title: Flipper (1964 TV series)

text: The series follows a bottlenose dolphin named Flipper who is the wild pet of Porter Ricks, a park warden, and his sons, Sandy (15) and Bud (10). Flipper lives in a lagoon near the Ricks cottage at Coral Key Park and Marine Preserve. With the Ricks family, Flipper helps protect the park and preserve and its wild inhabitants. He is also instrumental in apprehending criminals and thugs in the park. Flipper is generally recognized by the characters in the show (and the theme song) as being a particularly intelligent and capable dolphin. Flipper is the special companion of the youngest member of the Ricks family, Bud, and several episodes feature Flipper rescuing Bud from dangerous situations. Flipper is able to somehow communicate through different chatter-like tones, head nods and shakes, and other attention-seeking antics with Sandy and Bud, and draw their (and Porter's) attention to danger or in the direction of people needing help. Few women are in the lives of the Ricks males, but in the first season, Porter does have a date, and Sandy falls for the girl operator of a floating zoo, who appears in four episodes. A female oceanographer enters the series in the second season to add a feminine touch to the proceedings, but little more than mild flirtations and fondness between Porter and her ensues. Promotional material for the third season announced a new girlfriend for Sandy, although she only appeared in one episode, and he has an innocently flirtatious scene with another girl in a separate episode. The series is distinguished for its lush photography of subtropical Florida and its colorful underwater sequences.


title: Flipper (1964 TV series)

text: The last first-run episode of "Flipper" aired April 15, 1967. In the conclusion of a two-part episode, the characters of Sandy and Bud are written out of the show (by that time, both Halpin and Norden had grown out of their roles), as it is detailed how each plans to leave Coral Key — Sandy has been accepted to the Coast Guard Academy in Connecticut, and Bud will be attending a private school remedially in Massachusetts, as arranged by their Aunt Martha. At the same time, a new family (the Whitmans) moves to the area: a widowed mother (portrayed by Karen Steele) and her young son and daughter (portrayed by Stuart Getz and Chris Charney). The two new children are depicted as unfamiliar with maritime life, but they promptly befriend Flipper, and promise to be his new companions after Sandy and Bud leave. Plans were made for a fourth season, revolving around the Whitman children taking the role of Flipper's guardians/playmates and their mother becoming involved in a serious relationship with Porter. Sandy and Bud presumably would have made a cameo visit in an episode or two. All this was for naught, however, as Ivan Tors chose not to continue to make a fourth season in this new format, so NBC cancelled it.


title: Flipper (1964 TV series)

text: "Flipper" has seen periodic syndication since its NBC cancellation. The show has aired on cable's Family Channel, Nickelodeon, Animal Planet, Discovery Kids, in high-definition on satellite provider Voom's Family Room channel, and on digital subchannel Antenna TV. Most of the images of Flipper jumping against a skyline were not in the originally aired version, as the filming took place in an enclosed lagoon. They were filmed at the end of the series and added for syndication.


title: Flipper (1964 TV series)

text: The rights to "Flipper" were later acquired by the Samuel Goldwyn Company, later becoming a subsidiary of Orion Pictures, who in turn would later be acquired by Metro-Goldwyn-Mayer (whose MGM Television division originally produced the series). As a result, MGM owns distribution rights to the series; the series copyright is held by Orion Pictures (whose own holdings include the Goldwyn library). It is also one of few pre-May 23, 1986 titles in the Metro-Goldwyn-Mayer library, including pre-1986 MGM Television programs, that is currently not distributed by Warner Bros. or its Turner Entertainment subsidiary.


title: Flipper (1964 TV series)

text: As of November 2016, "Flipper" airs as one of a handful of classic TV series (alongside Ivan Tors' earlier series "Sea Hunt") on the primarily movie-oriented digital subchannel This TV. In 2017, "Flipper" and "Sea Hunt" began airing together on Light TV.


title: Flipper (1964 TV series)

text: The series was broadcast in the early 1970s in the USSR, and the show was well received by the Soviet people, both old and young alike. Also, it was broadcast in Romania.


title: Flipper (1964 TV series)

text: "Flipper" merchandise generated for the juvenile market during the show's first run is now scarce and collectible. "Flipper" vintage collectibles include lunch boxes, song books, comic books, coloring books, a Whitman novel, Big Little Books, souvenir spoons, Whitman frame tray puzzles, a board game, Viewmaster reels (based on the two-part episode "Dolphin Love"), a battery-operated "spouting dolphin" water toy, children's swim trunks with the Flipper logo, and a 1966 Bradley glow-in-the-dark watch. "Dolphin Paradise" is a hangame app based on the Flipper television series.


title: Flipper (1964 TV series)

text: Flipper received an incomplete VHS release during the 1990s under the title "Flipper–Original Series". MGM Home Entertainment (distributed by 20th Century Fox Home Entertainment) released the first season on DVD on April 24, 2007. They subsequently released season two as an eight-disc set on June 3, 2010. This is a manufacture-on-demand release, available exclusively from Amazon.com.


title: Flipper (1964 TV series)

text: On August 29, 2017, Olive Films re-released the first two seasons on DVD in Region 1. They also released seasons one and two on Blu-ray. Season three was released on October 31, 2017 on DVD and Blu-ray.


title: Flipper (1964 TV series)

text: The Miami Seaquarium celebrated the 50th Anniversary of "Flipper" in late 2013 with Tommy Norden and Ricou Browning participating, along with a series of commemorative events through 2014. A previous event celebrating the 40th anniversary of "Flipper" in 2004 was also held with Luke Halpin and Tommy Norden. "Flipper" was nominated for two TV Land awards, in 2004 for the TV Land Favorite Fauna Award, and in 2003, for the TV Land Favorite Pet-Human Relationship Award. "Flipper" appeared twice on "TV Guide" covers.


title: Flipper (1964 TV series)

text: Ric O'Barry, the head trainer of the Flipper dolphins (and also Halpin's occasional stunt double), became a world-renowned animal activist after the death of the dolphin that portrayed Flipper most often. O'Barry stars in the Oscar award-winning documentary "The Cove", which features dolphin capture and captivity. He also wrote of his time with the "Flipper" films and TV series and subsequent animal-rights activism in the book "Behind the Dolphin Smile".


title: Richard Rogers

text: Richard George Rogers, Baron Rogers of Riverside (23 July 1933 – 18 December 2021) was a British architect noted for his modernist and functionalist designs in high-tech architecture. He was a senior partner at Rogers Stirk Harbour + Partners, previously known as the Richard Rogers Partnership, until June 2020.


title: Richard Rogers

text: Rogers was perhaps best known for his work on the Pompidou Centre in Paris, the Lloyd's building and Millennium Dome, both in London, the Senedd building, in Cardiff, and the European Court of Human Rights building, in Strasbourg. He was awarded the RIBA Gold Medal, the Thomas Jefferson Medal, the RIBA Stirling Prize, the Minerva Medal, and the Pritzker Prize.


title: Richard Rogers

text: Richard Rogers was born in Florence, Tuscany, in 1933 into an Anglo-Italian family. His father, William Nino Rogers (1906–1993), was Jewish, and was the cousin of Italian Jewish architect Ernesto Nathan Rogers. His Jewish ancestors moved from Sunderland to Venice in about 1800, later settling in Trieste, Milan and Florence. In October 1938, William Nino Rogers came back to England, having fled Fascist Italy and anti-Jewish laws under Mussolini.


title: Richard Rogers

text: Upon moving to England, Richard Rogers went to St John's School, Leatherhead. Rogers did not excel academically, which made him believe that he was "stupid because he could not read or memorise his school work" and as a consequence, he said, he became "very depressed". He couldn't read until he was 11, and it was not until after he had his first child that Rogers realised he was dyslexic. After leaving St Johns School, he undertook a foundation course at Epsom School of Art (now the University for the Creative Arts) before going into National Service between 1951 and 1953.


title: Richard Rogers

text: He then attended the Architectural Association School of Architecture in London, where he gained the Architectural Association's Diploma (AA Dipl) from 1954 until 1959, subsequently graduating with a master's degree (M Arch) from the Yale School of Architecture in 1962 on a Fulbright Scholarship. While studying at Yale, Rogers met fellow architecture student Norman Foster and planning student Su Brumwell.


title: Richard Rogers

text: After leaving Yale he joined Skidmore, Owings & Merrill in New York City. On returning to England in 1963, he, Norman Foster and Brumwell set up architectural practice as Team 4 with Wendy Cheesman (Brumwell later married Rogers, Cheesman married Foster). Rogers and Foster earned a reputation for what was later termed by the media high-tech architecture.


title: Richard Rogers

text: By 1967, Team 4 had split up, but Rogers continued to collaborate with Su Rogers, along with John Young and Laurie Abbott. In early 1968 he was commissioned to design a house and studio for Humphrey Spender near Maldon, Essex, a glass cube framed with I-beams. He continued to develop his ideas of prefabrication and structural simplicity to design a Wimbledon house for his parents. This was based on ideas from his conceptual Zip-Up House.


title: Richard Rogers

text: Rogers subsequently joined forces with Italian architect Renzo Piano, a partnership that was to prove fruitful. His career leapt forward when he, Piano and Gianfranco Franchini won the design competition for the Pompidou Centre in July 1971, alongside a team from Ove Arup that included Irish engineer Peter Rice.


title: Richard Rogers

text: After working with Piano, Rogers established the Richard Rogers Partnership along with Marco Goldschmied, Mike Davies, and John Young in 1977. This became Rogers Stirk Harbour + Partners in 2007. The firm maintains offices in London, Shanghai, and Sydney.


title: Richard Rogers

text: Rogers devoted much of his later career to wider issues surrounding architecture, urbanism, sustainability, and the ways in which cities are used. One early illustration of his thinking was an exhibition at the Royal Academy in 1986, entitled ""London As It Could Be"", which also featured the work of James Stirling and Rogers' former partner Norman Foster. This exhibition made public a series of proposals for transforming a large area of central London, subsequently dismissed as impractical by the city's authorities.


title: Richard Rogers

text: In 1995, he became the first architect to deliver the BBC's annual Reith Lectures. This series of five talks, titled Sustainable City, were later adapted into the book "Cities for a Small Planet" (Faber and Faber: London 1997, ). The BBC made these lectures available to the public for download in July 2011.


title: Richard Rogers

text: In 1998, he set up the Urban Task Force at the invitation of the British government, to help identify causes of urban decline and establish a vision of safety, vitality, and beauty for Britain's cities. This work resulted in a white paper, "Towards an Urban Renaissance", outlining recommendations for future city designers. Rogers also served for several years as chair of the Greater London Authority panel for Architecture and Urbanism. He was chair of the board of Trustees of The Architecture Foundation.


title: Richard Rogers

text: From 2001 to 2008, he was chief advisor on architecture and urbanism to the then Mayor of London Ken Livingstone. In 2008, he was asked to continue on in his role as an advisor by the then new mayor Boris Johnson. He stood down from the post in October 2009. Rogers also served as an advisor to two mayors of Barcelona on urban strategies.


title: Richard Rogers

text: Amidst this extra-curricular activity, Rogers continued to create controversial and iconic works. Perhaps the most famous of these, the Millennium Dome, was designed by the Rogers practice in conjunction with engineering firm Buro Happold and completed in 1999. It was the subject of fierce political and public debate over the cost and contents of the exhibition it contained; the building itself cost £43 million.


title: Richard Rogers

text: In May 2006, Rogers' practice was chosen as the architect of Tower 3 of the new World Trade Center in New York City, replacing the old World Trade Center which was destroyed in the September 11 attacks.


title: Richard Rogers

text: Rogers resigned his directorship of Rogers Stirk Harbour + Partners on 30 June 2020. The Rogers name will be removed from the practice by 2022 as the founding constitution requires.


title: Richard Rogers

text: Like Le Corbusier, the designs of some of Rogers's buildings have not proved as functionally efficient as claimed, suffering from leaks and maintenance problems. The Lloyds Buildings's much-vaunted design innovation of having the service pipes, etc outside the walls, in fact led to such costs caused by weathering and maintenance that Lloyds considered vacating the building in 2014. Lloyd's former chief executive Richard Ward stated: "There is a fundamental problem with this building. Everything is exposed to the elements, and that makes it very costly."


title: Richard Rogers

text: In 2014 Rogers faced a £5m legal claim over problems at the Oxley Woods estate designed by the firm. Residents complained of water seepage through cladding panels and windows on the prefabricated terraced housing.


title: Richard Rogers

text: In February 2006, Rogers hosted the inaugural meeting of the campaigning organisation Architects and Planners for Justice in Palestine (APJP) in his London offices. At that time his practice had secured a number of projects in New York, including the redevelopment of the Silvercup Studios site, a masterplan for the East River Waterfront and a commission for a $1.7 billion expansion of the Jacob K. Javits Convention Centre in Manhattan. Rogers, however, publicly dissociated himself from the group within weeks, following an outcry from generally pro-Israeli New York voters and politicians, which threatened him with the loss of prestigious commissions including projects in New York and abroad. He announced his withdrawal with the statement, "I unequivocally renounce Architects and Planners for Justice in Palestine and have withdrawn my relationship with them."


title: Richard Rogers

text: Rogers was married to Ruth Rogers, chef and owner of The River Café restaurant in west London. They had two sons together, Roo and Bo (deceased 2011). Rogers also had three sons, Ben, Zad and Ab, from his first marriage to Su Brumwell. He had fourteen grandchildren and a younger brother, Peter William Rogers, a property developer and co-founder of Stanhope. In 2015, he was named one of the "50 best-dressed British men" by "GQ" magazine.


title: Richard Rogers

text: Rogers was knighted in 1991 by Queen Elizabeth II. He was created Baron Rogers of Riverside, of Chelsea in the Royal Borough of Kensington and Chelsea on 17 October 1996. He sat as a Labour peer in the House of Lords; having not attended a proceeding in the 2019–21 session, his membership expired on 11 May 2021. Rogers was appointed a Member of the Order of the Companions of Honour (CH) in the 2008 Birthday Honours list. However, he was a republican.


title: Richard Rogers

text: Rogers was awarded the RIBA Royal Gold Medal in 1985. He was twice honoured by France, first as a Chevalier, L'Ordre National de la Légion d'honneur in 1986, and later as an Officier de l'Ordre des Arts et des Lettres in 1995. He received a Golden Lion for Lifetime Achievement at the 10th Mostra di Architettura di Venezia. In 2006, the Richard Rogers Partnership was awarded the Stirling Prize for Terminal 4 of Barajas Airport, and again in 2009 for Maggie's Centre in London. Rogers won the Gold Medal for Architecture at the National Eisteddfod of Wales of 2006 for his work on the Senedd building of the Senedd (Welsh Parliament). He was also appointed an Honorary Fellow of the Royal Academy of Engineering in 2005. In 2007 Rogers was made Laureate of the Pritzker Architecture Prize – architecture's highest honour. He was awarded the Minerva Medal by the Chartered Society of Designers in the same year. In 2012, Rogers was among the British cultural icons selected by artist Sir Peter Blake to appear in a new version of his most famous artwork – the Beatles' "Sgt. Pepper's Lonely Hearts Club Band" album cover – to celebrate the British cultural figures of the last six decades.


title: Richard Rogers

text: Rogers was awarded honorary degrees from several universities, including Alfonso X El Sabio University in Madrid, Oxford Brookes University, the University of Kent, the Czech Technical University in Prague and the Open University. In 1994, he was awarded an Honorary Degree (Doctor of Science) by the University of Bath.


title: Richard Rogers

text: Rogers is mentioned (along with fellow architect Philip Johnson) in the song "Thru These Architect's Eyes" on the album "Outside" (1995) by David Bowie.


title: Richard Rogers

text: Rogers is mentioned in the song "Anti-Everything" by British band Mansun, from the album "Six" (1998).


title: Sierra Madre Occidental

text: The Sierra Madre Occidental is a major mountain range system of the North American Cordillera, that runs northwest–southeast through northwestern and western Mexico, and along the Gulf of California. The Sierra Madre is part of the American Cordillera, a chain of mountain ranges (cordillera) that consists of an almost continuous sequence of mountain ranges that form the western 'sounds' of North America, Central America, South America and West Antarctica.


title: Sierra Madre Occidental

text: The Spanish name "sierra madre" means "mother mountain range" in English, and "occidental" means "western", these thus being the "Western mother mountain range". To the east, from the Spanish "oriental" meaning "eastern" in English, the Sierra Madre Oriental range or "Eastern Mother Mountains" runs generally parallel to the Sierra Madre Occidental along eastern Mexico and the Gulf of Mexico.


title: Sierra Madre Occidental

text: The range extends from northern Sonora, a state near the Mexico–U.S. border at Arizona, southeastwards to the Trans-Mexican Volcanic Belt and Sierra Madre del Sur ranges. The high plateau that is formed by the range is cut by deep river valleys. This plateau is formed from volcanic rock overlying a basement of metamorphic rock.


title: Sierra Madre Occidental

text: This uplift has caused changes in weather patterns; increased rainfall occurring in the mountains has provided areas where ecosystems can form in wetter areas than surrounding land. This water source forms watersheds that provide the arid surroundings with water that makes it possible to irrigate and farm crops. The wet ecosystems are islands of biodiversity, differing significantly from what would otherwise be a desert landscape. Oak forests are the predominant plant life, and extend into the lowland deserts.


title: Sierra Madre Occidental

text: This forest and canyon land provided a place for a variety of indigenous people to live, until Spanish settlers with associated mestizos came into the area to found towns for the silver mines in the area. The major industries in the area now are agriculture and forestry, which have become contentious because of land degradation and the native population's opposition to these practices.


title: Sierra Madre Occidental

text: The range trends from the north to southeast. Canyons cut by the rivers of the wet western slopes exist in addition to those of the northeast slopes, notably the Copper Canyon.


title: Sierra Madre Occidental

text: The range runs parallel to the Pacific coast of Mexico, from just south of the Arizona-Sonora border southeast through eastern Sonora, western Chihuahua, Sinaloa, Durango, Zacatecas, Nayarit, Jalisco, Aguascalientes to Guanajuato, where it joins with the Sierra Madre del Sur and the Eje Volcánico Transversal (Transverse Volcanic Axis) of central Mexico after crossing . The mountains range from from the Gulf of California in the north, but begin to approach within of the Pacific in the south. These mountains are generally considered to be part of the much larger American cordillera, the mountains extending from Alaska down to these across western North America.


title: Sierra Madre Occidental

text: "Sierra Tarahumara" or "Tarahumara" is the name for the region of the Sierra Madre beginning at the Durango border and extending north. This name comes from the Tarahumara natives. This is a dramatic landscape of steep mountains formed by a high plateau that has been cut through with canyons including Copper Canyon, larger and, in places, deeper than the Grand Canyon. This plateau has an average elevation of with most of the more eroded canyons on the western slope, due to the higher moisture content.


title: Sierra Madre Occidental

text: The highest elevations occur in the Tarahumara range. The exact elevations of the highest peaks are not known within accurate enough ranges to determine their relative elevation. The highest point is probably Cerro Mohinora, located at . Estimates for the height of the mountain start around and go up to . However, Cerro Barajas, at , may be as high as although other sources give as the elevation. Cerro Gordo, at , may have an elevation between and .


title: Sierra Madre Occidental

text: The southern end of the mountains may be referred to as the Sierra Huichola. In this area, the Sierra Madre begins to give way to the basin and range province. Subranges of this area include the Sierra de Alica and the Sierra Pajaritos, both in Nayarit, and the Sierra los Huicholes, Sierra de Morones, Sierra Nochistlan, and Sierra Fría extending eastwards into Jalisco, Zacatecas, and Aguascalientes.


title: Sierra Madre Occidental

text: The mountains act as a source of water, in an otherwise arid environment from the increased precipitation from the mountain range. As such, rivers that have headwaters in the mountains provide water for irrigation in the surrounding lands. The need for water to irrigate prompted the construction of dams, which has been the source of several environmental concerns in the area.


title: Sierra Madre Occidental

text: The northern end of the range is more arid; hence, the Yaqui River, which drains that area, is an important source of irrigation in the state of Sonora. The Yaqui drains into the Gulf of California, as do the Humaya River in Sinaloa and the Fuerte River further south. The Río Grande de Santiago drains from the southern slopes of the Sierra Madre. Along the more arid eastern slopes of the mountains, the Nazas River and Aguanaval River drain the mountains into a closed basin. These mountains supply 90% of the water used for irrigation within the watershed. North of this system is the Conchos River which drains into the Rio Grande.


title: Sierra Madre Occidental

text: Along many rivers the arid conditions have caused courses to be dammed to provide water for irrigation. These dams have caused concerns along with those caused by other activities. The Yaqui has been dammed with three large reservoirs along its course. The Río Grande de Santiago has also been dammed, including the Aguamilpa Dam begun in 1991 and the El Cajón Dam (Mexico) upstream from it. To provide irrigation water for farming the dry basin, the Nazas river was dammed in the 1930s and 1940s. This has led to the former drainage lakes in the area drying up, and soil depletion from the elimination of the river as a source of soil. Due to the continued logging in the area, erosion on the slopes of hillsides has increased.


title: Sierra Madre Occidental

text: Numerous small populations live in Copper Canyon, some of them around old missions. Many settlements consist of single families or small family groups near agricultural fields. There are also a few towns of note, including Creel, Chihuahua, with 5,000 inhabitants; it serves as a stop on the train line. South of Copper Canyon is the town of El Salto, Durango, situated along highway 40. To the west is Copala, Sinaloa.


title: Sierra Madre Occidental

text: To the south live the indigenous Cora people in the towns of Jesús María and La Mesa del Nayar. In addition, 1,000 people live in the village of Huajimic in Nayarit. The Bolaños River valley of Jalisco is populated with mining communities, such as San Martín de Bolaños, which has a population of around 3,000.


title: Sierra Madre Occidental

text: Few paved roads cross the mountains, meaning that travel times can be long, even between cities that are relatively close. In the north, Mexico Federal Highway 16 connects Hermosillo, Sonora and La Junta, Chihuahua. In the mountains, the La Entrada al Pacifico Corridor is an incomplete road intended to connect Los Mochis, Sinaloa and Chihuahua. Durango and Mazatlan are connected by highway 40, around 24 degrees north latitude.


title: Sierra Madre Occidental

text: The Sierra Madre Occidental is a high plateau of volcanic rock that is eroded in areas to reveal a basement composed of plutonic and sedimentary rocks underlying the two groups of extrusive volcanics. The lower of these groups is a series of volcanic rocks formed by lava flows. The surface of the plateau is made up of a second series of volcanic ignimbrites, covered mostly by clay rich organic soils. Some intrusions in the area have deposited ore veins that are commercially viable.


title: Sierra Madre Occidental

text: The landscape was shaped after rock placement. Rivers cut valleys into the plateau, following folds in the rocks. Rocks have broken off of the slopes, forming rocky sides. The bedrock is covered by the clay rich soils, except in eroded areas, where water carries away deposits leaving a stony surface.


title: Sierra Madre Occidental

text: The basement is thought to be Older North American basement, especially in the North, and a number of different accreted terranes, which are mostly covered by Cenozoic volcanism. The northern extent of the Sierra Madre is the Cortés Terrane, although the northern extreme of this contains a small portion of the Carborca Terrane. Some of the northern end may also be underlain by a Precambrian basement placed around the same time as the Grenville Orogeny. Some of this area has a series of Paleozoic sedimentary sequences from a deep marine environment underlying it, considered by some to be part of the Cotes Terrane and by others to be transported. In some areas, distinct sedimentary rocks can be identified by shallow-water Silurian and Mississippian sedimentary rocks underlying deep-water Pennsylvanian and Permian, which are divided by Mississippian rhyolite. The Permian clastics contain some detrital rock that sit alongside low-grade metamorphosed sedimentary and volcanic rocks with serpentinite.


title: Sierra Madre Occidental

text: South of the Cortes and Carborca Terranes is the San José de García Terrane, which is a combination of Cretaceous arc volcanics and volcaniclastics, which may be thrusting over the Cortes terrane. The southern part of the range is made up of the Guerrero Composite Terrane, a large body, which is actually a complex of five different subterranes, not all of them within the main body of the Sierra Madre. However, the terrane is mostly covered by volcanics and sedimentary deposits, so it is only visible where erosion has revealed it. The main subterranes of the Guerrero Composite Terrane that are within the Sierra Madre are the Tahue and Zihuatanejo terranes. Dividing the Guerrero Terrane from the rest of the Sierra Madre terranes is a boundary that is thought to represent the Early Cretaceous Arperos Basin, a marine basin which separated the island arc that came to form the Guerrero terrane from the accretions that came to form the Sierra Madre terrane. It contains a lower formation made up of pillow basalts with pillow breccias, tuffs, and shales underlying a group of pelagic limestones, oozes, and turbidites.


title: Sierra Madre Occidental

text: Covering the southern basement are sedimentary and metamorphosed sedimentary rocks containing argillite, limestone, volcanic schist, slate, and greywacke which were exposed in the canyon of the Santiago River. Near these sediments late Oligocene to early Miocene granite and granodiorite intrusive bodies occur. A possible cause of this is that these bodies were roof pendants which were uplifted by plutons. Mesozoic limestone also occurs in northern portion of the mountains, mostly from the Cretaceous.


title: Sierra Madre Occidental

text: Towards the end of the Cretaceous, the Laramide orogeny increased the activity of magmatism in the area, forming the first major igneous series in the area. The igneous series are made up of formations of plutonic and volcanic rock, which would later be exposed. Interbedded with these rocks are sedimentary deposit rocks. In the center of the range, some of these rocks have been deformed by tectonic forcing that occurred at the same time. The southern part of the range contains none of the volcanism that is apparent in the northern range. These formations ended in the Paleocene. Eocene volcanism formed a series of andesitic and rhyolitic formations in the area, with spatial and temporal variations throughout. Most of the gold and silver deposits are also in these rocks.


title: Sierra Madre Occidental

text: In the Oligocene, ash flows became the predominant deposit of the area, with interbedded lava flows between. These ash flows began the second series of high magmatism formations. The Mid-Tertiary ignimbrite flare-up formed a series of ignimbrite formations, layered one atop another, that are sometimes broken by lava flows. The ignimbrite formations in this area cover the largest area of any known series, with ten calderas identified in the province. Three of these calderas are in Copper Canyon. The lava has formed a series of mafic rocks that comprise the Southern Cordilleran Basaltic Andesite Suite. The tuffs are above a thick formation of lava rock. Around five or six units have been identified, mostly around the Copper Canyon area. These tuffs have allowed wide-ranging correlation with formations in other geographical areas, for example Death Valley.


title: Sierra Madre Occidental

text: During the Miocene, three periods of volcanism marked separate events in the Sierras. Each period is marked by different volcanic processes. The first was a continuation of the Oligocene flare-up, which lasted through the early Miocene. This may be a distinct second occurrence of the same process, placing silica-rich lava above Oligocene rocks. Also in the early Miocene more intermediate Basaltic andesites occur along faults and in grabens. Beginning in the early Miocene and continuing into the middle, an arc of andesite was placed during the spreading of the Gulf of California. The basin and range-style faulting of the middle-late Miocene took place at the same time as the placement of alkali basalts, In the westernmost slopes mafic dikes formed. These events have also been linked to the subduction of the Farallon Plate. Episodes of volcanism continued into the Quaternary.


title: Sierra Madre Occidental

text: The Sierras are believed to be a thick core covered by volcanics and eroded by numerous rivers. Some have suggested that the basement of the mountains have numerous intrusions made by mafic magma. At their surface, the mountains are made up of large-scale ignimbrite sheet that has been incised by rivers flowing from rainfall in the mountains. The surface of the plateau is almost exclusively from the second series of flows causing the rock that is most visible to be ignimbrites with lava flow layers. The region has a general strike from just west of north to just south of east.


title: Sierra Madre Occidental

text: Faults in the area tend to be younger than the upper volcanics, excluding those associated with calderas, but do occur in distinct periods. The large faults along the eastern slope have caused the slope to be made up of large escarpments that face into the interior basins. These faults are commonly covered by alluvium and basalt, making them difficult to discern, but can be found in certain fault blocks.


title: Sierra Madre Occidental

text: Grabens have formed in the north, and some of these are filled with volcanic and sedimentary floors, and long depressions have formed in the southern Sierra Madre. The faulting decreases in the center of the range where the faults are mostly small normal faults, but increases once again on the western slope. In fact, the major normal faults tend to diverge around the center of the core and join at either end. Some of these faults may have allowed ignimbrites to erupt from the surface, and so there may be some association between the ignimbrite occurrence and faults; this can be used to find out information about different kinds of basement rock present.


title: Sierra Madre Occidental

text: There are two faults dividing the Sierra Madre from the central Mexican Plateau. The more southern one is the north–south Aguascalientes fault extending from Altos de Jalisco to near Zacatecas, where it joins the more northern northwest–southeast trending San Luis–Tepehuanes fault extending from Guanajuato to Durango. The southern boundary of the Sierra Madre Occidental with the Jalisco block is a series of folds, thrust, and left lateral faults date from the middle Miocene. This may be evidence for a left transpressional shear zone. The area between this boundary and the Aguascalientes fault is filled with numerous grabens and half-grabens, as well an east–west left shear zone, the El Roble shear zone. At the west end of these grabens and half-grabens are the Pochotitan and the more northerly San Pedro fault systems, which form the western boundary of the faults in the southern mountains. In the north there is an unknown boundary between the Cortes Terrane and the Guerrero Composite Terrane. Some theorize that this is a section of the Mojave–Sonora Megashear, but this theory is not universally accepted; however, the Megashear is important, and, in fact, is necessary for reconstructions of the opening of the Gulf of California, as of 2003.


title: Sierra Madre Occidental

text: On a smaller scale, mineral deposits are distributed in formations of the Sierra Madre, although the events that placed these deposits vary throughout the mountains. The Guerrero composite terrane contains many of the economic deposits, often found in ore bodies younger than the Cretaceous.


title: Sierra Madre Occidental

text: Gold and silver deposits most commonly occur in the altered andesites of the early volcanics, typically these deposits are between 30 and 50 million years old. These are believed to be caused by later intrusions into the early flows. Fissure-vein deposits have been divided into two groups of fissure vein deposits, which are divided geographically into an eastern and western series. In the east, the gold and silver are accompanied by lead and zinc. In the south, the Bolaños mine district is contained with the Bolaños Graben. Some also occur as epithermal deposits. Also, some gold occurs along with copper in Cenozoic iron-oxide skarn and replacement deposits along the Pacific.


title: Sierra Madre Occidental

text: In addition to gold and silver and their related deposits, tin, iron, and mercury occur, sometimes in later units, mostly in later volcanics, and Molybdenum occurs in the mountains, often along with older copper deposits or in Oligocene deposits in the east. The belt of tin deposits lies mostly within the eastern slopes from Durango to Guanajuato. In these areas, tin occurs in rhyolitic ignimbrites in many, possibly over 1000, small deposits of cassiterite. Typically these deposits are divided from overlying ignimbrites by breccia, which may also contain ore. Many of these are thought to be hydrothermal deposits To the east of these units is a belt of more mercury deposits, followed by another belt of manganese deposits, although these deposits are mostly limited to Chihuahua and Hidalgo. Iron occurs in three different regions placed by different mechanisms. Along the Pacific there the numerous skarn and replacement deposits mentioned above with relation to gold. Iron occurs in Durango in the form of magnetite lava flows, which are often surrounded by smaller hematite deposits, thought to be ash flows. There is also a belt of iron deposits further east.


title: Sierra Madre Occidental

text: Most soil in the mountains is covered by an organic-rich layer over layers rich in clay. Soils are commonly phaeozems that are up to . Some soils are cambisols that are less than deep and well-drained. Due to the high clay content, which blocks water from being absorbed into the soil, larger rock particles in the soil help reduce runoff and soil losses from erosion. Areas that are covered in stone are known as lithosols, and make up most of the remaining surface in the mountains, especially on upper slopes. The last major soil type are vertisols, which are thin mineral-poor soils. Soils at higher elevations experience more leaching, due to increased rainfall. Acidic soils may have lower calcium content, leading to lower plant soil quality. Soils along the eastern slopes have increased organic content and a clay heavy layer that is developed more than those of the more arid eastern lands. The thickness of soil layers also increases.


title: Sierra Madre Occidental

text: Problems with soil degradation have been aggravated by the cultivation of drug crops, leading to deforestation of many areas. Other problems include overgrazing, which has led to terracing from cattle paths and the formation of a soil crust, and soil acidification, which poses a risk to some grasslands as of 2002.


title: Sierra Madre Occidental

text: The climate varies considerably between the northern and southern extents of this long mountain range. Seasonal variations also occur due to the presence of large bodies of warm water delivering warm damp air from each side of the range. This region undergoes a seasonal variety with two wet seasons, including a summer monsoon, and two dry seasons each year.


title: Sierra Madre Occidental

text: Air pressure changes in northwestern Mexico and the southwest United States are the main causes of seasonal variation in the Sierra Madre. A high pressure area that rests over the mountains in the winter begins to move north of the mountains into New Mexico during the month of June. The high pressure begins to break down and move south during September or October; however, the breakdown is usually at a slower pace than the movement north. This high pressure belt is associated with the mechanics that form the Bermuda High.


title: Sierra Madre Occidental

text: The climate in the mountains is mild. Summer temperatures maintain a constant level. Maximum temperatures are typically in July at around 31 C with average temperatures of the order of 16 C during this same period. Mean annual temperatures are between above . Below-freezing temperatures can occur in the higher mountains, with precipitation occurring as snowfall certain times of year.


title: Sierra Madre Occidental

text: During the summer monsoon, wind patterns undergo large-scale changes. In May there is very little large-scale wind current through the mountains, most circulates around the mountains, although onshore flow is present. As the high pressure moves north, air is pulled off the Gulf of Mexico, bringing easterly winds aloft to the mountains. On the east slope of the mountain, daytime upslope winds flow to the crest, where the flow joins westerly winds. The mountains cause convection during the following monsoon season, during which nocturnal winds at low levels in the atmosphere move moisture overnight. Extensive lightning activity occurs during this season. After the high pressure breaks down, wind patterns return to those prior to the monsoon season.


title: Sierra Madre Occidental

text: Precipitation varies on both annual and seasonal scales in the Sierra Madre. Annual differences in regional climate are associated with the El Niño-Southern Oscillation with El Niño years leading to a wetter climate. Monsoon rains come to the Sierra Madre in June as the high pressure area moves north, leading to wet summer seasons. This causes east winds bringing moisture from the Gulf of Mexico. On the western side of the mountains, which are affected by the largest change in precipitation between the dry season and monsoon season, in the monsoon season rainfall can exceed in a single month. The southern region receives more of the rainfall than the northern. Much of this precipitation occurs as tropical storms. As the high pressure over New Mexico breaks down, rainfall in the Sierra Madre ends. Because of the monsoon, the summer accounts for the majority of rainfall in the area. The spring and fall dry season separate out a weaker wet season in the winter. In addition to increasing in the southern ranges of the mountains, rainfall increases in the higher elevations of the Sierra Madre Occidental.


title: Sierra Madre Occidental

text: Humidity in the mountains varies at wide levels as does rainfall. In the early morning before dawn, the air is almost saturated (often over 90% relative humidity) near the mountain tops with low clouds over the range. Lower in the range, air is not as near saturated in the morning. Seasonal variation in humidity is also present with average May and June relative humidity around 50%, with 25% possible during the day. Also during the day, relative humidity drops and cloud levels rise as temperatures rise. The humidity of the range is also influenced by the same seasonal changes as rainfall. In the dry season dew points are low at high elevations (500 hPa), around in the south of the range, and in the north in May. In June, dew points begin to increase from the May levels up to in the north and in the south. By July these dew points are at throughout the range. The range allows higher dew points throughout these periods than the surrounding low lands. This rise in humidity accompanies the monsoon.


title: Sierra Madre Occidental

text: The mountains create a diverse setting for plants and animals by creating a different set of conditions from the surroundings. The Sierra Madre Occidental pine-oak forests are found at elevations of throughout the range, but the forests in the mountains vary by elevation and place in the range. This ecoregion is noted for its high biodiversity and large number of endemic species, and for allowing some species to extend their range.


title: Sierra Madre Occidental

text: The dominant plants vary across the range, and the habitat that they present varies from scattered woodland to both deciduous and coniferous forest.


title: Sierra Madre Occidental

text: The elevation and latitude in the range are the major determining factors in the dominant plants. Oaks dominate the lower reaches of the mountains, where stands grow down to about . Some oak species even continue into the surrounding ecosystems. In the western slopes of the range, cloud forest also occurs, mostly on mid-elevation slopes with little exposure to wind or sun in the southern end of the range. At higher elevations pines begin to grow alongside the oaks, and pines begin to dominate the oaks at higher elevations. At high elevations and in the north, mixed conifer forests become the dominant ecosystem. These forests are composed primarily of pines and firs, which begin to grow at these elevations. There are also grasslands on some mountain tops, surrounded by the forest that occur in those areas.


title: Sierra Madre Occidental

text: Plants in the area typically have large responses to the change in climate with each season. Monsoon season is the largest of these effects, with leaf buds following only a few months after the rains begin. Flowering season occurs in the months preceding the summer monsoon. This is only the peak flowering season, with plants flowering throughout the year. Due to the early flowering, fruit is ripe and seeds are dispersed at the beginning of the rains. There are also areas where plants have little response to the seasons, particularly those areas that experience moist conditions, caused by the elevations. These plants may maintain leaves through times when other areas are in the dry season, during which most deciduous trees have no leaves.


title: Sierra Madre Occidental

text: The mountains are often a corridor for species allowing more diversity in the area, by combining species from different regions. Animals typically associated with arid and mountainous habitats share the mountains with species associated with habitats further south.


title: Sierra Madre Occidental

text: There are many carnivorous and omnivorous mammals native to the area, although several are extirpated or are part of threatened populations. The Mexican wolf's range in the mountains is limited to the foothills of Durango or the animal may have been extirpated; the black bear population is small, and the Mexican grizzly bear that once resided here is confirmed extinct. Jaguars and ocelots are also now rare. On the other hand, mountain lion and bobcat are more common. On the eastern slopes there are American badger, coyote and gray fox that live across the mountains. Native ungulates include the white tailed deer, mule deer, and collared peccary. Rodents and lagomorphs include the eastern cottontail, which lives in the forests of the western slopes, cliff chipmunk, rock squirrel, Mexican fox squirrel, and various species of Cricetidae. Raccoons, hog-nosed skunk, and hooded skunk live in the mountains. The white-nosed coati lives on the western slopes, and the ring-tailed cat lives throughout. Many species of bats live in the mountains also.


title: Sierra Madre Occidental

text: A variety of lizards live in the area and surroundings. The Tarahumara frog lives in the oak and pine stands preferring moving water to pools. The southern extent of the Sonoran mountain kingsnake's range is the Chihuahuan desert into the mountains. Other snakes and frogs live in the mountains, and many species live in the western slopes.


title: Sierra Madre Occidental

text: Birds frequent the mountains, some as a migratory path and others as native species. The migratory birds often use the area to the west as an overwintering area, and migrate north along the western slopes. In the northern canyons birds may be divided into different habitats, or more specifically, the different types of forest, leading to differences in range by elevation. Some of this difference by elevation may even extend the range of some species, enabling tropical species to use the mountain valleys for migration. Bird species endemic to the Sierra Madre Occidental include tufted jay, the "gray-eared" subspecies of red warbler, eared quetzal, thick-billed parrot, and formerly included the imperial woodpecker, which now may be extinct.


title: Sierra Madre Occidental

text: The rivers and streams of the range contain some of the southernmost trout populations in North America. These populations may be native, although this is not universally accepted. Invasive fish compete with the native species which has been a cause of concern among researchers, along with concerns about the effects of logging on these species.


title: Sierra Madre Occidental

text: The Sonoran Desert is found in the northwestern foothills at . The Chihuahuan Desert is found to the northeast and east, the Meseta Central matorral and Central Mexican matorral to the southeast, and the Sinaloan dry forests to the west and southwest. These lower elevations are usually graded into by a stand of tropical deciduous forest, which has a large portion of flora made up of flowering plants and legumes. These flowering plants are mostly from the genus "Bursera". The ecotone, made up of the tropical deciduous forest, is commonly sparsely populated, sometimes only by small stands of trees. It may be referred to as savanna.


title: Sierra Madre Occidental

text: Preservation efforts in the modern day include those of Edwin Bustillos. Other groups, including Conservation International, work to protect animal species in the area. Basaseachic Falls National Park is a national park in the mountains containing the highest waterfalls in the country. Cumbres de Majalca National Park was designated in 1939. Additionally, there are reserves such as La Michilía in the southern Sierra Madre, or the Tutuaca reserve in western Chihuahua, which was established in 2000 under a new system of management. Other protected areas in the Sierra include the Bavispe, Campo Verde, Cerro Mohinora, Papigochic, and Sierra de Álamos–Río Cuchujaqui flora and fauna protection areas. The Cuenca Alimentadora del Distrito Nacional de Riego 043 Estado de Nayarit, established in 1949 to protect forests and watersheds, is now a natural resources protection area which conserves much of the southern Sierra.


title: Sierra Madre Occidental

text: The mountains are home to several indigenous nations speaking Uto-Aztecan languages, including the Tarahumara in the central portion of the range, the Huichol in the southern part of the range, and the Tepehuanes in the eastern slopes.


title: Sierra Madre Occidental

text: Archaic cultures are known to have inhabited the Sierra Madre along with the rest of the surrounding lands, but little is known of the culture, although it does vary between the northern and southern extremes of the range. The agrarian Chalchihuites Culture began as farming communities around the first century AD and remained small communities until 300 AD when new agricultural techniques caused a large growth in population until around 500 AD. This culture began to decline in the ninth century. The Mogollon culture has been described in the northern foothills. Sites date the emergence of the culture to around 900 AD, and its abandonment to around 1000–1100 AD. During the period estimated for Mogollon abandonment, the Rio Sonora culture began agricultural developments along the Rio Sonora and rivers flowing into it. This culture produced pottery and lived in pit houses, until 1150 to 1200 when they began to construct surface dwellings. Construction of these houses ended around AD1550.


title: Sierra Madre Occidental

text: Francisco de Ibarra came to Durango in 1554, and began to settle the area. He would explore the western coast and cross the Sierra Madre in 1564. Early Spanish influence in the area came from the new silver mines, the first of which was established in 1567 at Santa Barbara. As sites opened for mining, missionaries came to the areas and had a strong presence by 1595. The first meeting with the Tarahumara came in 1607, when a missionary went up the valley to meet them. Opposition to the missionaries built up, leading to the Tepehuán Revolt. This revolt began in 1616 in the town of Santa Catarina de Tepehuanes in Durango, and lasted for two years. The discovery of silver at Parral in 1631 led to the northern limit of settlement moving into Tarahumara lands.


title: Sierra Madre Occidental

text: The Jesuits renewed missionary activity in the 1630s, with a new program that increased in scope until around 1650. Tarahumara moved further into the mountains in order to escape the conditions. A smallpox epidemic caused a revolt in 1645. A revolt arose in 1648, primarily among the Tarahumara. A drought caused a pair of revolutions in 1650 and 1652. The last major revolt began in March 1690 among the Tarahumara and ended in 1698. Demands from labor drafts increased in the 1720s, placing a new pressure on missions. Criticism of the Jesuits rose in the 1730s with complaints of Jesuit Commerce, which was established by mission stores. In 1767, Jesuits were expelled from New Spain, ending the mission program.


title: Sierra Madre Occidental

text: A new colonial official, José de Gálvez, came to New Spain and established new laws that caused a boom in silver mining activity in the 1770s. After the Apache faced heightened resistance to raiding from the Spanish in Chihuahuan, they moved down to the Sierra Madre in 1794. By 1800, raiding had essentially ended.


title: Sierra Madre Occidental

text: After leaving San Carlos in the fall of 1881, Geronimo and other Apache moved to the mountains, and became known as the "Nednai", sometimes referred to as the "Pinery Apache" or "Bronco Apache". From there they raided Sonora and the surrounding land until General George Crook entered the mountains in 1883 to discuss Geronimo's return. Geronimo eventually surrendered in 1886. Pancho Villa fled to the mountains in 1894, becoming a bandit.


title: Sierra Madre Occidental

text: Railroads came to the area starting in the 1880s and 1890s, which allowed many old mines in the region to reopen at a profit. Since most of the railroads were American, the foreign influence led to unrest among the people living in the mountains, causing the Tomochic rebellion in 1892. In addition to the railroads, canals were constructed in the 1890s in the Yaqui and Mayo river valleys. These canal projects failed, however, owing to the resistance that the natives of the valleys put up against the projects. Loggers began arriving in the mountains in the late 1800s. In response to the new industry, the Tarahumara moved further into the canyons.


title: Sierra Madre Occidental

text: The 1910 revolution began in Chihuahua and spread over the mountains throughout the winter of 1910–1911. Silver mines were forced to make payments to the rebels, but were allowed to continue operating. General John J. Pershing began to follow Pancho Villa in 1916 and entered the mountains; however, he received no information from the local population. The raids subsided by 1919, and Villa returned peacefully to the foothills.


title: Sierra Madre Occidental

text: In order to construct irrigation projects in the lowlands below the valleys, irrigation projects were never completed in the Sonoran hills; instead, the Yaqui River was dammed in the 1930s. Dams continued to be constructed in the 1940s and 1950s on the Yaqui River and its tributaries with the largest reservoir, behind the Álvaro Obregón Dam completed in 1952. Dams were also constructed on the Mayo river. Because of the dams, soil condition deteriorated, and more work was required to improve soil quality. The mountain range was crossed by the Ferrocarril Chihuahua al Pacifico railroad, completed in 1961. The railroad went up for sale in 1996, but no transaction was ever completed.


title: Brooke Baldwin

text: Brooke Baldwin (born July 12, 1979) is an American journalist, television host and author who was at CNN from 2008 until 2021. Baldwin hosted "CNN Newsroom with Brooke Baldwin", which aired from 3pm to 4pm ET on weekdays.


title: Brooke Baldwin

text: Brooke Baldwin was born in Atlanta, Georgia, where she attended The Westminster Schools, a private college-preparatory school. In 2001, she graduated with bachelor's degrees in Spanish from the University of North Carolina at Chapel Hill and in journalism from the university's Hussman School of Journalism and Media. As an undergraduate, she also studied abroad at the Universidad Iberoamericana in Mexico City.


title: Brooke Baldwin

text: Baldwin began her career in 2001 at WVIR-TV in Charlottesville, Virginia, and later became the morning anchor at WOWK-TV in the Huntington and Charleston, West Virginia area. She later joined WTTG in Washington, D.C. as lead reporter for the 10 p.m. newscast.


title: Brooke Baldwin

text: Baldwin joined CNN in 2008 and was based out of CNN's Atlanta world headquarters until 2014. She anchored "CNN Newsroom with Brooke Baldwin" on weekdays and has been based in New York City since 2014.


title: Brooke Baldwin

text: On July 8, 2011, Baldwin co-anchored CNN's special coverage of the final launch of Space Shuttle "Atlantis" (STS-135) from Kennedy Space Center.


title: Brooke Baldwin

text: Baldwin's documentary "To Catch a Serial Killer" won a Silver World Medal for Best Investigative Report at the New York Festivals International Television & Film Awards in 2012. She was nominated for an Emmy for her coverage of the New York City chokehold death protests in wake of Eric Garner's death 2014.


title: Brooke Baldwin

text: In 2015 Baldwin hosted a town hall in Washington, D.C. on gun violence, for which she was a Peabody Award finalist.


title: Brooke Baldwin

text: Baldwin was criticized during the 2015 Baltimore protests when she incorrectly attributed comments she heard that veterans were responsible for the unrest – saying soldiers who become police officers "are coming back from war, they don't know the communities, and they're ready to do battle." She later apologized via Twitter and on-air the next day. In "The Washington Post", Erik Wemple wrote, "CNN's Brooke Baldwin shows rest of media how to apologize".


title: Brooke Baldwin

text: In June 2016, Baldwin reported live from Orlando, Florida, covering the victims and survivors of the Orlando nightclub shooting.


title: Brooke Baldwin

text: On February 16, 2021, Baldwin announced that she would leave CNN in mid-April. She hosted her final show on April 16.


title: Brooke Baldwin

text: From 2010 to 2020 Baldwin hosted a segment of CNN's "New Year's Eve Live" with Anderson Cooper, and previously alongside Kathy Griffin, broadcasting live from New Orleans with Don Lemon. Previously, Baldwin hosted from Nashville, Tennessee in 2010 and 2011.


title: Brooke Baldwin

text: In 2017, CNN commissioned Baldwin's series "American Woman" featuring Sheryl Crow, Betty White, Ava DuVernay, Diane von Fürstenberg, Issa Rae, Ashley Graham, Tracy Reese, and Pat Benatar.


title: Brooke Baldwin

text: Baldwin published her first book, "Huddle: How Women Unlock Their Collective Power" in April 2021. In the book, she interviews multiple women including Ava DuVernay, Stacey Abrams, and Gloria Steinem about the power women have when they join together.


title: Brooke Baldwin

text: In April 2015, "Variety" featured her in "Brooke Baldwin Gives Surprising Boost to CNN". In December 2015, "The New York Times" interviewed Baldwin after writing an op-ed on CNN.com about covering mass shootings in America. "Marie Claire" magazine interviewed her on the subject of covering mass shootings.


title: Brooke Baldwin

text: In 2016, "Elle" magazine featured Baldwin as one of five female correspondents during the election year of 2016. New York's "Downtown" magazine featured Baldwin in October 2016.


title: Brooke Baldwin

text: On "Saturday Night Live", Baldwin was parodied in a sketch featuring Cecily Strong and Alec Baldwin in October 2016, the week after the release of the Donald Trump "Access Hollywood" tape.


title: Brooke Baldwin

text: In 2017, Baldwin was featured in a "Variety" magazine article "Women Surge to Top of TV News in Face of Sexism".


title: Brooke Baldwin

text: On September 15, 2017, Clay Travis appeared as a guest on CNN with Baldwin to discuss free speech, specifically whether ESPN personality Jemele Hill should be fired for calling Donald Trump a "white supremacist" and stating that police officers were "modern day slave catchers" on her personal Twitter page. Travis stated that it would be bad policy on ESPN's part to fire Hill for her private comments, just as it was bad policy when ESPN fired Curt Schilling for comments he made regarding transgender bathrooms on his personal Facebook page. Travis received criticism for using a phrase he commonly used on his radio show when he said "...I'm a First Amendment absolutist - the only two things I 100 percent believe in are the First Amendment and boobs..." Baldwin cut the interview short and later responded, "when I first heard 'boobs' from a grown man on national television (in 2017!!!) my initial thought bubble was: 'Did I hear that correctly??...'"


title: Brooke Baldwin

text: Baldwin hosted the AK100 Club event for the travel agency Abercrombie and Kent, and gave a speech, based upon her March 2015 climb up Mount Kilimanjaro.


title: Brooke Baldwin

text: Also in 2016, Baldwin presented an award at L'Oréal Paris 11th Annual Women of Worth Celebration. Other presenters included Blake Lively, Andie MacDowell, Diane Keaton, Aimee Mullins, L'Oréal USA president Karen Fondu, Tamron Hall, Arianna Huffington, Liya Kebede, Karlie Kloss and Eva Longoria at The Pierre on November 16 in New York City.


title: Brooke Baldwin

text: In 2017, Baldwin spoke at the 7th annual Neighbor Celebration in Washington DC for Blue Star Families where former First Lady Rosalynn Carter was honored on March 30, 2017.


title: Brooke Baldwin

text: Baldwin hosted Mother Nature Network's White House Correspondents' Jam at Hamilton Live, Washington DC in April 2017 – featuring headlining band, The Boxmasters, with actor Billy Bob Thornton and Rolling Stones' keyboardist Chuck Leavell.


title: Brooke Baldwin

text: Baldwin gave the commencement address at The University of North Carolina at Chapel Hill on May 14, 2017.


title: Brooke Baldwin

text: In July 2017, Baldwin revealed that she was engaged to English producer James Fletcher. They were married in May 2018.


title: Brooke Baldwin

text: In April 2020, Baldwin was diagnosed with COVID-19, days after CNN colleague Chris Cuomo was diagnosed. Baldwin returned to work on April 27, 2020.


title: The Magnificent Ambersons (film)

text: The Magnificent Ambersons is a 1942 American period drama written, produced, and directed by Orson Welles. Welles adapted Booth Tarkington's Pulitzer Prize–winning 1918 novel, about the declining fortunes of a wealthy Midwestern family and the social changes brought by the automobile age. The film stars Joseph Cotten, Dolores Costello, Anne Baxter, Tim Holt, Agnes Moorehead and Ray Collins, with Welles providing the narration.


title: The Magnificent Ambersons (film)

text: Welles lost control of the editing of "The Magnificent Ambersons" to RKO, and the final version released to audiences differed significantly from his rough cut of the film. More than an hour of footage was cut by the studio, which also shot and substituted a happier ending. Although Welles's extensive notes for how he wished the film to be cut have survived, the excised footage was destroyed. Composer Bernard Herrmann insisted his credit be removed when, like the film itself, his score was heavily edited by the studio.


title: The Magnificent Ambersons (film)

text: Even in the released version, "The Magnificent Ambersons" is often regarded as among the greatest films of all time, a distinction it shares with Welles's first film, "Citizen Kane". The film was nominated for four Academy Awards, including Best Picture, and it was added to the National Film Registry of the Library of Congress in 1991.


title: The Magnificent Ambersons (film)

text: The Ambersons are by far the wealthiest family in their Midwestern city in the last few decades of the 19th century. As a young man, Eugene Morgan courts Isabel Amberson, but she rejects him after he publicly embarrasses her. She instead marries Wilbur Minafer, a passionless man she does not love, and spoils their child, George. The townspeople long to see George get his "comeuppance."


title: The Magnificent Ambersons (film)

text: In the early 20th century, Major Amberson gives a large party at the Amberson Mansion for George, who is home from college for the holidays. Eugene, now a widower who has just returned to town after 20 years, attends. George dislikes Eugene, whom he sees as a social climber, and ridicules Eugene's investment in the automobile. He instantly takes to Eugene's daughter Lucy.


title: The Magnificent Ambersons (film)

text: The next day, George and Lucy take a sleigh ride. They pass Eugene, his aunt Fanny, Isabel, and Isabel's brother, Jack. Eugene's "horseless carriage" has gotten stuck in the snow, and George jeers for them to "get a horse." The Amberson sleigh then overturns, and Eugene, after his vehicle is mobile again, gives everyone a ride back home. George is humiliated by the incident and angered by Eugene's attentions toward Isabel and his mother's obvious affection for Eugene.


title: The Magnificent Ambersons (film)

text: Wilbur Minafer loses a substantial amount of money on bad investments and soon dies. George is largely unmoved by his father's death. The night after the funeral, George teases Fanny, who is besotted with Eugene.


title: The Magnificent Ambersons (film)

text: Time passes, and Eugene becomes very wealthy manufacturing automobiles, and again courts Isabel, who refuses to risk George's disapproval by telling him about their love. Lucy rejects George's marriage proposal by saying that he has no ambition in life other than to be wealthy and keep things as they are, and she leaves town. The Ambersons invite the lonely Eugene to dinner, where George, blaming him for turning Lucy against him, criticizes automobiles. The Ambersons are shocked by his rudeness, but Eugene says that George may turn out to be right.


title: The Magnificent Ambersons (film)

text: That evening, George learns from Aunt Fanny that Eugene has been courting Isabel. Enraged, he rudely confronts a neighbor for spreading gossip about his mother. The next day, George refuses to let Eugene see his mother. Jack tells Isabel about George's terrible behavior, but she declines to do anything that might upset her son. Eugene writes to Isabel and asks her to choose between her son and his love. Isabel chooses George.


title: The Magnificent Ambersons (film)

text: Lucy returns home to find that George is taking his mother to Europe on an extended trip. George talks to Lucy in an attempt to discover if she loves him. She feigns indifference, and they part. Lucy is heartbroken, however, and faints.


title: The Magnificent Ambersons (film)

text: Months pass, and Isabel is seriously ill, but George will not allow her to come home for fear that she will renew her relationship with Eugene. He relents only when she starts to die. George refuses to let Eugene go upstairs to visit Isabel on her deathbed although she begs to see Eugene one last time.


title: The Magnificent Ambersons (film)

text: After Isabel's death, Major Amberson sinks into senility and dies. His estate is worthless. Jack leaves town to take a job in another city. George intends to live on Fanny's income while he trains to be a lawyer, but she reveals that she lost everything in bad investments, and they are left with only a few hundred dollars to live on for the rest of the year.


title: The Magnificent Ambersons (film)

text: Eugene asks Lucy if she will reconcile with George. Lucy instead tells her father a story about an American Indian chief who was "pushed out on a canoe into the sea" when he became too obnoxious, which Eugene understands to be an analogy for George.


title: The Magnificent Ambersons (film)

text: Penniless, George gives up his job as a law clerk and finds higher paying work in a chemical factory, which gives him enough money for himself and Fanny to live on. George wanders the city and is dazed by the modern factories and slums, which have grown up around him. In his last night in the Amberson mansion before it is sold, George prays by his dead mother's bed. The narrator says that no one is around to see him receive his comeuppance.


title: The Magnificent Ambersons (film)

text: George is seriously injured by an automobile. Lucy and Eugene go to see him at the hospital and reconcile with him. In a hospital corridor, Eugene tells Fanny that Isabel's spirit had inspired Eugene to bring George "under shelter again," which implies that his and Fanny's financial security was assured.


title: The Magnificent Ambersons (film)

text: Welles first adapted "The Magnificent Ambersons" for a one-hour radio drama performed October 29, 1939, by his Mercury Players on "The Campbell Playhouse", with Orson Welles portraying George Minafer, and providing narration. While Welles supplied narration to the film adaptation, Ray Collins was the only actor from the radio production to appear in the film.


title: The Magnificent Ambersons (film)

text: "The Magnificent Ambersons" was in production October 28, 1941 – January 22, 1942, at RKO's Gower Street studios in Los Angeles. The set for the Amberson mansion was constructed like a real house, but it had walls that could be rolled back, raised, or lowered to allow the camera to appear to pass through them in a continuous take. RKO later used many of the film's sets for its low-budget films, including a series of horror films produced by Val Lewton.


title: The Magnificent Ambersons (film)

text: Location shooting took place at various places around the Los Angeles area, including Big Bear Lake, the San Bernardino National Forest, and East Los Angeles. Snow scenes were shot in the Union Ice Company ice house in downtown L.A. The film was budgeted at $853,950 but this went over during the shoot and ultimately exceeded $1 million.


title: The Magnificent Ambersons (film)

text: In a 1973 interview with Dick Cavett, Moorehead recalled the arduous work involved before filming her climactic scene where she sinks against the unheated boiler. In rehearsal, Welles told Moorehead (who was still a novice to film acting) to "play it like a little girl," a characterization which went against what Moorehead had prepared. Then Welles told her to play "like an insane woman." Following that, Welles told her to play it "like she's absolutely inebriated." Then he said to play with "an absolutely vacuous mind." Moorehead was thinking to herself, "What in the world does he want?" She did the scene 11 times, each with a different characterization. For the twelfth time, Welles told Moorehead: "Now play it." After those rehearsals, her playing the scene had "a little bit of the hysteria, it had a little bit of the insanity, it had a little bit of the little girl…. [H]e had mixed it all up in my mind so that the characterization that I played had a little bit of all of these; and it was terribly exciting." Moorehead continued reflecting on Welles's directorial abilities: "He never directed obviously; he always directed in some strange oblique way where you thought 'Well, that isn't right at all.' But if you put your career or the role in his hands he loved to mold you the way he wanted and it was always much better than you could do yourself. He was the most exciting director that you could possibly imagine."


title: The Magnificent Ambersons (film)

text: The original rough cut of the film was approximately 135 minutes in length. Welles felt that the film needed to be shortened and, after receiving a mixed response from a March 17 preview audience in Pomona, film editor Robert Wise removed several minutes from it. The film was previewed again, but the audience's response did not improve.


title: The Magnificent Ambersons (film)

text: Because Welles had conceded his original contractual right to the final cut (in a negotiation with RKO over a film which he was obliged to direct but never did), RKO took over editing once Welles had delivered a first cut. RKO deleted more than 40 additional minutes and reshot the ending in late April and early May, in changes directed by assistant director Fred Fleck, Robert Wise, and Jack Moss, the business manager of Welles's Mercury Theatre. The retakes replaced Welles' original ending with a happier one that broke significantly with the film's elegiac tone. The reshot ending is the same as in the novel.


title: The Magnificent Ambersons (film)

text: Welles did not approve of the cuts, but because he was simultaneously working in Brazil on "It's All True" for RKO—Nelson Rockefeller had personally asked him to make a film in Latin America as part of the wartime Good Neighbor policy—his attempts to protect his version ultimately failed. Details of Welles's conflict over the editing are included in the 1993 documentary about "It's All True".


title: The Magnificent Ambersons (film)

text: "Of course I expected that there would be an uproar about a picture which, by any ordinary American standards, was much darker than anybody was making pictures," Welles told biographer Barbara Leaming. "There was just a built-in dread of the downbeat movie, and I knew I'd have that to face, but I thought I had a movie so good—I was absolutely certain of its value, much more than of "Kane"… It's a tremendous preparation for the boardinghouse… and the terrible walk of George Minafer when he gets his comeuppance. And without that, there wasn't any plot. It's all about some rich people fighting in their house."


title: The Magnificent Ambersons (film)

text: Welles said he would not have gone to South America without the studio's guarantee that he could finish editing "The Magnificent Ambersons" there. "And they absolutely betrayed me and never gave me a shot at it. You know, all I could do was send wires… But I couldn't walk out on a job which had diplomatic overtones. I was representing America in Brazil, you see. I was a prisoner of the Good Neighbor Policy. That's what made it such a nightmare. I couldn't walk out on Mr. Roosevelt's Good Neighbor policy with the biggest single thing that they'd done on the cultural level, and simply walk away. And I couldn't get my film in my hands."


title: The Magnificent Ambersons (film)

text: The negatives for the excised portions of "The Magnificent Ambersons" were later destroyed in order to free vault space. A print of the rough cut sent to Welles in Brazil has yet to be found and is generally considered to be lost, along with the prints from the previews. A documentary team led by Joshua Grossberg and backed by Turner Classic Movies plans a search for the rough cut in September 2021. Filmmaker Brian Rose revealed in January 2021 he hopes to restore the original version of the film by use of animation. However, his plan does not yet have the backing of the rights holder.


title: The Magnificent Ambersons (film)

text: The film features what could be considered an in-joke: news of the increase in automobile accidents is featured prominently on the front page of the "Indianapolis Daily Inquirer", part of the fictional chain of newspapers owned by mogul Charles Foster Kane in "Citizen Kane". Also appearing on the front page is the column "Stage News", by the fictional writer Jed Leland, with a photo of Joseph Cotten, who portrayed Leland in the earlier film.


title: The Magnificent Ambersons (film)

text: The budget for "The Magnificent Ambersons" was set at $853,950, roughly the final cost of "Citizen Kane". During shooting the film went over budget by 19 percent ($159,810), bringing the cost of the Welles cut to $1,013,760. RKO's subsequent changes cost $104,164. The total cost of the motion picture was $1,117,924.


title: The Magnificent Ambersons (film)

text: Like the film itself, Bernard Herrmann's score for "The Magnificent Ambersons" was heavily edited by RKO. When more than half of his score was removed from the soundtrack, Herrmann bitterly severed his ties with the film and promised legal action if his name was not removed from the credits.


title: The Magnificent Ambersons (film)

text: "The Magnificent Ambersons" is one of the earliest films in movie history in which nearly all the credits are spoken by an off-screen voice and not shown printed onscreen—a technique used before only by the French director and player Sacha Guitry. The only credits shown onscreen are the RKO logo, "A Mercury Production by Orson Welles", and the film's title, shown at the beginning of the picture. At the end of the film, Welles's voice announces all the main credits. Each actor in the film is shown as Welles announces his or her name. As he speaks each technical credit, a machine is shown performing that function. Welles reads his own credit — "My name is Orson Welles" — over top of an image of a microphone which then recedes into the distance.


title: The Magnificent Ambersons (film)

text: "I got a lot of hell because of that," Welles later said of his verbal sign-off. "People think it's egotistic. The truth is, I was just speaking to a public who knew me from the radio in a way they were used to hearing on our shows. In those days we had an enormous public — in the millions — who heard us every week, so it didn't seem pompous to end a movie in our radio style."


title: The Magnificent Ambersons (film)

text: In conversations (1969–75) with Peter Bogdanovich compiled in "This Is Orson Welles", Welles confirmed that he had planned to reshoot the ending of "The Magnificent Ambersons" with the principal cast members who were still living:


title: The Magnificent Ambersons (film)

text: By January 1943, the film managed to earn $1 million in box office rentals in Northern America. However, it was not enough to recoup the film's cost and it recorded a loss of $620,000.


title: The Magnificent Ambersons (film)

text: Thomas M. Pryor of "The New York Times" praised "The Magnificent Ambersons" as "an exceptionally well-made film, dealing with a subject scarcely worth the attention which has been lavished upon it." He further praised the performances from the cast highlighting Dolores Costello as being "too beautiful and capable an actress to remain inactive for such long periods. Agnes Moorehead, playing the role of a romantically frustrated aunt, is splendid. Other fine performances are contributed by Ray Collins, Anne Baxter and the veteran Richard Bennett as the grandfather." "Time" heralded the film as "a great motion picture, adult and demanding. Artistically, it is a textbook of advanced cinema technique. The novel use of sidelighting and exaggerated perspective that made "Kane" seem unlike any other movie floods "Ambersons" with the same revealing eloquence, examining faces, bathrooms, streets, the cluttered detail of the "Ambersons" magnificence, from a viewpoint so fresh that it creates a visual suspense in the very act of clarification." "Harrison's Reports" positively wrote the film "is an artistic achievement, excelling in every department—that of direction, acting, production, and photography."


title: The Magnificent Ambersons (film)

text: Herm Schoenfeld of "Variety" unfavorably compared the film to "The Little Foxes" (1941), writing that it is "without the same dynamic power of story, acting, and social preachment. Also unlike 'Foxes,' this film hasn't a single moment of contrast; it piles on and on a tale of woe, but without once striking at least a true chord of sentimentality." Mae Tinée of the "Chicago Tribune" wrote "All the acting is commendable, but somehow for me, the characters seldom 'came alive.' ... And I guess I wasn't alone in that action, because people sitting near me exhibited a baffled restlessness." Manny Farber, reviewing for "The New Republic", criticized Welles's radio-style approach writing: "...at the times when something is on the screen and Welles tells you what for. Meanwhile, for something to do, you count the shadows. Theater-like is the inability to get the actors or story moving, which gives you a desire to push with your hands. There is really no living, moving or seeing to the movie; it is a series of static episodes connected by narration, as though someone sat you down and said "Here!" and gave you some postcards of the 1890s."


title: The Magnificent Ambersons (film)

text: In "The Los Angeles Times", Kevin Thomas argued, "Although reams have been written about the mutilation of Orson Welles's second feature, what remains of it is nevertheless a major accomplishment". Jonathan Rosenbaum of the "Chicago Reader" called its mise-en-scène "extraordinary" and wrote that the film contains some of the finest acting in American cinema.


title: The Magnificent Ambersons (film)

text: In 1991, "The Magnificent Ambersons" was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In 1998 "Time Out" conducted a poll and the film was voted 62nd greatest film of all time. The film was included in "Sight and Sound"'s 1972 list of the top 10 greatest films ever made, and again in the 1982 list. In 2000, the film was ranked at No.25 in "The Village Voice"s 100 Greatest Films list, "The Magnificent Ambersons" placed 81st in the 2012 "Sight & Sound" critics' poll of the greatest films ever made; it also received four directors' votes, one of which was that of Terence Davies. In 2015, the film ranked 11th on BBC's "100 Greatest American Films" list, voted on by film critics from around the world.


title: The Magnificent Ambersons (film)

text: In an auction of April 26, 2014, a script of "The Magnificent Ambersons" was sold for $10,625 and a collection of approximately 275 stills and production photos sold for $2,750. The materials were among those found in boxes and trunks of Welles's personal possessions by his daughter Beatrice Welles.


title: The Magnificent Ambersons (film)

text: A CD of the soundtrack to this film was released in 1990 in the US. The pieces were entirely re-recorded.


title: The Magnificent Ambersons (film)

text: All pieces were composed by Bernard Herrmann, and were re-recorded by the Australian Philharmonic Orchestra, conducted by Tony Bremner.


title: The Magnificent Ambersons (film)

text: In 2002, "The Magnificent Ambersons" was made as an A&E Network original film for television, using the Welles screenplay and his editing notes. Directed by Alfonso Arau, the film stars Madeleine Stowe, Bruce Greenwood, Jonathan Rhys Meyers, Gretchen Mol, and Jennifer Tilly. This film does not strictly follow Welles's screenplay; it omits several scenes included in the 1942 version and has essentially the same happy ending.


title: C.D. Santa Clara

text: Clube Desportivo Santa Clara is a Portuguese football club from Ponta Delgada, Azores. They play in the 13,277-seat Estádio de São Miguel. They are the most successful football team from the Azores Islands as the only team from the archipelago to compete in a UEFA competition, having qualified for the UEFA Intertoto Cup and the UEFA Europa Conference League.


title: C.D. Santa Clara

text: To date, Santa Clara is the only club from the Azores islands to have competed in the top division of the Portuguese Liga, being thus the westernmost top-flight club in Europe. They compete in the Primeira Liga, the Portuguese first division football league. Santa Clara's kit manufacturer is Kelme and their main sponsor is Santander. Main rivals are CD Operário from Lagoa. Other major rivals are C.S. Marítimo and C.D. Nacional, from the island of Madeira.


title: C.D. Santa Clara

text: Santa Clara reached the Primeira Liga for the first time by coming third in the 1998–99 Liga de Honra, but were instantly relegated back in last place. The team bounced back by winning the 2000–01 Segunda Liga under Manuel Fernandes and later Carlos Manuel. Fernandes, who left for Sporting CP in January 2001, returned in October.


title: C.D. Santa Clara

text: Despite coming 14th in their first top-flight season, Santa Clara were chosen by UEFA to play in the 2002 UEFA Intertoto Cup when Vitória S.C. withdrew, needing the summer to renovate their Estádio D. Afonso Henriques for UEFA Euro 2004. They beat Armenia's Shirak FC 5–3 on aggregate in the first round before falling 9–2 to Czechs FK Teplice in the second. Santa Clara were relegated in 2003, and then spent the next 15 years in the second tier, with the lowest point being 2014–15 when the club came 19th, saving themselves from relegation with three games remaining.


title: C.D. Santa Clara

text: In 2018, Carlos Pinto's Santa Clara team ended their exile by finishing second to C.D. Nacional, and he subsequently left. His successor João Henriques led Santa Clara to two consecutive 10th-placed finishes, their best results for position and points (43) in their history. He left in July 2020, having secured a third consecutive top-flight season for the first time in club history. Under his successor Daniel Ramos in 2020–21, the club finished a best-ever sixth to qualify for the inaugural UEFA Conference League.


title: C.D. Santa Clara

text: Due to mandatory quarantine for all visitors to the Azores in the 2020 coronavirus pandemic, Santa Clara concluded the season playing home games in Oeiras near Lisbon.


title: Night of the Living Dead (1990 film)

text: Night of the Living Dead is a 1990 American horror film directed by Tom Savini (in his feature directorial debut) and starring Tony Todd and Patricia Tallman. It is a remake of George A. Romero's 1968 film of the same title; Romero rewrote the original 1968 screenplay he had originally co-authored with John A. Russo. Like the original, the film follows seven strangers as they meet and survive in a rural farmhouse, following the awakening of cannabilistic zombies. It is the only "official" remake of the 1968 film, with other "unofficial" remakes coming out after, as a result of the source material's lack of copyright ownership (resulting in being in the public domain).


title: Night of the Living Dead (1990 film)

text: "Night of the Living Dead" was released by Columbia Pictures in the United States on October 10, 1990. The film received negative reviews upon initial release, but gained warmer reception in years since. It grossed only $5.8 million against a $4.2 million budget.


title: Night of the Living Dead (1990 film)

text: In August 1989, Siblings Barbara and Johnny visit their mother's grave in a remote Pennsylvania cemetery. During their visit, an elderly funeral hearse driver, who is in shock and has blood on his forehead, bumps into them and flees in terror. They offer to help him, but they are attacked by a zombie. Johnny is killed and Barbara attempts to flee the cemetery in their car but can't start the engine because Johnny had the keys. She sees a man in a suit walking to her car and calls out to him for help, but it is revealed to be a funeral corpse reanimated, the same one the hearse driver was fleeing, and in an act of desperation she pulls the parking brake of the car, rolls down the hill only to crash into a tree and she flees on foot and discovers what appears to be an abandoned farmhouse. She seeks shelter there, only to find another pack of zombies. Shortly after, a man named Ben arrives after fleeing from a diner near Evans City, that was attacked by zombies. Ben suggests they can't take a chance driving in the middle of nowhere and that they should clear the house of the dead and begin the process of barricading the doors and windows and hope that help comes.


title: Night of the Living Dead (1990 film)

text: They discover other survivors hiding in the cellar of the house: Harry Cooper, a selfish and argumentative husband; his wife Helen; their daughter Sarah, who was bitten by a zombie and has fallen seriously ill; and teenage lovers Tom Bitner and Judy Rose Larson. The group is divided over what their next course of action should be. Harry believes everyone should retreat to the cellar and barricade the door to wait for the authorities. Ben thinks the cellar is a "death trap" and that they would be better served fortifying the house, which at least has alternate escape routes, and Barbara suggests that the group should simply leave the house on foot after she notices the zombies' limited mobility. An argument between Ben and Harry leaves the Coopers in the basement to tend to their ailing daughter, while the other survivors go upstairs to continue reinforcing the doors and windows. The loud construction attracts a large mob of zombies to the farmhouse.


title: Night of the Living Dead (1990 film)

text: The group devises a plan to escape using Ben's truck, which is out of fuel, by refueling at a locked gas pump a few hundred yards away. They find a set of keys within the corpse who lived in the farmhouse and was Tom's Uncle. Judy Rose, Tom, and Ben proceed up the hill toward the gas pump, but their plan begins to unravel when Ben falls from the bed of the truck and is left to defend himself. To their horror, the key to the gas pump is not among the set they brought with them. When Tom shoots the lock off, the gasoline gushing forth is ignited by a burning piece of wood in the truck. The resulting explosion kills both Tom and Judy.


title: Night of the Living Dead (1990 film)

text: Ben returns to the house to find things beginning to dissolve into chaos. Harry has wrestled Barbara's gun away from her and is now armed. Unknown to the survivors upstairs, the Coopers' daughter Sarah has succumbed to the bite on her arm and has transformed into a zombie; she attacks and bites her distraught mother. When Sarah makes her way upstairs, she triggers a shootout between her father, who is trying to protect her, and Ben and Barbara, who are trying to protect themselves. Both Ben and Harry are badly wounded, and Barbara shoots Sarah. Harry retreats upstairs to the attic, while Ben makes his way to the cellar, where he shoots a reanimated Helen. Ben gradually goes into shock, and after realizing the gas key has been in the cellar the entire time, he laughs mindlessly at the irony and listens to a radio and laughs when the announcer states to the public to barricade their homes and wait for help to arrive and says "Yes, we've done that." before succumbing to his injuries and dies.


title: Night of the Living Dead (1990 film)

text: Meanwhile, Barbara leaves the house alone and attempts to find help. She eventually joins a group of countryside locals who are clearing the area of the undead, and awakens the next day surrounded by the safety of the media, the military and the townspeople, led by Sheriff McClelland. Noticing hillbillies playing around with a few zombies, she comments on the similarities between the living and the undead. She returns to the farmhouse to find Ben, who has now been reanimated; he gazes at Barbara before being shot by countryside locals. When Harry emerges from the attic alive, Barbara kills him in a fit of rage and retribution for causing Ben's death, and turns to leave the house, telling the vigilantes they have "another one for the fire." Barbara watches as the bodies are burned on a pyre.


title: Night of the Living Dead (1990 film)

text: Romero said that the remake came about in part because of issues over profits of the original film. A lengthy court battle over the rights to the film, plus an oversight that caused the copyright notice not to be included, caused Romero to see little in the way of profit. Romero's production company, Image Ten, eventually won the lawsuit, but the distributor went out of business before they could collect any money.


title: Night of the Living Dead (1990 film)

text: Another issue was the fact that the filmmakers were worried that someone else might make an unauthorized remake. Romero contacted Menahem Golan when he heard that 21st Century Film Corporation was interested in a remake, and Romero, Russo, and Streiner collaborated for the first time in 20 years. Savini was initially hired to perform the special effects, but was persuaded to direct by Romero. Savini was drawn to the remake because he was unavailable to do special effects on the original.


title: Night of the Living Dead (1990 film)

text: The special effects team intentionally kept the effects restrained, as they felt that excessive gore would be disrespectful to the original film. To keep the effects realistic, they used as inspiration a real autopsy, forensic pathology textbooks, and Nazi death camp footage. Savini said that he wanted to keep the film artistic despite his reputation as "the king of splatter". The zombie extras were recruited easily, as the film's reputation drew them from as far away as Kentucky.


title: Night of the Living Dead (1990 film)

text: The production was not easy for Savini, who described it as "the worst nightmare of my life". Savini said that only 40% of his ideas made it into the final film. Without Romero on set, he clashed with the producers, who did not allow him to explore his vision for the film.


title: Night of the Living Dead (1990 film)

text: To avoid an NC-17 rating, Savini had to cut several scenes from the film. Savini attributed the film's lack of popularity among horror fans to these cuts. A Blu-ray version was released in a limited edition of 3,000 on October 9, 2012 by Twilight Time. Australian film distributor Umbrella Entertainment released a special edition of the film featuring a restored print, alongside the 1968 original on Blu-ray on April 6, 2016.


title: Night of the Living Dead (1990 film)

text: Initial response to the remake was negative. Writing for the "Chicago Sun-Times", Roger Ebert awarded the film one star out of a possible four, writing, "The remake is so close to the original that there is no reason to see both". Caryn James of "The New York Times" wrote, "There was no real need to remake a film that lives on the campy cult appeal it has acquired over time. But as B-movies and remakes go, this one knows how to bring tired zombies back to life." "Variety" called it "a crass bit of cinematic grave-robbing". Owen Gleiberman of "Entertainment Weekly" rated it D− and wrote, "In the history of bad ideas, George Romero's decision to produce a color remake of his disturbingly frenzied 1968 zombiefest "Night of the Living Dead" has to rank right up there with New Coke." Kevin Thomas of the "Los Angeles Times" wrote, "While this "Night" hasn't the chilling, almost cinema-verite credibility of the original, it is certainly a well-sustained entertainment". In "The Washington Post", Richard Harrington criticized the film as a purely financial effort that lacks the shock of the original film now that zombie film tropes have become clichéd. Dave Kehr of the "Chicago Tribune" rated it three out of four stars and wrote that although Savini's direction is a bit too literal, the film "contains some intriguing further development of the ideas of the first film, as well as some mistakes corrected and dramatic relationships tightened."


title: Night of the Living Dead (1990 film)

text: Modern criticism has been more appreciative. On Rotten Tomatoes the film has an approval rating of 67% based on reviews from 33 critics, with an average rating of 6.3/10. On Metacritic it has a score of 54 out of 100 based on reviews from 18 critics. Bloody Disgusting rated it four-and-a-half out of five stars and wrote, "This film works on so many levels. Normally, remakes are horrible, and diverge so much from the original film. This one is so close to the original it's scary." Reviewing the Twilight Time Blu-ray, Adam Tyner of DVD Talk rated it 3.5/5 stars and wrote, "We'll never get a chance to see the remake that Tom Savini set out to direct. Still, despite the many missteps of this severely compromised version, "Night of the Living Dead" manages to distinguish itself as one of the more effective horror remakes out there." Reviewing the same disc at DVD Verdict, Patrick Naugle rated it 83 out of 100 and called it "one of the superior zombies movies available". In a retrospective at PopMatters, academic Cynthia Freeland compared the racial politics of the original film and the gender politics of the remake. Freeland concludes that the original film's depiction of Barbara makes for better cinema, and the more feminist-friendly update of Barbara is too derivative of standard "final girl" tropes.


title: Oscar the Grouch

text: Oscar the Grouch is a Muppet character created by Jim Henson and Jon Stone for the PBS/HBO children's television program "Sesame Street". He has a green body, no visible nose, and lives in a trash can. Oscar's favorite thing is trash, as evidenced by the song "I Love Trash", with a running theme being his collection of seemingly useless items. Although the term "Grouch" aptly describes Oscar's misanthropic interaction with the other characters, it also refers to his species. The character was originally performed by Caroll Spinney from the show's first episode until Spinney's retirement in 2018. Eric Jacobson began understudying for the character in 2015, and officially took on the full role after Spinney's retirement in 2018.


title: Oscar the Grouch

text: Initially, the puppet characters on "Sesame Street" did not appear on the actual Sesame Street set, but were relegated to the intermediary segments. Muppets creator Jim Henson wanted them to be integrated into the series, suggesting a giant bird and also a creature living in the neighborhood's trash can. The character was developed by "Sesame Street" head writer Jon Stone and Henson. Puppeteer Caroll Spinney found inspiration for the voice in the driver of a New York City taxi he took to the studio. His first line was "Where to Mac?".


title: Oscar the Grouch

text: Henson credits the character's name based on the personality of a “magnificently rude” restaurant owner and namesake of Oscar's Salt of the Sea which Henson and Stone frequented. Henson's office was on East 67th Street, just around the corner from Oscar's Salt of the Sea on Third Avenue. In the early 1960s, Henson and Stone often had lunch there and observed that the owner, Oscar Karp, who dressed in black, looked unkempt, and had a gruff disposition.


title: Oscar the Grouch

text: The Oscar Muppet was orange for the first season of "Sesame Street" and then changed to green, which remained his permanent color. This was explained within the show by a visit to Swamp Mushy Muddy.


title: Oscar the Grouch

text: According to "Sesame Street"s Robert W. Morrow, Oscar was created to indirectly demonstrate racial and ethnic diversity. Since his manners and tastes were different from those of the other characters, his creators hoped to address social issues by using his differences as a metaphor for racial and ethnic differences. Some viewers saw Oscar as a "surrogate for poor, urban Americans" during the show's early seasons.


title: Oscar the Grouch

text: In the early "Sesame Street" development there was criticism that Oscar represented residents of inner city who had grown to accept injustice unchallenged, whilst other observers perceived Oscar to be a negative impression of African-Americans even though the Sesame Workshop did not intend the character to be a representation of black people. Joan Ganz Cooney was confused by this viewpoint when journalist Linda Francke informed her of its existence.