title: Housefull (film series)

text: Bala meets Bangdu Maharaj, an effeminate dance teacher who has an affair with Mala. Meena is secretly in love with the brave bodyguard of the three princesses, Dharamputra. Bala helps the two couples get together and enlists their help for uniting him with Madhu. The plan works and Maharaj Surya Singh Rana announces the wedding of Madhu with Bala, Mala with Bangdu Maharaj, and Meena with Dharamputra. However, Suryabhan, Surya Singh Rana's nephew, wants the throne for himself. He kills the brother of Sitamgarh's enemy clan's leader, Gama and frames the three couples for it. On the day of the wedding, Gama storms into the fort and fights them to avenge his brother. During the fight, Bala realises that he now truly loves Madhu, even though initially she was just the path to the throne for him. During the fight, the wedding mandap (altar) collapses and kills the three couples along with Gama.


title: Housefull (film series)

text: Back in the present, Harry realises that the grooms are getting married to the wrong brides. Pasta helps Harry remind Roy and Max of their lives as Bangdu Maharaj and Dharamputra, respectively. Just then, they are introduced to Pappu Rangeela, a qawwali singer and a family friend of the girls. He is the reincarnation of Gama but has no recollection of his past life. Meanwhile, Pasta finds a painting of their past lives' wedding day which shows Bala with Madhu, Bangdu with Mala, and Dharamputra with Meena. Before they can show this painting to the girls to remind them of their past lives, it gets in the hands of Pappu Rangeela and he remembers his life as Gama.


title: Housefull (film series)

text: Pappu crashes the wedding and a fight ensues. The fight makes Pooja and Neha remember everything. Soon, Michael Bhai, now revealed to be the reincarnation of Suryabhan, shows up at the wedding for his money and shoots Gama. Kriti remembers everything when she sees Michael Bhai and also tells everyone that the wedding mandap hadn't collapsed on its own – it was broken down by Suryabhan to kill everyone so that he could be King. Michael Bhai recounts his past life and boasts how he got Gama's brother killed. Pappu Rangeela hears this and pushes Michael Bhai into the collapsing mandap, thus getting his revenge.


title: Housefull (film series)

text: The film ends on a happy note with Harry, Roy and Max getting married to Kriti, Pooja and Neha, thus competing their 600-year-old love story.


title: Housefull (film series)

text: The music is composed by Shankar-Ehsaan-Loy in "first film" and Sajid-Wajid in "second" installment. In "third film", Songs are composed by Sharib-Toshi, Sohail Sen, Mika Singh, Tanishk Bagchi and Millind Gaba. And in "fourth installments", It is composed by Sohail Sen, Farhad Samji and Sandeep Shirodkar.


title: Housefull (film series)

text: The whole movies soundtrack rights are by T-Series due to Nadiadwala Grandson Entertainment's lifetime contract with Bhushan Kumar.


title: Rama Prabha

text: Rama Prabha is an Indian actress who performs in Telugu, Tamil and Hindi films. She has acted in more than 1,400 films and is credited as a character artist who shared screen space with superstars across all generation of South Indian Cinema with a career spanning over six decades. She formed a noted pair on Telugu screen during the 1970s and 1980s with comedian Raja Babu. She acted opposite Nagesh in Shanti Nilayam and many other films from 1968 onwards. She acted in Hindi opposite Mehmood in the movie "Do Phool".


title: Rama Prabha

text: When she was two months old, her aunty adopted her and they shifted to Ooty. Rama's childhood was spent in that place up to 14 years then they shifted to Chennai.


title: Rama Prabha

text: She had adopted her sister's daughter Vijaya Chamundeswari, when she was a 1-year-old child. Vijaya is married to actor Rajendra Prasad


title: Air France Flight 296Q

text: Air France Flight 296Q was a chartered flight of a new Airbus A320-111 operated by Air France for Air Charter International. On 26 June 1988, the plane crashed while making a low pass over Mulhouse–Habsheim Airfield (ICAO airport code LFGB) as part of the Habsheim Air Show. Most of the crash sequence, which occurred in front of several thousand spectators, was caught on video. The cause of the crash has been the source of major controversy.


title: Air France Flight 296Q

text: This particular flight was the A320's first passenger flight (most of those on board were journalists and raffle winners). The low-speed flyover, with landing gear down, was supposed to take place at an altitude of ; instead, the plane performed the flyover at , skimmed the treetops of the forest at the end of the runway (which had not been shown on the airport map given to the pilots) and crashed. All the passengers survived the initial impact, but a woman and two children died from smoke inhalation before they could escape after struggling to unfasten the seatbelt.


title: Air France Flight 296Q

text: Official reports concluded that the pilots flew too low, too slow, failed to see the forest and accidentally flew into it. The captain, Michel Asseline, disputed the report and claimed an error in the fly-by-wire computer prevented him from applying thrust and pulling up. In the aftermath of the crash, there were allegations that investigators had tampered with evidence, specifically the aircraft's flight recorders ("black boxes").


title: Air France Flight 296Q

text: The accident aircraft, an Airbus A320-111, registration F-GFKC, serial number 9, first flew on 6 January 1988 and was delivered to Air France on 23 June, three days prior to its destruction. It was the third A320 delivered to Air France, the launch customer.


title: Air France Flight 296Q

text: Captain Michel Asseline, 44, had been a pilot with Air France for almost twenty years and had the following endorsements: Caravelle; Boeing 707, 727, and 737; and Airbus A300 and A310. He was a highly distinguished pilot with 10,463 flight hours. A training captain since 1979, Asseline was appointed to head the company's A320 training subdivision at the end of 1987. As Air France's technical pilot, he had been heavily involved in test flying the A320 type and had carried out maneuvers beyond normal operational limitations. Asseline had total confidence in the aircraft's computer systems.


title: Air France Flight 296Q

text: First Officer Pierre Mazières, 45, had been flying with the airline since 1969 and had been a training captain for six years. He was endorsed on the Caravelle, Boeing 707 and 737, and had qualified as an A320 captain three months before the accident. Mazières had 10,853 hours of flight time.


title: Air France Flight 296Q

text: At the time of the incident, only three of the new aircraft type had been delivered to Air France, and the newest one (in service for two days) had been chosen for the flyover.


title: Air France Flight 296Q

text: The aircraft was to fly from Charles de Gaulle Airport to Basel–Mulhouse Airport for a press conference. Then, sightseeing charter passengers would board and the aircraft would fly the short distance to the small Mulhouse–Habsheim Airfield. The captain would make a low-level fly-pass over Runway 02, climb up and turn back, and repeat the fly-pass over the same runway in the reciprocal direction (Runway 20). This would be followed by a sightseeing trip south to Mont Blanc before the passengers would be returned to Basel–Mulhouse Airport. Finally, the aircraft would return to Paris.


title: Air France Flight 296Q

text: The pilots had each had a busy weekend and did not receive the flight plan until the morning of the flight. They received no verbal details about the flyover or the aerodrome itself.


title: Air France Flight 296Q

text: The flight plan was that as the flight approached the airfield, the pilot would extend third-stage flap, lower the landing gear, and line up for level flight at . The captain would slow the aircraft to its minimum flying speed with maximum angle of attack, disable the "alpha floor" (the function that would otherwise automatically increase engine thrust when the angle of attack reached 15°) and rely on the first officer to adjust the engine thrust manually to maintain 100 feet. After the first pass, the first officer would then apply the takeoff/go-around switch (TOGA) power and climb steeply before turning back for the second pass. "I've done it twenty times!" Asseline assured his first officer. The flyover had been approved by Air France's Air Operations Directorate and Flight Safety Department, and air traffic control and Basel tower had been informed.


title: Air France Flight 296Q

text: Habsheim aerodrome was too small to be listed in the aircraft's flight computer, thereby requiring a visual approach; both pilots were also unfamiliar with the airfield when they began their descent from only from the field. This distance was too short for them to stabilise the aircraft's altitude and speed for the flyover. Additionally, the captain was expecting from the flight plan to do the pass over runway 02 ( long, paved) and was preparing for that alignment. But as the aircraft approached the field, the flight deck crew noticed that the spectators were gathered beside runway 34R ( long, grass). This last-minute deviation in the approach further distracted the crew from stabilising the aircraft's altitude and they quickly dropped to .


title: Air France Flight 296Q

text: From higher up, the forest at the end of 34R had looked like a different type of grass. But now that the aircraft was performing its flyover at only thirty feet, the crew noticed the aircraft was lower than the now-identified hazard that they were fast approaching. The cockpit voice recorder recorded the first officer's call:


title: Air France Flight 296Q

text: The crew applied full power and Asseline attempted to climb. However, the elevators did not respond to the pilot's commands because the A320's computer system engaged its "alpha protection" mode (meant to prevent the aircraft from entering a stall). Less than five seconds later, the turbines began ingesting leaves and branches as the aircraft skimmed the tops of the trees. The combustion chambers clogged and the engines failed. The aircraft fell to the ground.


title: Air France Flight 296Q

text: Traditionally, pilots respect the inherent dangers of flying at low speeds at low altitude, and normally, a pilot would not attempt to fly an aircraft so close to stalling with the engines at flight idle (minimum thrust setting in flight). In this instance, however, the pilots involved did not hesitate to fly the aircraft below its normal minimum flying speed because the purpose of the flyover was to demonstrate that the aircraft's computer systems would ensure that lift would always be available regardless of how the pilots handled the controls. Asseline's experience of flying the aircraft type at the outer limits of its flight performance envelope may have led to overconfidence and complacency.


title: Air France Flight 296Q

text: During the impact, the right wing was torn off, and the spilling fuel ignited immediately. Two fire trucks at the airshow set off and an ambulance followed. Local emergency services were informed by radio communication.


title: Air France Flight 296Q

text: Inside the aircraft, many of the passengers were dazed from hitting their heads on the backs of the seats in front of them. Some passengers had difficulty unfastening their seatbelts because they were unfamiliar with the mechanism (which differs from the type used in car seatbelts). The purser went to announce instructions to the passengers but the public address system handset had been torn off. He then tried to open the left-side forward door, which was blocked by trees. The door opened partway, and the emergency escape slide began inflating while it was stuck partly inside the fuselage. The purser, a passenger, and a flight attendant (a guest from another airline) managed to push the door fully open. In the process, the purser and the passenger were thrown out of the fuselage with the slide landing on top of them. The flight attendant then began evacuating the passengers but they soon began to pile up at the bottom of the slide as their route was blocked by trees and branches. The egress of the passengers was temporarily halted while the purser and another flight attendant began clearing the branches. When the evacuation continued, the flight attendant stayed at the door, helping passengers, until she began suffering from smoke inhalation.


title: Air France Flight 296Q

text: By this time, the fire had entered the right side of the fuselage through the damaged floor section between seat rows 10 and 15. A passenger tried to open the left-side overwing exit. It would not open, which was fortunate as there was by that time a fire on the left wing.


title: Air France Flight 296Q

text: The panicking passengers now began pushing toward the front of the cabin. A flight attendant standing in the centre of the cabin at seat 12D was pushed into the aisle by a severely burnt passenger from 12F. Then, as she was helping another passenger whose clothes were on fire, she was carried forward by the surge of people rushing to escape. After the rush of people had left and the interior was fast becoming toxic, she stood at the front door and called back into the cabin. There was no reply and the thick black smoke made a visual check impossible, so she exited the fuselage. The evacuation from the rear door had been fast and smooth thanks to the instructions from the flight attendants at the rear of the aircraft.


title: Air France Flight 296Q

text: The medical team from the airshow arrived and began examining the passengers. Ten minutes after the crash, the first of the fire trucks arrived. But because of the forest, only the smaller vehicles were able to reach the wreckage. Apart from the tail section, the aircraft was consumed by fire.


title: Air France Flight 296Q

text: Of 136 people on board, three did not escape. One was a disabled boy in seat 4F who was unable to move. Another was a girl in seat 8C, who was unable to remove her seatbelt, (she was traveling alone). The third was a woman who had reached the front door and then returned to help the girl. They were found all dead lying in the aisle. Thirty-four passengers required hospitalisation for injuries and burns. Both pilots received minor head injuries and also suffered from smoke inhalation and shock.


title: Air France Flight 296Q

text: The official investigation was carried out by the "Bureau of Enquiry and Analysis for Civil Aviation Safety" (BEA), the French air accident investigation bureau, in conjunction with Air France and Airbus. Although the official investigation was written in French, the BEA released an English version on 29 November 1989. The translated version of the report can be found on the Aviation Accidents Database and at the Aviation Safety Network.


title: Air France Flight 296Q

text: The plane's flight recorders were found still attached in the unburnt tail section. The Cockpit Voice Recorder (CVR) continued to operate for about 1.5 seconds after the initial impact. The Digital Flight Data Recorder (DFDR) continued to operate for about one second, then recorded nonsensical data for another two seconds. Interruption of the power occurred forward of the tail section—most probably in the wheel-well area, which was heavily damaged.


title: Air France Flight 296Q

text: The CVR was read during the night of 26 June at the BEA. The transcription was later clarified with the assistance of the pilots involved. The tape speed was set using the 400 Hz frequency of the aircraft's electrical supply and then synchronised with the air traffic control recordings, which included a time track.


title: Air France Flight 296Q

text: Investigators found that the aircraft had been airworthy, that its weight and centre-of-gravity had been within limits, and that there was no evidence of mechanical or electronic systems failure.


title: Air France Flight 296Q

text: The flight deck crew believed that the engines had failed to respond to the application of full power. With the CFM56-5 engines, four seconds are required to go from 29% N (flight idle) to 67%. It then takes one second more to go from 67 to 83% N. From the engine parameters recorded on the DFDR and spectral analysis of the engine sounds on the CVR, it was determined that five seconds after TOGA power was applied, the N speed of Nº1 engine was 83% while that of Nº2 engine was 84%. Spectral analysis of the engine sounds indicated that 0.6 seconds later, both engines had reached 91% (by this stage, they were starting to ingest vegetation). This response of the engines complied with their certification data.


title: Air France Flight 296Q

text: The official report from BEA concluded that the probable cause of the accident was a combination of the following:


title: Air France Flight 296Q

text: Furthermore, the bureau concluded that if the descent below 100 feet was not deliberate, it may have resulted from a failure by the crew to take proper account of the visual and aural information available to them regarding the elevation "above ground level" (AGL) of the aircraft.


title: Air France Flight 296Q

text: In 1996, Captain Asseline, First Officer Mazières, two Air France officials and the president of the flying club sponsoring the air show were all charged with involuntary manslaughter. In 1997, all five were found guilty. Asseline was initially sentenced to six months in prison along with twelve months of probation. Mazières was given a twelve month suspended sentence. The others were sentenced to probation. Asseline walked free from the court and said he would appeal to France's highest court, the "Court of Cassation" (). According to French law, Asseline was required to submit himself to the prison system before his case could be taken up by the "Court of Cassation". In 1998, Asseline's appeal was rejected and his sentence was increased to ten months of imprisonment along with ten months of probation.


title: Air France Flight 296Q

text: The television documentary series "Mayday" also reports claims in Season 9 Episode 3 that the plane's flight recorder might have been tampered with and indicated that four seconds had been cut from the tape; this was shown by playing back a control tower tape and comparing it to the remaining tape. Asseline argues that he attempted to apply thrust earlier than indicated in the flight recorder data. When he increased throttle to level off at 100 ft, the engines did not respond. Asseline claims that this indicated a problem with the aeroplane's fly-by-wire system rather than pilot error. After a few seconds, Asseline claims, he became worried that the plane's completely computerised throttle control had malfunctioned and responded by pulling the throttle all the way back then forward again. By that time the aircraft had touched the trees. "Mayday" also looks at the theory that it was the computer at fault, not the pilots. Because the aircraft's altitude had fallen below 100 ft, the plane's computer may have been programmed to believe it was landing and therefore prevent any drastic manoeuvres from either pilot. When the crew suddenly asked the plane for more power and lift, it may have simply ignored them.


title: Air France Flight 296Q

text: It was also claimed by the Institute of Police Forensic Evidence and Criminology, based in Switzerland, that the flight data recorders may have been switched and were not the original ones in the airplane. Airbus made a detailed rebuttal of these claims in a document published in 1991, contending that the independent investigator employed by the filmmakers made an error when synchronising the recordings based on a misunderstanding of how the "Radio Transmit" parameter on the flight data recorder functioned.


title: Air France Flight 296Q

text: The Discovery Channel Canada / National Geographic TV series "Mayday" featured the accident and subsequent investigation in a season 9 episode titled "Pilot vs. Plane" and included an interview with Captain Michel Asseline, survivors, and accident investigators.


title: Air France Flight 296Q

text: The episode "Disastrous Descents" of the TV series "Aircrash Confidential" produced by WMR Productions and IMG Entertainment, featured the accident and included an interview with Captain Michel Asseline.


title: Gangai Amaran

text: Gangai Amaran is an Indian music composer, singer, lyricist, writer, film director and actor in Tamil films.


title: Gangai Amaran

text: Gangai Amaran was born in Pannaipuram in Theni district, Tamil Nadu in December 1947, as the youngest son of Daniel Ramaswamy and Chinnathayi. He is the younger brother of noted music director Ilaiyaraaja and father of director and actor Venkat Prabhu and actor, composer and singer Premji Amaren. He had two more elder brothers, R. D. Bhaskar and Pavalar Varadharajan, both who died long back. Composers Karthik Raja, Yuvan Shankar Raja, singer Bhavatharini and costume designer Vasuki Bhaskar are his relations.


title: Gangai Amaran

text: Regarding his name, Gangai was taken from a magazine of same name which he read during childhood while Amaran is derived from a pseudonym Amar Singh which he wanted to adopt himself when he aimed to be a lyricist. His latest interview with Chithra Lakshmanan in Touring talkies YouTube channel he has shared his life experiences and about his career struggle and also about his personal differences with his elder brother Ilayaraja where he mentioned about many controversial issues with him in his career.


title: Gangai Amaran

text: Along with his brother Ilaiyaraja, Gangai Amaran started his career as a composer and composed for many successful films such as "Mouna Geethangal" and "Vazhvey Maayam" (1983). Apart from composing, Amaran made his directorial debut with "Kozhi Koovuthu" (1982) and went on to direct many films including highly successful "Karagattakaran" (1989). "Themmangu Paattukaran" was his last film as a director while "Poonjolai" which would have been the acting debut of his son Venkat Prabhu remains unreleased. Now he is working with Clusters media college.


title: Gangai Amaran

text: Gangai Amaran also took plunge in politics by joining BJP and also contested in RK Nagar constituency. Apart from that, he also served as a member of Central Board of Film Certification.


title: Public Service Loan Forgiveness

text: The Public Service Loan Forgiveness (PSLF) program is a United States government program that was created under the College Cost Reduction and Access Act of 2007 (CCRAA) to provide indebted professionals a way out of their federal student loan debt burden by working full-time in public service.


title: Public Service Loan Forgiveness

text: The program permits Direct Loan borrowers who make 120 qualifying monthly payments under a qualifying repayment plan, while working full-time for a qualifying employer, to have the remainder of their balance forgiven. The earliest time in which borrowers could receive forgiveness under the program was after October 1, 2017. The Department of Education reported that 2,215 borrowers had the remainder of their respective student loans forgiven under the program as of April 30, 2020 for a denial rate of 98.5%.


title: Public Service Loan Forgiveness

text: The PSLF program has received criticism and has been the subject of litigation by loan-holders trying to discharge their student loans.


title: Public Service Loan Forgiveness

text: Government organizations or agencies (federal, state or local), 501(c)(3) organizations as defined by the IRS, and some other types of not-for-profit organizations providing designated public services qualify for PSLF.


title: Public Service Loan Forgiveness

text: The nature of the individual's job responsibilities is not a determining factor in whether the employment qualifies. Rather, only the employer's status as a qualifying employer determines whether the employment qualifies.


title: Public Service Loan Forgiveness

text: With limited exception, the individual must be directly employed by the qualifying employer. Therefore, government contractors will not qualify on the basis of their government contracts. Instead, they must independently be a qualifying employer. Another example is the national labs. Employees at national labs such as a Department of Energy or National Nuclear Security Administration Lab, do not qualify on the basis of managing a lab for the government; rather, the managing entity of the lab must be a qualifying employer.


title: Public Service Loan Forgiveness

text: Any loan made under the Direct Loan Program can qualify for PSLF. In particular, Subsidized and Unsubsidized Stafford Loans, PLUS Loans, and Federal Direct Consolidation Loans qualify for PSLF.


title: Public Service Loan Forgiveness

text: Loans in the FFEL program or Federal Perkins Loans can be consolidated into a Direct Consolidation Loan to become eligible for the program. Private student loans are ineligible to be consolidated into a Direct Loan and thus cannot be discharged under the PSLF program.


title: Public Service Loan Forgiveness

text: An individual qualifies for PSLF after making 120 on-time, monthly payments under a qualifying repayment plan while working full-time for a qualifying employer. After the borrower has made 120 qualifying payments, any remaining balance of the borrower’s eligible student loan is forgiven without any tax implications. Currently, there is no cap as to the amount of forgiveness a borrower can receive.


title: Public Service Loan Forgiveness

text: Those interested in receiving PSLF should regularly submit the "Employment Certification Form" for PSLF. This form will be used by the Department of Education's contractor, FedLoan Servicing, to determine whether an individual's employment and payments qualify for the program.


title: Public Service Loan Forgiveness

text: Multiple plans are available to those interested in the PSLF program. Those wishing to seek forgiveness under the PSLF should make payments under one of the income-driven repayment plans, including Income Contingent Repayment, Income Based Repayment, Pay As You Earn, or Revised Pay As You Earn.


title: Public Service Loan Forgiveness

text: On May 23, 2018, the U.S. Department of Education announced a second-chance plan for people in public service jobs who were denied loan forgiveness because they chose the wrong repayment plan. The DoED will use $350 million set aside by Congress in a fix-it fund to help people seeking reconsideration. The money will be distributed on a first-come, first-served basis.


title: Public Service Loan Forgiveness

text: The earliest date that public servants could qualify for full cancelation of their loans was October 1, 2017, ten years after PSLF existed. Problems soon emerged. Of the first 28,000 public servants who applied for forgiveness, only 96 were approved. This is a denial rate of 99 percent. In March 2018 Congress attempted to fix PSLF by passing the Temporary Expanded Public Service Loan Forgiveness program (TEPSLF). According to a Government Accountability Office report of the 54,184 who applied for TEPSLF 53,523 got denied. These denials are the result of many problems, including servicers who provided false or misleading information about whether an account had the right loan type and payment plan to qualify for PSLF. On October 6, 2021, the Biden administration announced a temporary waiver allowing past payments to qualify even if they had the wrong loan type or payment plan. As of March 2022 100,000 people have had over $6.2 billion of student loans canceled as a result of the waiver, however, many problems still persist. The government estimates that 1.3 million public servants qualify for PSLF. FedLoan Servicing continues to incorrectly tell people that they do not qualify for PSLF when in fact they do. FedLoan has also been sending automated messages with inaccurate payment counts. The CFPB has issued a warning to FedLoan. The Department of Education's PSLF help tool will not allow people to select that they have made over 120 payments, forcing people to fill out the form with inaccurate information or find workarounds.


title: Public Service Loan Forgiveness

text: For his 2015 budget proposal to Congress, President Barack Obama proposed capping Public Service Loan Forgiveness at $57,500 for all new borrowers. Analysis at the website Educated Risk, however, details the difficulty of modifying PSLF:


title: Public Service Loan Forgiveness

text: The 2016 Republican budget resolution proposed to eliminate the PSLF program to all new student loan borrowers. A recent GAO report found that the cost of loan forgiveness has been underestimated, leading many commentators to speculate that a new Republican administration and Congress will take steps to curb the problem.


title: Public Service Loan Forgiveness

text: President Donald Trump proposed eliminating the PSLF in his 2018 budget proposal. Similarly, the Republican-proposed PROSPER Act would have eliminated the PSLF. Any changes would have only applied to new borrowers as of July 1, 2019. The PROSPER Act is considered "dead" with Democrats retaking control of the House of Representatives in 2019.


title: Public Service Loan Forgiveness

text: President Trump's 2019 budget proposed eliminating the PSLF. The elimination would have only affected new borrowers as of July 1, 2020. Trump's 2021 fiscal budget made a similar proposal that would only apply to new borrowers.


title: Public Service Loan Forgiveness

text: In December 2016, it was reported that some employees who had been previously told by the government that their jobs were eligible for the program were later told that their jobs were not eligible. In response, the American Bar Association joined four individual plaintiffs who were denied eligibility under PSLF in a lawsuit against the United States Department of Education to stop the Department’s decision to retroactively refuse to honor loan forgiveness commitments it made to individuals who "have dedicated their careers to public service." The ABA argued the Department of Education "substantially changed its policy on PSLF-eligible employers" which directly contradicts statutory procedures for modifying regulations requiring public notice and comment periods. On February 22, 2019, a New York federal district court found the Department of Education's actions "arbitrary and capricious." The Court found: "In adopting the new standards, the Department failed to display awareness of its changed position, provide a reasoned analysis for that decision and take into account the serious reliance interests affected." The Court vacated the Department's denial letters and remanded the matters to the Department of Education for reconsideration. Such ruling could lay the groundwork for borrowers who were denied loan forgiveness after being told they were eligible to appeal. The court classified the department's position as "nonsense". The Department elected not to appeal the ruling. The Department of Education subsequently stated that all full-time ABA employees are employed in "a public service job" for a "public service organization" as part of a settlement between the ABA and the Department. The Education Department further stated that its decision does not restrict the agency from changing the definition of a public service organization in new regulations in the future.


title: Seo Jang-hoon

text: Seo Jang-hoon (; born 3 June 1974) is a South Korean former professional basketball player, who is currently active as an entertainer and variety show star.


title: Seo Jang-hoon

text: Seo attended Whimoon High School, known as one Seoul's high school basketball powerhouses, alongside close friend Hyun Joo-yup. Their team drew attention as they measured an average height of 1.97 meters, around the height of their adult counterparts, despite being only teenagers.


title: Seo Jang-hoon

text: Seo played college basketball for Yonsei University. His time at Yonsei coincided with what is often retrospectively dubbed the "golden era" of domestic college basketball and was referenced in the television series "Reply 1994". He and his teammates, as well as their counterparts from traditional athletic rivals Korea University, enjoyed a level of popularity similar to that of idol singers and A-list actors/actresses due to their skills and good looks. Together with his future national teammates Yonsei counterparts Lee Sang-min, Moon Kyung-eun and Woo Ji-won and Korea University's Hyun Joo-yup, Chun Hee-chul and Shin Ki-sung among others, they were collectively dubbed "Oppa Troupe" (오빠부대) by the media.


title: Seo Jang-hoon

text: By the end of Seo's college career, domestic basketball was transitioning into the professional era with the establishment of the Korean Basketball League. He was signed by Seoul SK Knights, then based in Cheongju, in 1998. That year he moved to Seoul Samsung Thunders and played for them until 2007. From 2007 to 2008, he played for Jeonju KCC Egis. In 2008 Seo went to Incheon Electroland Elephants, and played for them until his retirement in 2013.


title: Seo Jang-hoon

text: In 1994, Seo was first called-up to the South Korean senior national team and played in the 1994 FIBA world cup. His team competed in the 1994 Asian Games and got second place. In 1997, his team played in the ABC World Basketball Tournament and won. 1998, He played in 1998 FIBA world cup. He was a mainstay of the team which won gold at the 2002 Asian Games. He took 4th place in 2005 FIBA Asian cup, and 5th place at the 2006 Asian Games.


title: Seo Jang-hoon

text: In his prime, Seo was widely regarded as one of the greatest centers of his generation and was dubbed "National Treasure Center" (Korean: 국보급 센터) by fans and the media. A formidable rebounder and scorer, he held the league all-time record for rebounds (5235 in 688 games) until January 2022, when it was surpassed by Jeonju KCC Egis center-forward Ra Gun-ah. During the 1998–99 season, he led the league in rebounds (overall among both domestic and foreign players) and points (among domestic players); no other domestic player has simultaneously led the league in both a domestic and overall statistical category in a single season, until point guard Heo Hoon over two decades later.


title: Seo Jang-hoon

text: After he retired from basketball, Seo began a career appearing on entertainment shows and was signed to Mystic Entertainment in 2013.


title: Seo Jang-hoon

text: In 2015, he was a guest on the critically and commercially popular variety show "Infinite Challenge". He won the 2015 SBS Entertainment Award for Rookie of the Year for his appearance in "Flaming Youth".


title: Seo Jang-hoon

text: He is a regular celebrity panelist on the singing competition show "Fantastic Duo", which debuted on April 17, 2016. He is also a regular panelist on the talk show "Same Bed, Different Dreams", and a permanent cast member of JTBC's "Knowing Bros".


title: Seo Jang-hoon

text: On June 23, 2009, Seo married Oh Jeong-yeon, a television announcer. They divorced in 2012, after 3 years of marriage.


title: Nicole, Erica and Jaclyn Dahm

text: Nicole, Erica, and Jaclyn Dahm, commonly known as Dahm triplets (born in that order on December 12, 1977) are identical triplets from Minnesota. The Dahm triplets have appeared on many TV shows and movies and have been in magazines such as "Teen" and "Playboy". They are best known as being only the second set of triplets to be featured in the US edition of "Playboy"; the first was a set of Brazilian triplets who were featured in November of 1993.


title: Nicole, Erica and Jaclyn Dahm

text: The triplets grew up in Jordan, Minnesota, and attended Jordan's public schools. Originally intending to become nurses, they enrolled at the University of Minnesota after high school.


title: Nicole, Erica and Jaclyn Dahm

text: They are the Playmates centerfold for the Girls of the Big Ten December 1998 issue of "Playboy" magazine. According to their "Playboy" interview, Nicole and Erica have tiny black ink dots (one and two dots, respectively and Jaclyn has no mark) tattooed onto their buttocks, which their parents used to distinguish the three girls when they were babies. They tried out for "Playboy"'s "Girls of the Big Ten" issue on the suggestion of their father.


title: Nicole, Erica and Jaclyn Dahm

text: They are the second set of triplets to be featured in the United States edition of "Playboy", after "The Trio from Rio, The Amazing Brazilian Triplets" who were featured in the November 1993 issue. The Dahm sisters were featured in several issues of "Playboy", but appeared on only one cover, that of "Playboy" Australia for June 1999.


title: Nicole, Erica and Jaclyn Dahm

text: The trio appeared on the show "Boy Meets World" in 1999. The trio was also on the Fox reality show "Renovate My Family", where Jay McGraw was the host. All three appeared on "Family Feud" with their older sister Lisa, and father Bob. Along with their father and an assigned interior decorator, they also competed in and won the reality competition show "House Wars"; their prize for winning was to keep the house which they had renovated.


title: Nicole, Erica and Jaclyn Dahm

text: The triplets more recently appeared as regular members of the mob on the final weeks of NBC's game show "1 vs. 100". The triplets played as one mob member.


title: Nicole, Erica and Jaclyn Dahm

text: The triplets have appeared on episodes of "The Doctors", where Jay McGraw is a producer, discussing a variety of topics, principally around their pregnancies, which all happened about the same time.


title: Nicole, Erica and Jaclyn Dahm

text: The triplets had their own website, www.dahmgirls.com, which was active until late 2004. The members' area of the site featured photo galleries similar to those produced by "Playboy". Toward the end of 2004, that site was replaced with www.jenx3.com (j, e, and n being their initials), which remained active only briefly and contained no nude pictorials. Both sites are no longer online. Other appearances on the internet include a pictorial in the Playboy Cyber Club's celebrity photographer feature, shot by NASCAR racer Dale Earnhardt Jr.


title: Nicole, Erica and Jaclyn Dahm

text: The Dahm Triplets started their own cooking website called "Triplets Gourmet", which is no longer functioning. In addition, the triplets have opened up an account on YouTube also called "TripletsGourmet." Their first video is their collection of recipes and the usefulness of freezing gourmet food. Only one video was made and posted, in 2008.


title: Nicole, Erica and Jaclyn Dahm

text: Nicole married Michael Kelly. She gave birth to a daughter on January 14, 2010, and a son on December 7, 2012.


title: Nicole, Erica and Jaclyn Dahm

text: Erica married Jay McGraw, son of Dr. Phil McGraw from "Dr. Phil". She gave birth to a daughter on March 18, 2010, and a son on August 31, 2011.


title: Nicole, Erica and Jaclyn Dahm

text: Jaclyn married Billy Dolan. She gave birth to a daughter on February 3, 2010, and a son on November 3, 2013.


title: Taz-Mania

text: Taz-Mania is an American animated sitcom produced by Warner Bros. Animation from 1991 to 1995, broadcast in the United States on Fox Kids. The show follows the adventures of the "Looney Tunes" character Taz (the Tasmanian Devil) in the fictional land of Tazmania (based on Tasmania).


title: Taz-Mania

text: Similar to other Warner Bros. cartoons of its time, such as "Animaniacs" and "Tiny Toon Adventures" (both of which were created by "Taz-Mania" co-developer Tom Ruegger), "Taz-Mania" frequently broke the fourth wall, and often made jokes showing that Taz could actually speak perfectly normally when he wanted to. The intro indicates that, in this rendering of Tasmania, "the sky's always yellow, rain or shine". The title song is performed by Jess Harnell and Jim Cummings.


title: Taz-Mania

text: Episodes are copyright 1991 (1–15), 1992 (16–47), or 1993 (48–65); note that this does not always correspond with when they originally aired. The series premiered on September 7, 1991, and ended on May 22, 1995.


title: Taz-Mania

text: Five video games based on the show were made, two by Sega for the Sega Mega Drive/Genesis, Sega Master System, and Sega Game Gear, and three by Sunsoft consisting of one for the SNES and two for the Game Boy.


title: Taz-Mania

text: Three VHS tapes were released in 1993. After the show ceased running on Fox Kids, it was rerun on TNT, for a short time on TBS in 1996–1997 (before and after the Time Warner/Turner merger) as part of their "Disaster Area" block, and has also been rerun on Cartoon Network, making it the first Warner Bros. Animation series to air on that network.


title: Taz-Mania

text: A DVD containing the first four episodes of the series was released in Europe in April 2010, whilst later released in the UK in 2011 under the title "Taz and Friends" as part of the Kids' WB "Big Faces" series.


title: Taz-Mania

text: A DVD containing the 5 to 8 episodes of the series was released in Europe in July 2019, whilst later released in the UK in 2019 under the title "Taz and Friends, Volume 2" as part of the Cartoon Network "Big Faces" series.


title: Taz-Mania

text: On May 14, 2013, Warner Home Video released "Taz Mania – Season 1, Part 1: Taz on the Loose" on DVD in Region 1 for the first time. Season 1, Part 2 was released on August 6, 2013. On June 19, 2020, the third season was announced for a DVD release on August 25 under the company's Warner Archive Collection division.


title: Taz-Mania

text: In the "Duck Dodgers" episode "M.M.O.R.P.D.", one of the forms that Duck Dodgers turns himself into Axl gator. In this brief appearance, Axl gator's vocal effects are reprised by Rob Paulsen. Taz himself appears with Duck Dodgers in the episode "Deathmatch Duck".


title: T–V distinction

text: The T–V distinction is the contextual use of different pronouns that exists in some languages and serves to convey formality or familiarity. Its name comes from the Latin pronouns "tu" and "vos". The distinction takes a number of forms and indicates varying levels of politeness, familiarity, courtesy, age or even insult toward the addressee. The field that studies and describes this phenomenon is sociolinguistics.


title: T–V distinction

text: Many languages lack this type of distinction, instead relying on other morphological or discourse features to convey formality. English historically contained the distinction, using the pronouns "thou" and "you", but the familiar "thou" largely disappeared from the era of Early Modern English onward, with the exception of a few dialects. Additionally, British commoners historically spoke to nobility and royalty using the third person rather than the second person, a practice that has fallen out of favour. English speakers today often employ semantic analogues to convey the mentioned attitudes towards the addressee, such as whether to address someone by given name or surname or whether to use "sir" or "madam". Under a broader classification, "T" and "V" forms are examples of honorifics.


title: T–V distinction

text: The terms "T" and "V", based on the Latin pronouns and , were first used in a paper by the social psychologist Roger Brown and the Shakespearean scholar Albert Gilman. This was a historical and contemporary survey of the uses of pronouns of address, seen as semantic markers of social relationships between individuals. The study considered mainly French, Italian, Spanish and German. The paper was highly influential and, with few exceptions, the terms "T" and "V" have been used in subsequent studies.


title: T–V distinction

text: The status of the single second-person pronoun "you" in English is controversial among linguistic scholars. For some, the English "you" keeps everybody at a distance, although not to the same extent as V pronouns in other languages. For others, "you" is a default neutral pronoun that fulfils the functions of both T and V without being


title: T–V distinction

text: In classical Latin, was originally the singular, and the plural, with no distinction for honorific or familiar. According to Brown and Gilman, usage of the plural to refer to the Roman emperor began in the 4th century AD. They mention the possibility that this was because there were two emperors at that time (in Constantinople and Rome), but also mention that "plurality is a very old and ubiquitous metaphor for power". This usage was extended to other powerful figures, such as Pope Gregory I (590–604). However, Brown and Gilman note that it was only between the 12th and 14th centuries that the norms for the use of T- and V-forms crystallized. Less commonly, the use of the plural may be extended to other grammatical persons, such as the "royal "we"" (majestic plural) in English.


title: T–V distinction

text: Brown and Gilman argued that the choice of form is governed by either relationships of "power" or "solidarity", depending on the culture of the speakers, showing that "power" had been the dominant predictor of form in Europe until the 20th century. Thus, it was quite normal for a powerful person to use a "T"-form but expect a "V"-form in return. However, in the 20th century the dynamic shifted in favour of solidarity, so that people would use "T"-forms with those they knew, and "V"-forms in service encounters, with reciprocal usage being the norm in both cases.


title: T–V distinction

text: In the Early Middle Ages (the 5th century to the 10th century), the pronoun was used to address the most exalted figures, emperors and popes, who would use the pronoun to address a subject. This use was progressively extended to other states and societies, and down the social hierarchy as a mark of respect to individuals of higher rank, religious authority, greater wealth, or seniority within a family. The development was slow and erratic, but a consistent pattern of use is estimated to have been reached in different European societies by the period 1100 to 1500. Use of "V" spread to upper-class individuals of equal rank, but not to lower class individuals.


title: T–V distinction

text: Speakers developed greater flexibility of pronoun use by redefining relationships between individuals. Instead of defining the father–son relationship as one of power, it could be seen as a shared family relationship. Brown and Gilman term this the semantics of solidarity. Thus a speaker might have a choice of pronoun, depending on how they perceived the relationship with the person addressed. Thus a speaker with superior power might choose "V" to express fellow feeling with a subordinate. For example, a restaurant customer might use "V" to their favourite waiter. Similarly, a subordinate with a friendly relationship of long standing might use "T". For example, a child might use "T" to express affection for their parent.


title: T–V distinction

text: These choices were available not only to reflect permanent relationships, but to express momentary changes of attitude. This allowed playwrights such as Racine, Molière, Ben Jonson, Christopher Marlowe and Shakespeare to express a character's inner changes of mood through outward changes of pronoun.


title: T–V distinction

text: For centuries, it was the more powerful individual who chose to address a subordinate either with "T" or with "V", or to allow the subordinate to choose. For this reason, the pronouns were traditionally defined as the "pronoun of either condescension or intimacy" ("T") and "the pronoun of reverence or formality" ("V"). Brown and Gilman argue that modern usage no longer supports these definitions.


title: T–V distinction

text: Developments from the 19th century have seen the solidarity semantic applied more consistently. It has become less acceptable for a more powerful individual to exercise the choice of pronoun. Officers in most armies are not permitted to address a soldier as "T". Most European parents cannot oblige their children to use "V". The relationships illustrated above have changed in the direction of the following norms:


title: T–V distinction

text: The tendency to promote the solidarity semantic may lead to the abolition of any choice of address pronoun. During the French Revolution, attempts were made to abolish "V". In 17th century England, the Society of Friends obliged its members to use only "T" to everyone, and some continue to use "T" ("thee") to one another. In most Modern English dialects, the use of "T" is archaic and no longer exists outside of poetry.


title: T–V distinction

text: It was reported in 2012 that use of the French and the Spanish are in decline in social media. An explanation offered was that such online communications favour the philosophy of social equality, regardless of usual formal distinctions. Similar tendencies were observed in German, Persian, Chinese, Italian and Estonian.


title: T–V distinction

text: The Old English and Early Middle English second person pronouns and (with variants) were used for singular and plural reference respectively with no "T–V" distinction. The earliest entry in the "Oxford English Dictionary" for "ye" as a "V" pronoun in place of the singular "thou" exists in a Middle English text of 1225 composed in 1200. The usage may have started among the Norman French nobility in imitation of Old French. It made noticeable advances during the second half of the 13th century. During the 16th century, the distinction between the subject form "ye" and the object form "you" was largely lost, leaving "you" as the usual "V" pronoun (and plural pronoun). After 1600, the use of "ye" in standard English was confined to literary and religious contexts or as a consciously archaic usage.


title: T–V distinction

text: The "T–V" distinction was still well preserved when Shakespeare began writing at the end of the 16th century. However, other playwrights of the time made less use of "T–V" contrasts than Shakespeare. The infrequent use of "T" in popular writing earlier in the century such as the Paston Letters suggest that the distinction was already disappearing from gentry speech. In the first half of the 17th century, "thou" disappeared from Standard English, although the "T–V" distinction was preserved in many regional dialects. When the Quakers began using "thou" again in the middle of the century, many people were still aware of the old "T–V" distinction and responded with derision and physical violence.


title: T–V distinction

text: In the 19th century, one aspect of the "T–V" distinction was restored to some English dialects in the form of a pronoun that expressed friendly solidarity, written as "y'all". Unlike earlier "thou", it was used primarily for plural address, and in some dialects for singular address as well. The pronoun was first observed in the southern states of the US among African-American speakers, although its precise origin is obscure. The pronoun spread rapidly to white speakers in those southern states, and (to a lesser extent) other regions of the US and beyond. This pronoun is not universally accepted, and may be regarded as either nonstandard or a regionalism.


title: T–V distinction

text: "Yous(e)" (pron. , ) as a plural is found mainly in (Northern) England, Scotland, parts of Ireland, Australia, New Zealand, South Africa, northern Nova Scotia and parts of Ontario in Canada and parts of the northeastern United States (especially areas where there was historically Irish or Italian immigration), including in Boston, Philadelphia, New York, and scattered throughout working class Italian-American communities in the American Rust Belt. It also occurs in Scouse (the regional dialect of the Liverpool area).


title: T–V distinction

text: In Old French texts, the pronouns and are often used interchangeably to address an individual, sometimes in the same sentence. However, some emerging pattern of use has been detected by recent scholars. Between characters equal in age or rank, was more common than as a singular address. However, was sometimes used to put a young man in his place, or to express temporary anger. There may also have been variation between Parisian use and that of other regions.


title: T–V distinction

text: In the Middle French period, a relatively stable "T–V" distinction emerged. "Vous" was the "V" form used by upper-class speakers to address one another, while was the "T" form used among lower class speakers. Upper-class speakers could choose to use either "T" or "V" when addressing an inferior. Inferiors would normally use "V" to a superior. However, there was much variation; in 1596, Étienne Pasquier observed in his comprehensive survey that the French sometimes used to inferiors as well as to superiors "" ("according to our natural tendencies"). In poetry, was often used to address kings or to speak to God.


title: T–V distinction

text: In German, "du" is only used as an informal pronoun. It is only addressed to persons that one knows well, like family members and friends. It is also most commonly used among peers as a sign of equality, especially among young people. In formal situations with strangers and acquaintances, "Sie" is used instead. "Ihr" is also used as in formal situations; this was once the abundant usage, but it has largely fallen out of use. In the plural form, "ihr" is used as the "T" pronoun and "Sie" is used as the "V" pronoun; "Ihr" and "Sie" are capitalized when they are used as the "V" pronoun.


title: T–V distinction

text: A "T–V" distinction was widespread in the North Germanic languages but its use began rapidly declining in the second half of the 20th century, coinciding with the 1960s youth rebellion. The "V" variant has in practice completely disappeared from regular speech in Swedish, Norwegian and Icelandic.


title: T–V distinction

text: The use of the "V" variant in Danish has declined, but not disappeared. In Danish the "T" variant is "du" and the "V" variant is a capitalized "De".


title: T–V distinction

text: Swedish both had a "V"-variant of "you" and an even more formal manner of addressing people, which was to address them in the third person ("Could I ask Mr. Johnson to...").


title: T–V distinction

text: Hindi-Urdu (Hindustani) have three levels of formality distinction, like other South Asian languages. The pronoun तू تو (tū) is the informal (intimate) pronoun, तुम تم (tum) is the familiar pronoun and आप آپ (āp) is the formal pronoun. Tū is only used in certain contexts in Urdu, as in normal conversation, the use of tū is considered very rude. The pronoun तू تو (tū) is grammatically singular while the pronouns तुम تم (tum) and आप آپ (āp) are grammatically plural. However, the plural pronouns are more commonly used as singular pronouns and to explicitly mark the plurality, words such as लोग لوگ (log) [people], सब سب (sab) [all], दोनों دونوں (donõ) [both], तीनों تینوں (tīnõ) [all three] etc. are added after the plural pronouns.


title: T–V distinction

text: In the Western Hindi dialects, a fourth level of formality (semi-formal), which is intermediate between आप آپ (āp) and तुम تم (tum), is created when the pronoun आप آپ (āp) is used with the conjugations of तुम تم (tum). However, this form is strictly dialectal and is not used in standard versions of Urdu and Hindi.


title: T–V distinction

text: The boundaries between formal and informal language differ from language to language, as well as within social groups of the speakers of a given language. In some circumstances, it is not unusual to call other people by first name and the respectful form, or last name and familiar form. For example, German teachers used to use the former construct with upper-secondary students, while Italian teachers typically use the latter (switching to a full V-form with university students). This can lead to constructions denoting an intermediate level of formality in T–V-distinct languages that sound awkward to English-speakers. In Italian, can be addressed with the (familiar) form or the (formal) one, but complete addresses range from (peer to peer or family) and (teacher to high-school student, as stated above) to (live-in servant to master or master's son) and (senior staff member to junior) and (among peers and to seniors).


title: T–V distinction

text: In many languages, the respectful singular pronoun derives from a plural form. Some Romance languages have familiar forms derived from the Latin singular and respectful forms derived from Latin plural , sometimes via a circuitous route. Sometimes, a singular V-form derives from a third-person pronoun; in German and some Nordic languages, it is the third-person plural. Some languages have separate "T" and "V" forms for both singular and plural, others have the same form and others have a "T–V" distinction only in the singular.


title: T–V distinction

text: Different languages distinguish pronoun uses in different ways. Even within languages, there are differences between groups (older people and people of higher status tending both to use and to expect more respectful language) and between various aspects of one language. For example, in Dutch, the "V" form is slowly falling into disuse in the plural and so one could sometimes address a group as "T" form , which clearly expresses the plural when one would address each member individually as , which has the disadvantage of being ambiguous. In Latin American Spanish, the opposite change has occurred—having lost the "T" form , Latin Americans address all groups as , even if the group is composed of friends whom they would call or (both "T" forms). In Standard Peninsular Spanish, however, (literally "you others") is still regularly used in informal conversation. In some cases, the "V"-form is likely to be capitalized when it is written.


title: T–V distinction

text: The following is a table of the nominative case of the singular and plural second person in many languages, including their respectful variants (if any):


title: T–V distinction

text: Some languages have a verb to describe the fact of using either a "T" or a "V" form. Some also have a related noun or pronoun. The English words are used to refer only to English usage in the past, not to usage in other languages. The analogous distinction may be expressed as "to use first names" or "to be on familiar terms (with someone)".


title: Little Joe (film)

text: Little Joe is a 2019 internationally co-produced drama film directed by Jessica Hausner. It was selected to compete for the Palme d'Or at the 2019 Cannes Film Festival. At Cannes, Emily Beecham won the award for Best Actress. Beecham stars as Alice Woodard, a plant breeder and single mother who creates "Little Joe", a plant that gives its caretakers joy.


title: Little Joe (film)

text: Alice Woodard (Emily Beecham) is a plant breeder who works in a lab that focuses on creating new strains of flowers. While her colleague Bella (Kerry Fox) is failing at creating a hardy plant that will survive even weeks of undernourishment and neglect, Alice and her team have successfully created a flower that requires more care than an ordinary plant but which makes their owners happy.


title: Little Joe (film)

text: Alice decides to name the plants "Little Joe" in honour of her son and smuggles out one of the plants for him.


title: Little Joe (film)

text: The Little Joes begin to aggressively pollinate, which Alice theorizes is because she has made them sterile. The same day Bella's dog, Bello, goes missing. Chris (Ben Whishaw) goes looking for him and accidentally inhales some of the pollen. Later on he takes Alice out and, despite her obvious reluctance, attempts to kiss her twice.


title: Little Joe (film)

text: The following day Bella finds Bello in the lab. He attacks her and she insists that he has changed. Chris later tells Alice that Bella is mentally ill and had previously attempted suicide before being forced on a year-long sabbatical, returning only shortly before Alice began working at the lab. Alice later learns that Bella had Bello put down. Bella tells Alice that the changes to Bello were due to the plant.


title: Little Joe (film)

text: Alice's son is accidentally pollinated by the plant and begins to act strangely, sneaking his classmate Selma into the lab and stealing a Little Joe. He later tells Alice that he is considering moving in with his father, Ivan.


title: Little Joe (film)

text: Bothered by her son's behaviour, Alice begins to examine test footage of subjects who have been exposed to the pollen. In every case their family members report that they are acting strangely and have seemed to change since the pollen test. However, just as Alice begins to believe Bella's suspicions, Bella is exposed to the pollen herself and dismisses her previous beliefs as paranoia due to her mental issues.


title: Little Joe (film)

text: Joe reveals that he and Selma stole the plant in order to pollinate Ivan, confirming Alice's suspicions that her plant carries a virus, especially as she has used unorthodox methods to create Little Joe. However, this turns out to be a joke as Chris previously talked to Joe about Alice's concerns. At work Bella reveals that she never inhaled the pollen and was only pretending to be happy in order to blend in with the others. Immediately afterwards, Alice overhears Bella fall off of a staircase during a confrontation with Chris.


title: Little Joe (film)

text: After Alice's boss dismisses her concerns she takes matters into her own hands and decides to kill the Little Joes before they are commercialized, lowering the temperature in the lab. She is stopped by Chris, who, in trying to prevent her from harming the plants, knocks her out on the floor of the lab, exposing her to the plant pollen.


title: Little Joe (film)

text: Later Alice learns that Little Joe has been nominated for an award, meaning that the plant will be sold worldwide. When Chris apologizes for hitting her she kisses him, and later dismisses her concerns as paranoia. She allows Joe to move in with his father and starts a new, happier life with her own Little Joe.


title: Little Joe (film)

text: "Little Joe" had its world premiere at the Cannes Film Festival on 17 May 2019. Shortly after, Magnolia Pictures and BFI Distribution acquired U.S. and U.K. distribution right to the film. It was scheduled to be released in Austria on 1 November 2019, by Filmladen; in the United States on 6 December 2019; Germany on 9 January 2020, by X Verleih AG; and the United Kingdom on 21 February 2020.


title: Little Joe (film)

text: The review aggregator website Rotten Tomatoes reported that of critics have given the film a positive review based on reviews, with an average rating of . The site's critics consensus reads: ""Little Joe"s unorthodox approach may baffle horror fans lured in by its premise – but like its title character, the end result exerts a creepy thrall." On Metacritic, the film has a weighted average score of 60 out of 100 based on 25 critics, indicating "mixed or average reviews".


title: Heavenly host

text: Heavenly host ( "sabaoth" or "tzva'ot", "armies") refers to the army () of angels mentioned both in the Hebrew and Christian Bibles, as well as other Jewish and Christian texts.


title: Heavenly host

text: The Bible gives several descriptions of angels in military terms, such as their encampment (), command structure (; Matt.13:41; Rev.7:2), and combat (Jdg.5:20; Job 19:12; Rev.12:7). In Christian theology, the heavenly host participate in the war in Heaven.


title: Heavenly host

text: In the Hebrew Bible, the name Yahweh and the title Elohim (literally 'gods', usually rendered as 'God' in English translations) frequently occur with the word "tzevaot" or "sabaoth" ("hosts" or "armies", Hebrew: צבאות) as YHWH Elohe Tzevaot ("YHWH God of Hosts"), Elohe Tzevaot ("God of Hosts"), Adonai YHWH Tzevaot ("Lord YHWH of Hosts") or, most frequently, YHWH Tzevaot ("YHWH of Hosts"). This name is traditionally transliterated in Latin as Sabaoth, a form that will be more familiar to many English readers, as it is used in the King James Version of the Bible.


title: Heavenly host

text: In the Book of Joshua 5:13–15, Joshua encounters a "captain of the host of the Lord" in the early days of his campaigns in the Promised Land. This unnamed heavenly messenger is sent by God to encourage Joshua in the upcoming claiming of the Promised Land:


title: Heavenly host

text: In the Book of Revelation, the rebellious forces of Satan are defeated by the heavenly host led by Michael the Archangel during the War in Heaven (Rev.12:7–9).


title: Heavenly host

text: The term "Lord of Hosts" is also used in the Baháʼí Faith as a title of God. Bahá'u'lláh, claiming to be the Manifestation of God, wrote tablets to many of the kings and rulers of the world inviting them to recognize him as the Promised One of all ages and faiths, some of which were compiled and published in English as "The Summons of the Lord of Hosts".


title: Heavenly host

text: In the English epic poem "Paradise Lost" by John Milton, the Archangel Michael commands the army of angels loyal to God against the fallen angels of Satan. Armed with a sword from God's armory, he defeats satan in personal combat, wounding his side.


title: Glee (season 1)

text: The first season of the musical comedy-drama television series "Glee" originally aired on Fox in the United States. The pilot episode was broadcast as an advanced preview of the series on May 19, 2009, with the remainder of the season airing between September 9, 2009, and June 8, 2010. The season consisted of 22 episodes; the first 13 aired on Wednesdays at 9 pm (ET) and the final 9 aired on Tuesdays at 9 pm (ET). The season was executive produced by Ryan Murphy, Brad Falchuk, and Dante Di Loreto; Murphy's production company helped co-produce the series alongside 20th Century Fox.


title: Glee (season 1)

text: The season features the fictional high school show choir New Directions competing for the first time on the show choir circuit, while its members and faculty deal with sex, bullying, body image, homosexuality, teenage pregnancy, disabilities, adoption and other social issues. The central characters are glee club director Will Schuester (Matthew Morrison), cheerleading coach Sue Sylvester (Jane Lynch), Will's former wife Terri (Jessalyn Gilsig), guidance counselor Emma Pillsbury (Jayma Mays), and glee club members Rachel (Lea Michele), Finn (Cory Monteith), Artie (Kevin McHale), Kurt (Chris Colfer), Mercedes (Amber Riley), Tina (Jenna Ushkowitz), Puck (Mark Salling), and Quinn (Dianna Agron).


title: Glee (season 1)

text: The season received generally positive reviews from critics. The musical scores used throughout the first season proved to be a commercial success, with over seven million copies of "Glee" cast single releases purchased digitally. In 2009, the "Glee" remake of "Don't Stop Believin' became their first hit, and other covers quickly gained similar worldwide popularity, while the albums topped the charts in Ireland and other countries. The season was nominated for 19 Emmy Awards, four Golden Globe Awards, six Satellite Awards and 57 other awards. It was accompanied by four DVD releases: "Glee – Pilot Episode: Director's Cut", "Glee – Season 1, Volume 1: Road to Sectionals" featuring episodes one to thirteen, "Glee – Season 1, Volume 2: Road to Regionals" featuring episodes fourteen to twenty-two, and "Glee – The Complete First Season".


title: Glee (season 1)

text: The season was produced by 20th Century Fox Television and Ryan Murphy Television, and was aired on Fox in the US. The executive producers were Dante Di Loreto and series creators Ryan Murphy and Brad Falchuk, with John Peter Kousas and creator Ian Brennan acting as co-executive producers. The first two episodes were co-written by Murphy, Falchuk and Brennan; all other episodes were written by them individually. Murphy and Falchuk also directed several episodes, while other episodes were directed by Elodie Keene, John Scott, Paris Barclay, Bill D'Elia and Alfonso Gomez-Rejon. Joss Whedon guest-directed the episode "Dream On".


title: Glee (season 1)

text: The pilot episode was broadcast as a preview of the season on May 19, 2009. The series returned on September 9, 2009, and after three episodes, Fox picked "Glee" up for a full season on September 21, 2009. The initial run of thirteen episodes aired until December 9, 2009, with the series then taking a mid-season break until April 13, 2010. After airing on Wednesdays at 9 pm (ET), the first season moved to Tuesdays in the same timeslot for the final nine episodes. The commissioning of a second season was announced on January 11, 2010, with the production of a third season announced on May 23, 2010.


title: Glee (season 1)

text: The series features numerous musical cover versions performed on-screen by the characters. At the beginning of the season, Murphy intended for the performances to remain reality-based, as opposed to having the characters spontaneously burst into song. As the season progressed, however, "Glee" began to utilize fantasy sequences, with paraplegic character Artie imagining himself dancing to "The Safety Dance", and six separate characters performing a fantasy version of "Like a Virgin". The first thirteen episodes of the season averaged five songs per episode. For the final nine episodes, the number of performances increased to eight. Murphy believes that many of the songs were "really fun and successful", however the production team intend to return to five songs per episode for "Glee" second season, in order to return focus to the characters.


title: Glee (season 1)

text: When seeking to attain the rights to songs, early in the season Murphy was often requested to send out advanced scripts, but refused, not wanting to set a precedent for record labels having creative involvement in the show. Singer Rihanna offered her single "Take a Bow" for use at a reduced licensing rate. Madonna granted the show rights to her entire catalogue, and the tribute episode "The Power of Madonna" features Madonna performances exclusively.


title: Glee (season 1)

text: In total, five soundtracks were released to accompany the first season. Three albums released over the course of the season ("", "", and "") compiled various songs throughout the series, while two EPs ("" and "") were released on the same day as the respective episodes aired. "Journey to Regionals" did not release any official singles, while the remaining four albums were fully released as singles. Following the completion of the season, the "Glee" cast performed a 13-date concert tour in North America, "Glee Live! In Concert!" By its conclusion, tickets for all 13 performances had sold out, grossing $5,031,438.


title: Glee (season 1)

text: The season had a cast of twelve actors who received star billing. Matthew Morrison played Will Schuester, director of the McKinley High glee club. Jane Lynch played Sue Sylvester, head coach of the cheerleading squad and the glee club's nemesis. Jayma Mays portrayed Emma Pillsbury, a mysophobic guidance counselor with romantic feelings for Will. Jessalyn Gilsig played Terri Schuester, Will's wife of five years. Lea Michele played Rachel Berry, the star of the glee club. Cory Monteith portrayed Finn Hudson, star quarterback of the school's football team, who is blackmailed into joining the club. Also playing club members were Amber Riley as Mercedes Jones, Chris Colfer as Kurt Hummel, Kevin McHale as Artie Abrams, and Jenna Ushkowitz as Tina Cohen-Chang. Mark Salling played Noah "Puck" Puckerman, a football player and bully who later joined the club, while Dianna Agron portrayed Quinn Fabray, Finn's girlfriend and captain of the cheerleading squad, who became pregnant with Puck's baby.


title: Glee (season 1)

text: A number of secondary characters were also portrayed throughout the season, including Patrick Gallagher as Ken Tanaka, coach of the football team, Iqbal Theba as Principal Figgins, and Stephen Tobolowsky as former glee club director Sandy Ryerson. Mike O'Malley appeared as Kurt's father Burt Hummel, and Romy Rosemont played Finn's mother Carole Hudson. Naya Rivera and Heather Morris played Santana Lopez and Brittany Pierce, cheerleaders who joined the glee club with Quinn. Harry Shum, Jr. and Dijon Talton were initially hired for a single episode as football players Mike Chang and Matt Rutherford, but remained on the show as supporting members of the glee club.


title: Glee (season 1)

text: Guest stars from musical backgrounds were often featured on the show, including John Lloyd Young as wood shop teacher Henri St. Pierre, and Victor Garber and Debra Monk as Will's parents. Josh Groban appeared playing an "ignorant asshole" version of himself, while Olivia Newton-John portrayed the "dark side" of herself; a "mixture of mean and diva". Kristin Chenoweth played April Rhodes, a former member of the glee club who never finished high school and ended up hitting rock bottom. Jonathan Groff played Jesse St. James, the male lead of rival glee club Vocal Adrenaline, and Idina Menzel appeared as Vocal Adrenaline director Shelby Corcoran, who is revealed in "Dream On" to be Rachel's biological mother. Fans had originally lobbied for Menzel to be cast as Rachel's mother due to the strong physical resemblance between Menzel and Michele. Eve played the Jane Addams Girls Choir director Grace Hitchens, having been cast after Whitney Houston declined to appear. Michael Hitchcock appeared as the Haverbrook School for the Deaf choir director Dalton Rumba.


title: Glee (season 1)

text: Sarah Drew played Suzy Pepper, a senior with "an insane, absurd, psychotic crush on Mr. Schuester". Drew described Suzy as "kind of stalkerish and creepy", but ultimately redeemable. Gregg Henry and Charlotte Ross appeared as Quinn's parents, Russell and Judy Fabray, and Molly Shannon played Brenda Castle, an alcoholic astronomy teacher and badminton coach who clashed with Sue. Neil Patrick Harris guest starred as Bryan Ryan, Will's former glee club rival, now a school board member bent on vengeance against the club. Murphy created the role particularly for Harris, who received clearance from CBS to appear on Fox for the episode.


title: Glee (season 1)

text: The show's musical performances proved to be a commercial success, with over seven million copies of "Glee" cast single releases purchased digitally. The cast performance of "Don't Stop Believin' reached number two in the United Kingdom, and number four in the US and Ireland. It was certified gold by the Recording Industry Association of America (RIAA) on October 13, 2009, achieving over 730,000 digital sales. The cast had their first number one single with a cover of "Gives You Hell" in Ireland. By June 2010, the cast were second behind the Beatles for most chart appearances by a group act in the "Billboard" Hot 100's 52-year history, and seventh overall among all artists, with 71 appearances. The series' cover versions have also had a positive effect on the original recording artists, such as for Rihanna; sales of "Take a Bow" increased by 189 percent after the song was covered in the "Glee" episode "Showmance".


title: Glee (season 1)

text: The series' debut album, "Glee: The Music, Volume 1", reached number one in Ireland and the UK and was certified platinum by the Australian Recording Industry Association (ARIA), Canadian Recording Industry Association (CRIA), and British Phonographic Industry (BPI), and gold by the RIAA. In December 2009, the second album, "Glee: The Music, Volume 2", topped the charts in New Zealand, Ireland, and Scotland. It has been certified platinum by the ARIA and CRIA, and gold by the BPI and RIAA. In 2010, the next two releases – "Glee: The Music, The Power of Madonna" and "Glee: The Music, Volume 3 Showstoppers" – both debuted at the number one position on the American and Canadian album charts. With the releases reaching number one in the US four weeks apart, the "Glee" cast beat the record previously set by the Beatles in 1966 for shortest span between first weeks at number one. This record was yet again beaten by "Glee: The Music, Journey to Regionals", when it reached number one in the US three weeks later. "Glee: The Music, Volume 3 Showstoppers" also reached number one in Australia, Ireland, and Scotland, acquiring a gold certification by the ARIA. "Glee: The Music, Journey to Regionals" also reached number one in Ireland.


title: Glee (season 1)

text: The review aggregator website Rotten Tomatoes gives the first season an 88% with an average rating of 7.94/10, based on 49 reviews. The site's consensus reads, "Entertaining, snarky, and full of heart, "Glee" is an addictive, toe-tapping musical dramedy that hits all the right notes." On Metacritic it revieved a score of 78 out of 100 based on 19 reviews, indicating "generally favorable reviews".


title: Glee (season 1)

text: Following the season preview in May 2009, Alessandra Stanley for "The New York Times" called the show "blissfully unoriginal in a witty, imaginative way", finding the characters to be stereotypes but noting "a strong satiric pulse that doesn't diminish the characters' identities or dim the showmanship of a talented cast". The "Daily News" David Hinckley wrote that the show "isn't close to perfect" but "has likable characters, a good sense of humor and a reasonably deft touch with music." Mary McNamara for the "Los Angeles Times" found the series to have a wide audience appeal, deeming "Glee" "the first show in a long time that's just plain full-throttle, no-guilty-pleasure-rationalizations-necessary fun."


title: Glee (season 1)

text: James Poniewozik of "Time" ranked "Glee" the eighth best television show of 2009 out of ten reviewed, deeming it "transcendent, tear-jerking and thrilling like nothing else on TV". He noted that the series did have faults, but praised its ambition and Lynch's "gaspingly funny" performance as Sue. "Entertainment Weekly" Ken Tucker ranked the season ninth out of ten, lauding its novelty, while Lisa Respers France of CNN wrote that despite its "recipe for disaster" premise, the show's charm and bravado were enough to engage audiences. "Variety" Brian Lowry was critical of the season's early episodes, highlighting acting and characterization issues, stating that the show's talent was squandered by its uneven tone and deeming "Glee" a one-hit-wonder. Following the mid-season finale, Lowry wrote that while the series still had problems, its musical performances and cast were enough to keep him watching, and despite its issues, "TV would be poorer without "Glee"." John Doyle of "The Globe and Mail" criticized the season's development, writing that while early episodes had been enjoyable, the show's success drew focus away from its characters and plot onto celebrity guest stars. Jean Bentley of MTV found the season uneven, writing that it began with a promising plot and impressive musical numbers, but became too "cheesy" and excessively sentimental. Raymund Flandez of "The Wall Street Journal" agreed that the season had definite highs and lows, but called the finale a "warm embrace that – let’s face it – you just don't want to let go."


title: Glee (season 1)

text: After the episode "Showmance", the Parents Television Council named "Glee" the "Worst Show of the Week", deeming it inappropriate for teenagers due to its "sexually-charged adult" nature. Nancy Gibbs of "Time" magazine wrote that she had heard "Glee" described as "anti-Christian" by a youth minister, but commented that while almost all of the Ten Commandments are violated during the season, she found it insulting to teenagers to suggest that they would attempt to emulate what they saw on-screen. She described "Glee" as being about "a journey not just to college and career but to identity and conviction, the price of popularity, the compromises we must make between what we want and what we need." The episode "Wheels" attracted criticism from a committee of performers with disabilities, who felt that casting an able-bodied actor to play a student with disabilities was inappropriate. Falchuk responded that while he understood the concern and frustration of disability advocates, McHale had the singing and acting ability, talent and charisma required for the role.


title: Glee (season 1)

text: The pilot episode of "Glee" averaged 9.62 million viewers. Re-aired on September 2, 2009 in a director's cut version, it attained 4.2 million viewers. The second episode, "Showmance", premiered on September 9, 2009, averaging 7.50 million viewers and achieving a 3.5/9 rating/share in the 18–49 demographic. However, as Scott Collins for the "Los Angeles Times" noted, the other major networks besides Fox all opened the evening by airing a speech by President Barack Obama, disrupting regular viewing patterns. Furthermore, the official fall season had yet to begin, placing "Glee" against weaker competition in the ratings than the remainder of the season would experience. The following eight episodes ranged between 6.63 and 7.65 million viewers, falling to a series low of 6.17 million viewers with "Hairography" on November 25, 2009. The episode aired the night before Thanksgiving, when all the major networks saw decreased ratings. Viewership improved for the final two episodes of the first half of the season, with "Mattress" and "Sectionals" drawing 8.15 and 8.13 million viewers respectively. "Glee" returned on April 13, 2010 with "Hell-O", which was watched by 13.66 million viewers, the series' season high, up 46 percent on its previous season high with the pilot episode. The following six episodes attained between 11.49 and 12.98 million viewers, falling to 9.02 million for the penultimate episode "Funk". The episode began with a 3.6/10 rating/share in the 18–49 demographic, rising to 4.1/11 in the last 30 minutes. It was down 21 percent on the previous episode, but was "Glee" best 18–49 rating for an episode not following "American Idol". The final episode, "Journey to Regionals", was watched by 11.07 million viewers and attained a 4.7 Nielsen rating in the 18–49 demographic, an increase of 18 percent on the previous episode, giving "Glee" the highest finale rating for a new show in the 2009–2010 television season.


title: Glee (season 1)

text: During its first season, "Glee" was nominated for 86 awards, of which 37 were won. Murphy and Barclay were both nominated for the "Outstanding Directing – Comedy Series" award at the 2010 Directors Guild of America Awards for their work on "Pilot" and "Wheels" respectively. The series was nominated for ten Creative Arts Emmy Awards and nine Primetime Emmy Awards. It received eight nominations at the Gay, Lesbian and Bi People's Choice Awards, run by the gay media websites AfterEllen.com and AfterElton.com, of which it won seven. It was also awarded three Dorian Awards by the Gay and Lesbian Entertainment Critics Association. "Glee" received four nominations at the 67th Golden Globe Awards, winning one, and was nominated in six categories at the 2009 Satellite Awards, winning five. "Glee" received three nominations for the Teen Choice Awards in 2009, and thirteen in 2010. The series received four nominations for the 2010 TCA Awards, winning three, while Brennan, Falchuk and Murphy each received two nominations at the 2010 Writers Guild of America Awards.


title: Glee (season 1)

text: The series won "Outstanding TV Program of the Year" at the 2009 AFI Awards, "Favorite New TV Comedy" at the 2010 People's Choice Awards, "Outstanding Comedy Series" at the 21st GLAAD Media Awards, "Future Classic" at the 2010 TV Land Awards, a Peabody Award for excellence, and "Do Something TV Show" at the VH1 Do Something Awards. It was also nominated for the "NAACP Image Award for Outstanding Comedy Series" at the NAACP Image Awards, the "Comedy Series Episode" Prism Awards for "Vitamin D", "Fave International Band" and "Fave TV Show" at the Nickelodeon Australian Kids Choice Awards 2010, and shortlisted for the "YouTube Audience Award" at the BAFTA Awards. The cast won "Favorite New Television Cast Ensemble" at the Diversity Awards, and "Outstanding Performance by an Ensemble in a Comedy Series" at the 2010 Screen Actors Guild Awards. In 2009, the crew won an Artios Award for the casting of "Pilot". They also won "Outstanding Musical Supervision – TV" at the Hollywood Music in Media Awards, and the "Outstanding Contemporary Television Series" award at the CDG Awards, and were nominated for the "Single Camera Television Series" Art Directors Guild Award for "Pilot", and "Outstanding Achievement in Sound Mixing for a Television Series" at the Cinema Audio Society Awards for "Wheels". In 2010, David Klotz won "Best Sound Editing: Short Form Music in Television" at the Golden Reel Awards for his work on "Pilot", "Wheels" won a "Television With a Conscience" Television Academy Honors award, and Brennan, Falchuk and Murphy jointly won "Comedy Writer of the Year" at the Just for Laughs Awards.


title: Glee (season 1)

text: "Glee – Pilot Episode: Director's Cut" was released on Region 1 DVD in the US on September 1, 2009, exclusively to Wal-Mart. It was released on Region 4 DVD in Australia and New Zealand on November 25, 2009, and on Region 2 DVD in the UK and Ireland on January 25, 2010. The DVD includes a preview of the episode "Showmance", plus a deconstruction of the series by creator Ryan Murphy.


title: Glee (season 1)

text: "Glee – Season 1, Volume 1: Road to Sectionals" contains the first thirteen episodes of the first season. It was released as a four-disc box set on Region 1 DVD in the US and Canada on December 29, 2009. It was released on Region 4 DVD in Australia and New Zealand on March 31, 2010, and on Region 2 DVD in the UK and Ireland on April 19, 2010, and in South Africa on August 14, 2010. Special features include full length audition pieces from the pilot episode by Michele as Rachel and Riley as Mercedes, plus casting and choreography featurettes. "Glee – Season 1, Volume 2: Road to Regionals" contains the final nine episodes of the first season. It was released on Region 2 DVD in the UK and Ireland on September 13, 2010, Region 1 DVD in the US on September 14, 2010, and on Region 4 DVD in Australia and New Zealand on September 22, 2010.


title: Glee (season 1)

text: "Glee – The Complete Season 1" was released on Region 2 DVD on September 13, 2010, Region 1 DVD on September 14, 2010, and Region 4 DVD on September 22, 2010. The seven-disc box set contains the full 22 episode first season, including extended episodes, sing-along karaoke, a behind-the-scenes look at "The Power of Madonna" episode, "Glee" makeovers, never-before-seen 'Sue's Corner' segments and a dance tutorial. It was also released as a four-disc Blu-ray box set.


title: Ol' Man River

text: "Ol' Man River" is a show tune from the 1927 musical "Show Boat" with music by Jerome Kern and lyrics by Oscar Hammerstein II. The song contrasts the struggles and hardships of African Americans with the endless, uncaring flow of the Mississippi River. It is sung from the point of view of a black stevedore on a showboat, and is the most famous song from the show. The song is meant to be performed in a slow tempo; it is sung complete once in the musical's lengthy first scene by the stevedore "Joe" who travels with the boat, and, in the stage version, is heard four more times in brief reprises. Joe serves as a sort of musical one-man Greek chorus, and the song, when reprised, comments on the action, as if saying, "This has happened, but the river keeps rolling on anyway."


title: Ol' Man River

text: The song is notable for several aspects: the lyrical pentatonic-scale melody, the subjects of toil and social class, metaphor to the Mississippi, and as a bass solo (rare in musicals, solos for baritones or tenors being more common).


title: Ol' Man River

text: Paul Whiteman and His Orchestra had a hit recording of the song in early 1928, in a much faster tempo than Kern and Hammerstein intended, featuring Bing Crosby on vocals and Bix Beiderbecke on cornet. A second version was recorded on March 1, with Paul Whiteman and his Concert Orchestra and bass singer Paul Robeson on vocals, sung in a dance tempo. The latter was inducted into the Grammy Hall of Fame in 2006, and a 1936 rendition by Robeson also finished No. 24 in AFI's 100 Years...100 Songs 2004 survey of top tunes in American cinema.


title: Ol' Man River

text: The song was first performed in the original stage production of "Show Boat" on December 27, 1927, by Jules Bledsoe, who also sang it in the part-talkie 1929 film, although that film version had little to do with the stage musical. Bledsoe also recorded the song years later. However, the most famous rendition of it, one that is still noted today, was sung by Paul Robeson in James Whale's classic 1936 film version of "Show Boat". The role of Joe in the musical was originally written with Robeson in mind, but Robeson declined the role in the 1927 production due to scheduling conflict. Robeson, however, accepted the role for its 1928 London production and 1932 Broadway revival. He also performed the song three times in the show instead of the one originally written.


title: Ol' Man River

text: The first known recording of the song was by "Kenn" Sisson and His Orchestra, recorded on December 27, 1927, with Irving Kaufman on vocals. Robeson recorded the song with Paul Whiteman and his Concert Orchestra in 1928, and multiple times in the 1930s.


title: Ol' Man River

text: From the show's opening number "Cotton Blossom", the notes in the phrase "Cotton Blossom, Cotton Blossom" are the same notes as those in the phrase "Ol' Man River, dat Ol' Man River," but inverted. However, "Cotton Blossom" was written first, and "Ol' Man River" was written only after Kern and Hammerstein realized they needed a song to end the first scene in the show. Hammerstein decided to use the idea of the Mississippi River as a basis for the song and told Kern to use the melody that the stevedores sang in "Cotton Blossom" but invert some of it, and slow down the tempo. This inversion gave "Ol' Man River" a tragic quality.


title: Ol' Man River

text: Beginning about 1938 to the end of his career, Paul Robeson changed a few of the lyrics of "Ol' Man River" when singing it at recitals but never in actual stage performances of "Show Boat" and not in the 1936 film version. (In addition to the 1928 and 1932 stage productions as well as the 1936 film version, he appeared in a Los Angeles stage revival in 1940.) Except for the change of the word "niggers" to "darkies", the lyrics of the song as Robeson performed it in the 1936 film version of the show remain exactly as Oscar Hammerstein II originally wrote them in 1927. However, after 1938, Robeson would record the song only with the lyrics that he had used in his post-1936 concert recitals.


title: Ol' Man River

text: In the 1978 one-man play "Paul Robeson", by Phillip Hayes Dean, there is a (perhaps fictitious) reference to the change in the lyrics - an unseen interviewer asks Robeson (played by James Earl Jones) about the original lyrics, and he responds "No, I don't sing it that way anymore".


title: Ol' Man River

text: In the 1951 film version of "Show Boat", as well as the 1962 studio recording and the 1966 Lincoln Center revival of the show, William Warfield sang only the introductory verse and the lyrics to the main section of the song, and omitted what could be considered a controversial section, in contrast to both Jules Bledsoe (who sang it in the prologue to the 1929 film version) and Robeson (who sang the whole song in the 1936 film). The section that Warfield omitted begins:


title: Ol' Man River

text: In the 1936 film, the word "niggers" was changed to "darkies". Ever since the 1946 revival, the term has been changed to "colored folks", although there have been revivals that change the lines to "Here we all work on de Mississippi,/ Here we all work while de white folks play". Al Jolson sang a version starting with "lots of folks work on the Mississippi." Also, the phrase "feared of dyin' " (rather than "skeered of dyin' ") has been sung in some recordings, notably Lawrence Tibbett's 1930s version, Gordon MacRae's 1950s version (first heard on "The Railroad Hour"), and Frank Sinatra's 1946 performance, first heard in the film "Till the Clouds Roll By".


title: Ol' Man River

text: In recitals and in several of his many recordings of the song, Robeson also omitted the controversial section "Niggers all work on de Mississippi...", etc., with its middle portion "Don't look up/ An' don't look down/ You don't dast make / De white boss frown", etc., as well as its concluding "Lemme go ' way from de Mississippi/ Lemme go ' way from de white man boss, etc." . However, Robeson did include a portion of these lyrics in the 1932 4-record 78 rpm album of selections from "Show Boat".


title: Ol' Man River

text: In the song's recording history, Robeson's changes to the lyrics were mostly sung by himself, but also used by Leon and Eric Bibb in their 2006 tribute album "Praising Peace: A Tribute to Paul Robeson", and a clip exists of William Warfield singing the song with the changes that Robeson incorporated into it.


title: Ol' Man River

text: The Temptations changed any references to the "white man boss" to "rich man boss", as well as "Here we all work while the white boys play" to "Here we all work while the rich boys play".


title: Ol' Man River

text: In 1988, EMI/Angel Records issued a 3-CD set of the complete score of "Show Boat", starring Frederica Von Stade, Jerry Hadley, Teresa Stratas, and Bruce Hubbard, conducted by John McGlinn. On this album, the original 1927 lyrics of "Ol' Man River" were heard for the first time on a hi-fi stereo recording.


title: Ol' Man River

text: Gordon MacRae's version of the song, as performed on "The Railroad Hour", changed the phrase "white man boss" to "big man boss".


title: Kagura

text: One major function of is , involving a procession-trance process. Usually a female shaman will perform the dance and obtain the oracle from the god—in the setting, the dancer herself turns into god during the performance. Once strictly a ceremonial art derived from , has evolved in many directions over the span of more than a millennium. Today, it is very much a living tradition, with rituals tied to the rhythms of the agricultural calendar, thriving primarily in parts of Shimane Prefecture, and urban centers such as Hiroshima.


title: Kagura

text: There are two major types of : and . consists of slow circular movement, stressing quiet and elegance, while consists of quick leaping and jumping, stressing activation and energy. The two types can be understood as two phases of : is a preparation process for trance and is the unconscious trance stage.


title: Kagura

text: During , the female shaman, surrounded by a group of priests, holds a (a ceremonial wand used to cleanse or purify) as well as sound-producing instruments and engages with circling movement to summon deities. Once the female shaman enters a possessed state, she switches into the spontaneous leaping movements of .


title: Kagura

text: The epics and describe a folktale origin for the dances. In these texts, there is a famous legendary tale about the sun goddess Amaterasu, who retreated into a cave, bringing darkness and cold to the world. Ame-no-Uzume, goddess of the dawn and of revelry, led the other gods in a wild dance, and persuaded Amaterasu to emerge to see what the ruckus was all about. is one of a number of rituals and arts said to derive from this event.


title: Kagura

text: Originally called , began as sacred dances performed at the Imperial court by who were supposedly descendants of Ame-no-Uzume. During the performance, the shrine maidens usually utilize a channeling device for god such as masks and spears to imitate the trance. With the music that has the power to summon the gods, the start to dance to transform themselves into the representation of the gods and receive messages as well as blessings from the deities. In 1871, Iwami Shinto offices claimed that theatrical performed by priests in the west of Japan demeaned their dignity and therefore banned the performance. Owning to the support of civilian performing groups at that time, the performance pieces were still preserved.


title: Kagura

text: Over time, however, these performed within the sacred and private precincts of the Imperial courts, inspired popular ritual dances, called , which, being popular forms, practiced in villages all around the country, were adapted into various other folk traditions and developed into a number of different forms. Among these are , , and Ise-style and Izumo-style dances. Many more variations have developed over the centuries, including some which are fairly new, and most of which have become highly secularized folk traditions.


title: Kagura

text: , in particular those forms that involve storytelling or reenactment of fables, is also one of the primary influences on the Noh theatre.


title: Kagura

text: is a ritual dance performed at the imperial court and at important Shinto shrines: Kamo-jinja and Iwashimizu Hachiman-gū. It consists of welcoming, entertaining and greeting the deities with humorous or poetic syllabic songs. Today it is sometimes considered as a sub-genre of , of which it is one of the influences. It predated Chinese inspiration, and has indigenous elements as well as influences from other elements such as , and , which are forms of , More simply, can be considered dances accompanied by music.


title: Kagura

text: The is the sacred vocal repertoire of 26 songs (, etc.) traditionally performed by a male choir for several days, but reduced today to 12 chants performed in six hours. Instruments used include the and/or the , with the possible addition of a and claves.


title: Kagura

text: The formal Imperial ritual dances were performed in a number of sacred places and on a number of special occasions. At the Imperial Sanctuary, where the Yata no kagami is kept, they are performed as part of court music. are also performed at the Imperial harvest festival and at major shrines such as Ise, Kamo, and Iwashimizu Hachiman-gū. Since around the year 1000, these events have taken place every year.


title: Kagura

text: According to the ritual department of the Imperial Household Agency, still take place every December in the Imperial Sanctuary and at the Imperial harvest festival ceremonies.


title: Kagura

text: , or "normal ", is a wide umbrella term containing a great diversity of folk dances derived from the , and incorporated with other folk traditions. It is the partial origin of both Noh and . A number of traditions of folk exist: