title: Ho-Chunk

text: Ho-Chunk women were responsible for growing, gathering, and processing food for their families, including the cultivation of varieties of corn and squash, in order to have different types through the growing season; and gathering a wide variety of roots, nuts, and berries, as well as sap from maple trees. In addition, women learned to recognize and use a wide range of roots and leaves for medicinal and herbal purposes. The maple sap was used to make syrup and candy. Women also processed and cooked game, making dried meats combined with berries to sustain their families when traveling. Tanned hides were used to make clothing and storage bags. They used most parts of the game for tools, binding, clothing, and coverings for dwellings. They were responsible for the survival of the families, caring for the children as well as elders.


title: Ho-Chunk

text: The main role of the Ho-Chunk man was as a hunter – and a warrior when needed. Leaders among the men interfaced with other tribes. As hunters, they would spear fish and club them to death. The men would also hunt game such as muskrat, mink, otter, beaver, and deer. Some men learned to create jewelry and other body decorations out of silver and copper, for both men and women. To become men, boys would go through a rite of passage at puberty: they fasted for a period during which they were expected to acquire a guardian spirit; without it, their lives would be miserable.


title: Ho-Chunk

text: Besides having a guardian spirit, men would also try to acquire protection and powers from specific spirits, which was done by making offerings along with tobacco. For example, a man would not go on the warpath without first performing the "war-bundle feast", which contained two parts. The first part honored the night-spirits and the second part honored the Thunderbird spirit. The blessings that these spirits gave the men were embodied in objects that together made the war-bundle. These objects could include feathers, bones, skins, flutes, and paints.


title: Ho-Chunk

text: Before the US government removed the Ho-Chunk from their native land in Wisconsin, the tribe consisted of 12 clans (see table).


title: Ho-Chunk

text: The clans were associated with animal spirits representing the traditional responsibilities within the nation; each clan had a role in the survival of the people. Like other Native Americans, the Ho-Chunk had rules generally requiring people to marry outside their clans. The kinship system was based in the family and gave structure to descent and inheritance rules. Although the tribe is patrilineal today, anthropologists believe they may have had a matrilineal kinship system in the 17th century before their major losses. At that time, the matriarchs of a clan would name its chief and they could reclaim the position if they disapproved of his actions. The Ho-Chunk may have shifted to the patrilineal system due to marriage into other tribes or under the influence of the male-oriented fur trade.


title: Ho-Chunk

text: Today there are two federally recognized tribes of Ho-Chunk people, the Ho-Chunk Nation of Wisconsin and the Winnebago Tribe of Nebraska.


title: Ho-Chunk

text: This tribe is headquartered in Black River Falls, Wisconsin. Formerly known as the "Wisconsin Winnebago Tribe", they changed their name to "Ho-Chunk Nation" to take back their traditional Siouan name. They also call themselves "Wonkshieks" – "First People of the Old Island". They are the largest of the tribes.


title: Ho-Chunk

text: The Ho-Chunk have established the "Hoocąk Waaziija Haci" Language and Culture Division, which has developed materials to teach and restore use of the "Hocąk" language and other elements of their culture. Among its recent innovations is the development of a Hocąk-language app for the iPhone. The Ho-Chunk have about 200 native speakers among its elders.


title: Ho-Chunk

text: Of the 7,192 tribal members as of May 2011, 5,042 lived in Wisconsin. The tribes own 4,602 acres (18.625 km²) scattered across parts of 12 counties in Wisconsin and one in Minnesota. The largest concentrations are in Jackson, Clark, and Monroe counties in Wisconsin. Smaller areas lie in Adams, Crawford, Dane, Juneau, La Crosse, Marathon, Rock, Sauk, Shawano, and Wood counties in Wisconsin. The Ho-Chunk Nation also owns land in Lynwood, Illinois.


title: Ho-Chunk

text: The Ho-Chunk Nation established a written constitution and is governed by an elected council. , the current president is Marlon WhiteEagle.


title: Ho-Chunk

text: The council has used revenues to enhance infrastructure, healthcare, and educational support for its people.


title: Ho-Chunk

text: In 1988, the Ho-Chunk Nation filed a timely claim for transfer of the Badger Army Ammunition Plant (BAAP), which was to be declared surplus under federal regulations. As part of their former traditional territory, the property holds historical, archeological, sacred, and cultural resources important to their people. It is a 1500-acre parcel in Sauk County, Wisconsin. In 1998 the Secretary of the Interior had issued a letter to claim the land on behalf of the Ho-Chunk but in 2011, the Bureau of Indian Affairs (BIA) refused to accept the property. It was unwilling to conduct an environmental assessment due to cost.


title: Ho-Chunk

text: The Ho-Chunk are continuing to pursue the case. Between 1998 and 2011, the Army spent millions of dollars in environmental assessments and cleanup to prepare the property for transfer. In 2012 the National Congress of American Indians (NCAI) passed a resolution in support of the Ho-Chunk and to encourage the BIA to accept surplus lands in trust on behalf of tribes.


title: Ho-Chunk

text: The tribe has a reservation in northeastern Nebraska and western Iowa. The Winnebago Indian Reservation lies primarily in the northern part of Thurston and a small part of Dixon counties in Nebraska, with an additional portion in Woodbury County, Iowa. A small plot of off-reservation land of is in southern Craig Township in Burt County, Nebraska. The total land area is 457.857 km² (176.78 sq mi).


title: Ho-Chunk

text: They also call themselves "Hochungra" – "People of the Parent Speech", which resembles the "Ho-Chunk" of the Nebraska branch of the Winnebago.


title: Ho-Chunk

text: The Iowa portion was originally west of the Missouri River and within Nebraska boundaries. After the United States Army Corps of Engineers changed the course of the river, some of the reservation land was redefined as falling within the boundaries of Iowa. The tribe successfully argued that the land belonged to them under the terms of the deed prior to diversion of the river. This land has a postal address of Sloan, Iowa, as rural addresses are normally covered by the nearest post office.


title: Ho-Chunk

text: The 2000 census reported a population of 2,588 people living on these lands. The largest community is the village of Winnebago, with others in Emerson and Thurston, Nebraska. In 2006 their enrolled population was estimated at 4,000.


title: Ho-Chunk

text: The federally recognized Omaha also have a reservation in Thurston County. Together, the Native American tribes occupy the entire land area of Thurston County.


title: Ho-Chunk

text: The Winnebago Tribe of Nebraska has a written constitution and is governed by an elected nine-person council.


title: Ho-Chunk

text: Since 1992 the Winnebago tribe has owned and operated the WinnaVegas Casino on its lands in Iowa. The tribe legalized alcohol sales to keep liquor tax revenue, earmarked for supporting individuals and families affected by alcoholism. More than 60% of federally recognized tribes in the lower 48 states have legalized alcohol sales.


title: Ho-Chunk

text: In 1994 the tribe established Ho-Chunk, Inc., an economic development corporation that now employs 1400 people. Its success has earned the tribe small business organization awards. It has initiated a strong housing construction program in collaboration with federal programs. Its leaders were featured on "Native American Entrepreneurs" in 2009 on PBS.


title: Ho-Chunk

text: According to Gordon Thunder (Wakąja), the Ho-Chunk have been systematically removed from their homelands, many now occupied by other tribes. The Ho-Chunk Nation of Wisconsin, which at one time consisted primarily of tribal members spread over 13 counties of Wisconsin, have a historical territorial claim in an area encompassed by a line from Green Bay to Long Prairie to St. Louis to Chicago. Some in the federal and state governments have undermined the Ho-Chunk land claims; however, repatriation activities document where many villages once stood.


title: Zoom (1999 TV series)

text: Zoom is an American live-action children's television series in which child cast members present a variety of types of content, including games, recipes, science experiments, and short plays, based on ideas sent in by children, and is a remake from an existing 1972 version of the same name. Created by Christopher Sarson, the series originally aired on PBS Kids from January 4, 1999 to May 6, 2005, with reruns airing until September 2, 2007, and was produced by WGBH-TV in Boston.


title: Zoom (1999 TV series)

text: "Zoom" premiered in 1999 in largely the same format as the original series, with many of the same games and continued to feature content and ideas submitted by viewers. This second "Zoom" series ran for seven seasons (1999–2005), each featuring seven children—32 in total—called "Zoomers". It completed taping a pilot episode in September 1995 with a different cast, which was circulated among funders by early 1997 and aired on television in November of that year. On December 9, 2004, it was announced that the show had been cancelled after seven seasons. The cancellation was blamed on the rising competition of kids TV, which resulted in a noticeable decline in ratings for the show. The series finale aired on May 6, 2005 on most PBS member stations, without any reference of the show’s ending. Reruns of the final three seasons aired on some PBS stations until fall 2007, when the show was pulled from the PBS lineup entirely.


title: Zoom (1999 TV series)

text: Although the complete series was never released in any format, four videos were released based on the show:


title: Zoom (1999 TV series)

text: Additionally, a two-disc set with four full episodes plus various footage from all six seasons of the 1970s version was released on October 28, 2008.


title: Zoom (1999 TV series)

text: Four books by Amy E. Sklansky compiled from material submitted by viewers were published by Little, Brown and Company:


title: .300 Savage

text: The .300 Savage cartridge is a rimless, .30 caliber rifle cartridge developed by Savage Arms in 1920. It was designed to replace the less powerful .303 Savage in their popular Savage Model 99 hammerless lever-action rifle. Despite having a short case and a rather stumpy neck, the cartridge is capable of propelling a bullet at over with an effective range of over .


title: Noahidism

text: Noahidism () or Noachidism () is a monotheistic Jewish religious movement based upon the Seven Laws of Noah and their traditional interpretations within Orthodox Judaism. According to the Jewish law, non-Jews (Goyim) are not obligated to convert to Judaism, but they are required to observe the Seven Laws of Noah to be assured of a place in the World to Come (), the final reward of the righteous. The penalty for violating any of the Noahide laws is discussed in the Talmud, but in practical terms it is subject to the working legal system which is established by the society at large. Those who subscribe to the observance of the Noahic Covenant are referred to as (, "Sons of Noah") or Noahides (). The modern Noahide movement was founded in the 1990s by Orthodox rabbis from Israel, mainly tied to Chabad-Lubavitch and religious Zionist organizations, including The Temple Institute.


title: Noahidism

text: Historically, the Hebrew term has been applied to all non-Jews as descendants of Noah. However, nowadays it is primarily used to refer specifically to those "Righteous Gentiles" who observe the Seven Laws of Noah. Noahide communities have spread and developed primarily in the United States, United Kingdom, Latin America, Nigeria, the Philippines, and Russia. , there are over 20,000 official Noahides around the world and the country with the greatest number is the Philippines.


title: Noahidism

text: The theological basis for the Seven Laws is said to be derived interpretatively from demands addressed to Adam and to Noah, who are said to be the progenitors of all humankind, and therefore to be regarded as universal.


title: Noahidism

text: The concept of "Righteous Gentiles" has a few precedents in the history of Judaism, primarily during Biblical times and the Roman domination of the Mediterranean. In the Hebrew Bible, it is reported that the legal status of (, : "foreigner" or "alien" + : "resident", ) was granted to those Gentiles (non-Jews) living in the Land of Israel who did not want to convert to Judaism but agreed to observe the Seven Laws of Noah. The or God-fearers of the Roman Empire were another ancient example of non-Jews being included within the Jewish community without converting to Judaism.


title: Noahidism

text: During the Golden Age of Jewish culture in the Iberian Peninsula, the medieval Jewish philosopher and rabbi Maimonides (1135–1204) wrote in the halakhic legal code that Gentiles (non-Jews) must perform exclusively the Seven Laws of Noah and refrain from studying the Torah or performing any Jewish commandment, including resting on the Shabbat; however, Maimonides also states that if Gentiles want to perform any Jewish commandment besides the Seven Laws of Noah according to the correct halakhic procedure, they are not prevented from doing so. According to Maimonides, teaching non-Jews to follow the Seven Laws of Noah is incumbent on all Jews, a commandment in and of itself. Nevertheless, the majority of rabbinic authorities over the centuries have rejected Maimonides' opinion, and the dominant halakhic consensus has always been that Jews are not required to spread the Noahide laws to non-Jews.


title: Noahidism

text: Menachem Mendel Schneerson, the Lubavitcher Rebbe, encouraged his followers on many occasions to preach the Seven Laws of Noah, devoting some of his addresses to the subtleties of this code. Since the 1990s, Orthodox rabbis from Israel, most notably those affiliated to Chabad-Lubavitch and religious Zionist organizations, including The Temple Institute, have set up a modern Noahide movement. These Noahide organizations, led by religious Zionist and Orthodox rabbis, are aimed at non-Jews to proselytize among them and commit them to follow the Noahide laws. According to anthropologist Rachel Z. Feldman, many of the rabbis involved in mentoring Noahides are supporters of the Third Temple movement who believe that the messianic era begins with the establishment of a Jewish theocratic state in Israel, supported by communities of Noahides worldwide. Feldman describes Noahidism as a "new world religion" that "carv[es] out a place for non-Jews in the messianic Zionist project" and "affirms the superiority of Judaism and the Jewish biblical right to the Land of Israel". She characterizes Noahide ideology in the Philippines and elsewhere in the global south as having a "markedly racial dimension" constructed around "an essential categorical difference between Jews and Noahides". David Novak, professor of Jewish theology and ethics at the University of Toronto, has denounced the modern Noahide movement by stating that "If Jews are telling Gentiles what to do, it's a form of imperialism". There are two different conceptions of Noahidism in Orthodox Judaism:


title: Noahidism

text: A "High Council of ", set up to represent Noahide communities around the world, was endorsed by a group that claimed to be the new Sanhedrin. The High Council of consists of a group of Noahides who, at the request of the nascent Sanhedrin, gathered in Jerusalem on 10 January 2006 to be recognized as an international Noahide organization for the purpose of serving as a bridge between the nascent Sanhedrin and Noahides worldwide. There were ten initial members who flew to Israel and pledged to uphold the Seven Laws of Noah and to conduct themselves under the authority of the Noahide (religious court) of the nascent Sanhedrin.


title: Noahidism

text: Meir Kahane and Shlomo Carlebach organized one of the first Noahide conferences in the 1980s. In 1990, Kahane was the keynote speaker at the First International Conference of the Descendants of Noah, the first Noahide gathering, in Fort Worth, Texas. After the assassination of Meir Kahane that same year, The Temple Institute, which advocates to rebuild the Third Jewish Temple on the Temple Mount in Jerusalem, started to promote the Noahide laws as well.


title: Noahidism

text: The Chabad-Lubavitch movement has been one of the most active in Noahide outreach, believing that there is spiritual and societal value for non-Jews in at least simply acknowledging the Noahide laws. In 1982, Chabad-Lubavitch had a reference to the Noahide laws enshrined in a U.S. Presidential proclamation: the "Proclamation 4921", signed by the then-U.S. President Ronald Reagan. The United States Congress, recalling House Joint Resolution 447 and in celebration of Menachem Mendel Schneerson's 80th birthday, proclaimed 4 April 1982, as a "National Day of Reflection".


title: Noahidism

text: In 1989 and 1990, they had another reference to the Noahide laws enshrined in a U.S. Presidential proclamation: the "Proclamation 5956", signed by then-President George H. W. Bush. The United States Congress, recalling House Joint Resolution 173 and in celebration of Menachem Mendel Schneerson's 87th birthday, proclaimed 16 April 1989, and 6 April 1990, as "Education Day, U.S.A."


title: Noahidism

text: In January 2004, the spiritual leader of the Druze community in Israel, Sheikh Mowafak Tarif, met with a representative of Chabad-Lubavitch to sign a declaration calling on all non-Jews in Israel to observe the Noahide laws; the mayor of the Arab city of Shefa-'Amr (Shfaram) also signed the document.


title: Noahidism

text: In March 2016, the Sephardic Chief Rabbi of Israel, Yitzhak Yosef, declared during a sermon that Jewish law requires that the only non-Jews allowed to live in Israel are obligated to follow the Noahide laws:


title: Noahidism

text: Yosef's sermon sparked outrage in Israel and was fiercely criticized by several human rights associations, NGOs and members of the Knesset; Jonathan Greenblatt, Anti-Defamation League's CEO and national director, and Carole Nuriel, Anti-Defamation League's Israel Office acting director, issued a strong denunciation of Yosef's sermon:


title: Grande Odalisque

text: Grande Odalisque, also known as Une Odalisque or La Grande Odalisque, is an oil painting of 1814 by Jean-Auguste-Dominique Ingres depicting an odalisque, or concubine. Ingres' contemporaries considered the work to signify Ingres' break from Neoclassicism, indicating a shift toward exotic Romanticism.


title: Grande Odalisque

text: "Grande Odalisque" attracted wide criticism when it was first shown. It is renowned for the elongated proportions and lack of anatomical realism. The work is owned by the Louvre Museum, Paris which purchased the work in 1899.


title: Grande Odalisque

text: The painting was commissioned by Napoleon's sister, Queen Caroline Murat of Naples, and finished in 1814. Ingres drew upon works such as "Dresden Venus" by Giorgione, and Titian's "Venus of Urbino" as inspiration for his reclining nude figure, though the actual pose of a reclining figure looking back over her shoulder is directly drawn from the 1800 "Portrait of Madame Récamier" by Jacques-Louis David.


title: Grande Odalisque

text: Ingres portrays a concubine in languid pose as seen from behind with distorted proportions. The small head, elongated limbs, and cool color scheme all reveal influences from Mannerists such as Parmigianino, whose "Madonna with the Long Neck" was also famous for anatomical distortion.


title: Grande Odalisque

text: This eclectic mix of styles, combining classical form with Romantic themes, prompted harsh criticism when it was first shown in 1814. Critics viewed Ingres as a rebel against the contemporary style of form and content. When the painting was first shown in the Salon of 1819, one critic remarked that the work had "neither bones nor muscle, neither blood, nor life, nor relief, indeed nothing that constitutes imitation". This echoed the general view that Ingres had disregarded anatomical realism. Ingres instead favored long lines to convey curvature and sensuality, as well as abundant, even light to tone down the volume. Ingres continued to be criticized for his work until the mid-1820s.


title: Grande Odalisque

text: Stemming from the initial criticism the painting received, the figure in "Grande Odalisque" is thought to be drawn with "two or three vertebrae too many." Critics at the time believed the elongations to be errors on the part of Ingres, but recent studies show the elongations to have been deliberate distortions. Measurements taken on the proportions of real women showed that Ingres's figure was drawn with a curvature of the spine and rotation of the pelvis impossible to replicate. It also showed the left arm of the odalisque is shorter than the right. The study concluded that the figure was longer by "five" instead of two or three vertebrae and that the excess affected the lengths of the pelvis "and" lower back instead of merely the lumbar region.


title: Grande Odalisque

text: Another interpretation of this painting suggests that since the duty of some concubines was merely to satisfy the carnal pleasures of the sultan, this elongation of her pelvic area may have been a symbolic distortion by Ingres. While this may represent sensuous feminine beauty, her gaze, on the other hand, has been said to "[reflect] a complex psychological make-up" or "[betray] no feeling". In addition, the distance between her gaze and her pelvic region may be a physical representation of the depth of thought and complex emotions of a woman's thoughts and feelings.


title: Grande Odalisque

text: French painter Jules Flandrin made a copy of La Grande Odalisque in 1903 which is exhibited at the Ingres Museum in Montauban, France.


title: Grande Odalisque

text: In 1964, French artist Martial Raysse, in his series "Made in Japan", reframed "La Grande Odalisque" to make a portrait in the style of American pop art. This pastiche, through the inclusion of junk jewelry, relegates The Odalisque to the rank of a consumer product.


title: Grande Odalisque

text: In 1985, peruvian painter Herman Braun-Vega brought "La Grande Odalisque" in the middle of the country. In the shade of trees, she finds herself offered to the curiosity of Peruvian children. The title of this painting "Pourquoi pas eux?"(Why not them?) indicates that this is an advocacy for the popularization of culture ("This boy who touches the knee of Ingres's nude, touches Western culture even if he is not aware of it." Herman Braun-Vega). In 2010, he did it again with his painting "La ronde au crépuscule au bord du pacifique", where "La Grande Odalisque" is relocated to the seaside, featuring, in addition to characters from Peruvian daily reality, nudes by Matisse and Picasso.


title: Grande Odalisque

text: "La Grande Odalisque" was appropriated by the feminist art group Guerrilla Girls for their first color poster and most iconic image. The 1989 Metropolitan Museum poster gave Ingres's odalisque a gorilla mask and posed the question "Do women have to be naked to get into the Met. Museum?". The poster used data from the group's first "weenie count" and drew attention to the overwhelming number of female nudes counted in the Modern Art sections of The Met. The poster was rejected by the Public Art Fund in New York and was run in advertising space on New York City buses until the bus company cancelled the lease arguing that the image was "too suggestive and that the figure appeared to have more than a fan in her hand." La Grande Odalisque is also referenced in the lyrics to 'Pretension/Repulsion' by Welsh alternative rock band Manic Street Preachers from their 2009 album Journal for Plague Lovers. The songs lyrics were written by the band's former lyricist Richey Edwards before his disappearance in 1995. According to the Manics' vocalist, James Dean Bradfield, the song's lyrics deal with "the idealisation of beauty, or what is ugliness".


title: Joy-Con

text: Joy-Con are the primary game controllers for the Nintendo Switch video game console. They consist of two individual units, each containing an analog stick and an array of buttons. They can be used while attached to the main Nintendo Switch console unit, or detached and used wirelessly; when detached, a pair of Joy-Con can be used by a single player, or divided between two as individual controllers. The controllers have been criticized for the tendency of the analog sticks to register inputs when not being touched (also known as "drift").


title: Joy-Con

text: Joy-Con are distributed in pairs, designated as "Joy-Con L" and "Joy-Con R" respectively. They each measure , and the Joy-Con L and R weigh and , respectively. When measured from the top of the analog stick to the tip of the ZL/ZR trigger it has an extreme depth of .


title: Joy-Con

text: Joy-Con can be attached to the sides of the Switch console via rails, or detached and used wirelessly—either as a pair (comparable to a Wii Remote and Nunchuk), or divided between two different players. Up to 8 Joy-Con can connect to a single Switch console at a time. The Joy-Con can be optionally attached to a "Joy-Con Grip" accessory, with or without charging capabilities, that convert the controllers to a more traditional gamepad-like form factor.


title: Joy-Con

text: When detached from the console, both Joy-Con units operate autonomously of each other, and communicate with the console via Bluetooth. Wrist strap attachments are provided, which are similarly installed by sliding them onto the controllers' rails. The strap attachments have a rounded shape and raised shoulder buttons to improve the ergonomics of the Joy-Con when used individually.


title: Joy-Con

text: Joy-Con contain non-removable 3.7 volt 525 mAh 1.9 watt hour lithium-ion polymer batteries; they are charged when attached to a Switch console that itself is charging. A separate "charging grip" accessory allows the controllers to be charged in a gamepad configuration via USB-C. Nintendo released a Joy-Con AA battery pack attachment on June 16, 2017, which slide onto the Joy-Con similarly to the wrist strap attachments.


title: Joy-Con

text: Joy-Con can be obtained in various colors, either with the purchase of the Switch console or individually, both separately or as a pair. At launch, Joy-Con were available in slate gray, neon red R and neon blue L colors. Black Joy-Con are also issued with Switch development kits. In mid-2017, Nintendo introduced neon yellow Joy-Con, released alongside "Arms" as well as neon green and neon pink Joy-Con which launched alongside "Splatoon 2". A pair of red Joy-Con were released as part of the "Super Mario Odyssey" bundle, except in Japan and Europe (My Nintendo Store only) where they are available standalone, which was released in October 2017. An exclusive "Nintendo Labo" Joy-Con design, light brown in color, was released in 2018. It was exclusively available to winners of the Nintendo Labo Creators Contest. In July 2018, Hori, a video game peripheral company, released a dark blue left Joy-Con featuring a classic D-pad in lieu of directional buttons. The controller lacked features such as HD rumble, SL and SR buttons, gyroscope, and wireless connectivity standard to Nintendo-produced Joy-Con, forcing its users to be restricted to handheld mode. This was notably the first officially licensed Joy-Con to be released by a third-party company. Two more officially licensed D-pad variants featuring "" and "Super Mario Odyssey" themes were later released by Hori in September 2018. Joy-Con colors based on Eevee and Pikachu's color schemes were released alongside on November 16, 2018, as part of the Switch bundle for the games, and Hori released a fourth D-pad Joy-Con variant featuring a Pikachu theme on the same day. Gray Joy-Con variants featuring a silver "Super Smash Bros." series cross logo became available for pre-order alongside "Super Smash Bros. Ultimate" on November 2, 2018, and were later released on December 7, 2018, as part of the "Super Smash Bros. Ultimate" Switch bundle. In July 2019, Nintendo announced that the neon purple and neon orange Joy-Con would be released on October 4, 2019, as well as the blue and neon yellow Joy-Con. Ultramarine blue Joy-Con launched alongside "Dragon Quest XI S" in Japan on September 27, 2019, as part of the "Dragon Quest XI S" Loto Edition Switch bundle. Pink and mulberry "Tsum Tsum" Joy-Con launched alongside "Disney Tsum Tsum Festival" in Japan on October 10, 2019, as part of the "Disney Tsum Tsum Festival" Switch bundle. Gray Joy-Con variants with a thunderbolt symbol on the left and a Pikachu silhouette on the right were released in Japan on November 29, 2019, as part of the "Thunderbolt Project" Switch bundle. Medium aquamarine and sky blue Joy-Con became available for pre-order alongside "" on March 13, 2020, and were later released on March 20, 2020, as part of the "Animal Crossing: New Horizons" Switch bundle. Sunglow yellow and French blue Joy-Con were released as part of two "Fortnite" bundles; the sunglow yellow Joy-Con L and French blue Joy-Con R were released on October 6, 2020 in Europe and November 6, 2020 in Australia and New Zealand as part of the "Fortnite" special edition Switch bundle, and the French blue Joy-Con L and sunglow yellow Joy-Con R were released as part of the "Fortnite" - Fleet Force bundle on June 4, 2021. Red "Mario" Joy-Con launched on January 12, 2021, as part of the "Mario Red & Blue Edition"-themed Switch bundle. Gray Joy-Con variants featuring silver and gold "Monster Hunter Rise" artwork were released on March 26, 2021, as part of the "Monster Hunter Rise" Switch bundle. A blue Joy-Con pair themed after the Master Sword and Hylian Shield from "" was released alongside the game on July 16, 2021. White Joy-Con were released on October 8, 2021, as part of the white Nintendo Switch – OLED Model bundle. Blue and neon yellow Joy-Con variants with artwork themed after "Splatoon 3" became available to pre-order alongside "Splatoon 3" on August 26, 2022, and were later released on September 9, 2022, as part of the "Splatoon 3" Switch – OLED Model bundle. Dark red and purple Joy-Con variants with artwork themed after "Pokémon Scarlet" and "Violet" were available to pre-order alongside "Pokémon Scarlet" and "Violet" on November 4, 2022, and were later released on November 18, 2022, as part of the "Pokémon Scarlet" and "Violet" Switch – OLED Model bundle.


title: Joy-Con

text: In December 2018, Nintendo also released two Joy-Con variants with designs resembling classic Nintendo Entertainment System and Nintendo Famicom controllers, available exclusively to individuals with an active Nintendo Switch Online subscription. The Famicom variants were only available to Nintendo Switch Online members in Japan. These variants were designed to be used specifically with the library of classic Nintendo titles available through the Nintendo Switch Online service, as well as with select modern Switch titles. Both are notable for heavily deviating from the normal Joy-Con design, instead being taller and more rectangular in shape, having fewer buttons than standard Joy-Con, and, in the case of the Famicom variants, featuring a working microphone in the right controller. Similar Joy-Con based on both the Nintendo 64 controller as well as the 3-button Sega Genesis controller are available to Nintendo Switch Online subscribers starting in October 2021, along with a 6-button Sega Mega Drive-based Joy-Con exclusively released in Japan.


title: Joy-Con

text: The feature set of the Joy-Con was partially inspired by feedback from players using the Wii Remote, according to Nintendo's Shinya Takahashi. After releasing games that heavily used the Wii Remote with the Wii, such as "Wii Sports" and "Wii Fit", players had asked for different design features, such as having a smaller form factor, or being able to be strapped to a part of the body. Nintendo envisioned what benefits towards innovative design and gameplay could come from a smaller form factor, which led to the idea of a console that could be portable, controlled through these smaller controllers. This became the fundamental principle of the Switch, and directly into the Joy-Con design.


title: Joy-Con

text: Both controllers contain a clickable analog stick, four face buttons, two top buttons, two side buttons accessible when detached (which become shoulder buttons when held horizontally) and designated as and , a or button, a sync button, and player indicator lights. Joy-Con L contains directional buttons, a button, top buttons designated as and , and a screenshot button, which enables the player to upload screenshots to social media. In an update released on October 18, 2017, the screenshot button is also able to record up to 30 seconds of gameplay in select games when held down for a second. Joy-Con R contains , , , and buttons, a button, top buttons designated as and , and a Home button.


title: Joy-Con

text: Each Joy-Con contains an accelerometer and gyroscope, which can be used for motion tracking. Games can support using the Joy-Con for pointing controls similar to the Wii Remote while detached without the need of a sensor bar. Joy-Con R contains an infrared depth tracking sensor, which can read objects and motions held in front of it; as an example of its functionality, Nintendo stated that the sensor could distinguish between the hand shapes of rock–paper–scissors. Joy-Con R also contains a near-field communication reader for use with Amiibo.


title: Joy-Con

text: The Joy-Con contain a haptic feedback engine known as "HD Rumble", which was developed in partnership with Immersion Corporation. Nintendo stated that the system could generate fine tactile feedback, such as the sensation of individual ice cubes and water in a glass.


title: Joy-Con

text: It was discovered shortly after public release that Joy-Con can connect to and be used with other Bluetooth-enabled personal computers and mobile devices. Official Joy-Con support was also added to iPhones and iPads as part of its iOS 16 update.


title: Joy-Con

text: Prior to the public release of Nintendo Switch, various video gaming websites reported that the controllers—most commonly the Joy-Con L—were susceptible to connection losses when used wirelessly. It was initially unknown whether these problems were the result of an interference issue, or caused by the pre-launch software on review units. A Nintendo spokesperson stated to "Polygon" that the company would "continue to monitor the performance of Nintendo Switch hardware and software, and make improvements when necessary". The company posted guidance on its support website for minimizing Bluetooth signal interference, including recommendations that the Switch console be placed away from other wireless-enabled devices. On March 22, 2017, Nintendo confirmed that the interference issues were caused by a "manufacturing variant" in a small number of Joy-Con from early production runs, and that the company would allow owners to send in their affected Joy-Con for repairs free-of-charge.


title: Joy-Con

text: On launch, it was reported that the wrist strap attachments for the Joy-Con were hard to detach from the controllers. It was also reported that a wrist strap could easily be attached to the Joy-Con incorrectly and become difficult to remove.


title: Joy-Con

text: One of the more common issues to be found with the Joy-Con is joystick drift. This issue occurs when dust or other small particles come in contact with the internal sensors of the analog stick. A common remedy for this issue is to apply compressed air or contact cleaner under the rubber skirt of the joystick. Nintendo repairs this issue for free if under warranty, but the cost of repair for an out of warranty Joy-Con could be over 40 United States dollars according to many reports on the topic. The high price of repair leads many to buy an entirely new Joy-Con as they only cost slightly more than a repair, a single being $49.99 and a set of two $79.99. In response to increased complaints and potential legal action for the drift issue, Nintendo stated that they were aware of the frequent reports, but did not offer immediate advice outside of contacting their technical support lines. On July 23, 2019, three days after the filing of a class action lawsuit, an internal Nintendo memo was leaked; the memo instructed the firm's customer service employees in North America to start offering repairs for drifting Joy-Con controllers for free, regardless of warranty status.


title: Joy-Con

text: Nintendo president Shuntaro Furukawa issued a public apology from the company for the drift problem as part of an investors' meeting in June 2020, stating "We apologize for any inconvenience caused to our customers regarding Joy-Con controllers. We are continuing to improve our products", but could not comment further due to ongoing legal cases related to the controllers.


title: Joy-Con

text: With the release of the OLED revision of the Switch in October 2021, Nintendo said that the new Joy-Con design should reduce the drift problem but they did not expect that they could ever eliminate the drift as it is an issue related to wear from long-term usage. The new design of the joysticks in the OLED Joy-Con were made to reduce how much wear occurs to make them more durable but the company still anticipates drifting could still occur.


title: Joy-Con

text: In August 2017, Los Angeles-based tablet peripheral manufacturer Gamevice filed a lawsuit against Nintendo in the United States District Court for the Central District of California, alleging that the design of the Joy-Con controllers conflicts with its patent on the design for the Wikipad, an Android-based gaming device that also features a tablet with a detachable controller. The lawsuit sought damages on existing Switch sales and banning further sales of the console. The lawsuit was voluntarily dismissed by Gamevice on October 23, 2017.


title: Joy-Con

text: However, in March 2018, Gamevice initiated a second patent infringement lawsuit on Nintendo related to a different set of patents. Gamevice also sought action through the United States International Trade Commission related to patent infringement under Section 337 of the Tariff Act of 1930, and was seeking to block imports of the Switch into the United States.


title: Joy-Con

text: Two class action lawsuits were filed in the United States District Court for the Western District of Washington in July 2019 and September 2019 over the Joy-Con drift issue. The first suit alleges that Nintendo is well aware of the defect but does not "disclose the defect and routinely refuses to repair the joysticks without charge"; the second suit alleges that the Joy-Con controllers are defective. It asserts claims for breach of warranty, fraud, and violations of numerous state consumer protection statutes. The court refused to dismiss the suits, and as of October 2020, are currently under arbitration hearings.


title: Joy-Con

text: Two additional class action lawsuits were filed in October and November 2020 in the United States, respectively in the Northern California District Court and in the Western Washington District Court. Both suits allege Nintendo of having defective manufacturing processes for the Joy-Con, even after the company apologized for the problem, as the primary clients in both cases has purchased multiple Joy-Con but found the drift occurred over time in each set purchased.


title: Joy-Con

text: The French consumer group UFC-Que Choisir filed a lawsuit against Nintendo in September 2020 alleging that the Joy-Con were designed with planned obsolescence intended to fail or break due to the drift issue and other factors. The suit seeks to compel Nintendo to change its manufacturing process to improve the durability of the Joy-Con.


title: Joy-Con

text: A consortium of nine European consumer organizations requested consumers inform them on Joy-Con drift issues in December 2020 as they negotiated with Nintendo on how to resolve the matters in that region. The organizations stated that they would plan legal action if they could not come to an agreement with Nintendo. The European Consumer Organisation (BEUC), which represents 40 consumers groups in the region, also urged the European Commission to investigate the Joy-Con drift issue in January 2021 after the body received 25,000 complaints.


title: Non-apology apology

text: A non-apology apology, sometimes called a backhanded apology, nonpology, or fauxpology, is a statement in the form of an apology that does not express remorse, or assigns fault to those ostensibly receiving the apology. It is common in politics and public relations.


title: Non-apology apology

text: For example, saying "I'm sorry you feel that way" to someone who has been offended by a statement is a non-apology apology. It does not admit there was anything wrong with the remarks made, and may imply the person took offense for hypersensitive or irrational reasons. Another form of non-apology does not apologize directly to the injured or insulted party, but generically "to anyone who might have been offended".


title: Non-apology apology

text: Statements that use the word "sorry" but do not express responsibility for wrongdoing may be meaningful expressions of regret, but such statements can also be used to elicit forgiveness without acknowledging fault.


title: Non-apology apology

text: Non-apology apologizers may be trying to avoid litigation that might result from an admission of guilt or responsibility. Many states, including Massachusetts and California, have laws to prevent a plaintiff from using an apology as evidence of liability. For example, a medical doctor may apologize to a patient for a bad outcome without fearing the apology can be used against them at trial as evidence of negligence.


title: Non-apology apology

text: In November 2008, the Alberta legislature passed an amendment to the existing Alberta Evidence Act, R.S.A. 2000, c. A-18, geared at protecting apologizing parties from risks of legal liability and loss of insurance coverage. Section 26.1 of the Act provides that an apology does not constitute an express or implied admission of fault or liability.


title: Non-apology apology

text: The expression "mistakes were made" is commonly used as a rhetorical device, whereby a speaker acknowledges a situation was handled poorly or inappropriately but seeks to evade any direct admission or accusation of responsibility by using the passive voice. The acknowledgement of "mistakes" is framed in an abstract sense with no direct reference to "who" made the mistakes. An active voice construction would be along the lines of "I made mistakes" or "John Doe made mistakes." The speaker neither accepts personal responsibility nor accuses anyone else. The word "mistakes" also does not imply intent.


title: Non-apology apology

text: "The New York Times" has called the phrase a "classic Washington linguistic construct". Political consultant William Schneider suggested this usage be referred to as the "past exonerative" tense, and commentator William Safire has defined the phrase as "[a] passive-evasive way of acknowledging error while distancing the speaker from responsibility for it". A commentator at NPR declared this expression to be "the king of non-apologies". While perhaps most famous in politics, the phrase has also been used in business, sports, and entertainment.


title: Non-apology apology

text: Attorney and business ethics expert Lauren Bloom, author of "The Art of the Apology", mentions the "if apology" as a favorite of politicians, with lines such as "I apologize if I offended anyone". Comedian Harry Shearer has coined the term "Ifpology" for its frequent appearances on "The Apologies of the Week" segment of "Le Show".


title: Non-apology apology

text: One of the first references was in "The New York Times" by Richard Mooney in his 1992 editorial notebook "If This Sounds Slippery ... How to Apologize and Admit Nothing". This was mainly in regard to Senator Bob Packwood: "Only in the event that someone should choose to take offense, why then he's sorry". Mooney goes on to cite Bill Clinton, who said of Mario Cuomo: "If the remarks on the tape left anyone with the impression that I was disrespectful to either Governor Cuomo or Italian-Americans, then I deeply regret it." A famous example involved racially insensitive remarks made by golfer Fuzzy Zoeller about Tiger Woods; Zoeller's comments and his half-hearted ifpology were news for days and resulted in his being dropped from a commercial tie-in with K-Mart. According to John Kador in "Effective Apology", "Adding the word "if" or any other conditional modifier to an apology makes it a non-apology."


title: Non-apology apology

text: A 2014 ifpology was made by "CNN"s Don Lemon, who said, "If my question to <nowiki>[</nowiki>Joan Tarshis<nowiki>]</nowiki> struck anyone as offensive, I am sorry, as that certainly was not my intention." This was about a question during his interview with Joan Tarshis where he suggested biting a penis as a way to avoid being orally sexually assaulted.


title: Non-apology apology

text: On September 16, 2015, Matt Damon made what "Salon" termed a "non-apology" apology when he said, "I am sorry that [my comments] offended some people, but, at the very least, I am happy that they started a conversation about diversity in Hollywood." This was in reference to the backlash against Damon after he made comments about diversity to African American film producer Effie Brown on the September 13, 2015 debut of the HBO show "Project Greenlight" that were criticized as condescending.


title: Non-apology apology

text: On July 24, 1991, "The New York Times" reported Australian foreign minister Gareth Evans had offered the prime minister of Malaysia "what might best be described as a non-apology apology" for what the Malaysian government regarded as an insulting portrayal of Malaysia in an Australian television series, "Embassy". Speaking to journalists, Evans said he had "wanted to acknowledge fault where such acknowledgment is appropriate".


title: Non-apology apology

text: Speaking on the floor of the U.S. House of Representatives in July 2020, Rep. Alexandria Ocasio-Cortez dismissed what she called a non-apology apology from Rep. Ted Yoho for describing her as a "fucking bitch". After the story went public, Yoho had apologized for the "abrupt manner of the conversation" he had with her but denied having used those words.


title: Non-apology apology

text: Humorist Bruce McCall, in a 2001 "New York Times" piece entitled "The Perfect Non-apology Apology", defined the term as referring to "sufficiently artful double talk" designed to enable one to "get what you want by seeming to express regret while actually accepting no blame," and suggested some tongue-in-cheek apologies, such as:


title: Non-apology apology

text: Typologies of apology note they cover a range of situations and degrees of regret, remorse, and contrition, and that success is to be gauged by the result of the apology rather than the degree of contrition involved. Deborah Levi offers the following possibilities:


title: Non-apology apology

text: While the non-apology apology is clearly unsuited to situations where an expression of remorse, contrition, and future change are obviously desirable (e.g. the "happy ending" apology), it may prove extremely useful in situations where little can be done to assuage the apparent offence or prevent its repetition, as when an airline apologises for a delay, in the full knowledge that a future repetition is inevitable. Such tactical apologies may have beneficial effects simply through the validation of the emotions of the offended party: they answer the basic human need for disagreeable emotions to be recognised and acknowledged as important, while protecting the apparently offending party from an expression of remorse. Negotiators often use this tactic to calm tense situations: "an apology can defuse emotions effectively, even when you do not acknowledge personal responsibility for the action or admit an intention to harm. An apology may be one of the least costly and most rewarding investments you can make."


title: Operation Hailstone

text: Operation Hailstone (), 17–18 February 1944, was a massive United States Navy air and surface attack on Truk Lagoon conducted as part of the American offensive drive against the Imperial Japanese Navy (IJN) through the Central Pacific Ocean during World War II.


title: Operation Hailstone

text: Prior to Operation Hailstone, the IJN had used Truk as an anchorage for its large Combined Fleet. The coral atoll surrounding Truk's islands created a safe harbor where the few points of ingress and egress had been fortified by the Japanese with shore batteries, antiaircraft guns, and airfields.


title: Operation Hailstone

text: American estimates of Truk's defenses and its role as a stronghold of the Japanese Navy led newspapers and military men to call it the "Gibraltar of the Pacific", or to compare it with Pearl Harbor. Truk's location in the Caroline Islands also made it an excellent shipping hub for armaments and aircraft moving from Japan's home islands down through the South Seas Mandate and into the Japanese "Southern Resources Area".


title: Operation Hailstone

text: By early 1944, Truk was increasingly unsustainable as a forward base of operations for the Japanese. To the west, American and Australian forces under General Douglas MacArthur had moved up through the Southwest Pacific, isolating or overrunning many Japanese strong points as part of Operation Cartwheel. The U.S. Navy, Marine Corps, and Army, under the command of Admiral Chester W. Nimitz, had overrun the most important islands in the nearby Gilbert Islands and Marshall Islands, and then built numerous air bases there.


title: Operation Hailstone

text: As a result, the Japanese Navy had to relocate the Combined Fleet's forward base to the Palau Islands, and eventually to Indonesia, and the Fleet had begun clearing its major warships – carriers, battleships, and heavy cruisers – out of Truk before the "Hailstone" attack struck.


title: Operation Hailstone

text: Nevertheless, the "Hailstone" attack on Truk caught a good number of Japanese auxiliary ships and cargo ships in the harbor, as well as some smaller warships. Between the air attacks and surface ship attacks over the two days of Operation Hailstone, the worst blow against the Japanese was about 250 warplanes destroyed, with the concurrent loss of irreplaceable experienced pilots, and 17,000 tons of stored fuel. Also, about forty ships – two light cruisers, four destroyers, nine auxiliary ships, and about two dozen cargo vessels – were sunk.


title: Operation Hailstone

text: Considerable damage was inflicted on the various island bases, including dockyards, communications centers, supply dumps, and its submarine base. Truk remained effectively isolated for the remainder of the war, cut off and surrounded by the American island hopping campaign in the Central Pacific, which also bypassed important Japanese garrisons and airfields in the Bismarck Archipelago, the Caroline Islands, the Marshalls, and the Palaus. Meanwhile, the Americans built new bases from scratch at places like the Admiralty Islands, Majuro, and Ulithi Atoll, and took over the major port at Guam.


title: Operation Hailstone

text: The Japanese occupied Micronesia, including the Caroline Islands, in 1914, and established Truk as a base as early as 1939. The lagoon was first built up to house the IJN's 4th Fleet, its "South Seas Force". After the outbreak of war with the United States, the 4th Fleet was put under the command of the Combined Fleet, which continued to use Truk as a forward operating base into 1944. In addition to anchorages for warships, and port facilities for shipping between the home islands and the Southern Resources Area, five airfields and a seaplane base were constructed at Truk, making it the only major Japanese airfield within flying range of the Marshall Islands.


title: Operation Hailstone

text: Despite the impressions of U.S. Navy leaders and the American public concerning Truk's projected fortifications, the base was never significantly reinforced or protected against land attack. In fact, the development of Truk only began in earnest and in hurried fashion in late 1943, when the airfields were extended, shore batteries were erected, and other defensive measures taken against a U.S. invasion.


title: Operation Hailstone

text: Because aircraft stationed at Truk could potentially interfere with the upcoming invasion of Eniwetok, and because Truk had recently served as a ferry point for the resupply of aircraft to Rabaul, Admiral Raymond Spruance ordered Vice Admiral Marc A. Mitscher's Fast Carrier Task Force, designated TF 58, to carry out air raids against Truk. Three of TF 58's four carrier task groups (TGs) were committed to the operation. Their total strength consisted of five fleet carriers


title: Operation Hailstone

text: Supporting these aircraft carriers was a task force of seven battleships, and numerous heavy cruisers, light cruisers, destroyers, and submarines.


title: Operation Hailstone

text: The Japanese, meanwhile, understood the weakness of their position at Truk. The IJN had begun withdrawing fleet units from its anchorages as early as October 1943. The effective abandonment of Truk as a forward operating base accelerated during the first week of February 1944, following Japanese sightings of U.S. Marine Corps PB4Y-1 Liberator reconnaissance planes sent to reconnoiter the area.


title: Operation Hailstone

text: The three carrier task groups committed to "Hailstone" moved into position and began launching their first fighter sweep 90 minutes before daybreak on 17 February 1944. No Japanese air patrol was active at the time as the IJN's 22nd and 26th Air Flotillas were enjoying shore leave after weeks on high alert following the Liberator sightings. Similarly problematic for the Japanese, radar on Truk was not capable of detecting low-flying planes — a weakness probably known and exploited by Allied intelligence organizations. Because of these factors, U.S. carrier aircraft achieved total surprise.


title: Operation Hailstone

text: Japanese pilots scrambled into their cockpits just minutes before TF 58 planes arrived over Eten, Param, Moen and Dublon islands. Though there were more than 300 Imperial Japanese Navy Air Service (IJNAS) and Imperial Japanese Army Air Service (IJAAS) planes present at Truk on the first day of attacks, only about half of them were operational compared with over 500 operational aircraft among the carriers of TF 58. U.S. Navy fighter pilots in their Grumman F6F Hellcats, with the advantages of speed, altitude, armour, and surprise, achieved a one–sided victory against IJNAS pilots flying the outdated Mitsubishi A6M Zero. As many as 30 of the 80 Zeros sent up in response to the fighter sweep were shot down, compared with four Hellcats reported lost. Only token aerial resistance was encountered for the rest of the morning; almost no Japanese aircraft were present by the afternoon.


title: Operation Hailstone

text: Due to the lack of air cover or warning, many merchant ships were caught at anchor with only the islands' anti-aircraft guns for defense against the U.S. carrier planes. Some vessels outside the lagoon already steaming towards Japan were attacked by U.S. submarines and sunk before they could make their escape. Still others, attempting to flee via the atoll's North Pass, were bottled up by aerial attack and by Admiral Spruance's surface force, Task Group 50.9, which circumnavigated Truk, bombarding shore positions and engaging enemy ships.


title: Operation Hailstone

text: Torpedo bomber and dive bomber squadrons from the carrier air groups (CAGs) were responsible for the bulk of the damage inflicted on Japanese ground facilities. Early on the first day of "Hailstone", Grumman TBF Avenger torpedo bomber squadrons from "Enterprise"s Air Group 10 (CAG-10) and "Intrepid"s CAG-6 dropped fragmentation and incendiary bombs on runways at Eten Island as well as the seaplane base on Moen Island. Dozens of aircraft were damaged or destroyed, further blunting any possible response by the Japanese to the strikes. Subsequent joint attacks by dive bombers and Avenger torpedo bombers cratered runways and destroyed hangar facilities.


title: Operation Hailstone

text: Morning strikes were also launched against shipping targets in the lagoon. Lieutenant Commander (later Rear Admiral) James D. Ramage, commanding officer of Dive Bombing Squadron 10 (VB-10), is credited with sinking the previously damaged merchant tanker "Hoyo Maru". Lieutenant James E. Bridges and his crew in one of "Intrepid"s Torpedo Squadron 6 (VT-6) Avengers scored a direct hit on the ammunition ship . The bomb blast set off a tremendous explosion, which immediately sank the ship and apparently engulfed the plane as well, killing all three men inside.By the second and third anti-shipping strikes of the day, carrier air group action reports listed the apparent enemy mission as "escape". Those ships able to make for open sea steamed for the North Pass exit from the lagoon while weathering repeated aerial attacks. One particular group of warships—cruiser "Katori", auxiliary cruiser "Akagi Maru", destroyers "Maikaze", "Nowaki" and minesweeper "Shonan Maru"—was given special attention by carrier bombers. Multiple air groups attacked these ships, inflicting serious damage. "Yorktown"s dive and torpedo bombing squadrons claimed two hits on "Katori" and hits on another cruiser and multiple destroyers; "Essex" bombers claimed five hits on a as well, stating that the ship was stopped dead in the water after the attack.


title: Operation Hailstone

text: At this point reports reached Admiral Spruance concerning the group of warships fleeing through North Pass. Spruance was so adamant on engaging in ship-to-ship combat that his carrier commander, Admiral Mitscher, ordered his air groups to stop attacking "Katori" and her companions. The admiral put himself in tactical command of Task Group 50.9, made up of four destroyers, heavy cruisers "Minneapolis" and "New Orleans", and the new battleships and , which he personally led in a surface engagement against the previously damaged Japanese ships. The battered Japanese ships did not stand much of a chance against Task Group 50.9, though members of his staff saw Spruance's decision to engage in surface action when aircraft likely could have achieved similar results as needlessly reckless. Indeed, the Japanese destroyer "Maikaze" managed to fire torpedoes at the battleship "New Jersey" during the engagement. Fortunately for Spruance, the torpedoes missed, and the "battle" ended with predictably one–sided results. The U.S. Navy surface combatants incurred virtually no damage, and it was the only time in their careers that "Iowa" and "New Jersey" had fired their main armament at enemy ships. The IJN lost "Maikaze", "Shonan Maru", "Katori" and "Akagi Maru". Destroyer "Nowaki" was the only Japanese ship from this group to escape.


title: Operation Hailstone

text: Retaliation for the day's strikes arrived late at night in the form of small groups of Japanese bombers probing the task groups' defenses. From roughly 21:00, on 17 February, to just minutes past midnight on 18 February, at least five groups of between one and three enemy planes attempted to sneak past screening ships to strike at the fleet carriers. One such plane, a Nakajima B5N2 "Kate" bomber, managed to evade night fighter planes protecting the U.S. task force and dropped its torpedo on Task Group 58.2. The torpedo struck "Intrepid" on the starboard quarter of the ship, damaging steering control and killing 11 sailors. "Intrepid" was forced to retire to the U.S. for repairs and did not return to combat until August 1944.


title: Operation Hailstone

text: Truk, like so many other Japanese bases, was left to itself without hope of resupply or reinforcement. Army forces which had arrived at the atoll before the U.S. attacks put increasing strain on available foodstuffs and medical supplies. Dwindling ammunition even limited the ability of shore batteries to fend off intermittent attacks by Allied forces, including experimental raids by Boeing B-29 Superfortresses and attacks by Allied carrier aircraft.


title: Operation Hailstone

text: Losses at Truk were severe. Some 17,000 tons of stored fuel were destroyed by the strikes. Shipping losses totaled almost 200,000 tons including precious resources in fleet oilers. This represented almost one tenth of total Japanese shipping losses between 1 November 1943 and 30 June 1944. Moreover, the isolation of this whole area of operations by submarine and air attack began the effective severance of Japanese shipping lanes between empire waters and critical fuel supplies to the south. The ultimate effect of such a disconnect was later seen during the Battle of Leyte Gulf, when IJN forces had to sortie separately from Japan and Lingga Roads due to fuel constraints. The neutralization of Truk, and the seizure of Eniwetok, paved the way for the upcoming invasion of Saipan, which for the first time put U.S. land-based heavy bombers within range of the Japanese home islands.


title: Operation Hailstone

text: Japan started to rebuild Truk as a bomber air base and increased its AA defenses. Spruance sent in carrier planes again on April 29, 1944, and destroyed AA and bombers parked at airports. British forces attacked again in June 1945. However there was no significant naval buildup at Truk after Operation Hailstone.


title: Operation Hailstone

text: Truk is renowned today as a tourist destination for divers interested in seeing the many shipwrecks left in the lagoon, many of which were sunk in Operation Hailstone.


title: Elen Rhys

text: Elen Rhys (born September 2, 1983) is a Welsh actress, known for her roles as Gwen in the 2011 film "Panic Button" and Miranda Blake in the BBC drama "The Mallorca Files".


title: Who's That Girl (soundtrack)

text: Who's That Girl: Original Motion Picture Soundtrack is the first soundtrack album by American singer and songwriter Madonna. It was released on July 21, 1987, by Sire Records to promote the film of the same name. It also contains songs by her label mates Scritti Politti, Duncan Faure, Club Nouveau, Coati Mundi and Michael Davidson. The soundtrack is credited as a Madonna album, despite her only performing four of the nine tracks on the album. After the commercial success of the film "Desperately Seeking Susan" (1985), in which she co-starred, Madonna wanted to act in another comedy film titled "Slammer", about a woman named Nikki Finn who was falsely accused of homicide. However, due to the critical and commercial failure of her adventure film "Shanghai Surprise" (1986), Warner Bros. was initially reluctant to greenlight the project but later agreed, after Madonna convinced them and also because they wanted to cash in on Madonna's success with soundtracks.


title: Who's That Girl (soundtrack)

text: Madonna began working on the soundtrack in December 1986, and contacted Patrick Leonard and Stephen Bray, who had worked as producers on her third studio album " True Blue" (1986). She felt that an uptempo song and a downtempo song were needed for the album. Leonard composed the music for the uptempo song, with Madonna providing the melody and lyrics. The singer named the track "Who's That Girl" and, believing this to be a better title than "Slammer", changed the name of the film to the same. Together, Madonna and Leonard also developed the downtempo ballad "The Look of Love". Two more songs were composed for the film with Bray, the first being the dance track "Causing a Commotion", and the other being "Can't Stop", a track inspired by Sixties Motown and the group Martha and the Vandellas.


title: Who's That Girl (soundtrack)

text: After its release, the "Who's That Girl" soundtrack received a mostly negative response from critics. Some reviews described the album as plain and incomplete, although the title track and "The Look of Love" were praised as its highlights. The soundtrack was a commercial success, reaching the top ten of the album charts of the United States, Austria, Canada, France, New Zealand, Sweden, and the United Kingdom, while topping the charts of Argentina, Germany, Italy, Netherlands, and the European Album chart. The album went on to sell 6 million copies worldwide.


title: Who's That Girl (soundtrack)

text: Three of the Madonna tracks were released as singles. The title track became her sixth number-one single on the "Billboard" Hot 100, making her the first artist to accumulate six number one singles in the 1980s and the first female performer to get that many number ones as a solo act. "Causing a Commotion" was released as the second single and reached number two on the Hot 100. "The Look of Love" was a European market only release, reaching the top ten in the United Kingdom. Another track, "Turn It Up," was a promotional release in the United States, reaching number 15 on the dance charts. "Who's That Girl" received a further promotion from the successful Who's That Girl World Tour.


title: Who's That Girl (soundtrack)

text: The 1985 comedy film "Desperately Seeking Susan", in which Madonna co-starred, was a commercial success, prompting her to take further interest in acting. For her next screen project, she picked another comedy film initially titled "Slammer", but later named "Who's That Girl". Madonna played the character of Nikki Finn, a young woman accused of homicide who insisted that she was innocent. Released on parole, she was determined to clear her name. Along with a character named Loudon Trott (played by Griffin Dunne), she gets caught up in 36 hours of high adventure, culminating in a scene where Nikki interrupts a wedding to reveal the identity of the real murderer. Regarding the character Nikki, Madonna commented,


title: Who's That Girl (soundtrack)

text: "I had a lot in common with Nikki. She's courageous and sweet and funny and misjudged. But she clears her name in the end, and that's always good to do. I'm continuously doing that with the public. I liked Nikki's tough side and her sweet side. The toughness is only a mask for the vulnerability she feels inside."


title: Who's That Girl (soundtrack)

text: However, in the light of the bad publicity surrounding Madonna and her then-husband Sean Penn, coupled with the fact that their comedy film "Shanghai Surprise" had failed commercially, she had to fight hard to persuade Warner Bros. to greenlight the project. She also wanted her close friend James Foley to direct the film, proclaiming him to be a "genius". Foley had previously directed the music videos of her songs "Live to Tell", "Papa Don't Preach" and "True Blue". Warner Bros. were looking for another way to cash in upon Madonna's success with soundtracks and felt that her name alone might be enough to guarantee the success of the film as well as its soundtrack. So they felt that they had no choice, but to greenlight the project. Filming began in October 1986, in New York, but it was not until January 1987 that Madonna started working on the soundtrack.


title: Who's That Girl (soundtrack)

text: Having some specific ideas in her mind about the music of the film, Madonna contacted Patrick Leonard and Stephen Bray, who had helped to write and produce her third studio album "True Blue" in 1986. Madonna explained to them that she needed an uptempo song and a downtempo song. As per her demands, Leonard developed the uptempo song. Madonna came to the recording studio one Thursday, and Leonard handed her a cassette of a recording of the chorus, which he had just finished working on. Madonna went to the backroom and completed the melody and the lyrics of the song, while Leonard worked on the other parts of it. After finishing the lyrics, Madonna decided to name the song "Who's That Girl", and changed the title of "Slammer" to the same, considering it to be a better name. In Fred Bronson's book "The Billboard Book of Number 1 Hits", Leonard explained that the song was recorded in one day with Madonna recording her vocals only once. Additional guitar and percussion tracks were added later by Leonard and Bray.


title: Who's That Girl (soundtrack)

text: The downtempo song was developed on the following day, with Madonna writing the lyrics and Leonard composing the melody. Named "The Look of Love", the song contains the line "Nowhere to run, no place to hide. From the look of love, from the eyes of pride". Madonna was inspired by the look that actor James Stewart gave actress Grace Kelly in the 1954 film "Rear Window". Madonna said: "I can't describe it, but that is the way I want someone to look at me when he loves me. It's the purest look of love and adoration. Like surrender. It's devastating." After "The Look of Love", Madonna went on to develop two further songs with Bray as the producer. The first was called "Causing a Commotion", and was inspired by Penn and the couple's often tumultuous relationship. Madonna felt that her marriage to Penn was on the verge of breaking up, due to Penn's abusive and violent nature. In a "Rolling Stone" article dated September 10, 1987, Madonna spoke about Penn's impact on her life and the song: "I don't like violence. I never condone hitting anyone, and I never thought that any violence should have taken place. But on the other hand, I understood Sean's anger, and believe me, I have wanted to hit him many times. I never would you know, because I realize that it would just make things worse. [...] I felt like he was 'Causing a Commotion' to purposefully distract me. I wrote this song and vented my frustration in it." The last song developed was "Can't Stop", a track inspired by Sixties Motown and the group Martha and the Vandellas. In addition to this, the album also included tracks by some acts on Warner Bros. Records, namely Club Nouveau, Scritti Politti and Michael Davidson. Commercially unsuccessful and unknown in the US, these groups needed a platform to project their songs, and including them in a Madonna album seemed like the right thing to do for Warner. Two tracks by Duncan Faure and Coati Mundi were included on the soundtrack at the request of Madonna since they were her friends. Despite her only performing four of the nine tracks on the album, "Who's That Girl" was marketed as a Madonna album, with only her face and name appearing on the cover art.


title: Who's That Girl (soundtrack)

text: The title track is composed in Madonna's typical style—mixing a drum machine, bubbling bass synth line, and the sound of stringed instruments. According to Rikky Rooksby, author of "The Complete Guide to the Music of Madonna", the three parts of the song, namely the bridge, where Madonna sings "what can help me now", the chorus and the verse flow together in a coherent manner, with the chorus incorporating a haunting effect. The song epitomized Madonna's interest in Hispanic culture that continued after the release of her 1987 single "La Isla Bonita". Leonard and Madonna had added Spanish phrases in the chorus, over the trumpets of the second verse, and also in the added instrumental break in the middle. "Who's That Girl" also makes use of the sonic effect brought about by the combination of multiple vocal lines, which had been previously used by groups like The Beach Boys in their singles "God Only Knows" (1966) and "I Get Around" (1964) as well as R.E.M.'s singles "Fall on Me" (1986) and "Near Wild Heaven" (1991). "Who's That Girl" employs this effect on the last chorus where three or four different vocal hooks are intertwined.


title: Who's That Girl (soundtrack)

text: The second track "Causing a Commotion" has a danceable, up-tempo groove. The musical arrangement consists of a number of hooks interpolating with each other. It begins with the chorus, where Madonna sings the line "I've got the moves baby, You've got the motions, If we got together we be causing a commotion." The verses are accompanied by a four-note descending bassline and interjecting staccato chords. The lyrics make reference to Madonna's 1985 single "Into the Groove" and have three parts to the vocal harmony. According to the sheet music published at Musicnotes.com by Walt Disney Music Company, the song is set in the time signature of common time with a tempo of 192 beats per minute. It is composed in the key of B major with Madonna's voice spanning from the high-note of C to B. The song has a basic sequence of B–Fm7–B–F–B as its chord progression.


title: Who's That Girl (soundtrack)

text: "The Look of Love" starts off with a low bass synth line and a slow backing track. It is followed by the sound of percussion and a high register note, contrasting with the bassline. The song continues in this way until the last verse, which is backed by the sound of an acoustic guitar. A two-part vocal is found in the line "Nowhere to run, no place to hide". Rooksby felt that Madonna's voice sounded "expressive" when she sings the line "From the look of love" and utters the word "look" over the D minor chord present underneath. The word is sung in a higher note of the musical scale, thus giving an impression of the suspension like the quality of the minor ninth chord, dissociating it from the harmony of the other notes. The song is set in the time signature of common time, with a moderate tempo of 80 beats per minute. It is composed in the key of D minor, with Madonna's voice spanning the notes C to B. "The Look of Love" has a basic sequence of C–Dm–Fm–B as its chord progression.


title: Who's That Girl (soundtrack)

text: "Can't Stop" has a high pitched keyboard sound embedded in between the sound of a drum machine and clarinet. The lyrics essentially refer to the idea that "I want my man and I am going to get him whatever". Rooksby noticed that the instrumental break in the song repeats the chorus, with a synth line added on the top. He felt that "Can't Stop", at 4:45 length, was a good example of the division of Madonna's songs between dance music—where the length is important—and the requirement of classic pop songs, which can vary from two minutes to four minutes. J. Randy Taraborrelli, in his book "", described Faure's song "24 Hours" as a slow track that fails to build up momentum. Joe Brown from "The Washington Post" described Davidson's "Turn it Up" as consisting of a slow background synth, that transforms into a rapidly progressing beat, with Davidson's singing reminiscent of the Beastie Boys.


title: Who's That Girl (soundtrack)

text: Madonna performed "Who's That Girl", "Causing a Commotion," and "The Look of Love" on her 1987 Who's That Girl World Tour. It was her second concert tour, promoting "True Blue" and the soundtrack. Madonna trained herself physically with aerobics, jogging and weight-lifting, to cope with the choreography and the dance routines. For the costumes, she collaborated with designer Marlene Stewart, expanding on the idea of bringing her music video characters to life on stage. The stage was huge, with four video screens, multimedia projectors and a flight of stairs in the middle. Leonard became the music director and encouraged Madonna to go with the idea of rearranging her older songs and presenting them in a new format. Madonna named the tour 'Who's That Girl', after looking up at a gigantic image of herself projected on a screen on the stage during rehearsals.


title: Who's That Girl (soundtrack)

text: The show consisted of seven costume changes, with song-and-dance routines with an encore consisting of the title song "Who's That Girl" and "Holiday". The tour also addressed social causes like AIDS, during "Papa Don't Preach". Who's That Girl tour was critically appreciated and was a commercial success, grossing a total of US $25 million, with Madonna playing in front of 1.5 million people over the course of the tour. According to "Pollstar", it was the second top female concert tour of 1987, behind Tina Turner's Break Every Rule Tour.


title: Who's That Girl (soundtrack)

text: "Who's That Girl" was released as the lead single from the soundtrack, on June 30, 1987. A latin pop influenced song, it became Madonna's sixth single to top the "Billboard" Hot 100 chart, making her the first artist to accumulate six number-one singles in the 1980s, and the first female performer to get that many number-ones as a solo act. It also reached the top the charts in United Kingdom, Canada, Netherlands, Ireland and Belgium. In the music video Madonna did not portray her film character Nikki Finn, instead she continued with her Hispanic look from the "La Isla Bonita" music video. This time she appeared dressed boyishly in a wide-brimmed Spanish hat and bolero jacket—a combination which would later become a fashion trend. "Who's That Girl" was nominated for "Best Song From A Motion Picture" at the 1988 Grammy Awards and "Best Original Song" at the 1988 Golden Globe Awards.


title: Who's That Girl (soundtrack)

text: The album's second single, "Causing a Commotion", was released on August 25, 1987. It was criticized by music reviewers for being a sub-standard Madonna single, but enjoyed commercial success, reaching the top ten in New Zealand, Switzerland and the United Kingdom. In the United States, the single quickly climbed up the chart, ultimately peaking at number two in the week of October 24, 1987, the same week Michael Jackson's "Bad" advanced to the pole position. It remained in second position for three weeks, before descending from the chart. "Causing a Commotion" reached the top of the Hot Dance Club Play chart.


title: Who's That Girl (soundtrack)

text: The third song released from the album was the European single, "The Look of Love". In the United Kingdom, "The Look of Love" was released on December 12, 1987, and entered the UK Singles Chart at number 15. The next week, it reached a peak of nine on the chart, her first single to miss the top five since "Lucky Star" (1984). "Turn It Up" was released as a single prior to its inclusion in the album in 1987. Described by Joe Brown of "The Washington Post" as "gratingly banal" and its singer as "one of Madonna's photogenic protegés", the song was a success on the Dance Club charts of "Billboard", peaking at number 15.


title: Who's That Girl (soundtrack)

text: The soundtrack album was not well received by music critics, some of whom went on comment that the title track is the record's highlight. Jim Farber from "Entertainment Weekly" gave a negative review, though Noah Robischon from the same magazine complimented the title track, saying that Madonna had "pushed synergy over the borderline." Bill Lamb from About.com said that the songs were not among Madonna's best music. Taraborrelli commented that "the soundtrack was once again the reminder of Madonna's power and status as one of the most important singers of the 80s, because it was only her songs which gained prominence, albeit not being her best, though 'The Look of Love' is an exotic ballad." Author Mary Cross, in her biography "Madonna: A Biography" said that "the soundtrack slips up because of the film." Allen Metz and Carol Benson, authors of "The Madonna Companion: Two Decades of Commentary", said that ""Who's That Girl" has done what it was released for, put money in Warner's pockets, but [adds] nothing in Madonna's catalogue". Stephen Thomas Erlewine noted in his review for Allmusic that "In the strictest sense [the record] isn't a Madonna album — it's a soundtrack album", adding that it features "competent but uninspiring dance-pop by [various artists]". David Denby from "New York" magazine commented that "there's nothing absolutely wrong with the soundtrack. But it's just that it has the misfortune of being associated with such an unfortunate movie, that the album actually does not hold up to you well." He added that "The Look of Love" was a hidden gem in Madonna's catalogue. Don Shewey from "Rolling Stone" commented that "although essentially a Madonna album, the soundtrack does not boast a truly memorable song, rather there is the inclusion of the failed Warner artist songs, like the Coati Mundi song 'El Coco Loco' and Duncan Faure's uncannily Beatles-esque "24 Hours". For most buyers though this album is the new Madonna album."


title: Who's That Girl (soundtrack)

text: Robert Christgau gave the album a (C–) and said "From Scritti Politti and Coati Mundi you expect trickier spin, but they're outsiders, and outsiders times soundtrack equals contract work. For her own movie, though, the decade's purest pop icon should do better than sloppy seconds. Or neat seconds—worse still." Ed Blank from "Pittsburgh Press" commented: "It feels like the sole purpose to create the soundtrack was to show it in the film." Jay Boyar from "Orlando Sentinel" praised the songs on the soundtrack, claiming that "Madonna brings forth a heart-breaking warmth in 'The Look of Love' and a club stomping feel with 'Causing a Commotion'. With the movie's fate being sealed, luckily for her Madonna can sing." Gyan Singh from "The Miami Herald", while reviewing the film, said that the "Only solace of the movie is the soundtrack, the songs—especially those by Madonna—are actually good." Don McLeese from "Chicago Sun-Times", while reviewing Madonna's Who's That Girl World Tour, said that "the soundtrack's songs sound good live". Larry Geller from "The Advocate" gave a positive review, saying that ""Who's That Girl" will be the soundtrack album of the summer." Stephen Holden from "The New York Times" gave an equally positive review, saying that the "soundtrack album is full of engaging pop fluff. One of the hottest singles of the year, Madonna's bilingual title song has the buoyant bounce of an acrobat doing somersaults on a trampoline. 'The Look of Love' is as memorable a ballad as [Madonna's 1986 single] 'Live to Tell', and '24 Hours', sung by Duncan Faure, skillfully fuses Beatles-styled vocals with 80's synthesizer-pop underpinnings." Daniel Brogan from "Chicago Tribune" said that "since this soundtrack isn't really a Madonna album, this is no surprise that it appears as incomplete."


title: Who's That Girl (soundtrack)

text: After its release, the album debuted on the "Billboard" 200 at number forty-six on August 15, 1987, the same week that the title song "Who's That Girl" reached the top of the "Billboard" Hot 100. In the week ending September 12, 1987, the record reached its peak position at number seven. It remained on the chart for twenty-eight weeks, and was certified platinum by the Recording Industry Association of America (RIAA) for shipments of one million copies across the United States. In Canada, the album debuted at eighty-five on the "RPM" Albums Chart, on August 1, 1987. After seven weeks, the soundtrack climbed to its peak of four on the chart. The soundtrack was placed at position thirty-seven, on the "RPM" Top 100 Albums for 1987 chart and was present on the chart for thirty weeks.


title: Who's That Girl (soundtrack)

text: In the United Kingdom, the album debuted and peaked at number four on the UK Albums Chart on August 1, 1987, becoming the highest debut of the week. It fell out one place the next week, where it stayed for other three weeks. "Who's That Girl" was present on the chart for twenty-five weeks and ended as the most popular original soundtrack album of 1987 in the country. The soundtrack was certified platinum by the British Phonographic Industry (BPI) for shipments of 300,000 copies across the United Kingdom. The album was less successful in Australia, where it debuted and peaked at number twenty-four. It entered the New Zealand Album chart at twelve on September 6, 1987. After two weeks, the album reached its peak at number six. In Austria, "Who's That Girl" became the best selling debut of the week, charting at number seven, on August 15, 1987, ultimately reaching number five. By August 1, 1987 " Who's That Girl " sold 140,000 albums and 65,000 singles in Italy in few weeks. In Spain, the soundtrack was released in August and reached sales of 57,049 units by November of the same year. It was later certified with platinum from PROMUSICAE for shipments of 100,000 copies. In Germany, "Who's That Girl" debuted at the top of the charts, remaining there for two weeks and earning a gold certification from BVMI. The album also reached the top of the charts on the European Top 100 Albums chart. "Who's That Girl" also reached the top-ten of the charts in France, Japan, Netherlands, Norway, Spain, Sweden and Switzerland.


title: Who's That Girl (soundtrack)

text: "Cash Box" editor Kerry Day ranked "Who's That Girl" as the second-best album of 1987. In the "Encyclopedia of World Biography" (1998), authors explained that in this era, unlike the movie, which was "largely ignored", both the soundtrack and tour enjoyed commercial success. Nigel Hunter from "Billboard", in a report by the British Phonographic Industry, called it as an "easy winner as the most popular original soundtrack album in 1987" along with "Dirty Dancing". Hunter lumped both records among the "new trend for soundtrack albums of mixing new, specially recorded material with older hits".


title: Mount Pleasant, South Carolina

text: Mount Pleasant is a large suburban town in Charleston County, South Carolina, United States. In the Low Country, it is the fourth largest municipality and largest town in South Carolina, and for several years was one of the state's fastest-growing areas, doubling in population between 1990 and 2000. The population was 90,801 at the 2020 census. The estimated population in 2019 was 91,684.


title: Mount Pleasant, South Carolina

text: At the foot of the Arthur Ravenel Bridge is Patriots Point, a naval and maritime museum, home to the World War II aircraft carrier , which is now a museum ship. The Ravenel Bridge, an eight-lane highway that was completed in 2005, spans the Cooper River and links Mount Pleasant with the city of Charleston.


title: Mount Pleasant, South Carolina

text: The site of Mount Pleasant was originally occupied by the Sewee people, an Algonquian language-speaking tribe. The first European settlers arrived from England on July 6, 1680, under the leadership of Captain Florentia O'Sullivan. Captain O'Sullivan had been granted , which included not only the island later named for him, but also the future site of Mount Pleasant. On the earliest map of the time, this area was called "North Point".


title: Mount Pleasant, South Carolina

text: In 1696, 51 new settlers arrived. Each family was allotted several hundred acres in the area that became known as Christ Church parish. In 1706 the Province of Carolina withstood several attacks by the Spanish and the French from their settlements to the south and were victorious in defeating French invaders in an area known as "Abcaw".


title: Mount Pleasant, South Carolina

text: The area of "Abcaw" was Hobcaw Plantation, located between Shem Creek and the Wando River. Later, it was also known as Shipyard Plantation. Its access to deep water and abundance of good timber made it ideal for the development of a prosperous shipbuilding enterprise. Lands adjacent to Hobcaw Point were owned at different times by several different English families, many of which maintained ferries which served Mount Pleasant. By 1721, 107 families were living in Christ Church parish, including 400 whites and 637 enslaved Africans or African Americans. As the area was developed for large plantations, enslaved Africans and African Americans made up the chief labor force of the slave society. Based on this history, the majority of the population in the town was African American through the 19th and early 20th centuries.


title: Mount Pleasant, South Carolina

text: In 1754, Charles Pinckney acquired a 715-acre plantation, cultivating the commodity crops of rice and indigo. It became known as Snee Farm near here. His son Charles retained the plantation until 1817. It was operated as a plantation through the 19th century.


title: Mount Pleasant, South Carolina

text: On September 24, 1860, a public meeting was held in Mount Pleasant; it resulted in the first secession resolution passed in the state. The secession convention met in Charleston on December 20, 1860. With the advent of the Civil War, Battery Guerry and an adjacent floating battery between Mount Pleasant and Sullivan's Island were instrumental in defense of the city. They were also bases for attacks on Fort Sumter. The city was defended by a line of fortifications from Elliot's Creek at Boone Hall to Copahee Sound. Mount Pleasant was the secret training ground for the nine-man crew of the Confederate submarine . This small vessel was launched from Breach Inlet in 1864 to attack and sink the .


title: Mount Pleasant, South Carolina

text: The original plank-and-barrel footbridge, later known as the Pitt Street Bridge at the foot of the Old Village area in Mount Pleasant, was used by the crew of the "H.L. Hunley" to cross to Breach Inlet to test the submarine. In 1899 the original wooden plank bridge was replaced by a trolley bridge.


title: Mount Pleasant, South Carolina

text: A generation later, in 1929 a steel drawbridge was built for vehicle access between Sullivan's Island and Mount Pleasant. The Pitt Street bridge was dismantled in 1945, but the remains are visible in the Intracoastal Waterway. The area has been maintained since then as the Pickett Bridge Recreation Area. It was named for Charleston doctor Otis Pickett.


title: Mount Pleasant, South Carolina

text: The "Old Village" is Mount Pleasant's oldest neighborhood; the oldest home, 111 Hibben Street (the Hibben House) was constructed in 1755 by Jacob Motte, a descendant of French Huguenots who had immigrated to South Carolina to escape religious persecution.


title: Mount Pleasant, South Carolina

text: In the early 21st century, the Old Village is centered on the Pitt Street Shops at the northwestern end of the street. Among them is the Pitt Street Pharmacy, which was featured on the Food Network. It has operated at this location for more than 60 years.


title: Mount Pleasant, South Carolina

text: The numerous slaves were freed during and after the Civil War. In 1875 African Americans made up 73% of the population in Charleston County.


title: Mount Pleasant, South Carolina

text: Some of the freedmen developed Scanlonville, one of the first African-American communities to be formed after the Civil War in the Charleston area. Today it is a neighborhood within Mount Pleasant, having been annexed by the city. Robert Scanlon, a freedman carpenter, purchased the property known as Remley's Plantation, bordering Charleston harbor along the Wando River in Mount Pleasant. Scanlon was the president and founder of the Charleston Land Company, formed by 100 local freedmen who pooled their limited resources and paid $10 per share, in order to purchase large tracts of land in the area. The Charleston Land Company divided this tract into smaller lots so that freedmen could have their own land. Remley's Plantation was divided into farm lots and city lots (which were smaller) to form the community of Scanlonville. The Charleston Land Company and Scanlonville are one of four known cooperative real estate development ventures among African-American freedmen after the Civil War. Remley Point Cemetery is in Scanlonville.


title: Mount Pleasant, South Carolina

text: West of Scanlonville is Riverside. During the Jim Crow years of much of the 20th century, this was known as the largest and oldest of five "black beaches" in Charleston County. It was established when public facilities were segregated under state law. Riverside officially opened in 1930 and featured a dance pavilion, athletics field, bathhouse, playground, and a boardwalk along the Wando River. Riverside Pavilion was the only venue where black city residents could see African-American musical legends such as Duke Ellington, Count Basie, Louis Armstrong, B.B. King, and Ivory Joe Hunter, who also performed in whites-only venues. Music performances at the Pavilion spawned juke joints, or night clubs, in Scanlonville and eventually a hotel called White's Paradise. James Brown was known to have frequented this hotel.


title: Mount Pleasant, South Carolina

text: After the original park owner died in 1975, operations of the Riverside property were taken over by Charleston County. It eventually sold the property to a real estate company, which developed this area as a private gated community. Public access to the waterfront ended.


title: Mount Pleasant, South Carolina

text: On September 21, 1989, Mount Pleasant was hit by Hurricane Hugo, a Category Four hurricane. While the town was spared from the worst of the storm (Category 4 conditions were suffered by areas further north of the city), the town and its neighboring barrier islands still had severe damage. Children who lived through the storm were featured in an early episode of Nickelodeon's "Nick News", along with children who lived through Hurricane Andrew.


title: Mount Pleasant, South Carolina

text: Development continued. A year after the storm, more people moved to the area, and the town had its largest growth spurt. It increased from a population of roughly 23,000 in 1990 to one of roughly 47,000 in 2000.


title: Mount Pleasant, South Carolina

text: The county seat for Berkeley County was located in Mount Pleasant from 1882 until 1895, when it was moved to Moncks Corner.


title: Mount Pleasant, South Carolina

text: In 1928, a bridge from the Charleston Peninsula to Mount Pleasant was built. Spanning Town Creek and the Cooper River, and crossing the uninhabited Drum Island, the two-lane Grace Memorial Bridge was opened as a toll bridge. A second and larger bridge, the Silas N. Pearman Bridge, opened in 1966.


title: Mount Pleasant, South Carolina

text: On July 16, 2005, the eight-lane Arthur Ravenel Bridge opened for automotive traffic, replacing the two aging bridges. It is one of the longest cable-stayed bridges in the Western Hemisphere. A week before the new bridge officially opened, pedestrians were allowed to cross the bridge, and commemorative coins were distributed. Also, a fireworks display was part of the ceremonies before the official opening. Several cars from the same time period as the Grace Memorial Bridge, including several restored Model A Fords, made a final crossing of the old bridges. The remaining portions of the old bridges were demolished. Local residents watched as the bridges were demolished by explosives over several weeks, through the summer of 2006.


title: Mount Pleasant, South Carolina

text: In 2004, Mount Pleasant became one of the first municipalities in the United States to pass a "pay-before-you-pump" gas ordinance. It was intended to reduce stealing of gas that had accompanied rising prices.


title: Mount Pleasant, South Carolina

text: The Auld Mound, Buzzard's Island Site, Christ Church, Cook's Old Field Cemetery, Long Point Plantation (38CH321), Lucas Family Cemetery, Mount Pleasant Historic District, Oakland Plantation House, Old Berkeley County Courthouse, Paul Pritchard Shipyard, Remley Point Cemetery, Slave Street, Smokehouse, and Allee, Boone Hall Plantation, Charles Pinckney National Historic Site, USS Clamagore (SS-343), USS Laffey (DD-724), and USS Yorktown (CV-10) are listed on the National Register of Historic Places.


title: Mount Pleasant, South Carolina

text: Mount Pleasant is located in central Charleston County at (32.823189, -79.845477), on the east side of Charleston Harbor and the tidal Wando River. It is bordered to the south by the city of Sullivan's Island and to the west and northwest, across the harbor and river, by the city of Charleston. Over time, the town limits have pushed northeastward from the Old Village area along U.S. Route 17, nearly as far as Awendaw.


title: Mount Pleasant, South Carolina

text: Mount Pleasant is separated from Charleston by the Cooper River. For many years, the town was populated largely on a seasonal basis by Charleston residents wealthy enough to afford summer homes across the river from the Charleston peninsula, where they would go believing they could escape the regular summer "fevers". The population of Mount Pleasant was centered in "Old Village".


title: Mount Pleasant, South Carolina

text: According to the United States Census Bureau, the town has a total area of , of which is land and , or 14.30%, is water.


title: Mount Pleasant, South Carolina

text: The town of Mount Pleasant is served by the Charleston International Airport. It is located in the City of North Charleston and is about northwest of Mount Pleasant. It is the busiest passenger airport in South Carolina . The airport shares runways with the adjacent Charleston Air Force Base. Mount Pleasant Regional Airport also known as "Faison Field" and LRO, is a public airport located within the town limits northeast of the central business district of Mount Pleasant. Both airports are owned and operated by the Charleston County Aviation Authority.


title: Mount Pleasant, South Carolina

text: As of the 2020 United States census, there were 90,801 people, 36,111 households, and 24,203 families residing in the town.


title: Mount Pleasant, South Carolina

text: As of the census of 2010, there were 67,843 people, 19,025 households, and 12,860 families residing in the city. The population density was 1,136.5 people per square mile (438.8/km). There were 20,197 housing units at an average density of 482.1 per square mile (186.2/km). The racial makeup of the city was 90.17% White, 7.25% African American, 0.17% Native American, 1.18% Asian, 0.02% Pacific Islander, 0.39% from other races, and 0.82% from two or more races. Hispanic or Latino of any race were 1.33% of the population.


title: Mount Pleasant, South Carolina

text: There were 19,025 households, out of which 33.9% had children under the age of 18 living with them, 56.9% were married couples living together, 8.3% had a female householder with no husband present, and 32.4% were non-families. 24.1% of all households were made up of individuals, and 6.0% had someone living alone who was 65 years of age or older. The average household size was 2.47 and the average family size was 2.99.