to do a little bit of the darkness after a little bit of the lightness. Variety is the spice of life. I enjoy both and hopefully I will be able to do as big a variety as I possibly can." Gibson's family lives in San Antonio, Texas, while he commuted to Los Angeles to film "Criminal Minds" on a weekly basis, something he said gave him an insight into Hotchner's divided priorities. Discussing the effect working in the BAU has on the agents' personal lives, Gibson opined: "I think it can't help but take some toll. And the first casualty may not be the agents themselves, but their families, spouses and children." Prior to Hotchner and Haley's separation, in a 2007 interview Gibson stated that he hoped the two would make their relationship last, explaining: "Marriage can certainly survive lots of hardships. You think about in real life the marriages that survive. They certainly suffer... and I think it's going to be very interesting to see how they work it out because I know it's certainly taking its toll. Haley wanted the marriage to work out." Discussing the conflict between Hotchner's career and home life, Gibson explained:


title: Aaron Hotchner

text: Gibson characterized Hotchner as having "moments of levity", but continued: "Unfortunately, he has a very, very, probably-dusty-it's-so-dry sense of humor. It's pretty dark. It's pretty bone dry. We all need a little levity, but I wouldn't necessarily look for him to break into song and dance. I think Hotch feels there's a lot at stake all the time." Prior to the departure of Jason Gideon (Mandy Patinkin) from the series, Gibson described Gideon and Hotchner as "an old married couple", deeming them father figures to the rest of the BAU and professional peers to one another. Of Hotch's relationship with the rest of the BAU team, Gibson commented:


title: Aaron Hotchner

text: Before Gibson was cast in the role, the character was originally envisioned as a "blonde haired, blue-eyed Mormon".


title: Aaron Hotchner

text: Hotchner first met his future wife Haley Brooks in high school. They married soon thereafter, and had a son, Jack (Cade Owens). Before joining the FBI, Hotchner worked as a prosecutor for the District Attorney's office. He has a younger brother named Sean (Eric Johnson), a New York City-based chef. His mother is an alumna of Mary Baldwin College in Staunton, Virginia. Their father was a workaholic lawyer who survived cancer, and died of a heart attack at 47.


title: Aaron Hotchner

text: Upon joining the FBI, Hotchner was initially assigned to the Field Office in Seattle, Washington, before transferring to Quantico, Virginia.


title: Aaron Hotchner

text: In "Natural Born Killer", Hotchner speaks to a serial killer, Vincent Perotta (Patrick Kilpatrick), and discusses the physical abuse Perotta suffered as a child at the hands of his father. Perotta claimed that everyone who is abused as a child becomes a serial killer, with Hotchner correcting him by saying that ""some" people grow up to become serial killers". When Perotta notices the correction, he asks what the use of "some" means. Hotchner replies, "and some people grow up to catch them". From his explanation to Perotta earlier, it is implied that Hotchner's father was abusive.


title: Aaron Hotchner

text: In general, Hotchner is depicted as a hard-working, humorless, no-nonsense agent who rarely smiles or acts out in anger; his aloof demeanor and composure tend to be mistaken for a complete lack of emotion. He takes great care to avoid antagonizing witnesses, local law enforcement and suspects unless he believes provoking them will cause them to reveal information, occasionally chastising his teammates for needlessly flippant or hostile behavior. With few exceptions, he takes the ethics of his profession very seriously, as evidenced by his angry reaction to Elle Greenaway's (Lola Glaudini) killing of a suspect, which he believed was cold-blooded murder. He occasionally sympathizes with the subjects he pursues, although he universally condemns their behavior and never allows them to justify it.


title: Aaron Hotchner

text: Following the birth of his son Jack, Hotchner's work with the BAU begins disrupting his family life, and vice versa. He is suspended for two weeks in 2007 following a case at a college campus in Flagstaff, Arizona that ends in disaster when both serial killer Nathan Tubbs (Vince Grant) and copycat killer Anna Begley (Shelly Cole) are killed. Upon returning to work, he requests a transfer to a different division, which pleases Haley, until his coworker Derek Morgan (Shemar Moore) convinces him to help the team with a case in Milwaukee. He changes his mind about leaving the department, and when he returns home, he finds that Haley has taken Jack and left him. He is later served with divorce papers at work. Hotchner attempts to see Jack weekly, but is unable to spend time with him as often as he would like. In the season 3 finale, the team travel to New York to work on a case led by SSA Kate Joyner, who Hotchner previously knew from Scotland Yard. JJ noticed the similarities between SSA Kate Joyner, and Hotchner's now ex-wife, Haley. Hotch sides with Kate in an argument about the case, as opposed to Derek, who turns out to be right. It is implied that Hotchner and Kate were attracted to each other at one point.


title: Aaron Hotchner

text: At the beginning of the show's , Hotchner and SSA Kate Joyner (Sienna Guillory) are caught in the bombing outside the New York City Federal Plaza. Joyner eventually dies from her injuries, and Hotchner suffers shrapnel wounds and a punctured eardrum which resulted in hyperacusis, causing temporary hearing problems. Later in the season, the team works one of Hotchner's old cases: the case of the Boston Reaper, a serial killer who preys on couples. Hotchner reveals to head profiler David Rossi (Joe Mantegna) that he had maintained an interest in the case over the 10 years since he had investigated it. It is also shown that the Reaper, a power-hungry predator, had taken an interest in Hotchner.


title: Aaron Hotchner

text: Hotchner and the team finally identify the Reaper as George Foyet (C. Thomas Howell) and arrest him, but Foyet escapes from prison shortly afterward, going on the run. In the season four finale, "...And Back", Foyet attacks Hotchner in the latter's apartment. Foyet stabs Hotchner nine times and tortures him with a knife before delivering him to the hospital. Although Hotchner survives, Foyet takes Haley's and Jack's address from Hotch's apartment, requiring them to be placed in protective custody and unable to contact Hotchner. The rest of the team worries that Hotchner is suffering from posttraumatic stress disorder related to the attack. In season 9, Hotchner is hospitalized due to complications from the old stab wounds after collapsing in the team's conference room.


title: Aaron Hotchner

text: When BAU Section Chief Erin Strauss (Jayne Atkinson) begins putting pressure on Hotchner to justify all of his tactical decisions, Hotchner decides to step down as unit chief to avoid being reassigned. He relinquishes his position to Morgan, which Morgan accepts on the condition that he will step down once Foyet is captured. Shortly thereafter Foyet reappears, baiting Hotchner through correspondence with an old unsub (The Fox) who had been convicted and imprisoned. With the help of the team, Hotchner proceeds to track Foyet, who poses as a US Marshal in order to locate Haley and Jack. Having gained access to her Witsec-issued home, Foyet forces Haley to call Hotchner on speaker phone. Hotchner manages to issue a code to Jack, which meant for him to go hide in his secret place. However, Hotchner is unable to save Haley; Foyet murders her while she was still talking to him on the phone.


title: Aaron Hotchner

text: Upon arriving at the house, Hotchner finds Haley's body in the bedroom and notices Foyet hiding behind the curtains. He repeatedly shoots at Foyet's shadow outlined in the curtains only to discover Foyet is wearing a bullet-proof vest. A full-out hand-to-hand fight ensues, with Hotchner subduing Foyet and beating him to death in a fit of rage. During the post-incident inquiry by Strauss, the team demonstrate complete support of Hotchner and his actions, despite Strauss' persistence in painting them as premeditated. Her position towards the events eventually changes upon speaking directly with Hotchner who, when asked what he believed would have happened if Foyet had lived, responds: "I don't have to think; I know that he would have tried to kill my son, too." Strauss concludes that Hotchner's actions were entirely justifiable.


title: Aaron Hotchner

text: After his ex-wife's murder, Hotchner takes time off to grieve and spend time with his son. He speaks at Haley's funeral. Hotchner is offered early retirement from the BAU in order to be with his son. However, after Haley's sister, Jessica (Molly Baker), offers to stay with Jack when Hotchner has to work, Hotchner decides to return to the BAU. Hotchner attempts to build a better relationship with his son by being his pillar of support. Many of Jack's actions make it clear that he holds his father in high regard. For example, in one scene, Jack is shown playing with two figures at the dinner table. He explains to his father that one figure is Hotchner, while the other is a "bad guy". When Jessica, who is making pancakes for dinner, asks Jack who is going to win, he replies: "Daddy. No one beats Daddy." In another episode, he refuses to dress up as Spider-Man for Halloween because "he's not a real super hero". Instead Jack puts on a suit that is slightly too large for him, and when Hotchner asks him what hero he is supposed to be, he says, "I'm you, Daddy." Later on, Hotchner is asked to coach Jack's soccer team when the team's performance lacks, and he decides to do it with a little help from Rossi, whom he takes on as his assistant. At the end of the episode, Hotchner and Rossi are shown coaching Jack's team and helping them win a game.


title: Aaron Hotchner

text: Despite his many responsibilities, after communications officer Jennifer "JJ" Jareau (AJ Cook) leaves the team, Hotchner splits the vacant role with Penelope Garcia (Kirsten Vangsness).


title: Aaron Hotchner

text: Hotchner runs the psychological review on his team following the supposed death of Emily Prentiss (Paget Brewster). Hotchner and Jareau staged Prentiss' death to protect her from terrorist Ian Doyle (Timothy V. Murphy). When Prentiss returns to the bureau following Doyle's capture and the disappearance of his son, the team is shocked and upset. Hotchner takes full responsibility for keeping the information from his team and says, "If anyone has any issues, they should be directed towards me."


title: Aaron Hotchner

text: Hotchner is also very protective of Spencer Reid (Matthew Gray Gubler), the youngest member of the team. In the pilot episode "Extreme Aggressor", Hotchner explains that they introduce him as Dr. Spencer Reid instead of Special Agent Spencer Reid so that people will respect him despite his youth.


title: Aaron Hotchner

text: Hotchner is promoted to Section Chief after Strauss resigns in the episode "Self-Fulfilling Prophecy" because she had been drinking on the job. This was despite the fact that his involvement in the above mentioned, bungled Arizona case led to his being told that he was not likely to be considered for a promotion.


title: Aaron Hotchner

text: Later, he makes a connection with a female runner while training for a triathlon. He is hesitant and Rossi feels that is because he is still mourning Haley. Hotchner admits to Rossi that he will go on a bike ride with the woman. At the end of the episode, the woman, Beth Clemmons (Bellamy Young), makes it clear that she is interested in him romantically, leaving Hotchner with an uncharacteristic smile. During the beginning of the episode "Closing Time", it is revealed that Hotchner and Beth have continued training as well as having lunches together. Hotchner then asks her out on a date, which she says yes to. At the end of the episode he shows up a day early with roses, and he and Beth have their first kiss. Later, after running the triathlon, Hotchner finally introduces Beth to Jack. Hotchner and Beth continue to date until season 10, when Hotchner reveals to Rossi that the two ended their relationship as she had received a job offer in Hong Kong.


title: Aaron Hotchner

text: Following Gibson's dismissal from the series during the 12th season, the Hotchner character was gradually written out. At the start of the third episode, Emily Prentiss explained Hotchner's absence by remarking that he is on temporary duty assignment.


title: Aaron Hotchner

text: In episode 12.6 titled "Elliott's Pond" it is revealed that Hotchner is leaving his post as longtime head of the BAU after discovering that serial killer Peter Lewis (Bodhi Elfman) is stalking Jack. Hotchner decides to enter the Witness Protection Program with his son to keep him safe. The move would make it nearly impossible for Hotchner to return to his field of work at the BAU, prompting him to resign from the position. After Lewis' death, Hotchner and Jack leave the Witness Protection Program, but Hotchner chooses to spend time with his son as a full-time father, rather than return to the BAU.


title: Aaron Hotchner

text: Hotchner personally requests Prentiss as his successor, and she accepts the position despite her doubt over her ability to handle it. He makes one final appearance in the series finale during a flashback to season 1.


title: Rich man and Lazarus

text: The rich man and Lazarus (also called the parable of Dives and Lazarus or Lazarus and Dives) is a parable of Jesus from the 16th chapter of the Gospel of Luke. Speaking to his disciples and some Pharisees, Jesus tells of an unnamed rich man and a beggar named Lazarus. When both die, the rich man goes to Hell and implores Abraham to send Lazarus from his side in Heaven to warn the rich man's family from sharing his fate. Abraham replies, "If they do not listen to Moses and the Prophets, they will not be convinced even if someone rises from the dead."


title: Rich man and Lazarus

text: Along with the parables of the Ten Virgins, Prodigal Son, and Good Samaritan, the rich man and Lazarus was one of the most frequently illustrated parables in medieval art, perhaps because of its vivid account of an afterlife.


title: Rich man and Lazarus

text: St. Jerome and others view the story not as a parable, but as an actual event which was related by Jesus to his followers.


title: Rich man and Lazarus

text: Supporters of this view point to a key detail in the story: the use of a personal name (Lazarus) not found in any other parable. By contrast, in all of the other parables Jesus refers to a central character by a description, such as "a certain man", "a sower", and so forth.


title: Rich man and Lazarus

text: Other Christians consider that this is a parable created by Jesus and told to his followers. Tom Wright and Joachim Jeremias both treat it as a "parable". Proponents of this view argue that the story of Lazarus and the rich man has much in common with other stories which are agreed-upon parables, both in language and content (e.g. the reversal of fortunes, the use of antithesis, and concern for the poor).


title: Rich man and Lazarus

text: Martin Luther taught that the story was a parable about rich and poor in this life and the details of the afterlife not to be taken literally:


title: Rich man and Lazarus

text: John Lightfoot (1602–1675) treated the parable as a parody of Pharisee belief concerning the Bosom of Abraham, and from the connection of Abraham saying the rich man's family would not believe even if the parable Lazarus was raised, to the priests' failure to believe in the resurrection of Christ:


title: Rich man and Lazarus

text: E. W. Bullinger in the Companion Bible cited Lightfoot's comment, and expanded it to include coincidence to lack of belief in the resurrection of the historical Lazarus (John 12:10). Bullinger considered that Luke did not identify the passage as a "parable" because it contains a parody of the view of the afterlife:


title: Rich man and Lazarus

text: An alternative explanation of the parable is a satirical parable against the Sadducees. One writer to identify the Sadducees as the target was Johann Nepomuk Sepp. The arguments in favour of identification of the Rich Man as the Sadducees are (1) the wearing of purple and fine linen, priestly dress, (2) the reference to "five brothers in my father's house" as an allusion to Caiaphas' father-in-law Annas, and his five sons who also served as high priests according to Josephus, (3) Abraham's statement in the parable that they would not believe even if he raised Lazarus, and then the fulfillment that when Jesus did raise Lazarus of Bethany the Sadducees not only did not believe, but attempted to have Lazarus killed again: "So the chief priests made plans to put Lazarus to death as well" (John 12:10). This last interpretation had wide circulation in France during the 1860s-1890s as a result of having been included in the notes of the pictorial Bible of Abbé Drioux.


title: Rich man and Lazarus

text: Anglican theologian Simon Perry has argued that the Lazarus of the parable (an abbreviated transcript of "Eleazer") refers to Eliezer of Damascus, Abraham's servant. In Genesis 15—a foundational covenant text familiar to any first century Jew—God says to Abraham "this man will not be your heir" (Gen 15:4). Perry argues that this is why Lazarus is outside the gates of Abraham's perceived descendant. By inviting Lazarus to Abraham's bosom, Jesus is redefining the nature of the covenant. It also explains why the rich man assumes Lazarus is Abraham's servant.


title: Rich man and Lazarus

text: The Catholic German theologian Friedrich Justus Knecht (d. 1921), states that this parable gives "a glimpse of the future state, both for our consolation and as a warning." Because after this life there is "a life where everything is quite different from what it is on earth. Lazarus was poor, despised, racked with pain and hunger while he was on earth; but when he died, angels carried his soul to the abode of the just, where he received consolation." However the rich man who when on earth, "led what was apparently a magnificent life. He was esteemed and honoured, surrounded by flatterers, waited on by a host of servants, clad in costly clothes, and he feasted luxuriously every day. But all this magnificence lasted only a short time. He died and was lost for ever, and has been for centuries suffering unspeakable torments."


title: Rich man and Lazarus

text: Knecht also reflects on why the rich man was condemned writing: "Because he was a sensual man, an epicurean, and religion was a matter of no consideration with him. His only thought was how to lead a pleasant life, and he neither troubled himself about the future, nor believed in a coming Redeemer. He led a life without prayer, without fear of hell or desire for heaven, a life without grace and without God."


title: Rich man and Lazarus

text: Most Christians believe in the immortality of the soul and particular judgment and see the story as consistent with it, or even refer to it to establish these doctrines like St. Irenaeus, an Early Church father, did.


title: Rich man and Lazarus

text: Others believe that the main point of the parable was to warn the godless wealthy about their need for repentance in this life and Jesus did not intend to give a preview of life after death. This belief is not held by Catholics, Orthodox, Oriental Christians and any other Nicene creed church. The parable teaches in this particular case that both identity and memory remain after death for the soul of the one in a hell.


title: Rich man and Lazarus

text: Some Christians believe in the mortality of the soul ("Christian mortalism" or "soul sleep") and general judgment ("Last Judgment") only. This view is held by some Anglicans such as E. W. Bullinger. Proponents of the mortality of the soul, and general judgment, for example Advent Christians, Conditionalists, Seventh-day Adventists, Jehovah's Witnesses, Christadelphians, and Christian Universalists, argue that this is a parable using the framework of Jewish views of the Bosom of Abraham, and is metaphorical, and is not definitive teaching on the intermediate state for several reasons. Nicene creed denominations of Christianity contend, however, that such views had no supporters or traditions supporting the mortality of the soul in the early years of Christianity and only arose after the end of the Middle Ages. In "hades" is itself thrown into the "lake of fire" after being emptied of the dead.


title: Rich man and Lazarus

text: Some scholars—e.g., G. B. Caird, Joachim Jeremias, Marshall, Hugo Gressmann,—suggest the basic storyline of "The Rich Man and Lazarus" was derived from Jewish stories that had developed from an Egyptian folk tale about Si-Osiris. Richard Bauckham is less sure, adding:


title: Rich man and Lazarus

text: In any case, [Jesus] has used [motifs also found in the Egyptian and Jewish stories] to construct a new story, which as a whole is not the same as any other extant story. ...[Of course] comparison with the way they function in other stories can help to highlight their function in the parable. In this sense, the parallels and contrasts with the Egyptian and Jewish story of the rich and the poor man can be instructive...


title: Rich man and Lazarus

text: Hippolytus of Rome (ca. AD 200) describes Hades with similar details: the bosom of Abraham for the souls of the righteous, fiery torment for the souls of wicked, and a chasm between them. He equates the fires of Hades with the lake of fire described in the Book of Revelation, but specifies that no one will actually be cast into the fire until the end times.


title: Rich man and Lazarus

text: In some European countries, the Latin description "dives" (Latin for "the rich man") is treated as his proper name: Dives. In Italy, the description "epulone" (Italian for "banquetter") is also used as a proper name. Both descriptions appear together, but not as a proper name, in Peter Chrysologus's sermon "De divite epulone" (Latin "On the Rich Banquetter"), corresponding to the verse, "There was a "rich man" who was clothed in purple and fine linen and who "feasted" sumptuously every day".


title: Rich man and Lazarus

text: The story was frequently told in an elaborated form in the medieval period, treating it as factual rather than a parable. Lazarus was venerated as a patron saint of lepers. In the 12th century, crusaders in the Kingdom of Jerusalem founded the Order of Saint Lazarus.


title: Rich man and Lazarus

text: The story was often shown in art, especially carved at the portals of churches, at the foot of which beggars would sit (for example at Moissac and Saint-Sernin, Toulouse), pleading their cause. There is a surviving stained-glass window at Bourges Cathedral.


title: Rich man and Lazarus

text: In the Latin liturgy of the Roman Catholic Church, the words of "In paradisum" are sometimes chanted as the deceased is taken from church to burial, including this supplication: "Chorus angelorum te suscipiat ... et cum Lazaro quondam paupere aeternam habeas requiem" (May the ranks of angels receive you ... and with Lazarus, who was once poor, may you have eternal rest").


title: Rich man and Lazarus

text: The name "Lazarus" (from the Hebrew: אלעזר, Elʿāzār, Eleazar, "God is my help") also appears in the Gospel of John, in which Jesus resurrects Lazarus of Bethany four days after his death.


title: Rich man and Lazarus

text: Historically within Christianity, the begging Lazarus of the parable (feast day 21 June) and Lazarus of Bethany (feast day 17 December) have sometimes been conflated, with some churches celebrating a blessing of dogs, associated with the beggar, on 17 December, the date associated with Lazarus of Bethany.


title: Rich man and Lazarus

text: Romanesque iconography carved on portals in Burgundy and Provence might be indicative of such a conflation. For example, at the west portal of the Church of St. Trophime at Arles, the beggar Lazarus is enthroned as St. Lazarus. Similar examples are found at the church at Avallon, the central portal at Vézelay, and the portals of the cathedral of Autun.


title: Rich man and Lazarus

text: Geoffrey Chaucer's "Summoner" observes that "Dives and Lazarus lived differently, and their rewards were different."


title: Rich man and Lazarus

text: In William Shakespeare's "Henry IV, Part 1", Sir John Falstaff alludes to the story while insulting his friend Bardolph about his face, comparing it to a memento mori: "I never see thy face," he says "but I think upon hell-fire and Dives that lived in purple; for there he is in his robes, burning, burning" (III, 3, 30–33). When recalling the death of Falstaff in "Henry V" the description of Lazarus in heaven ("into Abraham's bosom") is parodied as "He's in Arthur's bosom, if ever man went to Arthur's bosom." (II. 3, 7–8)


title: Rich man and Lazarus

text: References to Dives and Lazarus are a frequent image in socially conscious fiction of the Victorian period. For example:


title: Rich man and Lazarus

text: Although Dickens' "A Christmas Carol" and "The Chimes" do not make any direct reference to the story, the introduction to the Oxford edition of the "Christmas Books" does.


title: Rich man and Lazarus

text: In Herman Melville's "Moby-Dick", Ishmael describes a windswept and cold night from the perspective of Lazarus ("Poor Lazarus, chattering his teeth against the curbstone...") and Dives ("...the privilege of making my own summer with my own coals").


title: Rich man and Lazarus

text: The poem "The Love Song of J. Alfred Prufrock" by T. S. Eliot contains the lines: 'To say: "I am Lazarus, come from the dead,/Come back to tell you all, I shall tell you all"' in reference to Dives' request to have Beggar Lazarus return from the dead to tell his brothers of his fate.


title: Rich man and Lazarus

text: Richard Crashaw wrote a metaphysical stanza for his "Steps to the Temple" in 1646 entitled, "Upon Lazarus His Tears":


title: Rich man and Lazarus

text: Dives and Lazarus appear in Edith Sitwell's poem "Still falls the Rain" from "The Canticle of the Rose", first published in 1941. It was written after The Blitz on London in 1940. The poem is dark, full of the disillusions of World War II. It speaks of the failure of man, but also of God's continuing involvement in the world through Christ:


title: Rich man and Lazarus

text: ""Vater Abraham, erbarme dich mein"", SWV 477 (""Dialogus divites Epulonis cum Abrahamo""), a work by Heinrich Schütz, is a setting of the dialog between Abraham and the rich man dating to the 1620s. It is notable for its virtuosic text-painting of the flames of hell, as well as being an important example of the "dialog" as a step towards the development of the oratorio.


title: Rich man and Lazarus

text: ""Dives Malus"" (the wicked rich man) also known as ""Historia Divitis"" (c. 1640) by Giacomo Carissimi is a Latin paraphrase of the Luke text, set as an oratorio for 2 sopranos, tenor, bass; for private performance in the oratories of Rome in the 1640s. "Mensch, was du tust" a German sacred concerto by Johann Philipp Förtsch (1652–1732).


title: Rich man and Lazarus

text: The story appeared as an English folk song whose oldest written documentation dates from 1557, with the depiction of the afterlife altered to fit Christian tradition. The song was also published as the Child Ballad Dives and Lazarus in the 19th century. Ralph Vaughan Williams based his orchestral piece "Five Variants of Dives and Lazarus" (1939) on this folk song, and also used an arrangement as the hymn tune "Kingsfold". Benjamin Britten set Edith Sitwell's poem "Still Falls the Rain" (above) to music in his third Canticle in a series of five.


title: Rich man and Lazarus

text: The traditional US gospel song "Dip Your Fingers In The Water" has been recorded in various versions by a number of artists, notably by folk singer and civil rights activist Josh White on his 1947 album "Josh White – Ballads And Blues Volume 2". The lyrics contain the recurring refrain "Dip your finger in the water, come and cool my tongue, cause I'm tormented in the flame".


title: Rich man and Lazarus

text: The Military and Hospitaller Order of St. Lazarus of Jerusalem (OSLJ) is an order of chivalry which originated in a leper hospital founded by Knights Hospitaller in the 12th century by Crusaders of the Latin Kingdom of Jerusalem. The Order of Saint Lazarus is one of the most ancient of the European orders of chivalry, yet is one of the less-known and less-documented orders. The first mention of the Order of Saint Lazarus in surviving sources dates to 1142.


title: Rich man and Lazarus

text: The Order was originally established to treat the virulent disease of leprosy, its knights originally being lepers themselves. According to the Order's official international website, "From its foundation in the 12th century, the members of the Order were dedicated to two ideals: aid to those suffering from the dreadful disease of leprosy and the defense of the Christian faith." Sufferers of leprosy regarded the beggar Lazarus (of Luke 16:19–31) as their patron saint and usually dedicated their hospices to him.


title: Rich man and Lazarus

text: The order was initially founded as a leper hospital outside the city walls of Jerusalem, but hospitals were established all across the Holy Land dependent on the Jerusalem hospital, notably in Acre. It is unknown when the order became militarised but militarisation occurred before the end of the 12th century due to the large numbers of Templars and Hospitallers sent to the leper hospitals to be treated. The order established ‘lazar houses’ across Europe to care for lepers, and was well supported by other military orders which compelled lazar brethren in their rule to join the order upon contracting leprosy.


title: John Lindsay

text: John Vliet Lindsay (; November 24, 1921 – December 19, 2000) was an American politician and lawyer. During his political career, Lindsay was a U.S. congressman, mayor of New York City, and candidate for U.S. president. He was also a regular guest host of "Good Morning America". Lindsay served as a member of the United States House of Representatives from January 1959 to December 1965 and as mayor of New York City from January 1966 to December 1973.


title: John Lindsay

text: He switched from the Republican to the Democratic Party in 1971, and launched a brief and unsuccessful bid for the 1972 Democratic presidential nomination as well as the 1980 Democratic nomination for Senator from New York.


title: John Lindsay

text: Lindsay was born in New York City on West End Avenue to George Nelson Lindsay and the former Florence Eleanor Vliet. He grew up in an upper-middle-class family of English and Dutch descent. Lindsay's paternal grandfather migrated to the United States in the 1880s from the Isle of Wight, and his mother was from an upper-middle-class family that had been in New York since the 1660s. His mother was a descendant of Dirck Jans van der Vliet (1612–1689) who settled in the then Dutch settlement of New Netherlands around 1659–1660 as son Henderick was born in what is now Livingston, New York. Lindsay's father was a successful lawyer and investment banker. Lindsay attended the Buckley School, St. Paul's School, and Yale, where he was admitted to the class of 1944 and joined Scroll and Key.


title: John Lindsay

text: With the outbreak of World War II, Lindsay completed his studies early and in 1943 joined the United States Navy as a gunnery officer. He obtained the rank of lieutenant, earning five battle stars through action in the invasion of Sicily and a series of landings in the Pacific theater. After the war, he spent a few months as a ski bum and a couple of months training as a bank clerk before returning to New Haven, where he received his law degree from Yale Law School in 1948, ahead of schedule. In 1949, he began his legal career at the law firm of Webster, Sheffield, Fleischmann, Hitchcock & Chrystie.


title: John Lindsay

text: Back in New York City, Lindsay met his future wife, Mary Anne Harrison (1926–2004), at the wedding of Nancy Walker Bush (daughter of Connecticut's Senator Prescott Bush and sister of future President George Herbert Walker Bush and aunt of George W. Bush & Jeb Bush), where he was an usher and Harrison a bridesmaid. She was a graduate of Vassar College and a distant relative of William Henry Harrison and Benjamin Harrison. They married in 1949. That same year Lindsay was admitted to the bar, and rose to become a partner in his law firm four years later. They had three daughters and a son.


title: John Lindsay

text: Lindsay began gravitating toward politics as one of the founders of the Youth for Eisenhower club in 1951 and as president of The New York Young Republican Club in 1952. He went on to join the United States Department of Justice in 1955 as executive assistant to Attorney General Herbert Brownell. There he worked on civil liberties cases as well as the 1957 Civil Rights Act. In 1958, with the backing of Brownell as well as Bruce Barton, John Aspinwall Roosevelt, and Edith Willkie, Lindsay won the Republican primary and went on to be elected to Congress as the representative of the "Silk Stocking" 17th district, exemplified by Manhattan's Upper East Side but also encompassing the diverse Lower East Side and historically bohemian Greenwich Village.


title: John Lindsay

text: While in Congress, Lindsay established a liberal voting record increasingly at odds with his own party. He was an early supporter of federal aid to education and Medicare; and advocated the establishment of a federal United States Department of Housing and Urban Development and a National Foundation for the Arts and Humanities. He was called a maverick, casting the lone dissenting vote for a Republican-sponsored bill extending the power of the Postmaster General to impound obscene mail and one of only two dissenting votes for a bill allowing federal interception of mail from Communist countries. Also known for his wit, when asked by his party leaders why he opposed legislation to combat communism and pornography, he replied that the two were the major industries of his district and if they were suppressed then "the 17th district would be a depressed area".


title: John Lindsay

text: In 1965, Lindsay was elected Mayor of New York City as a Republican with the support of the Liberal Party of New York in a three-way race. He defeated Democratic mayoral candidate Abraham D. Beame, then City Comptroller, as well as "National Review" founder William F. Buckley, Jr., who ran on the Conservative line. The unofficial motto of the campaign, taken from a Murray Kempton column, was "He is fresh and everyone else is tired".


title: John Lindsay

text: On his first day as mayor, January 1, 1966, the Transport Workers Union of America, led by Mike Quill, shut down the city with a complete halt of subway and bus service. As New Yorkers endured the transit strike, Lindsay remarked, "I still think it's a fun city", and walked four miles (6 km) from his hotel room to City Hall in a gesture to show it. Dick Schaap, then a columnist for the "New York Herald Tribune", popularized the term in an article titled "Fun City". In the article, Schaap sardonically pointed out that it was not.


title: John Lindsay

text: In 1966, the settlement terms of the transit strike, combined with increased welfare costs and general economic decline, forced Lindsay to lobby the New York State legislature for a new municipal income tax and higher water rates for city residents, plus a new commuter tax for people who worked in the city but resided elsewhere. The transit strike was the first of many labor struggles. In 1968, in an attempt to decentralize the city's school system, Lindsay granted three local school boards in the city complete control over their schools, in an effort to allow communities to have more of a say in their schools. The city's teachers union, the United Federation of Teachers, however, saw the breakup as a way of union busting, as a decentralized school system would force the union to negotiate with 33 separate school boards rather than with one centralized body. As a result, in May 1968 several teachers working in schools located in the neighborhood of Ocean Hill-Brownsville, one of the neighborhoods where the decentralization was being tested, were fired from their jobs by the community-run school board. The UFT demanded the reinstatement of the dismissed teachers, citing that the teachers had been fired without due process. When their demands were ignored, the UFT called the first of three strikes, leading ultimately to a protracted citywide teachers' strike that stretched over a seven-month period between May and November. The strike was tinged with racial and anti-Semitic overtones, pitting Black and Puerto Rican parents against Jewish teachers and supervisors. Many thought the mayor had made a bad situation worse by taking sides against the teachers. The episode left a legacy of tensions between African-Americans and Jews that went on for years, and Lindsay called it his greatest regret.


title: John Lindsay

text: That same year, 1968, also saw a three-day Broadway strike and a nine-day sanitation strike. Quality of life in the city reached a nadir during the sanitation strike as mounds of garbage caught fire and strong winds blew the filth through the streets. In June 1968, the New York City Police Department deployed snipers to protect Lindsay during a public ceremony, shortly after they detained a knife-wielding man who had demanded to meet the mayor. With the schools shut down, police engaged in a slowdown, firefighters threatening job actions, the city awash in garbage, and racial and religious tensions breaking to the surface, Lindsay later called the last six months of 1968 "the worst of my public life."


title: John Lindsay

text: The summer of 1971 ushered in another devastating strike as over 8,000 workers belonging to AFSCME District Council 37 walked off their jobs for two days. The strikers included the operators of the city's drawbridges and sewage treatment plants. Drawbridges over the Harlem River were locked in the "up" position, barring automobile travel into Manhattan, and hundreds of thousands of gallons of raw sewage flowed into local waterways.


title: John Lindsay

text: Lindsay served on the National Advisory Commission on Civil Disorders, known as the Kerner Commission. This body was established in 1967 by President Johnson after riots in urban centers of the US, including Newark and Detroit. Lindsay maximized publicity and coverage of his activities on the commission, and while other commissioners made inconspicuous visits to riot-damaged sites, Lindsay would alert the press before his fact-finding missions. Nonetheless, he was especially influential in producing the Kerner Report; its dramatic language of the nation "moving toward two societies, one Black, one white—separate and unequal" was his rhetoric.


title: John Lindsay

text: President Johnson ignored the report and rejected the Kerner Commission's recommendations. In April 1968, one month after the release of the Kerner report, rioting broke out in more than 100 cities following the assassination of Martin Luther King Jr. However, in New York City, Lindsay traveled directly into Harlem, telling Black residents that he regretted King's death and was working against poverty. He is credited with averting riots in the city with this direct response, even as other major cities burned. David Garth, who accompanied Lindsay that night, recalled: "There was a wall of people coming across 125th Street, going from west to east ... I thought we were dead. John raised his hands, said he was sorry. It was very quiet. My feeling was, his appearance there was very reassuring to people because it wasn't the first time they had seen him. He had gone there on a regular basis. That gave him credibility when it hit the fan."


title: John Lindsay

text: Lindsay showed his support for New York's African American community through his administration's sponsorship of the 1969 Harlem Cultural Festival, which is documented in the 2021 music film, "Summer of Soul". The host of the festival, Tony Lawrence, introduces the mayor to the Harlem crowd as "our blue-eyed soul brother."


title: John Lindsay

text: On February 10, 1969, New York City was pummeled with of snow. On the first day alone, 14 people died and 68 were injured. Within a day, the mayor was criticized for giving favored treatment to Manhattan at the expense of the other boroughs. Charges were made that a city worker solicited a bribe to clean streets in Queens.


title: John Lindsay

text: Over a week later, streets in eastern Queens still remained unplowed by the city, enraging the borough's residents, many who felt that the city's other boroughs always took a back seat to Manhattan. Lindsay traveled to Queens, but his visit was not well received. His car could not make its way through Rego Park, and even in a four-wheel-drive truck, he had trouble getting around. In Kew Gardens Hills, the mayor was booed; one woman screamed, "You should be ashamed of yourself." In Fresh Meadows, a woman told the mayor: "Get away, you bum." Later during his walk through Fresh Meadows, another woman called him "a wonderful man," prompting the mayor to respond: "And you're a wonderful woman, not like those fat Jewish broads up there," pointing to women in a nearby building who had criticized him.


title: John Lindsay

text: The blizzard, dubbed the "Lindsay Snowstorm,” prompted a political crisis that became "legendary in the annals of municipal politics" as the scenes conveyed a message that the mayor of New York City was indifferent to the middle class and poor citizens of the city.


title: John Lindsay

text: In 1969, a backlash against Lindsay caused him to lose the Republican mayoral primary to state Senator John Marchi, who was enthusiastically supported by William F. Buckley and the rest of the party's conservative wing. In the Democratic primary, the most conservative candidate, City Comptroller Mario Procaccino, defeated several more liberal contenders and won the nomination with only a plurality of the votes. "The more the Mario," he quipped. Procaccino, who ran to Lindsay's right, went on to coin the term "limousine liberal" to describe Lindsay and his wealthy Manhattan backers.


title: John Lindsay

text: Despite losing the Republican nomination, Lindsay remained on the ballot as the candidate of the New York Liberal Party. In his campaign he said "mistakes were made" and called being mayor of New York City "the second toughest job in America." Two television advertisements described his position: In one he looked directly into the camera and said, "I guessed wrong on the weather before the city's biggest snowfall last winter. And that was a mistake. But I put 6,000 more cops on the streets. And that was no mistake. The school strike went on too long and we all made some mistakes. But I brought 225,000 more jobs to this town. And that was no mistake... And we did not have a Detroit, a Watts or Newark. And those were no mistakes. The things that go wrong are what make this the second toughest job in America. But the things that go right are those things that make me want it." The second opened with a drive through the Holland Tunnel from lower Manhattan toward New Jersey and suggested that, "Every New Yorker should take this trip at least once before election day..." followed by video of Newark, New Jersey which had been devastated by race riots.


title: John Lindsay

text: While narrowly losing Brooklyn and the Bronx due to Procaccino's entrenched support among ethnic, working class whites (with Marchi winning his native Staten Island), Lindsay was able to vanquish his opponents with support from three distinct groups. First were the city's minorities, mostly African Americans and Puerto Ricans, who were concentrated in Harlem, the South Bronx and various Brooklyn neighborhoods, including Bedford-Stuyvesant and Brownsville. Second were the white and economically secure residents of certain areas of Manhattan. Third were the whites in the boroughs outside Manhattan who had a similar educational background and "cosmopolitan" attitude, namely residents of solidly middle-class neighborhoods, including Forest Hills and Kew Gardens in Queens and Brooklyn Heights in Brooklyn. This third category included many traditionally Democratic Jewish Americans who were repelled by Procaccino's conservatism. This created a plurality coalition (42%) in Lindsay's second three-way race. His margin of victory rose from just over 100,000 more votes than his Democratic opponent in 1965 to over 180,000 votes over Procaccino in 1969, despite appearing on just one third party ballot line (see New York City Mayoral Elections).


title: John Lindsay

text: On May 8, 1970, near the intersection of Wall Street and Broad Street and at New York City Hall, a riot started when about 200 construction workers mobilized by the New York State AFL–CIO labor federation attacked about 1,000 high school and college students and others protesting the Kent State shootings, the Cambodian Campaign, and the Vietnam War. Some attorneys, bankers, and investment analysts from nearby Wall Street investment firms tried to protect many of the students but were themselves attacked, and some onlookers reported that the police stood by and did nothing. Although more than 70 people were injured, including four policemen, only six people were arrested. The following day, Lindsay severely criticized the police for their lack of action. Police Department labor leaders later accused Lindsay of "undermining the confidence of the public in its Police Department" by his statements and blamed the inaction on inadequate preparations and "inconsistent directives" in the past from the mayor's office. Several thousand construction workers, longshoremen and white-collar workers protested against the mayor on May 11 and again on May 16. Protesters called Lindsay "the red mayor," "traitor," "Commie rat," and "bum." The mayor described the mood of the city as "taut."


title: John Lindsay

text: In 1970, "The New York Times" printed New York City Police Department Patrolman Frank Serpico's claims of widespread police corruption. As a result, the Knapp Commission was eventually formed that April by Lindsay, with investigations beginning in June, although public hearings did not start until October 18, 1971. Its preliminary report was not issued until August 1972, and final recommendations only released on December 27, 1972. Because of his forming of the Knapp Commission, many NYPD officers disliked him and didn't want him to attend their funerals in case they died on duty and heckled, hissed, jeered and booed him when he did appear. The wife of Rocco Laurie, one of two city police officers who were murdered by Black revolutionaries in 1972, specifically stated that she did not want Lindsay to attend her husband's funeral that year.


title: John Lindsay

text: Lindsay’s original break with the Republican Party began immediately after he failed to win the 1969 Republican mayoral Primary, and his subsequent association with the New York Liberal Party for that election. In 1971, Lindsay and his wife cut ties with the Republican Party by registering with the Democratic Party. Lindsay said, "In a sense, this step recognizes the failure of 20 years in progressive Republican politics. In another sense, it represents the renewed decision to fight for new national leadership." Lindsay then launched a brief and unsuccessful bid for the 1972 Democratic presidential nomination. He attracted positive media attention and was a successful fundraiser. Lindsay did well in the early Arizona caucus, coming in second place behind Edmund Muskie of Maine and ahead of eventual nominee George McGovern of South Dakota. Then in the March 14 Florida primary, he placed a weak fifth place, behind George Wallace of Alabama, Muskie, Hubert Humphrey of Minnesota, and Scoop Jackson of Washington (though he did edge out McGovern). Among his difficulties was New York City's worsening problems, which Lindsay was accused of neglecting; a band of protesters from Forest Hills, Queens, who were opposed to his support for a low income housing project in their neighborhood, followed Lindsay around his aborted campaign itinerary to jeer and heckle him. His poor showing in Florida effectively doomed his candidacy. Shortly thereafter, influential Brooklyn Democratic Party chairman Meade Esposito called for Lindsay to end his campaign: "I think the handwriting is on the wall; Little Sheba better come home." After a poor showing in the April 5 Wisconsin primary, Lindsay formally abandoned the race.


title: John Lindsay

text: In a 1972 Gallup poll, 60% of New Yorkers felt Lindsay's administration was working poorly, nine percent rated it good, and not one person thought its performance excellent. By 1978, "The New York Times" called Lindsay "an exile in his own city".


title: John Lindsay

text: Lindsay's record remained controversial after he left politics. Conservative historian Fred Siegel, calling Lindsay the worst New York City mayor of the 20th century, said "Lindsay wasn't incompetent or foolish or corrupt, but he was actively destructive". Journalist Steven Weisman observed "Lindsay's congressional career had taught him little of the need for subtle bureaucratic maneuvering, for understanding an opponent's self-interest, or for the great patience required in a sprawling government."


title: John Lindsay

text: Lindsay's budget aide Peter C. Goldmark, Jr. told historian Vincent Cannato that the administration "failed to come to grips with what a neighborhood is. We never realized that crime is something that happens to, and in, a community." Assistant Nancy Seifer said "There was a whole world out there that nobody in City Hall knew anything about ... If you didn't live on Central Park West, you were some kind of lesser being." Many experts traced the city's mid-1970s fiscal crisis to the Lindsay years, and to the new taxes that he imposed.


title: John Lindsay

text: An alternate assessment was made by journalist Robert McFadden who said that "By 1973, his last year in office, Mr. Lindsay had become a more seasoned, pragmatic mayor." McFadden also credited him for reducing racial tensions, leading to the prevention of riots that plagued Detroit, Los Angeles, Newark and other cities.


title: John Lindsay

text: Mario Cuomo, Carl McCall, and Carter F. Bales were among the many people who started their careers in public service in the Lindsay administration. Rev. Al Sharpton has said that he still remembers Lindsay having walked the streets of Bedford-Stuyvesant and Harlem when these neighborhoods were doing poorly economically.


title: John Lindsay

text: Lindsay also fought to transform the Civilian Complaint Review Board from an internal police-run department, into a public-minded agency with a citizen majority board. Initially and vociferously opposed by the police union, citizen oversight of police—which sprang from the American Civil Rights Movement—has since become an established institution in civic life, and Lindsay was a leader for it.


title: John Lindsay

text: After leaving office, Lindsay returned to the law, but remained in the public eye as a commentator and regular guest host for ABC's "Good Morning America". In 1975, Lindsay made a surprise appearance on "The Tony Awards" telecast in which he, along with a troupe of celebrity male suitors in tuxedos, sang "Mame" to Angela Lansbury. He presented the award for Best Director Of A Play to John Dexter for the play "Equus". Lindsay also tried his hand at acting, appearing in Otto Preminger's "Rosebud"; the following year his novel, "The Edge", was published (Lindsay had earlier authored two non-fiction memoirs): the "New York Times", in its contemporary review of the novel, said it was "as dead-serious as a $100-a-plate dinner of gray meat and frozen candidates' smiles."


title: John Lindsay

text: Attempting a political comeback in 1980, Lindsay made a long-shot bid for the Democratic nomination for U.S. Senator from New York, and finished third. He was also active in New York City charities, serving on the board of the Association for a Better New York, and as chairman of the Lincoln Center Theater. On his death, "New York Times" credited Lindsay with a significant role in the rejuvenation of the theatre.


title: John Lindsay

text: Medical bills from his Parkinson's disease, heart attacks, and stroke depleted Lindsay's finances, as did the collapse of two law firms where he worked, and he found himself without health insurance. Lindsay's eight years of service as mayor left him seven years short of qualifying for a city pension. In 1996, with support from City Council Speaker Peter Vallone, Mayor Rudolph W. Giuliani appointed Lindsay to two largely ceremonial posts to make him eligible for municipal health insurance coverage. He and his wife, Mary, moved to a retirement community in Hilton Head Island, South Carolina, in November 1999, where he died on December 19, 2000, at the age of 79 of complications from pneumonia and Parkinson's disease.


title: John Lindsay

text: In 2000, Yale Law School created a fellowship program named in Lindsay's honor. In 1998, a park in Brooklyn, Lindsay Triangle, was named in his honor, and in 2001, the East River Park was renamed in his memory. In December 2013, South Loop Drive in Manhattan's Central Park was renamed after Lindsay, to commemorate his support for a car-free Central Park.


title: John Lindsay

text: He was featured on a poster picture with Governor Rockefeller at the groundbreaking of the former World Trade Center in the city history section of the Museum of the City of New York at Fifth Avenue and 103rd Street.


title: TV on the Radio

text: TV on the Radio (TVOTR) is an American rock band from Brooklyn, New York, formed in 2001. The band consists of Tunde Adebimpe (vocals, loops), David Andrew Sitek (guitars, keyboards, loops), Kyp Malone (vocals, guitars, bass, loops), and Jaleel Bunton (drums, bass, vocals, loops, guitars). Gerard Smith (bass, keyboards, loops) was a member of the band from 2005 until his death in 2011.


title: TV on the Radio

text: TVOTR has released five studio albums: "Desperate Youth, Blood Thirsty Babes" (2004), "Return to Cookie Mountain" (2006), "Dear Science" (2008), "Nine Types of Light" (2011), and "Seeds" (2014), alongside several EPs.


title: TV on the Radio

text: The first release from TV on the Radio (initially just founding members Adebimpe and Sitek) was the self-released "OK Calculator" (the title being a reference to Radiohead's album "OK Computer"). They were later joined by Kyp Malone and released the "Young Liars" EP in 2003. This was followed by the full-length "Desperate Youth, Blood Thirsty Babes", which earned the band the 2004 Shortlist Music Prize. They released a second EP, "New Health Rock", later that year.


title: TV on the Radio

text: The band's second album, "Return to Cookie Mountain", leaked in early 2006 and garnered pre-release praise from "Pitchfork Media" before its official release in July. The record was released in the US and Canada in September on Interscope. "Spin" magazine named "Return to Cookie Mountain" its Album of the Year for 2006. The record features guest appearances by David Bowie, Omega Moon, Celebration, Dragons of Zynth, Martin Perna and Stuart D. Bogie of Antibalas, Blonde Redhead, and Yeah Yeah Yeahs' Nick Zinner. Bowie contributed back-up vocals on the song "Province". In promotion of the album, the band performed " Wolf Like Me" on the "Late Show with David Letterman", which has garnered over two million views on YouTube. During the US tour, TVOTR performed a few covers with Bauhaus vocalist, Peter Murphy, and Nine Inch Nails frontman, Trent Reznor.


title: TV on the Radio

text: The band's third album, "Dear Science", was released on September 23, 2008, on Interscope. It was made available for streaming on their Myspace page and subsequently leaked onto the internet on September 6, 2008. The album was named the best album of 2008 by "Rolling Stone", "The Guardian",


title: TV on the Radio

text: "Spin", "The A.V. Club", MTV, "Entertainment Weekly", "Pitchfork Media"s readers' poll, as well as the Pazz and Jop critic's poll. It was also named the second best album of 2008 by "NME" and the fourth best by Planet Sound.


title: TV on the Radio

text: On September 22, 2008, TV on the Radio performed "Dancing Choose" on the "Late Show with David Letterman". They also appeared on "Later... with Jools Holland" on September 30, 2008, performing "Golden Age" and "Dancing Choose", which were the same songs they performed on "Saturday Night Live" on February 7, 2009. The band performed "Dancing Choose" again on the February 9, 2009, episode of "The Colbert Report".


title: TV on the Radio

text: On September 3, 2009, Tunde Adebimpe announced that TV on the Radio would be taking a year-long hiatus. Guitarist Kyp Malone's solo album, under the name Rain Machine, was released on September 22, 2009, on ANTI-. A solo album by Dave Sitek, "Maximum Balloon", was released August 24, 2010, on Interscope, and featured a variety of guest vocals by many of his musician friends, such as Karen O, David Byrne, and both of his TVOTR vocalist bandmates. In addition, Sitek produced Holly Miranda's album "The Magician's Private Library", which also featured fellow TVOTR members Jaleel Bunton and Kyp Malone.


title: TV on the Radio

text: In March 2010, Tunde Adebimpe designed a charity t-shirt for the Yellow Bird Project to raise money for Haiti Relief via Partners in Health.


title: TV on the Radio

text: "Nine Types of Light" was released on April 12, 2011, along with a one-hour film under the same name, containing music videos for all the songs on the album, as well as interviews with various New Yorkers. The film was directed by different directors under Adebimpe's supervision.


title: TV on the Radio

text: It was announced in March 2011 that the band's bassist, Gerard Smith, was diagnosed with lung cancer. On April 20, 2011, the band announced Smith's death on their homepage: "We are very sad to announce the death of our beloved friend and bandmate, Gerard Smith, following a courageous fight against lung cancer. Gerard passed away the morning of April 20th, 2011. We will miss him terribly."


title: TV on the Radio

text: In May 2013, TVOTR headlined and curated the All Tomorrow's Parties music festival, held at Pontins holiday camp in Camber Sands, England, at which they debuted the new song "Mercy". They began streaming the studio version of "Mercy" online on July 30, 2013, and released the song for sale at digital music outlets a short time later. They also made the multitracks from "Mercy" available to fans so they could make their own remixes. The next single, "Million Miles", was released digitally a few months later.


title: TV on the Radio

text: On November 8, 2013, via their Facebook page, the band announced they were at work on a new album. They made an official announcement on July 29, 2014, that this new album, titled "Seeds", was scheduled for a late 2014 release.


title: TV on the Radio

text: In early 2015, it was announced that TVOTR would perform at the Shaky Knees and Boston Calling Music Festivals in May. On April 9, 2015, the band announced a 2015 North American summer tour to promote the new record. The tour began in May and included a concert at the Red Rocks Amphitheatre on July 27.


title: TV on the Radio

text: TV on the Radio has said that their eclectic music is due to their appreciation for diverse bands, including Bad Brains, Earth, Wind & Fire, Nancy Sinatra, Serge Gainsbourg, Brian Eno, and Pixies. Adebimpe covered the Pixies song "Mr. Grieves" under the TVOTR moniker at the beginning of his career, layering his voice over forty times. The band has also cited Prince's "Purple Rain" as a classic. TV on the Radio have also named post-punk acts Wire and Siouxsie and the Banshees as influences.


title: Entertainment Software Rating Board

text: The Entertainment Software Rating Board (ESRB) is a self-regulatory organization that assigns age and content ratings to consumer video games in the United States and Canada. The ESRB was established in 1994 by the Entertainment Software Association (ESA, formerly the Interactive Digital Software Association (IDSA)), in response to criticism of controversial video games with excessively violent or sexual content, particularly after the 1993 congressional hearings following the releases of "Mortal Kombat" and "Night Trap" for home consoles and "Doom" for home computers. The industry, pressured with potential government oversight of video game ratings from these hearings, established both the IDSA and the ESRB within it to create a voluntary ratings system based on the Motion Picture Association of America film rating system with additional considerations for video game interactivity.


title: Entertainment Software Rating Board

text: The board assigns ratings to games based on their content, using judgment similar to the motion picture rating systems used in many countries, using a combination of six age-based levels intended to aid consumers in determining a game's content and suitability, along with a system of "content descriptors" which detail specific types of content present in a particular game. More recently, the ratings also include descriptors for games with online interactivity or in-game monetization. The ratings are determined by a combination of material provided by the game's publisher in both questionnaires and video footage of the game, and a review of this material by a panel of reviewers who assign it a rating. The ratings are designed towards parents so they can make informed decisions about purchasing games for their children. Once a game is rated, the ESRB maintains a code of ethics for the advertising and promotion of video games—ensuring that marketing materials for games are targeted to appropriate audiences.


title: Entertainment Software Rating Board

text: The ESRB ratings system is enforced via the voluntary leverage of the North American video game and retail industries for physical releases; most stores require customers to present photo identification when purchasing games carrying the ESRB's highest age ratings, and do not stock games which have not been rated. Additionally, major console manufacturers will not license games for their systems unless they carry ESRB ratings, while console manufacturers and most stores will refuse to stock games that the ESRB has rated as being appropriate for adults only. More recently, the ESRB began offering a system to automatically assign ratings for digitally-distributed games and mobile apps, which utilizes a survey answered by the product's publisher as opposed to a manual assessment by ESRB staff, allowing online storefronts to filter and restrict titles based on the ESRB. Through the International Age Rating Coalition (IARC), this method can generate equivalent ratings for other territories. Alongside its game rating operation, the ESRB also provides certification services for online privacy on websites and mobile apps. There have been attempts to pass federal and state laws to force retailers into compliance with the ESRB, but the 2011 Supreme Court case "Brown v. Entertainment Merchants Association" ruled that video games are protected speech, and such laws are unconstitutional.


title: Entertainment Software Rating Board

text: Due to the level of consumer and retail awareness of the ratings system, along with the organization's efforts to ensure that retailers comply with the ratings system and that publishers comply with its marketing code, the ESRB has considered its system to be effective, and was praised by the Federal Trade Commission for being the "strongest" self-regulatory organization in the entertainment sector. Despite its positive reception, the ESRB has still faced criticism from politicians and other watchdog groups for the structure of its operations, particularly in the wake of a 2005 incident that surrounded the organization's handling of "hidden", objectionable content in "" which could be accessed using a user-created modification.


title: Entertainment Software Rating Board

text: The ESRB has been accused of having a conflict of interest because of its vested interest in the video game industry, and that it does not rate certain games, such as the "Grand Theft Auto" series, harshly enough for their violent or sexual content in order to protect their commercial viability. Contrarily, other critics have argued that, at the same time, the ESRB rates certain games too strongly for their content, and that its influence has stifled the viability of adult-oriented video games due to the board's restrictions on how they are marketed and sold.


title: Entertainment Software Rating Board

text: Video games with objectionable content date back as far as 1976; the arcade game "Death Race" required users to run over "gremlins" with a vehicle and avoid the gravestones they leave behind. Although its graphics were relatively primitive, the game's overall theme and the sound effects made when gremlins were killed were considered disturbing by players, prompting media attention. A developer known as Mystique became known for making sexually explicit adult video games for the Atari 2600 console, but garnered the most attention with its controversial 1982 game "Custer's Revenge", which infamously featured a crude simulation of the rape of a Native American woman. Atari received numerous complaints about the game, and responded by trying to sue the game's makers.


title: Entertainment Software Rating Board

text: A 1983 industry crash, caused by the market being overrun with low-quality products, prompted a higher degree of regulation by future console manufacturers: when the Nintendo Entertainment System (NES) was launched in the United States in 1985, Nintendo of America instituted requirements and restrictions on third-party developers, including the requirement for all games to be licensed by the company. The console itself also included a lockout chip to enforce this requirement and prevent the console from loading unlicensed games. Such leverage on developers has since become a standard practice among console makers, although Nintendo of America also had stringent content policies, frequently censoring blood, sexual content, and references to religion, tobacco and alcohol from games released on its consoles in the United States.


title: Entertainment Software Rating Board

text: When asked in 1987 about the suitability of a film-like rating system for video games, a representative of the Software Publishers Association said that "Adult computer software is nothing to worry about. It's not an issue that the government wants to spend any time with ... They just got done with a big witchhunt in the music recording industry, and they got absolutely nowhere". The association did recommend voluntary warnings for games like "Leisure Suit Larry in the Land of the Lounge Lizards" (1987).


title: Entertainment Software Rating Board

text: Video games' progression into the 1990s brought dramatic increases in graphics and sound capabilities, and the ability to use full-motion video (FMV) content in games. In the United States Senate, Democratic Senators Joe Lieberman of Connecticut and Herb Kohl of Wisconsin led hearings on video game violence and the corruption of society which began in 1992. Two games of this era were specifically cited in the hearings for their content; the fighting game "Mortal Kombat" featured realistic, digitized sprites of live-action actors, blood, and the ability to use violent "fatality" moves to defeat opponents, while "Night Trap" featured 90 minutes of FMV content, with scenes that were considered to be sexually suggestive and exploitive. Both Nintendo and Sega had differing views on objectionable content in video games; a port of "Mortal Kombat" for the Super NES was censored to remove the game's overly violent content, whereas the port for Sega consoles retained much of this content, which helped increase sales. In May 1993, British censors banned "Night Trap" from being sold to children under 15 years old in the United Kingdom, which was an influence on Sega's decision to create an age rating system.


title: Entertainment Software Rating Board

text: At the time of the 1993 hearings, there was no industry-wide standard in place for rating video games, which was a point of contention at the hearings. Sega had implemented its own voluntary ratings system, the Videogame Rating Council (VRC), largely to rate games released for its own consoles, which Nintendo largely disputed. The 3DO Interactive Multiplayer platform had its own age ratings voluntarily determined by game publishers, and the Recreational Software Advisory Council (RSAC) was formed for rating PC games, which used a system that rated the intensity of specific classes of objectionable content, but did not use age recommendations. However, Lieberman did not believe that these systems were sufficient, and in February 1994, threatened to propose the creation of a federal commission for regulating and rating video games. Stores like Toys "R" Us refused to sell titles they deemed were too violent for children following the hearings.


title: Entertainment Software Rating Board

text: With the threat of federal regulations, a group of major video game developers and publishers, including Acclaim Entertainment and Electronic Arts along with Nintendo and Sega, formed a political trade group known as the Interactive Digital Software Association in April 1994, with a goal to create a self-regulatory framework for assessing and rating video games. While Sega had proposed that the industry use its VRC rating system, Nintendo representatives objected to the idea because they did not want to associate themselves with the work of their main competitor; instead, a vendor-neutral rating system known as the Entertainment Software Rating Board (ESRB) was developed. The formation of the ESRB was officially announced to Congress on July 29, 1994. The ESRB was officially launched on September 16, 1994; its system consisted of five age-based ratings; "Early Childhood", "Kids to Adults" (later renamed "Everyone" in 1998), "Teen", "Mature", and "Adults Only". The ESRB was the first rating system to also use "descriptors" with brief explanations of the content contained in a game, as the ESRB found that parents wanted to have knowledge of this type of content before they purchased games for their children.


title: Entertainment Software Rating Board

text: The U.S. arcade gaming industry did not adopt the ESRB system, with the American Amusement Machine Association (AAMA) having cited "fundamental differences between the coin-operated and consumer segments of the video game industry" as reasoning. The AAMA, the Amusement & Music Operators Association, and the International Association for the Leisure and Entertainment Industry, adopted their own three-tier "Parental Advisory System" in 1994, which uses three color-coded levels of content intensity (designated by green, yellow, and red stickers affixed to arcade cabinet artwork).


title: Entertainment Software Rating Board

text: Alongside its efforts to classify video games, the ESRB also formed a division known as Entertainment Software Rating Board Interactive (ESRBi), which rated internet content using a similar system to its video game ratings. ESRBi also notably partnered with the internet service provider America Online to integrate these ratings into its existing parental controls. ESRBi was discontinued in 2003.


title: Entertainment Software Rating Board

text: In 2002, Dr. Arthur Pober, the original president of the ESRB, stepped down so he could focus on academics. In November 2002, he was formally replaced by Patricia Vance, who formerly worked for The Princeton Review and The Walt Disney Company. In March 2005, the ESRB introduced a new rating, "Everyone 10+", designating games with content of a relatively higher impact than those of games rated "Everyone", but still not high enough to garner a "Teen" rating.


title: Entertainment Software Rating Board

text: In response to the growth of smartphone use, in November 2011, CTIA, a group of major U.S. companies representing the wireless industry, and ESRB announced the co-development of a free, voluntary ratings process for mobile app stores. The system uses ESRB's icons and content descriptors, along with four additional "Interactive Elements" ("Digital Purchases", "Shares Info," "Shares Location," and "Users Interact") to inform users of an app's behavior in regards to data collection and interactions with others. Verizon Wireless and T-Mobile US were among the first to implement the system for their own application storefronts, and Microsoft's Windows Phone Marketplace already supported ESRB ratings upon its introduction. ESRB president Patricia Vance explained that the partnership was intended to help broaden the ESRB's reach into the mobile market, and that "consumers, especially parents, benefit from having a consistently applied set of ratings for games rather than a fragmented array of different systems."


title: Entertainment Software Rating Board

text: In November 2012, the ESRB and other video game ratings boards, including PEGI, the Australian Classification Board, and USK among others, established a consortium known as the International Age Rating Coalition (IARC). The group sought to design an online, questionnaire-based rating process for digitally-distributed video games that could generate ratings for multiple video game ratings organizations at once. The resulting ratings information is tied to a unique code, which can then be used by online storefronts to display the corresponding rating for the user's region. The three major console makers, Microsoft, Sony, and Nintendo have all committed to supporting IARC for their digital storefronts, including ESRB ratings for North American markets. Google Play Store was updated in March 2015 to adopt and display ESRB ratings for apps in North America through IARC. Windows Store also implemented IARC in January 2016. Apple's App Store still uses its own generic age rating system and does not use the ESRB or IARC systems.


title: Entertainment Software Rating Board

text: While the ESRB formally operates within the ESA, they operate independently of the trade group to assess and apply industry-wide standards for video games. The ESRB operates out of offices in New York City.


title: Entertainment Software Rating Board

text: To obtain a rating for a game, a publisher submits a detailed questionnaire (a "Long Form") that describes the graphic and extreme content found in the game to the ESRB, along with a video (VHS, DVD, video file, or other means) that demonstrates this content which can include gameplay footage and in-game cutscenes. This information includes the game's context, storyline, gameplay mechanics, reward system, unlockable and otherwise "hidden" content, and other elements that may affect its rating; the ESRB seeks to have enough information on context of the extreme content to be able to judge its appropriateness. The video game publisher may also provide printed copies of the game's script and lyrics from songs in the game. The publisher also pays an upfront fee for obtaining the ESRB rating.


title: Entertainment Software Rating Board

text: After the information is reviewed for completeness and appropriateness by ESRB staff, the material is sent to at least three different raters, who are treated anonymously and prevented from talking directly with the publishers through the ESRB offices. Raters represent various demographics, including parents, along with casual and "hardcore" gamers. Raters were formerly hired on a part-time basis, but in 2007, ESRB transitioned to a team of seven full-time raters, who all live in the New York City area. The raters discuss what the most appropriate and "helpful" rating for the game would be, based on the footage and details provided. Most ESRB reviews at this stage take on the order of 45 minutes, though some cases based on material provided by publisher or by the type of game have taken up to four hours over multiple days to complete. One rater is designated as the lead for each game reviewed. The lead rater writes up the report and conclusions of the process, and works with other ESRB staff members to do a parity analysis to make sure the assigned ratings align with ratings from similar games in the past. Overall, between the raters' discussion and final reporting, the process takes about a week to complete.


title: Entertainment Software Rating Board

text: At times during the internal review, the raters may find inconsistencies between the details on the Long Form and in the video footage. Should these occur, the ESRB contacts the publisher to ask for clarification of these matters, typically which are then resolved quickly. In some cases, the omission of certain material on the Long Form or in the footage may be significant. For any publisher, the ESRB gives them a number of warnings of such omissions which help the publisher to better prepare future submissions, but should a publisher make such omissions multiple times, the ESRB will fine them for subsequent infractions.


title: Entertainment Software Rating Board

text: The publisher receives this final report of what rating the game will carry. According to the ESRB, most publishers have a good expectation of what they will be assigned and do not challenge what they are given. However, if a publisher does not agree with the rating that they were assigned, they may ask questions about why a rating was given and work back and forth with the ESRB to adjust it. Alternatively, the publisher may edit the game and submit the revised version for a new rating, which restarts the process. In such cases, the ESRB does not inform the publisher of what content must be changed or removed to change the rating, but only which content triggered certain rating elements, leaving the choice to the publisher to resolve. For example, an initial cut of "The Punisher" was given an AO rating due to the extremely violent nature of certain scenes contained within the game. To lessen their impact, the developer changed these scenes to be rendered in black and white: the revised cut of the game was re-submitted, and received the M rating. There is also an appeals process, but it has never been used.


title: Entertainment Software Rating Board

text: When the game is ready for release, the publisher sends copies of the final version of the game to the ESRB, who reviews the game's packaging, and a random number of games they receive are play tested for a more thorough review, typically for up to four hours. Penalties apply to publishers who misrepresent the content of their games, including the potential for fines up to US $1 million and a product recall to reprint proper labels, if deemed necessary. With newer games often having large content patches at release as well as downloadable content, season passes, and other games as a service updates, the ESRB will flag these games in their system and periodically check on the new content to make sure it remains within the established rating.


title: Entertainment Software Rating Board

text: The ESRB typically posts rating information for new titles on its website 30 days after the rating process is complete; in 2008, in response to incidents where this practice inadvertently leaked information about games that had not yet been announced, the ESRB began to allow publishers to place embargoes on the release of ratings information until a game is officially announced.


title: Entertainment Software Rating Board

text: Besides evaluating games, the ESRB also oversees the marketing and advertising materials released for games that have undergone the ESRB rating process or in progress. This includes making sure that such material includes the given ESRB rating, and that the marketing has been tailored appropriately to its target audience, particularly for television spots. The ESRB provides guidance for what type of content is reasonable for certain types of games, what type of content may be inappropriately gratuitous, and the presentation of the ESRB rating within the work. The ESRB will go back and forth with publishers when there is objectionable elements within the marketing to correct these issues.


title: Entertainment Software Rating Board

text: In April 2011, the ESRB introduced its Short Form, a free streamlined, automated process for assigning ratings for console downloadable games as a way to address the rapidly growing volume of digitally-delivered games. Rather than having raters review each product (the Long Form), publishers of these games complete a series of multiple-choice questions that address content across relevant categories, including violence, sexual content, language, etc. The responses automatically determine the game's rating category and content descriptors. Games rated via this process may be tested post-release to ensure that content was properly disclosed. The survey-based method is also used in the ESRB/CTIA and IARC rating programs for mobile apps. The ESRB phased out the Short Form for digital-only games, instead directing those developers and publishers to use the similar free questionnaire-driven IARC program, which was being adopted beyond mobile app stores, including the Nintendo eShop and PlayStation Store, as a requirement for posting, and which automatically are accepted by several national-level rating boards, including the ESRB.