title: History of the Jews in the Roman Empire

text: The history of the Jews in the Roman Empire () traces the interaction of Jews and Romans during the period of the Roman Empire (27 BCE – CE 476). A Jewish diaspora had migrated to Rome and to the territories of Roman Europe from the land of Israel, Anatolia, Babylon and Alexandria in response to economic hardship and incessant warfare over the land of Israel between the Ptolemaic and Seleucid empires from the 4th to the 1st centuries BCE. In Rome, Jewish communities thrived economically. Jews became a significant part of the Roman Empire's population in the first century CE, with some estimates as high as 7 million people; however, this estimation has been questioned.


title: History of the Jews in the Roman Empire

text: Roman general Pompey conquered Jerusalem and its surroundings by 63 BCE. The Romans deposed the ruling Hasmonean dynasty of Judaea (in power from 140 BCE) and the Roman Senate declared Herod the Great "King of the Jews" in 40 BCE. Judea proper, Samaria and Idumea became the Roman province of Iudaea in 6 CE.Jewish–Roman tensions resulted in several Jewish–Roman wars between the years 66 and 135 CE, which resulted in the destruction of Jerusalem and the Second Temple and the institution of the Jewish Tax in 70 (those who paid the tax were exempt from the obligation of making sacrifices to the Roman imperial cult).


title: History of the Jews in the Roman Empire

text: Emperor Hadrian attempted to create a new colony, named Aelia Capitolina, in the area of then-razed Jerusalem, 130. Also in the course of the 1st and 2nd centuries CE, Christianity began to develop from Second Temple Judaism. In 313, Constantine and Licinius issued the Edict of Milan giving official recognition to Christianity as a legal religion. Constantine the Great moved the Roman capital from Rome to Constantinople ("New Rome") 330, sometimes considered the start of the Byzantine Empire, and with the Edict of Thessalonica in 380, Christianity became the state church of the Roman Empire. The Christian emperors persecuted their Jewish subjects and restricted their rights.


title: History of the Jews in the Roman Empire

text: "The Jewish Encyclopedia" connects the two civil wars raging during the last decades of the first century BCE, one in Judea between the two Hasmonean brothers Hyrcanus II and Aristobulus II, and one in the Roman republic between Julius Caesar and Pompey, and describes the evolution of the Jewish population in Rome:


title: History of the Jews in the Roman Empire

text: Even before Rome annexed Judea as a province, the Romans had interacted with Jews from their diasporas settled in Rome for a century and a half. Many cities of the Roman provinces in the eastern Mediterranean contained very large Jewish communities, dispersed from the time of the sixth century BCE.


title: History of the Jews in the Roman Empire

text: Rome's involvement in the Eastern Mediterranean dated from 63 BCE, following the end of the Third Mithridatic War, when Rome made Syria a province. After the defeat of Mithridates VI of Pontus, the proconsul Pompeius Magnus (Pompey the Great) remained to secure the area, including a visit to the Jerusalem Temple. The former king Hyrcanus II was confirmed as ethnarch of the Jews by Julius Caesar in 48 BC. In 37 BC, the Herodian Kingdom was established as a Roman client kingdom and in 6 CE parts became a province of the Roman Empire, named Iudaea Province.


title: History of the Jews in the Roman Empire

text: In the Greek cities in the east of the Roman empire, tensions often arose between the Greek and Jewish populations. Writing around 90 CE, the Jewish author Josephus cited decrees by Julius Caesar, Mark Antony, Augustus and Claudius, endowing Jewish communities with a number of rights. Central privileges included the right to be exempted from polis religious rituals and the permission "to follow their ancestral laws, customs and religion". Jews were also exempted from military service and the provision of Roman troops. Contrary to what Josephus wants his readers to believe, the Jews did not have the status of "religio licita" (permitted religion) as this status did not exist in the Roman empire, nor were all Roman decrees concerning the Jews positive. Instead, the regulations were made as a response to individual requests to the emperor. The decrees were deployed by Josephus "as instruments in an ongoing political struggle for status".


title: History of the Jews in the Roman Empire

text: Because of their one-sided viewpoint, the authenticity of the decrees has been questioned many times, but they are now thought to be largely authentic. Still, Josephus gave only one side of the story by leaving out negative decisions and pretending that the rulings were universal. This way, he carried out an ideological message showing that the Romans allowed the Jews to carry out their own customs and rituals; the Jews were protected in the past and were still protected by these decisions in his own time.


title: History of the Jews in the Roman Empire

text: The financial crisis under Caligula (37–41 CE) has been proposed as the "first open break between Rome and the Jews", even though problems were already evident during the Census of Quirinius in 6 CE and under Sejanus (before 31 CE).


title: History of the Jews in the Roman Empire

text: In 66 CE, the First Jewish–Roman War began. The revolt was put down by the future Roman emperors Vespasian and Titus. In the Siege of Jerusalem in 70 CE, the Romans destroyed much of the Temple in Jerusalem and, according to some accounts, plundered artifacts from the Temple, such as the Menorah. Jews continued to live in their land in significant numbers, the Kitos War of 115–117 notwithstanding, until Julius Severus ravaged Judea while putting down the Bar Kokhba revolt of 132–136. 985 villages were destroyed and most of the Jewish population of central Judaea was essentially wiped out – killed, sold into slavery, or forced to flee. Banished from Jerusalem, which was renamed Aelia Capitolina, the Jewish population now centered on Galilee, initially at Yavneh.


title: History of the Jews in the Roman Empire

text: After the Jewish-Roman wars (66–135), Hadrian changed the name of Iudaea province to Syria Palaestina and Jerusalem to Aelia Capitolina in an attempt to erase the historical ties of the Jewish people to the region. In addition, after 70, Jews and Jewish Proselytes were only allowed to practice their religion if they paid the Jewish tax, and after 135 were barred from Jerusalem except for the day of Tisha B'Av.


title: History of the Jews in the Roman Empire

text: Many Jews became citizens of other parts of the Roman Empire. The book of Acts in the New Testament, as well as other Pauline texts, make frequent reference to the large populations of Hellenised Jews in the cities of the Roman world.


title: History of the Jews in the Roman Empire

text: Of critical importance to the reshaping of Jewish tradition from the Temple-based religion to the traditions of the Diaspora was the development of the interpretations of the Torah found in the Mishnah and Talmud.


title: History of the Jews in the Roman Empire

text: In spite of the failure of the Bar Kokhba revolt, Jews remained in the land of Israel in significant numbers. The Jews who remained there went through numerous experiences and armed conflicts against consecutive occupiers of the Land. Some of the most famous and important Jewish texts were composed in Israeli cities at this time. The Jerusalem Talmud, the completion of the Mishnah and the system of niqqud are examples.


title: History of the Jews in the Roman Empire

text: In this period the "tannaim" and "amoraim" were active rabbis who organized and debated the Jewish oral law. A major catalyst in Judaism is Judah haNasi, who was a wealthy rabbi and one of the last tannaim, oral interpreters of the Law. He was in good standing with Roman authority figures, which aided in his ascent to being the Patriarch of the Jewish community in Palestine. The decisions of the "tannaim" are contained in the Mishnah, Beraita, Tosefta, and various Midrash compilations. The Mishnah was completed shortly after 200 CE, probably by Judah haNasi. The commentaries of the "amoraim" upon the Mishnah are compiled in the Jerusalem Talmud, which was completed around 400 CE, probably in Tiberias.


title: History of the Jews in the Roman Empire

text: In 351, the Jewish population in Sepphoris, under the leadership of Patricius, started a revolt against the rule of Constantius Gallus, brother-in-law of Emperor Constantius II. The revolt was eventually subdued by Gallus' general, Ursicinus.


title: History of the Jews in the Roman Empire

text: According to tradition, in 359 Hillel II created the Hebrew calendar, which is a lunisolar calendar based on math rather than observation. Until then, the entire Jewish community outside the land of Israel depended on the observational calendar sanctioned by the Sanhedrin; this was necessary for the proper observance of the Jewish holy days. However, danger threatened the participants in that sanction and the messengers who communicated their decisions to distant communities. As the religious persecutions continued, Hillel determined to provide an authorized calendar for all time to come that was not dependent on observation at Jerusalem.


title: History of the Jews in the Roman Empire

text: Julian, the only emperor to reject Christianity after the conversion of Constantine, allowed the Jews to return to "holy Jerusalem which you have for many years longed to see rebuilt" and to rebuild the Temple. However Julian was killed in battle on 26 June 363 in his failed campaign against the Sassanid Empire, and the Third Temple was not rebuilt at that time.


title: History of the Jews in the Roman Empire

text: During the Byzantine–Sasanian War of 602–628 many Jews sided against the Eastern Roman Empire in the Jewish revolt against Heraclius, which successfully assisted the invading Persian Sassanids in conquering all of Roman Egypt and Syria. In reaction to this further anti-Jewish measures were enacted throughout the Eastern Roman realm and as far away as Merovingian France. Soon thereafter, 634, the Muslim conquests began, during which many Jews initially rose up again against their Eastern Roman rulers.


title: History of the Jews in the Roman Empire

text: Following the 1st-century Great Revolt and the 2nd-century Bar Kokhba revolt, the destruction of Judea exerted a decisive influence upon the dispersion of the Jewish people throughout the world, as the center of worship shifted from the Temple to Rabbinic authority.


title: History of the Jews in the Roman Empire

text: Some Jews were sold as slaves or transported as captives after the fall of Judea, others joined the existing diaspora, while still others remained in Judea and began work on the Jerusalem Talmud. The Jews in the diaspora were generally accepted into the Roman Empire, but with the rise of Christianity, restrictions grew. Forced expulsions and persecution resulted in substantial shifts in the international centers of Jewish life to which far-flung communities often looked, although not always unified, due to the Jewish people's dispersion itself. Jewish communities were thereby largely expelled from Judea and sent to various Roman provinces in the Middle East, Europe and North Africa. The Roman Jewry came to develop a character associated with the urban middle class in the modern age.


title: Maisie Smith

text: Maisie Louise Collender Smith (born 9 July 2001) is an English actress and singer. She appeared in the feature film "The Other Boleyn Girl" (2008) and played the regular role of Tiffany Butcher in the BBC soap opera "EastEnders" from 2008 to 2014. In November 2016, Smith temporarily returned to "EastEnders" for a guest stint, before making a full-time return in January 2018. In October 2021 it was announced that she would once again be leaving "EastEnders" and her final scenes aired in December of that year; she made a one-off appearance in March 2022 to aid the departure of Keegan Baker (Zack Morris). In 2020, she competed in the eighteenth series of "Strictly Come Dancing" alongside partner Gorka Marquez, reaching the final but losing out to Bill Bailey.


title: Maisie Smith

text: Smith attended the Singer Stage School in Leigh-on-Sea for 18 months, and in 2006, she was cast in the film "The Other Boleyn Girl" as a young Elizabeth I; the film was released in February 2008. She then went on to portray the role of Tiffany Dean in the BBC soap opera "EastEnders". Smith made her first appearance on the soap on 1 April 2008, at age six, as the daughter of Bianca Jackson (Patsy Palmer). Her mother stated "The role is an exaggeration of her own personality, she's a little madam. A lively character both on and off screen. The difference is, she's told to pronounce her t's at home! She is not star-struck at all and has her feet very firmly on the ground. She is an extremely confident child and a great actress." Smith's father said, "She gets recognised quite a lot when we go out as a family. It's funny when you see people nudge each other and you can hear them saying, ‘Is that the girl off "EastEnders"?’"


title: Maisie Smith

text: A few months after her casting, Smith said that she was loving being on "EastEnders", telling the "Echo" (Essex) "I love being on "EastEnders". I really get on with Patsy who plays my mum. She looks after me so well. It's like I'm her real daughter some days. Everyone is really nice. Pam St Clement, who plays Pat Butcher, is also really lovely to me. I’m glad I get to be cheeky and say some funny lines. I would never want to be a goody goody. It's strange people point at me in the street now and ask if I’m the girl from "EastEnders". All my friends think it's great I’m on television. I think I will want to be an actress forever now."


title: Maisie Smith

text: Digital Spy's Kris Green said Smith is "brilliant" and "one...to watch", comparing her to Ellis Hollins, the award-winning child actor who plays Tom Cunningham in the Channel 4 teen soap opera "Hollyoaks". She has also been praised by stage school teacher Sandra Singer, who said, "Maisie has the most incredible memory and when it comes to script work she is fantastic. It is often very difficult for a six-year-old to act, but she handles it really well and adores it."


title: Maisie Smith

text: In 2010, Smith was asked to appear on CITV's "Bookaboo", and read the story "Stinky" by Ian Whybrow. Smith told CITV "You have to be quiet in libraries which is really hard for me as I'm very loud. I would probably come last in a 'who can stay quiet the longest' competition!" In 2011, Smith was interviewed by "The Stage" magazine where she talked about her role in "EastEnders". Smith said, "Sudden fame can be tricky when you are just out having fun and people keep wanting to take your photo, but the "EastEnders" people are very supportive and have said that we can politely say no in situations where we feel uncomfortable. I am very glad that my break came with "EastEnders", as they are like a family who look after you. Working on the show has given me the chance to learn so much from the actors, especially those who are in my TV family. There are lots of things you can only learn from actually working on a set. The stage school I attend –also Singer Stage School – prepares you really well, but it is so different when you are actually there on set being filmed."


title: Maisie Smith

text: In October 2016, it was announced Smith would be releasing her first single, "Good Thing". Smith shot a music video accompanying the song at the Belt Craft studios and the song and video was uploaded to Smith's YouTube channel in November 2016. Smith released her second single, "Where My Heart Is", in March 2017. Smith said a lot of her songs were about herself, so she "wanted to write a song that inspired others" and she hopes "that got across" and that it "manages to inspire those who listen". On 3 November 2016, Smith made a previously unannounced temporary return to "EastEnders". Smith returned full-time in January 2018.


title: Maisie Smith

text: In September 2020, it was announced that she would be competing in the eighteenth series of "Strictly Come Dancing". She was partnered with Gorka Márquez. In December 2020, they finished in second place alongside Hrvy & Janette Manrara and Jamie Laing & Karen Hauer, after losing out to Bill Bailey and Oti Mabuse.


title: Maisie Smith

text: In May 2022, it was announced Smith would be making her musical theatre debut in "Strictly Ballroom: The Musical", playing Fran.


title: Maisie Smith

text: Smith lives in Westcliff-on-Sea, Essex, with her mother Julia, father Stephen and sister Scarlett. Smith attended Belfairs Academy in Leigh-on-Sea and the Sandra Singer Stage School. Smith attended South Essex College, where she studied musical theatre. , she was in a relationship with singer Max George.


title: A Charlie Brown Christmas

text: A Charlie Brown Christmas is a 1965 animated television special. It is the first TV special based on the comic strip "Peanuts", by Charles M. Schulz. Produced by Lee Mendelson and directed by Bill Melendez, the program made its debut on CBS on December 9, 1965. In the special, Charlie Brown finds himself depressed despite the onset of the cheerful holiday season. Lucy suggests he direct a neighborhood Christmas play, but his best efforts are ignored and mocked by his peers when he chooses a real, but puny, Christmas tree as a centerpiece.


title: A Charlie Brown Christmas

text: After the comic strip's debut in 1950, "Peanuts" had become a phenomenon worldwide by the mid-1960s. The special was commissioned and sponsored by The Coca-Cola Company, and was written over a period of several weeks, and produced on a small budget in six months. In casting the characters, the producers took an unconventional route, hiring child actors. The program's soundtrack was similarly unorthodox, featuring a jazz score by pianist Vince Guaraldi. Its lack of a laugh track (a staple in US television animation in this period), in addition to its tone, pacing, music, and animation, led both the producers and the network to predict the project would be a disaster. However, contrary to their collective apprehension, "A Charlie Brown Christmas" received high ratings and acclaim from critics. It received an Emmy and a Peabody Award, and has become an annual presentation in the United States, airing on broadcast television during the Christmas season. Its success paved the way for a series of Peanuts television specials and films. Its jazz soundtrack achieved commercial success, selling five million copies in the US. Live theatrical versions of "A Charlie Brown Christmas" have been staged.


title: A Charlie Brown Christmas

text: On their way to join their friends ice skating on a frozen pond, Charlie Brown confides in Linus that, despite all the things he likes about the Christmas season, he is still depressed. After Linus' reproach, and a put-down from Violet, he visits Lucy's psychiatric booth and tells her his problem. She suggests that he direct the group's annual Christmas play to get him involved, and he accepts.


title: A Charlie Brown Christmas

text: Charlie Brown becomes even more discouraged by his observations of Christmas' commercialization as he heads for the rehearsal: Lucy laments over not receiving real estate for Christmas; Snoopy decorates his doghouse for a neighborhood lights and display contest; and Charlie Brown's younger sister Sally asks him to write a greedy letter to Santa Claus. At the rehearsal, Charlie Brown finds a play fit for the 1960s with dancing, lively music, an uncooperative cast and a "Christmas Queen" (Lucy). Unable to control the cast, Charlie Brown decides the play needs a more "proper mood," and recommends a Christmas tree; Lucy suggests a big, pink aluminum tree then sends him and Linus to get one.


title: A Charlie Brown Christmas

text: At the tree lot, Charlie Brown picks the only real tree there, a small sapling. Linus questions his choice, but Charlie Brown believes that once decorated, it will be perfect. When they return, however, Lucy and the others scorn him and the tree and walk away laughing. Crestfallen, Charlie Brown loudly asks if anyone knows what Christmas is all about; Linus says he does, walks to center stage, asks for a spotlight, recites the annunciation to the shepherds, returns and says, "That's what Christmas is all about, Charlie Brown."


title: A Charlie Brown Christmas

text: Realizing that he does not have to let commercialism ruin his own Christmas, Charlie Brown takes the tree home to decorate it and show the others that it will work in the play. He stops at Snoopy's doghouse, which had won the lights and display contest, and hangs a large red Christmas ball on his tree. The ornament's weight causes the tiny tree to bend to the ground. Believing he has killed the tree, Charlie Brown, dejected, walks away.


title: A Charlie Brown Christmas

text: The others realize that they were too hard on Charlie Brown and quietly follow him. As they all start to see its potential, Linus gently uprights the drooping tree and wraps his blanket around its base to give it some support. After the others give the tree a makeover using more decorations from the doghouse, even Lucy concedes to Charlie Brown's choice. The kids then start humming "Hark! The Herald Angels Sing". Hearing them, Charlie Brown returns to see that the sapling is now a magnificent Christmas tree. All the kids shout, "Merry Christmas, Charlie Brown!", and then sing "Hark" with Charlie Brown joining in as snow begins to fall.


title: A Charlie Brown Christmas

text: By the early 1960s, Charles M. Schulz's comic strip "Peanuts" had gained enormous popularity. Television producer Lee Mendelson acknowledged the strip's cultural impression and had an idea for a documentary on its success, phoning Schulz to propose the idea. Schulz, an avid baseball fan, recognized Mendelson from his documentary on ballplayer Willie Mays, "A Man Named Mays", and invited him to his home in Sebastopol, California, to discuss the project. Their meeting was cordial, with the plan to produce a half-hour documentary set. Mendelson wanted to feature roughly "one or two" minutes of animation, and Schulz suggested animator Bill Melendez, with whom he collaborated some years before on a spot for the Ford Motor Company. Mendelson later stated that he was drawn to doing an animated Charlie Brown after working on "A Man Named Mays", noting that Mays was arguably the best baseball player of all time, while Charlie Brown, in a running gag in the strips, was one of the worst, making him a natural follow-up subject to his previous work.


title: A Charlie Brown Christmas

text: Despite the popularity of the strip and acclaim from advertisers, networks were not interested in the special. By April 1965, "Time" featured the "Peanuts" gang on its magazine cover, perhaps prompting a call from John Allen of the New York-based McCann Erickson Agency. Mendelson imagined he would sell his documentary, and blindly agreed to Allen's proposal: an animated half-hour "Peanuts" Christmas special. The Coca-Cola Company was looking for a special to sponsor during the holiday season. "The bad news is that today is Wednesday and they'll need an outline in Atlanta by Monday," Allen remarked to Mendelson. He quickly contacted Schulz, and the duo got to work with plans for a "Peanuts" Christmas special. The duo prepared an outline for the Coca-Cola executives in less than one day, and Mendelson would later recall that the bulk of ideas came from Schulz, whose "ideas flowed nonstop." According to Mendelson, their pitch to Coca-Cola consisted of "winter scenes, a school play, a scene to be read from the Bible, and a sound track combining jazz and traditional music." The outline did not change over the course of its production.


title: A Charlie Brown Christmas

text: As Allen was in Europe, the duo received no feedback on their pitch for several days. When Allen got in touch with them, he informed them that Coca-Cola wanted to buy the special, but also wanted it for an early December broadcast, giving the duo just six months to scramble together a team to produce the special. Mendelson assured him – without complete confidence in his statements – that this would be no problem. Following this, "A Charlie Brown Christmas" entered production.


title: A Charlie Brown Christmas

text: Schulz's main goal for a "Peanuts"-based Christmas special was to focus on the true meaning of Christmas. He desired to juxtapose this theme with interspersed shots of snow and ice-skating, perhaps inspired by his own childhood growing up in St. Paul, Minnesota. He also created the idea for the school play, and mixing jazz with traditional Christmas carols. Schulz was adamant about Linus' reading of the Bible, despite Mendelson and Melendez's concerns that religion was a controversial topic, especially on television. Melendez recalled Schulz turned to him and remarked, "If we don't do it, who will?". Schulz's estimation proved accurate, and in the 1960s, fewer than 9 percent of television Christmas episodes contained a substantive reference to religion, according to university researcher Stephen Lind.


title: A Charlie Brown Christmas

text: Schulz's faith in the Bible stemmed from his Midwest background and religious and historical studies; as such, aspects of religion would be a topic of study throughout his life. According to a 2015 "spiritual biography", Schulz's religion was personal and complex, and would be integrated in a number of his programs.


title: A Charlie Brown Christmas

text: The program's script has been described as "barebones", and was completed in only a few weeks. In the days following the special's sell to Coca-Cola, Mendelson and animator Bill Melendez met with Schulz in his home to expand upon the ideas promised in the pitch. Mendelson remembered that on the previous Christmas Day he and his spouse had read Hans Christian Andersen's "The Fir-Tree" to their children. Schulz countered with the idea that there be a tree with the spirit of lead character Charlie Brown. Mendelson suggested they employ a laugh track, a staple of television animation, but Schulz rejected this idea immediately. He felt strongly that the audience should not be instructed when to laugh. They spoke at length about creating an official theme that was neither jazz nor traditional to open the program. Schulz wanted a part of the special to feature the character of Schroeder performing Beethoven, and Mendelson combined this with the inclusion of Vince Guaraldi's "Linus and Lucy" number. Schulz penned the script for "A Charlie Brown Christmas", with Melendez plotting out the animation via a storyboard. His storyboard contained six panels for each shot, spanning a combined eighty or-so pages.


title: A Charlie Brown Christmas

text: In casting the silent comic strip characters of "Peanuts", the trio pulled from their personalities. Lead character Charlie Brown's voice was decided to be downbeat and nondescript ("blah," as Mendelson observed), while Lucy be bold and forthright. Linus' voice, it was decided, would combine both sophistication with childlike innocence. Mendelson recognized that the character of Snoopy was the strip's most popular character who seemed to seize "the best jokes," but realized they could not cast a voice for the cartoon dog. "In the process, we gained a veritable 'canine Harpo Marx,'" Mendelson later wrote. Melendez suggested he provide gibberish for Snoopy's mutterings, and simply speed up the tape to prevent viewers from knowing. There are no adult characters in the strip or in this special. Later specials would introduce an offscreen teacher; her lines are eschewed for the sound of a muted trombone (suggested by Guaraldi) as the team behind the specials found it humorous.


title: A Charlie Brown Christmas

text: With this in mind, the trio set out to cast the characters, which proved to be a daunting process. Casting for Charlie Brown proved most difficult, as it required both good acting skills but also the ability to appear nonchalant. The producers picked eight-year-old Peter Robbins, already known for his roles spanning television, film, and advertisements. Robbins considered Charlie Brown to be one of his favorite characters, and despite leaving acting as an adult, he considered his time in the role a highlight of his life. His godmother, Hollywood agent Hazel McMillen, discovered Christopher Shea, who would become Linus in the special. His slight lisp, according to Mendelson, gave him a "youthful sweetness," while his emotional script reading "gave him power and authority as well." Tracy Stratford played the role of Lucy, with the creators being impressed by her attitude and professionalism. Kathy Steinberg was the youngest of the performers, just six years old at the time of recording. Too young to read, the producers had to give her one line at a time to recite. Robbins remembered Melendez did this for him as well, joking that he also mistakenly copied his Latino accent. Mendelson desired to have non-actors (not "Hollywood kids") perform on the special, and he sent tape recorders home with his employees for their children to audition.


title: A Charlie Brown Christmas

text: Much of the background cast came from Mendelson's home neighborhood in northern California. According to Robbins, the children viewed the script's sophisticated dialogue as "edgy," finding several words and phrases, among them "eastern syndicate", difficult to pronounce. He recalled the recording sessions as chaotic, with excited children running rampant. Nevertheless, the recording of "A Charlie Brown Christmas" was completed in one day. Jefferson Airplane was recording next door and came over to obtain the children's autographs. Following the special's broadcast, the children became wildly popular in their respective elementary schools; Robbins recalled groups approaching him asking him to recite lines of dialogue.


title: A Charlie Brown Christmas

text: Animation for "A Charlie Brown Christmas" was created by Bill Melendez Productions. Mendelson had no idea whether or not completing a half-hour's worth of animation would be possible given the production's six-month schedule, but Melendez confirmed its feasibility. In actuality, animation was only completed in the final four months of production. CBS initially wanted an hour's worth of animation, but Melendez talked them down to a half-hour special, believing an hour of television animation was too much. Having never worked on a half-hour special before, Melendez phoned Bill Hanna of Hanna-Barbera for advice, but Hanna declined to give any. CBS gave a budget of $76,000 to produce the show and it went $20,000 over budget. The first step in creating the animation was to make a pencil drawing, afterwards inking and painting the drawing onto a cel. The cel was then placed onto a painted background. There are 13,000 drawings in the special, with 12 frames per second to create the illusion of movement.


title: A Charlie Brown Christmas

text: Melendez had previously worked for Warner Bros. and Disney, and working on "Peanuts"-related material gave him a chance to animate a truly flat cartoon design. The movement of Schulz's characters, particularly the "Peanuts" gang, was limited. The character of Snoopy, however, proved the exception to the rule. "He can do anything – move and dance – and he's very easy to animate," said Melendez.


title: A Charlie Brown Christmas

text: The soundtrack to "A Charlie Brown Christmas" is an unorthodox mix of traditional Christmas music and jazz. The jazz portions were created by the Vince Guaraldi Trio. Producer Lee Mendelson, a fan of jazz, heard Guaraldi's crossover hit "Cast Your Fate to the Wind" on the radio not long after completion of his documentary "Charlie Brown & Charles Schulz", and contacted the musician to produce music for the special. Guaraldi composed the music for the project, creating an entire piece, "Linus and Lucy," to serve as the theme. When Coca-Cola commissioned "A Charlie Brown Christmas" in spring 1965, Guaraldi returned to write the music. The first instrumentals for the special were recorded by Guaraldi at Glendale, California's Whitney Studio with bassist Monty Budwig and drummer Colin Bailey. Recycling "Linus and Lucy" from the earlier special, Guaraldi completed two new originals for the special, "Skating", and "Christmas Time Is Here". In the weeks preceding the premiere, Mendelson encountered trouble finding a lyricist for Guaraldi's instrumental intro, and penned "Christmas Time is Here" in "about 15 minutes" on the backside of an envelope.


title: A Charlie Brown Christmas

text: The special opens and closes with a choir of children, culled from St. Paul's Episcopal Church in San Rafael, California, performing "Christmas Time Is Here" and "Hark! The Herald Angels Sing". One of the singers, Candace Hackett Shively, went on to become an elementary school teacher, and sent a letter of gratitude to Schulz after he announced his retirement in 2000. In the letter, she recalls recording the choir at Fantasy Studios and going out for ice cream afterwards, while also saying she tells the story to her grade-schoolers each holiday season. The recording sessions were conducted in late autumn 1965 and were cut in three separate sessions over two weeks. They often ran late into the night, resulting in angry parents, some who forbade their children from returning; consequently, numerous new children were present at each session. The children were directed by Barry Mineah, who demanded perfection from the choir. Mendelson and Guaraldi disagreed, desiring the "kids to sound like kids"; they used a slightly off-key version of "Hark! The Herald Angels Sing" in the final cut. Children were paid five dollars for their participation. In addition, the children recorded dialogue for the special's final scene, in which the crowd of kids shout "Merry Christmas, Charlie Brown!"


title: A Charlie Brown Christmas

text: The soundtrack for the special was recorded during these sessions, with decisions regarding timing and phrasing determined quickly. Guaraldi brought in bassist Fred Marshall and drummer Jerry Granelli to record the music, and spent time later re-recording earlier tracks, including covers of "The Christmas Song" and "Greensleeves." The eventual LP release credited Guaraldi solely, neglecting to mention the other musicians; Guaraldi was notorious for never keeping records of his session players. Nearly three decades later, in an effort to resolve the matter, Fantasy surmised that the recordings with Budwig and Bailey were employed in the special, while Marshall and Granelli recorded the album. Despite this, other individuals have come forward claiming to have recorded the special's music: bassists Eugene Firth and Al Obidinski, and drummers Paul Distel and Benny Barth. Firth and Distil are listed as performers on a studio-session report Guaraldi filed for the American Federation of Musicians.


title: A Charlie Brown Christmas

text: "A Charlie Brown Christmas" was voted into the Grammy Hall of Fame in 2007, and added to the Library of Congress's National Recording Registry list of "culturally, historically, or aesthetically important" American sound recordings in 2012.


title: A Charlie Brown Christmas

text: "I have always felt that one of the key elements that made that show was the music," said Mendelson in 2010. "It gave it a contemporary sound that appealed to all ages. Although Vince had never scored anything else and although I was basically a documentary film maker at the time, we started to work together on the cues because we both loved jazz and we both played the piano. So he would bring in the material for each scene and we would go over it scene by scene. Most of the time, the music worked perfectly. But there were times we would either not use something or use it somewhere else. We went through this same process on all sixteen shows. Although there was always some left over music, most of the time what he wrote and performed is what went on the air."


title: A Charlie Brown Christmas

text: "A Charlie Brown Christmas" was completed just ten days shy of its national broadcast premiere. All involved believed the special would be a disaster. Melendez first saw the completed animation at a showing in a theater in the days before its premiere, turning to his crew of animators and remarking, "My golly, we've killed it." Melendez was embarrassed, but one of the animators, Ed Levitt, was more positive regarding the special, telling him it was "the best special [he'll] ever make [...] This show is going to run for a hundred years." Mendelson was similar in his assumptions of the show's quality, and when he showed the film to network executives in New York, their opinions were also negative. Their complaints included the show's slow pace, the music not fitting, and the animation too simple. "I really believed, if it hadn't been scheduled for the following week, there's no way they were gonna broadcast that show," Mendelson later said. Executives had invited television critic Richard Burgheim of "Time" to view the special, and debated as to whether showing it to him would be a good idea. His review, printed the following week, was positive, praising the special as unpretentious and writing that ""A Charlie Brown Christmas" is one children's special this season that bears repeating."


title: A Charlie Brown Christmas

text: The program premiered on CBS on December 9, 1965, at 7:30 pm ET (pre-empting "The Munsters"), and was viewed by 45% of those watching television that evening, with the number of homes watching the special an estimated 15,490,000, placing it at number two in the ratings, behind "Bonanza" on NBC. The special received critical acclaim: "The Hollywood Reporter" deemed the show "delightfully novel and amusing," while the "Weekly Variety" dubbed it "fascinating and haunting." Bob Williams of the "New York Post" praised the "very neat transition from comic page to screen," while Lawrence Laurent of "The Washington Post" declared that "natural-born loser Charlie Brown finally turned up a real winner last night." Harriet Van Horne of the "New York World-Telegram" hailed the scene in which Linus recites scripture, commenting, "Linus' reading of the story of the Nativity was, quite simply, the dramatic highlight of the season." Harry Harris of "The Philadelphia Inquirer" called the program "a yule classic [...] generated quiet warmth and amusement," and Terrence O'Flaherty of the "San Francisco Chronicle" wrote, ""Charlie Brown" was a gem of a television show." Ben Gross of the "New York Daily News" praised the special's "charm and good taste," while Rick DuBrow of United Press International predicted, "the "Peanuts" characters last night staked out a claim to a major television future." The film has an aggregated review score of 85% based on 20 reviews on Rotten Tomatoes.


title: A Charlie Brown Christmas

text: The show's positive reviews were highlighted with an ad in trade magazines; one thanked Coca-Cola, CBS, United Features Syndicate, and the show's viewers. Fantasy released the special's soundtrack the first week of December 1965, coinciding with the special's airdate. United Feature Syndicate pushed hard to promote the special, while Word Publishing issued a hardcover adaption of the special. CBS promptly ordered four additional "Peanuts" specials. "A Charlie Brown Christmas" was awarded the Emmy Award for Outstanding Children's Program in 1966, making it the second animated TV program to win that award after Hanna-Barbera's "The Huckleberry Hound Show". "Charlie Brown is not used to winning, so we thank you," Schulz joked.


title: A Charlie Brown Christmas

text: In 2022, an internal poll of writers at Fatherly ranked the special at 62 in a list of the 100 greatest family-friendly films of all time, one of only two productions made specifically for television to make the list (the other being the 1966 version of "How the Grinch Stole Christmas!"). In its summary, the writers noted that the special's technical flaws "are what makes "A Charlie Brown Christmas" feel distinct and special rather than generic" and that its low-budget feel fit the theme of the story.


title: A Charlie Brown Christmas

text: Rotten Tomatoes records three negative reviews for the special for an overall rating of 83%. One is a 2005 two-star review from Emanuel Levy that is no longer on Levy's website; the other two come from the Medium Popcorn podcast, in which both hosts gave the special a one-out-of-five stars review.


title: A Charlie Brown Christmas

text: The original broadcasts included references to the sponsor, Coca-Cola. Because of Dolly Madison's eventual co-sponsorship of the series, as well as subsequent FCC laws mandating the separation of commercial material from the actual program material, subsequent broadcasts and home media releases removed all references to Coca-Cola products. Broadcasts of the special in later years also had some scenes, animation, including sound effects being redone for correction. Snoopy's dog bowl was repainted red instead of white, Lucy now makes a whirling noise when scared out of her psychiatric booth, new animation was placed in scenes where the children dance on stage after the first time to avoid repetition, music was added in the background of the rehearsal scenes, and Snoopy no longer sings like a human in the final carol, amongst others.


title: A Charlie Brown Christmas

text: Removed from some subsequent broadcasts is a scene in which Linus throws a snowball at a tin can using his blanket. For several years it was rumored the can was a Coca-Cola can. However, a recently obtained copy of the original print disproves this rumor, showing the can was always a generic tin can.


title: A Charlie Brown Christmas

text: Beginning with the 2001 holiday season, ABC held rights to the special. On December 6, 2001, a half-hour documentary on the special titled "The Making of 'A Charlie Brown Christmas"' (hosted by Whoopi Goldberg) aired on ABC. This documentary has been released as a special feature on the DVD and Blu-ray editions of the special. In subsequent years, to allow the special in an hour timeslot to be broadcast uncut for time, the animated vignette collection, "Charlie Brown's Christmas Tales", is broadcast in the remaining time for that hour.


title: A Charlie Brown Christmas

text: The 50th anniversary broadcast aired on November 30, 2015, and it featured a full two-hour time slot that was padded by a special, "It's Your 50th Christmas, Charlie Brown", which was hosted by Kristen Bell, and featured musical performances by Kristin Chenoweth, Matthew Morrison, Sarah McLachlan, Boyz II Men, Pentatonix, David Benoit, and the All-American Boys Chorus. It also included documentary features. After 18 consecutive years of being broadcast on the network, the special aired on ABC for the last time on December 5, 2019 at 7pm ET/PT.


title: A Charlie Brown Christmas

text: In October 2020, Apple TV+ acquired exclusive rights to all "Peanuts"-related media. Under the terms of the agreement, Apple TV+ must make "A Charlie Brown Christmas" and two other holiday specials ("It's the Great Pumpkin, Charlie Brown" and "A Charlie Brown Thanksgiving") available for free on the platform during a three-day window. The window for "A Charlie Brown Christmas" was from December 11 to 13, 2020, in 2022 it will be December 22 through December 25; subscribers to Apple TV+ have a broader window to watch the specials.


title: A Charlie Brown Christmas

text: After mounting criticism over Apple's decision to remove the "Peanuts" specials from free television, the company announced a deal with PBS to resume the annual broadcast tradition. In accordance with most PBS member stations' non-commercial educational licenses, the special was presented on PBS without commercial interruption, with an underwriting message from Apple being the only advertising. PBS, Apple and WildBrain, the rightsholder to the "Peanuts" television library, announced they had renewed the arrangement in October 2021. However, the show will only be available on Apple TV+ in 2022.


title: A Charlie Brown Christmas

text: In 1985, the special was released on VHS and Betamax by Media Home Entertainment, along with "You're Not Elected, Charlie Brown". In 1987 the special was released on VHS by its kids subsidiary, Hi-Tops Video. In 1991, the special was released for a limited time on VHS through Shell Oil for sale at their gas stations.


title: A Charlie Brown Christmas

text: On September 28, 1994 the special was released by Paramount on VHS. A laserdisc was released by Paramount (distributed by Pioneer) in 1996; Side 2 contained the 1979 special "You're the Greatest, Charlie Brown". In September 2000 it was released on DVD. Bonus features included the 1992 special "It's Christmastime Again, Charlie Brown". On September 23, 2008, Warner Home Video (to which the rights to the Peanuts specials reverted earlier in the year, due to Melendez's


title: A Charlie Brown Christmas

text: connections to WB) released a "remastered" DVD. Bonus features include a restored version of "Christmastime Again" and a new documentary titled "A Christmas Miracle: The Making of "A Charlie Brown Christmas"".


title: A Charlie Brown Christmas

text: On October 6, 2009, it was released in high definition Blu-ray Disc from Warner in remastered Dolby 5.1 surround sound. This disc also contains "It's Christmastime Again", "A Christmas Miracle", a DVD of the special, and a Digital Copy.


title: A Charlie Brown Christmas

text: Since off-network rights to this special have been transferred to Warner Bros., it has become available as a download on the iTunes Store, PlayStation Network, Amazon Instant Video, and Google Play, and includes "It's Christmastime Again, Charlie Brown"


title: A Charlie Brown Christmas

text: In December 2014, a 50th anniversary 2-DVD set was released. It also features the special "It's Christmastime Again, Charlie Brown", and the "Making of..." documentary from previous editions.


title: A Charlie Brown Christmas

text: On October 31, 2017, it was released on 4K UHD Blu-ray disc containing "It's Christmastime Again, Charlie Brown" and the "Making of..." special.


title: A Charlie Brown Christmas

text: "A Charlie Brown Christmas" has become a Christmas staple in the United States. Within the scope of future "Peanuts" specials, it established their style, combining thoughtful themes, jazzy scores, and simple animation. It also, according to author Charles Solomon, established the half-hour animated special as a television tradition, inspiring the creation of numerous others, including "How the Grinch Stole Christmas!" (1966) and "Frosty the Snowman" (1969). (Earlier animated specials such as "Mr. Magoo's Christmas Carol" and "Rudolph the Red-Nosed Reindeer" ran a full hour.) "USA Today" summarized the program's appeal upon its 40th anniversary in 2005: "Scholars of pop culture say that shining through the program's skeletal plot is the quirky and sophisticated genius that fueled the phenomenal popularity of Schulz's work." Beyond its references to religion, unheard of on television at the time, the special also marked the first time children voiced animated characters.


title: A Charlie Brown Christmas

text: The special influenced dozens of young aspiring artists and animators, many of whom went on to work within both the comics and animation industries, among them Eric Goldberg ("Pocahontas"), Pete Docter ("Monsters, Inc.", "Up"), Andrew Stanton ("Finding Nemo", "WALL-E"), Jef Mallett ("Frazz"), and Patrick McDonnell ("Mutts"). The show's score made an equally pervasive impact on viewers who would later perform jazz, among them David Benoit and George Winston. More directly, the special launched a series of Peanuts films, TV specials (many of them holiday-themed) and other works of entertainment.


title: A Charlie Brown Christmas

text: Linus' speech near the end of the special was used in the Sidewalk Prophets Christmas song "What a Glorious Night".


title: A Charlie Brown Christmas

text: In 2013, Tams-Witmark Music Library, Inc. began licensing an official stage version of the television special authorized by the Schulz family and Lee Mendelson. The stage version follows the television special but includes an optional sing-along section of Christmas songs at the end. It includes all of Vince Guaraldi's music from the television special and the television script is adapted for the stage by Eric Schaeffer. It has been performed at hundreds of schools, churches and community theatres.


title: A Charlie Brown Christmas

text: The popularity of the special practically eliminated the popularity of the aluminum Christmas tree, which was a fad from 1958 to 1965, when the special portrayed it negatively. By 1967, just two years after the special first aired, they were no longer being regularly manufactured.


title: A Charlie Brown Christmas

text: The "Charlie Brown Christmas Tree" has been used to comedic effect with people familiar with the special and has become synonymous with poorly executed or minimalist Christmas decorating. A model of the tree is offered by various retailers.


title: Ajit Pawar

text: Ajit Anantrao Pawar (Marathi pronunciation: ]; born 22 July 1959) is an Indian politician. He is the Leader of the Opposition in Maharashtra Legislative Assembly, and was the 8th Deputy Chief Minister of Maharashtra in his latest stint as a minister. He was guardian minister for the District of Pune, India.


title: Ajit Pawar

text: He is a member of the Maharashtra Legislative Assembly representing Baramati constituency. He is the nephew of Sharad Pawar, chief of Nationalist Congress Party. Besides being the Deputy Chief Minister of Maharashtra, he was also the Finance Minister of Maharashtra.


title: Ajit Pawar

text: Pawar was born on 22 July 1959 at his grandfather's place in Deolali Pravara, Ahmednagar district. He completed his schooling in Deolali Pravara. He hails from the village of Katevadi in Baramati taluka, Pune district. He is nephew of the Nationalist Congress Party President, Sharad Pawar. Pawar is son of Sharad Pawar's elder brother, Anantrao Pawar. Anantrao had initially worked for renowned film maker V.Shantaram's Rajkamal Studios in Mumbai. Pawar's grandfather, Govindrao Pawar, was employed with Baramati Co-operative trading and his grandmother looked after the family farm.


title: Ajit Pawar

text: Pawar was pursuing a college degree; however, due to the death of his father, he dropped out to help take care of his family. He is educated up to Secondary school level and holds the Secondary School Certificate (SSC) from the Maharashtra State Board.


title: Ajit Pawar

text: While Pawar was pursuing his primary education at "Deolali Pravara", his uncle, Sharad Pawar was a rising political figure in the ruling Congress party. Pawar moved to then Bombay for more extensive education. Pawar made his foray into politics in 1982, when he was elected to the board of a cooperative sugar factory. He was elected as a chairman of the Pune District Co-operative Bank (PDC) in 1991 and remained in post for 16 years. During this period he was also elected as Member of parliament, Lok Sabha from the Baramati Parliamentary Constituency. He later vacated his Lok Sabha seat in favour of his uncle, Sharad Pawar, who had then become the defence minister in PV Narasimha Rao's government. Later, he was elected as a Member of the Maharashtra Legislative Assembly (MLA) from Baramati Assembly Constituency. Pawar was re-elected from the same constituency in 1995, 1999, 2004, 2009, and 2014.


title: Ajit Pawar

text: He went on to become the Minister of State for Agriculture and Power (June 1991 - November 1992) in Sudhakarrao Naik's government.


title: Ajit Pawar

text: He became the Minister of State for Soil Conservation, Power and Planning (November 1992 - February 1993) when Sharad Pawar returned to the state as the Chief Minister. When the Indian National Congress-NCP coalition came into power in 1999, Pawar was promoted to cabinet minister in the Irrigation Department (October 1999 - December 2003) in Vilasrao Deshmukh's government. He was given additional charge of the Rural Development Department (December 2003 - October 2004) in Sushilkumar Shinde's government.


title: Ajit Pawar

text: When Congress-NCP combination returned to power in 2004, he retained the Water Resources Ministry in Deshmukh's government and later in Ashok Chavan's government.


title: Ajit Pawar

text: On 23 November 2019, Pawar was sworn as Deputy Chief Minister of Maharashtra State with BJP without his party's consent. He submitted paper with signatures of NCP MLAs to Governor of State. He was on the post for less than 80 hours, becoming Deputy CM with the shortest tenure in Devendra Fadnavis led government. On 1 December 2019, it was announced that Pawar would take over as Deputy Chief Minister for the Maha Vikas Aghadi administration after the commencement of the winter session of the state legislature on 16 December.


title: Ajit Pawar

text: There are allegations that, as the minister for water resources, he spared no efforts to help in the development of Lavasa, a project touted as a "vision of Sharad Pawar". The Maharashtra Krishna Valley Development Corporation (MKVDC) leased to Lavasa in August 2002, which included part of the Warasgaon dam reservoir. The lease between MKVDC and Lavasa was executed at rates far below the market rate.


title: Ajit Pawar

text: He told the Indian Election Commission in 2004 that he had financial assets of more than 3 crore Rupees at that time.


title: Ajit Pawar

text: In September 2012, there were accusations that there had been misappropriation of funds amounting to 70,000 Crores. These allegations were made by the Maharashtra bureaucrat, Vijay Pandhare, and caused Anjali Damania to request Pawar's resignation as a minister. However, the allegations were not proven, and he was successfully reinstated as the Deputy Chief Minister of Maharashtra.


title: Ajit Pawar

text: On 7 April 2013, Pawar in an attempt at being comical about his inability to bring waters to the dams, made a controversial statement in a speech at Indapur. Activists were fasting for 55 days in Maharashtra, against the Maharashtra government and their incompetence of not providing relief in the form of water to citizens suffering from the drought. In response to this, in a speech at large crowd gathering, Pawar stated: "If there is no water in the dam ... Should we urinate into it?". Due to the political and media pressure, he publicly apologized for the statement, admitting that the comment was the biggest mistake of his life.


title: Ramya Pandian

text: Ramya Pandian is an Indian actress who works in Tamil-language films. She is known for her role in "Joker" (2016) and "Aan Devathai" (2018). She was listed by the Chennai Times as the "Most Desirable Woman on Television 2020".


title: Ramya Pandian

text: Ramya Pandian received her bachelor's degree in Biomedical Engineering from College of Engineering, Guindy affiliated to Anna University. After graduation, she started working as a Research and Development Analyst before being promoted as a Business Development Manager. She got the opportunity to work with Mani Ratnam's assistant director, Shelley, on a short film title "Maane Theyne Ponmaane". She auditioned and landed a role in Balaji Sakthivel's "Ra Ra Rajasekhar", but the film did not materialise during that time. She subsequently went on to make her acting debut with the low budget "Dummy Tappasu" (2015). The team of "Ra Ra Rajasekhar" recommended her to Raju Murugan who subsequently signed her up for "Joker" (2016). She played a village belle in the film.


title: Ramya Pandian

text: Samuthirakani appreciated Ramya's performance in "Joker" and asked her if she was interested in doing a role in "Aan Devathai" (2018) as a mother who works for an IT company. Ramya agreed to do the film after listening to the story. In a review of the film, a critic from "India Today" noted that "Ramya Pandian is mostly convincing as the mother of two, struggling to balance between being a mother and pursuing her career".


title: Ramya Pandian

text: She was a contestant on the cooking show, "Cooku with Comali" and a judge on the comedy television show, "Kalakka Povathu Yaaru". She was the second runner-up in "Cooku with Comali". In 2020, she had participated as a contestant in the fourth season of the reality show "Bigg Boss Tamil," making her a household name. She was the only female finalist and emerged as the 2nd Runner-Up. She played the female lead in the web series "Mugilan", which released on ZEE5 in October 2020. Her upcoming projects include a film produced by Suriya's 2D Entertainment and a film produced by C. V. Kumar's Thirukumaran Entertainment.


title: Ramya Pandian

text: Ramya Pandian is the daughter of former film director Durai Pandian, and niece of actor Arun Pandian, who works in Tamil-language films. Her family is from Tirunelveli. She has mentioned her interest in organic gardening.


title: Boots theory

text: The Sam Vimes "Boots" theory of socioeconomic unfairness, often called simply the boots theory, is an economic theory first popularised by English fantasy writer Terry Pratchett in his 1993 "Discworld" novel "Men at Arms". In the novel, Sam Vimes, the captain of the Ankh-Morpork City Watch, reasons that poverty causes greater expenses to the poor than to those who are richer. Since its publication, the theory has received wider attention, especially in regard to the effect of increasing prices of daily necessities.


title: Boots theory

text: In the "Discworld" series of novels, Sam Vimes is the curmudgeonly but incorruptible captain of the City Watch of the medieval city-state of Ankh-Morpork. The boots theory comes from a passage of the 1993 novel "Men at Arms", the second novel to focus on the City Watch, in which he muses about his experiences of poverty as compared to his fiancée Lady Sybil Ramkin's conception of poverty:


title: Boots theory

text: The theory has its antecedents; in Robert Tressell's 1914 novel "The Ragged-Trousered Philanthropists", protagonist Frank Owen directly refers to clothes and boots as necessities where the total cost over time is greater for the working classes, as "[they] can seldom or never afford to buy good things" and therefore must "buy cheap rubbish, which is dear at any price". Likewise, in a 1954 column for "The Observer", humourist Paul Jennings made similar comments about boots, and the adage "buy cheap, buy twice" has sustained itself as a Northern English adage. It has thus been theorized that Pratchett drew inspiration from these antecedents.


title: Boots theory

text: article by the US ConsumerAffairs made reference to the theory in regard to purchasing items on credit, specifically regarding children's boots from the retailer Fingerhut; a $25 pair of boots, at the interest rates being offered, would cost $37 if purchased over seven months. In 2016, the left-wing blog "Dorset Eye" also ran an article discussing the theory, giving fuel poverty in the United Kingdom as an example of its application, citing a 2014 Office for National Statistics (ONS) report that those who pre-paid for electricity—who were most likely to be subject to fuel poverty—paid 8% more on their electricity bills than those who paid by direct debit.


title: Boots theory

text: In an article titled "The Price of Poverty" published in "Tribune Magazine" Vimes' Boots Theory was cited as explaining the economic predicament in the U.K. and multiple examples of the theory were listed in action. The article states "wages aren’t driving inflation. They’re barely keeping up. Despite record job vacancies and low unemployment, wage growth fell by 4.5% in April, the fastest decline since records began in 2001. Workers have, in reality, experienced the biggest cut in real wages in 20 years."


title: Boots theory

text: Inspired by Boots theory, antipoverty activist and food journalist Jack Monroe announced in January 2022 in an opinion piece for "The Guardian" her own attempt to measure its effect on prices through the creation of the "Vimes Boots Index" (VBI) tracking the prices of cheapest available foods, as opposed to the ONS's official Consumer Price Index (CPI) and Retail Price Index (RPI). Writing in the context of the official CPI reaching 5.4 per cent, Monroe argued that this did not properly reflect the priorities of the average consumer; in particular she cited items in the ONS's 700-item "basket" including legs of lamb, televisions, and champagnewhose lower rises in price, she argued, had the effect of depressing the effective cost of inflation. Monroe also cited the withdrawal of many value-branded items from supermarketsfor example, a packet of ten stock cubes from Sainsbury's rising from 10p in 2012 to 39p (for beef and chicken) or £1 (for vegetable) in 2022as contributing to increased food poverty. The estate of Pratchett, who died in 2015, gave its full support to Monroe's campaign, quoting Pratchett to say, "Sometimes it's better to light a flamethrower than curse the darkness."


title: Boots theory

text: Shortly after Monroe's announcement, the ONS stated they were going to calculate inflation rates that took income into account. The ONS's head of inflation statistics, Mike Hardie, wrote in a blog post on the department's website that "the average annual rate of inflation can conceal a lot", and agreed that some items analysed in its basketsuch as fruit drinks and margarinehad experienced annual price increases of over 30 per cent, and in some cases, over 100 per cent.


title: Electric Lady Studios

text: Electric Lady Studios is a recording studio in Greenwich Village, New York City. It was commissioned by rock musician Jimi Hendrix in 1968 and designed by architect John Storyk and audio engineer Eddie Kramer by 1970. Hendrix spent only ten weeks recording in Electric Lady before his death that year, but it quickly became a famed studio used by many top-selling recording artists from the 1970s onwards, including Led Zeppelin, Stevie Wonder, and David Bowie.


title: Electric Lady Studios

text: At the turn of the 21st century, Electric Lady served as a home for the innovative Soulquarians collective, but fell into financial hardship and disarray in the 2000s. Taken over and renovated by investor Keith Stoltz and studio manager Lee Foster, the studio returned to form as a popular location for mainstream artists of the 2010s, such as U2, Taylor Swift, and Lady Gaga.


title: Electric Lady Studios

text: Before it became Electric Lady Studios, the building housed The Village Barn nightclub from 1930 to 1967. Abstract expressionist artist Hans Hofmann began lecturing there in 1938, two decades before he turned to painting full-time.


title: Electric Lady Studios

text: In 1968, Jimi Hendrix and his manager Michael Jeffery bought the Generation, a newly defunct nightclub in New York's Greenwich Village. Hendrix had frequently joined jam sessions at the venue, which had hosted acts as diverse and legendary as Big Brother & the Holding Company, B.B. King, Chuck Berry, Dave Van Ronk, Sly & the Family Stone, and John Fahey. Hendrix had planned to resuscitate the nightclub, but was persuaded by advisors Eddie Kramer and Jim Marron to convert the space into a professional recording studio. Studio fees for the lengthy "Electric Ladyland" sessions were astronomical, and Hendrix was constantly in search of a recording environment that suited him.


title: Electric Lady Studios

text: Architect and acoustician John Storyk oversaw the conversion. Construction of the studio took nearly double the time and money planned. Permits were delayed numerous times, the site flooded due to heavy rains during demolition, and sump pumps had to be installed (then soundproofed) after the building was found to be atop a tributary of an underground river, Minetta Creek. A six-figure loan from Warner Brothers was required to save the project.


title: Electric Lady Studios

text: When completed, it was the only artist-owned recording studio in existence. The studio was made specifically for Hendrix, with round windows and a machine to generate ambient lighting in myriad colors. It was designed to have a relaxing feel to encourage Hendrix's creativity, but also provide a professional recording atmosphere. Engineer Kramer forbade drug use during session work. Artist Lance Jost painted the studio in a psychedelic space theme. Jimi Hendrix hired Marron to manage the construction project and run the studio.


title: Electric Lady Studios

text: Hendrix spent only ten weeks recording in Electric Lady, most of which during the final phases of construction were still occurring. His last studio recording, a new solo demo for "Belly Button Window", was recorded on August 22. The last mix session with Eddie Kramer took place on August 24 on "Freedom", "Night Bird Flying", "Dolly Dagger" and "Belly Button Window". An opening party was held on August 26, 1970. Hendrix then boarded an Air India flight for London to perform at the Isle of Wight Festival; he died less than three weeks later.


title: Electric Lady Studios

text: In the following three decades, many popular artists recorded albums at Electric Lady. "From its inception, [Hendrix']s mother ship served as a rock, funk, disco and soul Olympus where gold and platinum hits were forged", Liesl Schillinger wrote in "The Wall Street Journal."


title: Electric Lady Studios

text: Stevie Wonder used the studio extensively in the 1970s, when it became what he described as "the self-contained universe" for his work, wanting to depart from the "baby love" sound of his 1960s Motown recordings and "get as weird as possible". Among his recordings there were the 1972 albums "Music of My Mind" and "Talking Book".


title: Electric Lady Studios

text: Others users included Led Zeppelin, Lou Reed, the Rolling Stones, and Blondie. In 1971, Gene Simmons and Paul Stanley, then with the New York rock band Wicked Lester, recorded demos at the studio. They returned a few years later to record Kiss's 1975 album "Dressed to Kill".


title: Electric Lady Studios

text: In 1975, John Lennon and David Bowie held an improvisatory session at the studio that produced Bowie's hit single "Fame" for his "Young Americans" album. That same year, Patti Smith used the studio to record her debut album, "Horses". In 1978, Nile Rodgers took his band Chic to Electric Lady and recorded the hit single "Le Freak". In 1981, The Waitresses recorded their holiday hit "Christmas Wrapping" there.


title: Electric Lady Studios

text: "The enchantment held through the '80s and '90s, as AC/DC and the Clash showed up, then Billy Idol, the Cars, Weezer and Santana", Schillinger wrote. "The house that Jimi built welcomed them all."


title: Electric Lady Studios

text: From 1997 to the early 2000s, the Soulquarians, an experimental black music collective, held jam sessions and recorded albums at the studio, often drawing on the influence of Hendrix and Wonder's recordings. The period began in 1997, when the singer D'Angelo and drummer-producer Questlove (of The Roots) prepared to record "Voodoo" (2000). Their sessions at the studio over the next five years produced the Roots' albums "Things Fall Apart" (1999) and "Phrenology" (2002), singer Erykah Badu's second album "Mama's Gun" (2000), rapper Common's "Like Water for Chocolate" (2000) and "Electric Circus" (2002), and singer Bilal's debut album "1st Born Second" (2001).


title: Electric Lady Studios

text: Questlove often acted as the director behind the sessions. "I tried to do all in my power that I could to bring people together – to bring Common to Electric Lady, have him record here whenever so that he could record with some of these other artists," he said in 2002. "You'd just come into [the studio's] A Room, you don't even know who has a session, but you call me: 'Who's down there?' 'Common's in there today.' So you come down, you order some food, sit down and bullshit, watch a movie, and then it's, 'Let's play something.' And I say, 'Who wants this [track]?' And it would be, 'I want it!' 'No, I want it!'"


title: Electric Lady Studios

text: Eventually, the Soulquarians' period at the studio ended, in part because labels declined to release the experimental music it was producing. Bilal held improvisatory jam sessions at the studio for his second album, "Love for Sale", which the label hesitated to release, and then shelved after it leaked. Common's similarly experimental "Electric Circus" sold disappointingly, which discouraged his and the Roots' shared label, MCA Records, from letting the artistically free environment at the studio continue.


title: Electric Lady Studios

text: Producer Mark Ronson, who often visited Electric Lady during the "Soulquarian" period, said in 2015 that the studio's "glory-days era had sort of ended". Schillinger wrote that "after the Soulquarians had departed, the place had gone further downhill."


title: Electric Lady Studios

text: After years of financial hardship, the studio was taken over by investor Keith Stoltz and studio manager Lee Foster in 2010. They renovated and expanded the studio, adding a new mixing studio the second floor and turning the third into a self-contained unit including Studio C, a private lounge, and another mixing suite.


title: Electric Lady Studios

text: The studio has since been used by popular recording artists, such as Kanye West. Adele, Jay-Z, Keith Richards (for the 2011 expanded reissue of the Stones' "Some Girls" LP), Daft Punk (for their 2013 album "Random Access Memories"), and U2 (for their 2014 album "Songs of Innocence"). Mixing engineer Tom Elmhirst held a residency in Studio C, where in 2014 he mixed the Beck album "Morning Phase;" he has commented on the pace of work by saying "this place is a beating heart". Schillinger wrote in 2015 that "one day last winter, seven sessions proceeded simultaneously, including: Interpol in Studio A; Jon Batiste (the bandleader for "The Late Show with Stephen Colbert") in Studio B's live room; and Lana Del Rey, Rod Stewart and producer and singer-guitarist Dan Auerbach of the Black Keys all working on the third floor."


title: Electric Lady Studios

text: On December 7, 2020, the band Bleachers, who had recorded the song "Chinatown" at the studio, released a performance video filmed on the roof of the building with Bruce Springsteen.


title: Instructional design

text: Instructional design (ID), also known as instructional systems design (ISD), is the practice of systematically designing, developing and delivering instructional materials and experiences, both digital and physical, in a consistent and reliable fashion toward an efficient, effective, appealing, engaging and inspiring acquisition of knowledge. The process consists broadly of determining the state and needs of the learner, defining the end goal of instruction, and creating some "intervention" to assist in the transition. The outcome of this instruction may be directly observable and scientifically measured or completely hidden and assumed. There are many instructional design models but many are based on the ADDIE model with the five phases: analysis, design, development, implementation, and evaluation.


title: Instructional design

text: Robert M. Gagné is considered one of the founders of ISD due to the great influence his work, "The Conditions of Learning", has had on the discipline.


title: Instructional design

text: As a field, instructional design is historically and traditionally rooted in cognitive and behavioral psychology, though recently constructivism has influenced thinking in the field. This can be attributed to the way it emerged during a period when the behaviorist paradigm was dominating American psychology. There are also those who cite that, aside from behaviorist psychology, the origin of the concept could be traced back to systems engineering. While the impact of each of these fields is difficult to quantify, it is argued that the language and the "look and feel" of the early forms of instructional design and their progeny were derived from this engineering discipline. Specifically, they were linked to the training development model used by the U.S. military, which were based on systems approach and was explained as "the idea of viewing a problem or situation in its entirety with all its ramifications, with all its interior interactions, with all its exterior connections and with full cognizance of its place in its context."


title: Instructional design

text: The role of systems engineering in the early development of instructional design was demonstrated during World War II when a considerable amount of training materials for the military were developed based on the principles of instruction, learning, and human behavior. Tests for assessing a learner's abilities were used to screen candidates for the training programs. After the success of military training, psychologists began to view training as a system and developed various analysis, design, and evaluation procedures. In 1946, Edgar Dale outlined a hierarchy of instructional methods, organized intuitively by their concreteness. The framework first migrated to the industrial sector to train workers before it finally found its way to the education field.


title: Instructional design

text: B. F. Skinner's 1954 article ""The Science of Learning and the Art of Teaching"" suggested that effective instructional materials, called programmed instructional materials, should include small steps, frequent questions, and immediate feedback; and should allow self-pacing. Robert F. Mager popularized the use of learning objectives with his 1962 article ""Preparing Objectives for Programmed Instruction"". The article describes how to write objectives including desired behavior, learning condition, and assessment.


title: Instructional design

text: In 1956, a committee led by Benjamin Bloom published an influential taxonomy with three domains of learning: cognitive (what one knows or thinks), psychomotor (what one does, physically) and affective (what one feels, or what attitudes one has). These taxonomies still influence the design of instruction.


title: Instructional design

text: Robert Glaser introduced "criterion-referenced measures" in 1962. In contrast to norm-referenced tests in which an individual's performance is compared to group performance, a criterion-referenced test is designed to test an individual's behavior in relation to an objective standard. It can be used to assess the learners' entry level behavior, and to what extent learners have developed mastery through an instructional program.


title: Instructional design

text: In 1965, Robert Gagné (see below for more information) described three domains of learning outcomes (cognitive, affective, psychomotor), five learning outcomes (Verbal Information, Intellectual Skills, Cognitive Strategy, Attitude, Motor Skills), and nine events of instruction in ""The Conditions of Learning"", which remain foundations of instructional design practices. Gagne's work in learning hierarchies and hierarchical analysis led to an important notion in instruction – to ensure that learners acquire prerequisite skills before attempting superordinate ones.


title: Instructional design

text: In 1967, after analyzing the failure of training material, Michael Scriven suggested the need for formative assessment – e.g., to try out instructional materials with learners (and revise accordingly) before declaring them finalized.


title: Instructional design

text: During the 1970s, the number of instructional design models greatly increased and prospered in different sectors in military, academia, and industry. Many instructional design theorists began to adopt an information-processing-based approach to the design of instruction. David Merrill for instance developed Component Display Theory (CDT), which concentrates on the means of presenting instructional materials (presentation techniques).


title: Instructional design

text: Although interest in instructional design continued to be strong in business and the military, there was little evolution of ID in schools or higher education.


title: Instructional design

text: However, educators and researchers began to consider how the personal computer could be used in a learning environment or a learning space. PLATO (Programmed Logic for Automatic Teaching Operation) is one example of how computers began to be integrated into instruction. Many of the first uses of computers in the classroom were for "drill and skill" exercises. There was a growing interest in how cognitive psychology could be applied to instructional design.


title: Instructional design

text: The influence of constructivist theory on instructional design became more prominent in the 1990s as a counterpoint to the more traditional cognitive learning theory. Constructivists believe that learning experiences should be "authentic" and produce real-world learning environments that allow learners to construct their own knowledge. This emphasis on the learner was a significant departure away from traditional forms of instructional design.


title: Instructional design

text: Performance improvement was also seen as an important outcome of learning that needed to be considered during the design process. The World Wide Web emerged as an online learning tool with hypertext and hypermedia being recognized as good tools for learning. As technology advanced and constructivist theory gained popularity, technology's use in the classroom began to evolve from mostly drill and skill exercises to more interactive activities that required more complex thinking on the part of the learner. Rapid prototyping was first seen during the 1990s. In this process, an instructional design project is prototyped quickly and then vetted through a series of try and revise cycles. This is a big departure from traditional methods of instructional design that took far longer to complete.


title: Instructional design

text: Online learning became common. Technology advances permitted sophisticated simulations with authentic and realistic learning experiences.


title: Instructional design

text: In 2008, the Association for Educational Communications and Technology (AECT) changed the definition of Educational Technology to "the study and ethical practice of facilitating learning and improving performance by creating, using, and managing appropriate technological processes and resources".


title: Instructional design

text: Academic degrees focused on integrating technology, internet, and human–computer interaction with education gained momentum with the introduction of Learning Design and Technology (LDT) majors. Universities such as Bowling Green State University, Penn State, Purdue, San Diego State University, Stanford, Harvard University of Georgia, California State University, Fullerton and Carnegie Mellon University have established undergraduate and graduate degrees in technology-centered methods of designing and delivering education.


title: Instructional design

text: Informal learning became an area of growing importance in instructional design, particularly in the workplace. A 2014 study showed that formal training makes up only 4 percent of the 505 hours per year an average employee spends learning. It also found that the learning output of informal learning is equal to that of formal training. As a result of this and other research, more emphasis was placed on creating knowledge bases and other supports for self-directed learning.


title: Instructional design

text: Robert Gagné's work is widely used and cited in the design of instruction, as exemplified by more than 130 citations in prominent journals in the field during the period from 1985 through 1990. Synthesizing ideas from behaviorism and cognitivism, he provided a clear template, which is easy to follow for designing instructional events. Instructional designers who follow Gagné's theory will likely have tightly focused, efficient instruction.


title: Instructional design

text: Robert Gagné classified the types of learning outcomes by asking how learning might be demonstrated. His domains and outcomes of learning correspond to standard verbs.


title: Instructional design

text: According to Gagné, learning occurs in a series of nine learning events, each of which is a condition for learning which must be accomplished before moving to the next in order. Similarly, instructional events should mirror the learning events:


title: Instructional design

text: Some educators believe that Gagné's taxonomy of learning outcomes and events of instruction oversimplify the learning process by over-prescribing. However, using them as part of a complete instructional package can assist many educators in becoming more organized and staying focused on the instructional goals.


title: Instructional design

text: Robert Gagné's work has been the foundation of instructional design since the beginning of the 1960s when he conducted research and developed training materials for the military. Among the first to coin the term "instructional design", Gagné developed some of the earliest instructional design models and ideas. These models have laid the groundwork for more present-day instructional design models from theorists like Dick, Carey, and Carey (The Dick and Carey Systems Approach Model), Jerold Kemp's Instructional Design Model, and David Merrill (Merrill's First Principle of Instruction). Each of these models are based on a core set of learning phases that include (1) activation of prior experience, (2) demonstration of skills, (3) application of skills, and (4) integration or these skills into real world activities.


title: Instructional design

text: Gagné's main focus for instructional design was how instruction and learning could be systematically connected to the design of instruction. He emphasized the design principles and procedures that need to take place for effective teaching and learning. His initial ideas, along with the ideas of other early instructional designers were outlined in "Psychological Principles in Systematic Development", written by Roberts B. Miller and edited by Gagné. Gagné believed in internal learning and motivation which paved the way for theorists like Merrill, Li, and Jones who designed the Instructional Transaction Theory, Reigeluth and Stein's Elaboration Theory, and most notably, Keller's ARCS Model of Motivation and Design.


title: Instructional design

text: Prior to Robert Gagné, learning was often thought of as a single, uniform process. There was little or no distinction made between "learning to load a rifle and learning to solve a complex mathematical problem". Gagné offered an alternative view which developed the idea that different learners required different learning strategies. Understanding and designing instruction based on a learning style defined by the individual brought about new theories and approaches to teaching.


title: Instructional design

text: Gagné 's understanding and theories of human learning added significantly to understanding the stages in cognitive processing and instructions. For example, Gagné argued that instructional designers must understand the characteristics and functions of short-term and long-term memory to facilitate meaningful learning. This idea encouraged instructional designers to include cognitive needs as a top-down instructional approach.


title: Instructional design

text: Gagné (1966) defines curriculum as a sequence of content units arranged in such a way that the learning of each unit may be accomplished as a single act, provided the capabilities described by specified prior units (in the sequence) have already been mastered by the learner.


title: Instructional design

text: His definition of curriculum has been the basis of many important initiatives in schools and other educational environments. In the late 1950s and early 1960s, Gagné had expressed and established an interest in applying theory to practice with particular interest in applications for teaching, training and learning. Increasing the effectiveness and efficiency of practice was of particular concern. His ongoing attention to practice while developing theory continues to influence education and training.


title: Instructional design

text: Gagné's work has had a significant influence on American education, and military and industrial training. Gagné was one of the early developers of the concept of instructional systems design which suggests the components of a lesson can be analyzed and should be designed to operate together as an integrated plan for instruction. In "Educational Technology and the Learning Process" (Educational Researcher, 1974), Gagné defined instruction as "the set of planned external events which influence the process of learning and thus promote learning".


title: Instructional design

text: The concept of learning design arrived in the literature of technology for education in the late 1990s and early 2000s with the idea that "designers and instructors need to choose for themselves the best mixture of behaviourist and constructivist learning experiences for their online courses". But the concept of learning design is probably as old as the concept of teaching. Learning design might be defined as "the description of the teaching-learning process that takes place in a unit of learning (e.g., a course, a lesson or any other designed learning event)".


title: Instructional design

text: Perhaps the most common model used for creating instructional materials is the ADDIE Model. This acronym stands for the 5 phases contained in the model (Analyze, Design, Develop, Implement, and Evaluate).


title: Instructional design

text: Brief History of ADDIE's Development – The ADDIE model was initially developed by Florida State University to explain "the processes involved in the formulation of an instructional systems development (ISD) program for military interservice training that will adequately train individuals to do a particular job and which can also be applied to any interservice curriculum development activity." The model originally contained several steps under its five original phases (Analyze, Design, Develop, Implement, and [Evaluation and] Control), whose completion was expected before movement to the next phase could occur. Over the years, the steps were revised and eventually the model itself became more dynamic and interactive than its original hierarchical rendition, until its most popular version appeared in the mid-80s, as we understand it today.


title: Instructional design

text: Analyze – The first phase of content development is Analysis. Analysis refers to the gathering of information about one's audience, the tasks to be completed, how the learners will view the content, and the project's overall goals. The instructional designer then classifies the information to make the content more applicable and successful.


title: Instructional design

text: Design – The second phase is the Design phase. In this phase, instructional designers begin to create their project. Information gathered from the analysis phase, in conjunction with the theories and models of instructional design, is meant to explain how the learning will be acquired. For example, the design phase begins with writing a learning objective. Tasks are then identified and broken down to be more manageable for the designer. The final step determines the kind of activities required for the audience in order to meet the goals identified in the Analyze phase.


title: Instructional design

text: Develop – The third phase, Development, involves the creation of the activities that will be implemented. It is in this stage that the blueprints of the design phase are assembled.


title: Instructional design

text: Implement – After the content is developed, it is then Implemented. This stage allows the instructional designer to test all materials to determine if they are functional and appropriate for the intended audience.


title: Instructional design

text: Evaluate – The final phase, Evaluate, ensures the materials achieved the desired goals. The evaluation phase consists of two parts: formative and summative assessment. The ADDIE model is an iterative process of instructional design, which means that at each stage the designer can assess the project's elements and revise them if necessary. This process incorporates formative assessment, while the summative assessments contain tests or evaluations created for the content being implemented. This final phase is vital for the instructional design team because it provides data used to alter and enhance the design.


title: Instructional design

text: Connecting all phases of the model are external and reciprocal revision opportunities. As in the internal Evaluation phase, revisions should and can be made throughout the entire process.


title: Instructional design

text: Proponents suggest that through an iterative process the verification of the design documents saves time and money by catching problems while they are still easy to fix. This approach is not novel to the design of instruction, but appears in many design-related domains including software design, architecture, transportation planning, product development, message design, user experience design, etc. In fact, some proponents of design prototyping assert that a sophisticated understanding of a problem is incomplete without creating and evaluating some type of prototype, regardless of the analysis rigor that may have been applied up front. In other words, up-front analysis is rarely sufficient to allow one to confidently select an instructional model. For this reason many traditional methods of instructional design are beginning to be seen as incomplete, naive, and even counter-productive.


title: Instructional design

text: However, some consider rapid prototyping to be a somewhat simplistic type of model. As this argument goes, at the heart of Instructional Design is the analysis phase. After you thoroughly conduct the analysis—you can then choose a model based on your findings. That is the area where most people get snagged—they simply do not do a thorough-enough analysis. (Part of Article By Chris Bressi on LinkedIn)


title: Instructional design

text: Another well-known instructional design model is the Dick and Carey Systems Approach Model. The model was originally published in 1978 by Walter Dick and Lou Carey in their book entitled "The Systematic Design of Instruction".


title: Instructional design

text: Dick and Carey made a significant contribution to the instructional design field by championing a systems view of instruction, in contrast to defining instruction as the sum of isolated parts. The model addresses instruction as an entire system, focusing on the interrelationship between context, content, learning and instruction. According to Dick and Carey, "Components such as the instructor, learners, materials, instructional activities, delivery system, and learning and performance environments interact with each other and work together to bring about the desired student learning outcomes". The components of the Systems Approach Model, also known as the Dick and Carey Model, are as follows:


title: Instructional design

text: The instructional design model, Guaranteed Learning, was formerly known as the Instructional Development Learning System (IDLS). The model was originally published in 1970 by Peter J. Esseff, PhD and Mary Sullivan Esseff, PhD in their book entitled "IDLS—Pro Trainer 1: How to Design, Develop, and Validate Instructional Materials".


title: Instructional design

text: Peter (1968) & Mary (1972) Esseff both received their doctorates in Educational Technology from the Catholic University of America under the mentorship of Dr. Gabriel Ofiesh, a founding father of the Military Model mentioned above. Esseff and Esseff synthesized existing theories to develop their approach to systematic design, "Guaranteed Learning" aka "Instructional Development Learning System" (IDLS). In 2015, the Drs. Esseffs created an eLearning course to enable participants to take the GL course online under the direction of Dr. Esseff.


title: Instructional design

text: Other useful instructional design models include: the Smith/Ragan Model, the Morrison/Ross/Kemp Model and the OAR Model of instructional design in higher education, as well as, Wiggins' theory of backward design.


title: Instructional design

text: Learning theories also play an important role in the design of instructional materials. Theories such as behaviorism, constructivism, social learning and cognitivism help shape and define the outcome of instructional materials.


title: Instructional design

text: Also see: Managing Learning in High Performance Organizations, by Ruth Stiehl and Barbara Bessey, from The Learning Organization, Corvallis, Oregon. .


title: Instructional design

text: Motivation is defined as an internal drive that activates behavior and gives it direction. The term motivation theory is concerned with the process that describes why and how human behavior is activated and directed.


title: Instructional design

text: has devoted his career to researching and understanding motivation in instructional systems. These decades of work constitute a major contribution to the instructional design field. First, by applying motivation theories systematically to design theory. Second, in developing a unique problem-solving process he calls the ARCS Motivation...


title: Instructional design

text: The ARCS Model of Motivational Design was created by John Keller while he was researching ways to supplement the learning process with motivation. The model is based on Tolman's and Lewin's expectancy-value theory, which presumes that people are motivated to learn if there is value in the knowledge presented (i.e. it fulfills personal needs) and if there is an optimistic expectation for success. The model consists of four main areas: Attention, Relevance, Confidence, and Satisfaction.


title: Instructional design

text: Attention and relevance according to John Keller's ARCS motivational theory are essential to learning. The first 2 of 4 key components for motivating learners, attention, and relevance can be considered the backbone of the ARCS theory, the latter components relying upon the former.


title: Instructional design

text: The attention mentioned in this theory refers to the interest displayed by learners in taking in the concepts/ideas being taught. This component is split into three categories: perceptual arousal, using surprise or uncertain situations; inquiry arousal, offering challenging questions and/or problems to answer/solve; and variability, using a variety of resources and methods of teaching. Within each of these categories, John Keller has provided further sub-divisions of types of stimuli to grab attention. Grabbing attention is the most important part of the model because it initiates the motivation for the learners. Once learners are interested in a topic, they are willing to invest their time, pay attention, and find out more.


title: Instructional design

text: Relevance, according to Keller, must be established by using language and examples that the learners are familiar with. The three major strategies Keller presents are goal-oriented, motive matching, and familiarity. Like the Attention category, Keller divided the three major strategies into subcategories, which provide examples of how to make a lesson plan relevant to the learner. Learners will throw concepts to the wayside if their attention cannot be grabbed and sustained and if relevance is not conveyed.


title: Instructional design

text: The confidence aspect of the ARCS model focuses on establishing positive expectations for achieving success among learners. The confidence level of learners is often correlated with motivation and the amount of effort put forth in reaching a performance objective. For this reason, it's important that learning design provides students with a method for estimating their probability of success. This can be achieved in the form of a syllabus and grading policy, rubrics, or a time estimate to complete tasks. Additionally, confidence is built when positive reinforcement for personal achievements is given through timely, relevant feedback.


title: Instructional design

text: Finally, learners must obtain some type of satisfaction or reward from a learning experience. This satisfaction can be from a sense of achievement, praise from a higher-up, or mere entertainment. Feedback and reinforcement are important elements and when learners appreciate the results, they will be motivated to learn. Satisfaction is based upon motivation, which can be intrinsic or extrinsic. To keep learners satisfied, instruction should be designed to allow them to use their newly learned skills as soon as possible in as authentic a setting as possible.


title: Instructional design

text: Along with the motivational components (Attention, Relevance, Confidence, and Satisfaction) the ARCS model provides a process that can address motivational problems. This process has 4 phases (Analysis, Design, Development, and Evaluation) with 10 steps within the phases:


title: Instructional design

text: Includes reviewing the description of the course, the instructor, and way of delivery the information.


title: Instructional design

text: Includes collecting the current skill level, attitudes towards the course, attitudes towards the teacher, attitudes towards the school.


title: Instructional design

text: Although Keller's ARCS model currently dominates instructional design with respect to learner motivation, in 2006 Hardré and Miller proposed a need for a new design model that includes current research in human motivation, a comprehensive treatment of motivation, integrates various fields of psychology and provides designers the flexibility to be applied to a myriad of situations.


title: Instructional design

text: Hardré proposes an alternate model for designers called the Motivating Opportunities Model or MOM. Hardré's model incorporates cognitive, needs, and affective theories as well as social elements of learning to address learner motivation. MOM has seven key components spelling the acronym 'SUCCESS' – Situational, Utilization, Competence, Content, Emotional, Social, and Systemic.


title: Omnicom Group

text: Omnicom Group Inc. is an American global media, marketing and corporate communications holding company, headquartered in New York City.