prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: 3 Arts Entertainment had at least one coalition with what streaming service, with its 13-episode, 2015 season of a Tina Fey created sitcom?

The following are given passages.
Context 1: Passage 1:
Great News
Great News is an American sitcom television series created and written by Tracey Wigfield, and executive produced by Wigfield alongside Tina Fey, Robert Carlock, and David Miner for 3 Arts Entertainment, Little Stranger and Universal Television  The series premiered April 25, 2017 on NBC On May 11, 2017, NBC renewed Great News for a second season of 13 episodes, which premiered on September 28, 2017  On May 11, 2018, NBC canceled the series after two seasons 

Premise
The series, set in the world of television news, follows an up-and-coming news producer who finds herself dealing with a new intern: her mother 

Cast and characters
Main
Briga Heelan as Katherine "Katie" Wendelson, a segment producer at The Breakdown who suddenly has to deal with the presence of her mother Carol, who is hired as an intern at the show
Andrea Martin as Carol Wendelson, Katie's mother and an intern at The Breakdown
Adam Campbell as Greg Walsh, an executive producer at The Breakdown and Katie's boss and love interest
Nicole Richie as Portia Scott-Griffith, co-anchor of The Breakdown
Horatio Sanz as Justin, video editor at The Breakdown
John Michael Higgins as Chuck Pierce, co-anchor of The Breakdown who was once a well-respected network anchor

Recurring
Tracey Wigfield as Beth Vierk: the meteorologist for The Breakdown
Sheaun McKinney as Wayne: a cameraman for The Breakdown
Brad Morris as Gene: one of the segment producers on The Breakdown
Stewart Skelton as Dave Wendelson: Katie's father and Carol's husband, whose face is always partially obscured
Vicki Lawrence as Angie Deltaliano: Carol's best friend
Sarah Baker as Joyce Vickley: a human resources employee who comes in contact with The Breakdown staff
Adam Countee as Chip: co-host of The Chip & Chet Report, a competitor of The Breakdown
Dave Hill as Chet: co-host of The Chip & Chet Report, a competitor of The Breakdown
Ana Gasteyer as Kelly: boozy co-host of Morning Wined Up, MMN's morning show
Rachel Dratch as Mary-Kelly: boozy co-host of Morning Wined Up, MMN's morning show
Christina Pickles as Mildred Marlock (season 1): the owner of MMN and Greg's grandmother
Tina Fey as Diana St  Tropez (season 2): the new head of MMN
Reid Scott as Jeremy (season 2): Katie's new boyfriend and a workaholic reporter for The New York Times
Jim Rash as Fenton Pelt (season 2): the billionaire owner of Pelt Industries who sues MMN due to a story reported by The Breakdown

Guest
Episodes
Season 1 (2017)
Season 2 (2017–18)
Reception
Great News has received generally positive reviews from critics  On Rotten Tomatoes the series has an approval rating of 76% based on 33 reviews, with an average rating of 6 15/10  The site's critical consensus reads, "Great News overcomes its familiar trappings with gently subversive humor and a smart cast of talented, likable actors " On Metacritic, the series has a score of 67 out of 100, based on 21 critics, indicating "generally favorable reviews" 
Passage 2:
3 Arts Entertainment
3 Arts Entertainment is an American production company and talent management founded by Erwin Stoff, Michael Rotenberg and Howard Klein in 1991 The company has gone on to produce TV shows such as King of the Hill, The Office, Everybody Hates Chris, Parks and Recreation, The Mindy Project, Brooklyn Nine-Nine, It's Always Sunny in Philadelphia, Unbreakable Kimmy Schmidt, American Vandal as well as produce films Edge of Tomorrow, Unbroken and 13 Hours: The Secret Soldiers of Benghazi  The first movie the company produced was the National Lampoon movie Loaded Weapon 1, which was released on February 5, 1993  The company subsequently set up a deal with 20th Century Fox in 1993  In 1996, 3 Arts made an alliance with CBS and Sony Pictures to launch 3 Arts Television which was dissolved by the end of the following year when it failed to produce any primetime TV projects for the network Erwin Stoff founded the company with Michael Rotenberg and Howard Klein, who are all producers and talent managers  Managers Dave Becky, David Miner, Molly Madden and Nick Frenkel work at 3 Arts  In 2003, 3 Arts received a television deal at 20th Century Fox Television  In May 2018, Lionsgate acquired a majority stake in the company 

Films produced
TV shows produced
1990s
2000s
2010s
2020s
Passage 3:
Louie (season 2)
The second season of the American television comedy series Louie premiered on June 23, 2011, and concluded on September 8, 2011  It consisted of thirteen episodes, each running approximately 23 minutes in length  FX broadcast the second season on Thursdays at 10:30 pm in the United States  The season was produced by 3 Arts Entertainment and the executive producers were Louis C K , Dave Becky and M  Blair Breard  The second season was released on DVD and Blu-ray in region 1 on June 19, 2012 Louie was created, written and directed by Louis C K , who stars as a fictionalized version of himself, a comedian and newly divorced father raising his two daughters in New York City  The show has a loose format atypical for television comedy series, consisting of largely unconnected storylines and segments (described as "extended vignettes") that revolve around Louie's life, punctuated by live stand-up performances 
The season received critical acclaim from critics 

Cast
Main cast
Louis C K  as Louie

Recurring cast
Guest stars
Nick DiPaolo as Nick ("Niece")
Jim Norton as Jim ("Oh, Louie/Tickets")
Chris Rock as Chris ("New Jersey/Airport")
Godfrey as Godfrey ("Niece")
F  Murray Abraham as Jonathan ("New Jersey/Airport")
Amir Blumenfeld as Young Nervous Writer ("Halloween/Ellie")
Dane Cook as Dane ("Oh, Louie/Tickets")
Joan Rivers as Joan ("Joan")
Bob Saget as Bob ("Oh, Louie/Tickets")
Doug Stanhope as Eddie ("Eddie")
Keni Thomas as Keni ("Duckling")
Steven Wright as Steven ("New Jersey/Airport")

Episodes
Reception
Reviews
The second season of Louie received "universal acclaim" from critics, receiving a Metacritic score of 90 out of 100, based on seven reviews  Alan Sepinwall of HitFix called it "one of the best shows on television" and Kris King of Slant Magazine stated "Louie is smart, cinematic, and bitterly honest, constantly dancing between revelatory moments and hysterical bursts of humor that are both surprising and touching "

Awards and nominations
For the 64th Primetime Emmy Awards, Louis C K  received three nominations for his work on Louie—he was nominated for Outstanding Lead Actor in a Comedy Series and Outstanding Directing for a Comedy Series (for "Duckling") and won for Outstanding Writing for a Comedy Series (for "Pregnant")  For the 28th TCA Awards, the series and C K  himself each won for Outstanding Achievement in Comedy and Outstanding Individual Achievement in Comedy, respectively  C K  and Pamela Adlon received a nomination for Best Television Comedy Series for the 64th Writers Guild of America Awards  C K  was nominated for Best Actor – Television Series: Musical or Comedy for the 17th Satellite Awards  The series was also included as one of the Top Television Programs of the Year by the American Film Institute 
Passage 4:
The Mindy Project
The Mindy Project is an American romantic comedy television series created by and starring Mindy Kaling that began airing on Fox in September 2012 and finished its run of six seasons on Hulu in November 2017  The series was co-produced by Universal Television and 3 Arts Entertainment 

Plot
The series follows obstetrician/gynecologist, Mindy Lahiri (Mindy Kaling) as she tries to balance her personal and professional life, surrounded by quirky co-workers in a small medical practice in New York City  The character was inspired by Kaling's own mother, an OB/GYN  Mindy explores life with the help of her co-workers: Danny Castellano (Chris Messina), her best friend and love interest, whose religious sensibilities occasionally cause some tension; Jeremy Reed, an English physician who manages the practice; Peter Prentice, another physician who was a fraternity jock while attending Dartmouth; Morgan Tookers, a wacky, yet lovable registered nurse and an ex-con; Tamra Webb, a blunt  nurse; and Beverley, the libidinous older office receptionist 

Cast and characters
Main
Mindy Kaling as Dr  Mindy Kuhel Lahiri, a romantically frustrated OB/GYN at Shulman & Associates 
Chris Messina as Dr  Daniel Alan "Danny" Castellano (seasons 1–4; guest season 5; recurring season 6), another OB/GYN (formerly at Shulman & Associates, now at Freedom Tower Women's Health), Mindy's main frenemy and love interest 
Ed Weeks as Dr  Jeremiah "Jeremy" Reed, OB/GYN, Mindy and Danny's somewhat hapless co-partner at the office 
Anna Camp as Gwendolyn "Gwen" Grandy (season 1; guest season 2), Mindy's best friend who has settled down with a family 
Zoe Jarman as Betsy Putch (seasons 1–2), a former receptionist at the office 
Amanda Setton as Shauna Dicanio (season 1), a former receptionist at the office 
Stephen Tobolowsky as Dr  Marc Shulman (season 1; guest season 4), a former senior partner of the practice 
Ike Barinholtz as Morgan Fairchild Ransom Tookers, a registered nurse and ex-con at the office 
Beth Grant as Beverley Janoszewski, a former nurse turned receptionist at the office 
Xosha Roquemore as Tamra Webb (seasons 2–6; recurring season 1), a nurse at the office  She has a long term boyfriend, Ray Ron, for 20 years but breaks up with him to date Morgan  She name drops famous men she has dated 
Adam Pally as Dr  Peter Prentice (seasons 2–3; guest season 4; recurring seasons 5–6), Mindy's best friend and an OB/GYN at the office 
Garret Dillahunt as Dr  Jody Kimball-Kinney (seasons 4–6), an OB/GYN who joins Shulman & Associates during Mindy's maternity leave 
Fortune Feimster as Colette Kimball-Kinney (seasons 4–6), a nurse at the office and sister of Jody  She and Morgan eventually move in together 
Rebecca Rittenhouse as Dr  Anna Ziev (seasons 5–6), a young, put-together uptight doctor in the office who becomes a new foil for Mindy 

Recurring
Episodes
Production and development
The series was initially commissioned by NBC, but the pilot with the working title It's Messy was released from NBC's projects on January 27, 2012  NBC then sent the script to Fox executives who read it over that following weekend  On January 30, 2012, Fox green-lit the pilot, with Mindy Kaling attached to star On May 9, 2012, Fox placed a series order for the comedy  Two days later, the title was changed from It's Messy to The Mindy Project  On August 27, 2012, the pilot episode was made available to view online on various sites including Fox, in an attempt to garner interest in the series  On October 8, 2012, Fox ordered a full season of The Mindy Project  On March 4, 2013, the series was renewed for a second season, which began on September 17, 2013  On November 21, 2013, Fox announced that The Mindy Project would take a mid-season hiatus, before returning on April 1, 2014  Fox announced the third season renewal of The Mindy Project on March 7, 2014 On May 6, 2015, Fox cancelled the series after three seasons  On May 15, 2015, Hulu picked up the show, commissioning a 26 episode fourth season  On May 4, 2016, Hulu announced it had picked up the series for a 16-episode season 5, which was later reduced to 14  On March 29, 2017, Kaling announced the series would return for a sixth and final season; the final episode of the series aired on November 14, 2017 Casting announcements for the remaining series regular roles began in February 2012, with Ed Weeks cast in the role of Dr  Jeremy Reed, a sexy, British doctor in the practice  Zoe Jarman and Dana Delorenzo then joined in series regular roles  Jarman signed on to play Betsy Putch, an upbeat receptionist at the practice; whilst Delorenzo joined as Shauna Dicanio, a young, party loving receptionist in the practice  In mid-March, Chris Messina joined the cast as Dr  Danny Castellano, an arrogant doctor who works at the practice  Shortly after, Anna Camp boarded the series as Gwen Grandy, a stay-at-home mom and  Mindy's best friend A few months later, Amanda Setton, Stephen Tobolowsky and Ike Barinholtz joined the series  Setton replaced Dana DeLorenzo in the role of Shauna; Tobolowsky joined in the series regular role of Dr  Marc Shulman, the senior partner of the practice; and Barinholtz signed onto the recurring role of Morgan Tookers, a quirky rehabilitated ex-con  who joins the practice as a nurse 

Cast changes
The first change occurred when Stephen Tobolowsky's role was eliminated after the second episode – following re-shoots that saw his character be re-written into a mere authoritarian figure in the office – when it was decided that "they didn't really want Mindy to have a boss in the office"  Tobolowsky returned, albeit in a voice-over only role, in the eighth episode to explain that his character had retired  The second change of the season, which was first reported on November 20, 2012, saw Amanda Setton's role also eliminated entirely and Anna Camp downgraded to a recurring cast member  They both departed after the twelfth episode  Despite becoming a recurring cast member, Camp only made a single appearance in the seventeenth episode  Neither Setton or Camp's characters had their absence referenced, nor were they mentioned again 
The first change for the second season, which occurred before production of the season began, saw Xosha Roquemore upgraded to a series regular role after recurring in the final three episodes of the previous season  The second change, which occurred just prior to the production of the season's fifth episode, resulted in Adam Pally also being upgraded to a series regular role  He had previously signed onto the series in a recurring role but had filmed only two episodes prior to being promoted The first change of the third season occurred prior to the start of production and saw Zoe Jarman's role eliminated from the show  Like Setton and Camp's departures in the first season, the absence of her character was never addressed  The second cast change of the season was announced on November 21, 2014, and saw Adam Pally leave the series after the season's thirteenth episode  His departure after the thirteenth episode of the season was a condition of his upgrade to a series regular that had occurred the previous year  It was reported that Pally is "expected to make occasional guest appearances"  Pally made multiple guest appearances after his departure, where he was still credited amongst the regular cast in episodes he appeared, making his final appearance as a part of the main cast in the third-season finale 
In December 2015 it was reported that Fortune Feimster had been upgraded to a series regular role beginning with the fourteenth episode of the fourth season, after appearing in seven of the first thirteen episodes  Garret Dillahunt joined the show in a major recurring role as Dr  Jody Kimball-Kinney In June 2016, it was announced that Chris Messina would not be returning as a series regular for season five, but would instead appear as a guest star 

Reception
Critical reception
The Mindy Project received positive reviews from critics, with many highlighting Kaling's performance and her unique character, as well as the writing and directing  On Rotten Tomatoes, the first season has a rating of 81%, based on 48 reviews, with an average rating of 7/10  The site's critical consensus reads, "The Mindy Project is such a charming comedy, led by Mindy Kaling's impressive talent, that its faults are easy to forgive " Review aggregation website Metacritic, which assigns a weighted mean based on reviews from mainstream critics, season one received a score of 69 out of 100, based on 32 critics, indicating "generally favorable reviews"  It was the number-six best-reviewed show according to the site's fall 2012 season On Rotten Tomatoes, Season 2 has a rating of 89%, based on 18 reviews, with an average rating of 6 8/10  The site's critical consensus reads, "Mindy Kaling earns consistent laughs with wit, charm and physical comedy, as she and her cast grow into well-rounded and familiar, albeit peculiar, characters " On Metacritic, the second season has a score of 55 out of 100, based on four critics, indicating "mixed or average reviews"  Season 3 of the show holds a rating of 82% on Rotten Tomatoes with the critical consensus reading, "The Mindy Project, while still wildly funny, travels further into rom-com country this season "Season 4 of the show holds a rating of 93% on Rotten Tomatoes with the critical consensus reading, "The Mindy Project begins its online migration with some of the show's best-ever episodes, further refining the balance between heart and humor struck during the first three seasons " On Metacritic the season has a score of 81 out of 100, based on 5 critics, indicating "universal acclaim" 

Criticism
The Mindy Project has been the object of scrutiny not only from traditional media forms but also from feminists and people of color, who often weigh in on the show's decisions in casting and writing  At the end of the first season, Jezebel posted an article called "Mindy Kaling Only Makes Out with White Guys", a critique of the casting of romantic leads on the show  The same article contains a response from Nisha Chittal, who has defended Kaling's success in the past, who applauded the show for not making Kaling's race central to her character, and for showing that an Indian woman could date non-Indian men 
During the second season, the episode "Mindy Lahiri Is a Racist," which addresses white supremacy, provoked discussion as to whether or not Kaling had made "reparations" for showing a predominantly white cast Before the third season began airing, Kaling received criticism for a comment in a Flare article entitled "She's the Boss", in which she stated that the show would not address abortion, as "it would be demeaning to the topic to talk about it in a half-hour sitcom " In an appearance on The Colbert Report two weeks later, she clarified:

A lot of women look to me and look to the show, and they want me to be a spokesperson for a lot of issues, and I actually think that's a responsibility that's cool, I want to live up to that     I want to be able to talk plainly on things but I also want to create an entertaining show  We haven't found a hilarious take on abortion that has not been done yet—but we might  I have faith in us Contrasting with the above criticism, a 2021 Feminist Media Studies' article titled "Un/accented: the politics of difference in US popular culture" argues that some of the criticism that The Mindy Project received, regarding the predominately white love interests or absence of Indian cultural reference, is not necessarily an issue for Kaling to address but rather indicative of how critics and journalists only see Kaling's work through surface level analysis and how many non-white bodies are present instead of what the work is actually critiquing through dialogue or plot 

Ratings
Awards and nominations
Broadcast
In the United Kingdom, the show airs on Sky Comedy  It used to air on E4 until 2015
In Canada the show was aired by City  A network spokesperson confirmed that The Mindy Project would continue to air new episodes on City City didn't air Season 6 until January 2018  (Hulu is not accessible in Canada )
In Oceania the show airs for Australia on the Seven Network from January 28, 2013 at 10PM Mondays and for New Zealand on FOUR from March 11, 2013 at 9:30PM Mondays 
In Europe the show aired from March 26, 2013 at 9:30PM Tuesdays, for the Netherlands on Foxlife from January 20, 2014 at 8:30PM Mondays and for Spain on Cosmopolitan TV from January 23, 2014 at 9:30PM Thursdays  In Germany the show airs on Comedy Central Germany since 2013 
Passage 5:
Louie (season 5)
The fifth and final season of the American television comedy series Louie premiered on April 9, 2015, and concluded on May 28, 2015  It consists of eight episodes, each running approximately 23 minutes in length  FX broadcast the fifth season on Thursdays at 10:30 pm in the United States  The season was produced by 3 Arts Entertainment and the executive producers were Louis C K , Dave Becky and M  Blair Breard 
Louie was created, written and directed by Louis C K , who stars as a fictionalized version of himself, a comedian and divorced father raising his two daughters in New York City  The show has a loose format atypical for television comedy series, consisting of largely unconnected storylines and segments (described as "extended vignettes") that revolve around Louie's life, punctuated by live stand-up performances 

Production
Louie was renewed by FX for a fifth season in July 2014 with a seven-episode order  When FX announced the season's premiere date in January 2015, it was announced the season would consist of eight episodes instead of thirteen or fourteen  It was later revealed by Louis C K  during a panel to promote the show that the shortened season length was due to an unfortunate decision he made while high on marijuana  In January 2015, C K  spoke about the writing and tone of the season, "This season is more laugh-centric and funny than season four  The feeling I was having when I wrote the season   was a goofy and playful feeling " The fifth season features the return of the opening credits and theme song, which were absent in the fourth season 

Cast
Main cast
Louis C K  as Louie

Recurring cast
Guest stars
Episodes
Reception
Critical response
The fifth season of Louie has received acclaim from critics  On Rotten Tomatoes, the season has a rating of 92%, based on 38 reviews, with the site's critical consensus reading, "A renewed focus on the show's singular blend of sincerity and hilarity keep Louie at the top of its game " On Metacritic, the season has a score of 91 out of 100, based on 20 critics, indicating "universal acclaim" Sonia Saraiya of Salon wrote that "Louie is a treasure" and that season 5 of the show "is as confident and distinctive as ever, a sitcom that is not quite like anything else on television"  James Poniewozik of Time wrote that season 5 is "by and large, blisteringly funny" and "also poignant", stating that "Louie has again successfully reinvented itself, this time as what it used to be " Brian Lowry of Variety praised the series and wrote, "Almost nothing else on TV — certainly in half-hour form — rivals the particularity of C K 's approach, which has garnered the kind of well-deserved accolades that have kept FX quietly humming that 'Brother Louie' tune "

Accolades
For the 67th Primetime Emmy Awards, the series received nominations for Outstanding Comedy Series, Louis C K  for Outstanding Lead Actor in a Comedy Series, and Pamela Adlon for Outstanding Guest Actress in a Comedy Series  C K  also received nominations for Outstanding Writing for a Comedy Series for "Bobby's House" and Outstanding Directing for a Comedy Series for "Sleepover"  For the 22nd Screen Actors Guild Awards, Louie C K  was nominated for Best Comedy Actor  For the 68th Directors Guild of America Awards, Louis C K  was nominated for Outstanding Directing – Comedy Series for "Sleepover" 
Passage 6:
Unbreakable Kimmy Schmidt
Unbreakable Kimmy Schmidt is an American sitcom created by Tina Fey and Robert Carlock, starring Ellie Kemper in the title role  It premiered on March 6, 2015 on Netflix and ran for four seasons, ending on January 25, 2019  An interactive special premiered on May 12, 2020 
The series follows 29-year-old Kimmy Schmidt (Kemper) as she adjusts to life after being rescued from a doomsday cult in the fictional town of Durnsville, Indiana, where she and three other women were held captive by Reverend Richard Wayne Gary Wayne (Jon Hamm) for 15 years  Determined to be seen as something other than a victim and armed only with a positive attitude, she decides to restart her life by moving to New York City, where she quickly befriends her street-wise landlady Lillian Kaushtupper (Carol Kane), finds a roommate in struggling actor Titus Andromedon (Tituss Burgess), and gains a job as a nanny for melancholic and out-of-touch socialite Jacqueline Voorhees (Jane Krakowski) 
Throughout its run, the series received critical acclaim, with critic Scott Meslow calling it "the first great sitcom of the streaming era"  It received 20 Primetime Emmy Award nominations, including four nominations for Outstanding Comedy Series and a nomination for Outstanding Television Movie for the 2020 special Kimmy vs  the Reverend 

Synopsis
Kimmy Schmidt (Ellie Kemper) was in eighth grade when she was kidnapped by Reverend Richard Wayne Gary Wayne (Jon Hamm)  He held Kimmy and three other women captive for 15 years in an underground bunker and convinced them that a nuclear apocalypse had left them the sole survivors of humanity 
In the first season, the women are rescued, and go on to appear on the Today Show in New York City  After the show, Kimmy decides she doesn't want to return to Indiana or be seen as a victim, so she starts a new life in New York City  Roaming around the city, she comes across landlady Lillian Kaushtupper (Carol Kane), who offers Kimmy a chance to room with Titus Andromedon (Tituss Burgess) in her downstairs apartment  However, to get the apartment, Kimmy has to find a job  When she tries to get a job at a nearby candy store, she sees a boy stealing candy  She pursues him back to his home and encounters his mother, Jacqueline Voorhees (Jane Krakowski), a Manhattan trophy wife, who mistakes her for a nanny, and whom Kimmy mistakes as someone trapped in a cult  Jacqueline hires Kimmy as a nanny for her 10-year-old son  As Season 1 continues, Kimmy falls in love with Dong (Ki Hong Lee), a Vietnamese man from her G E D  class; goes to court to testify against the Reverend, and discovers how the world has changed in the 15 years she was held captive  
In the second season, Kimmy is sick of working for Jacqueline and gets a job at a year-round Christmas store and then as an Uber driver  She tries to get over Dong, who enters a green card marriage with another G E D  student and is eventually deported  As Kimmy tries to move on, so do Titus and Jacqueline, who both find boyfriends  Titus begins dating construction worker Mikey Politano (Mike Carlsen) and Jacqueline begins dating lawyer Russ Snyder (David Cross)  Jacqueline also goes back to her Native American heritage and decides to take down the Washington Redskins, who her boyfriend's father happens to own  Kimmy reunites with Gretchen and Cyndee to save them from joining another cult and getting married on television, respectively  When Season 2 ends, Titus leaves to be a performer on a cruise and Lillian protests the invasion of hipsters in her neighborhood, while Kimmy makes amends with her mother (Lisa Kudrow) after advice from her therapist (Tina Fey) before receiving a phone call from the Reverend in prison, telling her that they need to get a divorce 
In the third season, Kimmy proceeds with the divorce from the Reverend but hits a snag when she learns that a devoted fan (guest star Laura Dern) wants to marry him  After getting her G E D , Kimmy decides to go to college and ends up at Columbia University, where she is popular but fails academically  She forms a friendship with Perry (Daveed Diggs), a philosophy and religion transfer student who, like Kimmy, does not fit in with the rich, elitist Ivy League students  Titus returns from his stint on the cruise harboring a secret and, determined to come home to Mikey with money and a job, he auditions for Sesame Street  However, after the man auditioning Titus asks him to perform sexual acts on a puppet, Titus leaves and runs home to Mikey  However, Titus sees Mikey out with another man, and breaks up with him  Lillian is elected to the city council and attempts to block the construction of a supermarket chain for fear it will gentrify the neighborhood  She later starts a relationship with the owner of the chain (Peter Riegert)  Meanwhile, Jacqueline and Russ execute their plan to force his family to change the name of the Redskins and Titus makes it big with the single "Boobs in California"  At the end of season three, Titus vows to win Mikey back from his new boyfriend, Jacqueline finds a profession, and Kimmy lands a job at a tech start-up 
In the fourth and final season, Kimmy is working at Giztoob, the tech company started by a former classmate at Columbia, and Jacqueline is representing Titus as his agent  After acting in an anti-bullying performance for a middle school, Titus gets a job as director of the school play and, in an attempt to impress Mikey, pretends to write and star in a superhero television show called The Capist, starring Greg Kinnear  Meanwhile, Lillian's boyfriend Artie dies and she is put in charge of his adult daughter's trust  Kimmy reunites with Donna Maria, who is now a successful businesswoman  Outraged and inspired by men's rights activists, Kimmy writes a children's book that empowers girls and encourages boys to be kind; by the end of season four, Kimmy has found success as a children's author  Season 4 features two episodes that veer from the main plot  In the first, a standalone mockumentary episode, Jacqueline's former boy toy Doug, a k a  DJ Fingablast, creates a true crime documentary called Party Monster: Scratching the Surface, which sympathizes with the Reverend and paints Kimmy and the other Mole Women negatively  The second episode, "Sliding Van Doors", presents an alternate universe in which Kimmy is never kidnapped, Titus does not audition for The Lion King in 1998, Jacqueline does not marry Julian Voorhees, and Lillian runs a Latin street gang  The series concludes with each of the main four characters finding success and purpose in new ventures 

Episodes
Cast and characters
Main
Ellie Kemper as Kimberly "Kimmy" Cougar Schmidt, the titular character  Armed with only unflagging optimism,  a childlike sense of wonder and an eighth-grade education, she attempts to regain the life that was taken from her and navigate her way through the unfamiliar struggles of New York life 
Tituss Burgess as Titus Andromedon (born Ronald Wilkerson), Kimmy's gay, flamboyant roommate and an aspiring actor and singer  Melodramatic and self-absorbed, Titus nevertheless cares deeply for, and is very protective of Kimmy  Despite his talent and ego, he is plagued by self-doubt after years of rejection in the business  Titus hails from Chickasaw County, Mississippi, and moved to New York City in 1998 
Carol Kane as Lillian Kaushtupper, Kimmy and Titus' odd landlady  A proud born-and-bred New Yorker with a long, complex criminal history, she fights against the possible gentrification of her neighborhood (although it soon becomes clear that she hates any form of progress or technology)  Despite her willingness to do anything to make a buck, she has a very big heart and will go out of her way to help her tenants 
Jane Krakowski as Jacqueline White (formerly Voorhees; née Jackie Lynn White), a wealthy and insecure socialite who hires Kimmy as a nanny  Despite coming across as arrogant, condescending and out of touch, she is very fond of (and heavily reliant on) her new employee, who helps her gain perspective on her unhappy marriage  She is secretly of Lakota Native American descent and is passing for white  As the series progresses, she gradually reconnects with her family and her culture  She is the mother of Buckley Voorhees and the former step-mother of Xanthippe Lannister Voorhees  Her ex-husband is Julian Voorhees 

Recurring
Guest
Production
Development
The show was created by Tina Fey and Robert Carlock when NBC executives asked them to develop a show for Ellie Kemper  Fey said that they found an "innocence" about Kemper's face, but also noted a "strength" to it  One idea was for the show to center on Kemper's character waking up from a coma, but this idea was abandoned in favor of the cult-survivor storyline The show was initially under development for NBC under the title Tooken  NBC ultimately sold the series to Netflix  Fey said that this was in partly due to NBC's "not feeling confident about watching comedies"  Prior to the sale, NBC planned to air the series as either a mid-season replacement or as a summer series  It was sold to Netflix with a two-season order On June 13, 2017, it was renewed for a fourth and final season, with the first six episodes premiering on May 30, 2018  The second half was released on January 25, 2019  On May 8, 2019, it was announced that it would return with an interactive special, which premiered on May 12, 2020 

Casting
Casting announcements for the remaining roles were made in March 2014, with Tituss Burgess cast as Kimmy's roommate, Titus, and Carol Kane as Kimmy's and Titus's landlady, Lillian Shortly afterwards, Sara Chase was cast Cyndee, Kimmy's closest friend during their years in the cult; and Lauren Adams as Gretchen, a 10-year member of the cult who believes everything she is told  Jane Krakowski was later cast as Jacqueline Voorhees, a wealthy Manhattanite who hires Kimmy as a nanny  Megan Dodds was originally cast before Krakowski replaced her 

Music
The show's theme song, "Unbreakable", was produced by The Gregory Brothers and written by Jeff Richmond  It is a tribute to The Gregory Brothers' YouTube show Songify the News – auto-tuned news interviews that became popular videos  It specifically parodies the mannerisms of Antoine Dodson in the "Bed Intruder Song"  Richmond also wrote "Peeno Noir", a song performed by character Titus Andromedon during season 1, episode 6 

Artwork
Artwork for the show's opening sequence was produced by a team at Pentagram that included feminist artist Deva Pardue 

Home video releases
Reception
The show has been widely acclaimed by television critics, who have praised the writing and cast 

Season 1
On Rotten Tomatoes, the first season has a rating of 95%, based on 55 reviews, with an average rating of 7 5/10  The site's critical consensus reads, "Blessed with originality and a spot-on performance from Ellie Kemper, The Unbreakable Kimmy Schmidt is as odd as it is hilarious " On Metacritic, the first season has a score of 78 out of 100, based on 29 critics, indicating "generally favorable reviews" Scott Meslow of The Week called the series "the first great sitcom of the streaming era", praising its wit, edge, and feminist tone  Brian Moylan of The Guardian noted that it is "the sort of show that could benefit from multiple viewings, because the jokes are so packed in you’re sure to miss something while laughing " TV Guide named it the "best new comedy of 2015"  IGN reviewer Max Nicholson gave the first season an 8 3 out of 10 'Great' rating, saying "Tina Fey and Robert Carlock's Unbreakable Kimmy Schmidt is another winner in Netflix's original series catalog  Not only is it charming and funny, but it's unabashedly kooky, and Ellie Kemper nails the lead role "The first season was nominated for seven Primetime Emmy Awards 
Some reviewers have criticized the show's portrayal of Native Americans, with Vulture referring to a prominent Native American subplot as "offensive"  BuzzFeed wrote that the show has a "major race problem" and cited the lack of a plurality of portrayals of Native Americans as the main issue with the subplot, stating that "the way Native Americans are represented on this show matters  It's not one representation among a cornucopia of representations; it's the single mainstream representation in years " The Daily Beast stated that when it comes to race, “especially in its portrayal of a key Vietnamese character, the show leaves much to be desired ”In the wake of the controversy, Tina Fey responded: "I feel like we put so much effort into writing and crafting everything, they need to speak for themselves  There's a real culture of demanding apologies, and I'm opting out of that "

Season 2
On Rotten Tomatoes, the second season holds a 100% approval rating, based on 24 reviews, with an average rating of 7 6/10  The site's critical consensus reads, "Not letting up in season two, Unbreakable Kimmy Schmidt is still odd in the best of ways, wonderfully building on its unique comedy stylings and brilliantly funny cast " On Metacritic, the second season has a score of 82 out of 100, based on 16 reviews, indicating "universal acclaim" The second season was nominated for four Primetime Emmy Awards 
There was controversy surrounding the third episode from this season, “Kimmy Goes to a Play!,” which involved the use of yellow-face and the name of a group of Asian-Americans who were critical of yellow-face  The group is referred to as "Respectful Asian Portrayals in Entertainment", or "R A P E" for short  The Asian-Americans shown protesting against yellow-face in the episode are conveyed as unlikable buffoons  Anna Akana criticized the use of yellow-face and the R A P E  acronym during her 2016 Asians in Entertainment Key Note speech  Alex Abad-Santos wrote, “The odd thing about this episode is that it's another Tina Fey project that paints Asian people, specifically Asian women, as crappy characters  [   ] The plot feels like a pointed, ironic response to anyone who has criticized Fey's past projects for being lazy and racist ”

Season 3
On Rotten Tomatoes, the third season holds a 97% approval rating, based on 29 reviews, with an average rating of 8 11/10  The site's critical consensus states: "Unbreakable Kimmy Schmidt continues to thrive with a comically agile cast, notable guest stars, and a forceful influx of funny " On Metacritic, the third season has a score of 78 out of 100, based on 12 reviews, indicating "generally favorable reviews" The third season was nominated for five Primetime Emmy Awards 

Season 4
On Rotten Tomatoes, the fourth season holds a 94% approval rating, based on 32 reviews, with an average rating of 7 77/10  The site's critical consensus states: "Unbreakable Kimmy Schmidt ends with a final season that's as topical as it is cheerily irreverent " On Metacritic, the fourth season has a score of 85 out of 100, based on 6 reviews, indicating "universal acclaim" The fourth season was nominated for two Primetime Emmy Awards 

Special
On Rotten Tomatoes, the Unbreakable Kimmy Schmidt: Kimmy vs  the Reverend special has an approval rating of 94%, based on 32 reviews, with an average rating of 7 81/10  The site's critical consensus reads: "Kimmy and company return as resilient as ever in a fun and fast paced special that makes excellent use of its interactive capabilities to produce maximum fabulosity "The special was nominated for two Primetime Emmy Awards 
Passage 7:
List of 30 Rock episodes
30 Rock is an American satirical television sitcom that was broadcast on NBC  Created by Tina Fey, the series follows the lives of the head writer of The Girlie Show with Tracy Jordan (TGS), Liz Lemon (Tina Fey), the other staff members of TGS, and their network executive, Jack Donaghy (Alec Baldwin) 
30 Rock was a critical success, winning several major awards (including Primetime Emmy Awards for Outstanding Comedy Series in 2007, 2008, and 2009), and achieving the top ranking on many critics' year-end best of 2006 and 2007 lists  On July 14, 2009, the series was nominated for 22 Primetime Emmy Awards, the most in a single year for a comedy series  Despite the acclaim, the series struggled in the ratings throughout its run  It broadcast a total of 138 episodes over seven seasons, from October 11, 2006, to January 31, 2013  In addition, a special episode premiered on July 16, 2020 

Series overview
Episodes
Season 1 (2006–07)
Season 2 (2007–08)
Season 3 (2008–09)
Season 4 (2009–10)
Season 5 (2010–11)
Season 6 (2012)
Season 7 (2012–13)
Special episode (2020)
Passage 8:
Cooter (30 Rock)
"Cooter" is the fifteenth and final episode of the second season of 30 Rock and the thirty-sixth episode of the series  It was written by series' creator Tina Fey and was directed by one of the season's producers, Don Scardino  The episode first aired on May 8, 2008, on the NBC network in the United States  "Cooter" follows Jack Donaghy's (Alec Baldwin) attempt to get fired from his new job in politics; Liz Lemon's (Fey) pregnancy scare and decision to adopt a baby; Tracy Jordan's (Tracy Morgan) creation of a pornographic video game; and Kenneth Parcell's (Jack McBrayer) aspiration to be an NBC page at the Beijing Olympics  The episode is an unofficial season finale, due to the season being shortened by the 2007–2008 Writers Guild of America strike 
"Cooter" received positive reviews from critics, and several considered it to be among the series' best episodes  Several critics noted that Liz had a pregnancy scare the same week that Fey's film Baby Mama was released, possibly used as cross promotion  The episode was watched by 5 61 million American viewers on its original broadcast, and was nominated for two awards, winning one 

Plot
Jack gets a job in politics as the "Homeland Security Director for Crisis and Weather Management"; however, it is not what he expected  When he learns that Don Geiss (Rip Torn), the CEO of General Electric, said "Jackie Boy" while in his coma, he schemes with another government employee, Cooter Burger (Matthew Broderick), to get fired after his letter of resignation is rejected  Jack also enlists the help of Celeste "C C " Cunningham (Edie Falco), his Congresswoman (D-VT) ex-girlfriend, to approve research into a "gay bomb"  Jack hopes that the bomb, an old Pentagon project that is expensive, inefficient and offensive to "both the red states and the gayer blue states", will ultimately result in their dismissal 
Meanwhile, Liz thinks she may be pregnant and is horrified when she discovers it is most likely the baby of her ex-boyfriend, Dennis Duffy (Dean Winters)  After several pregnancy tests, she tells a visiting Jack that the positive tests are a result of her eating "Sabor de Soledad" ("Taste of Loneliness" in Spanish) cheese puffs, which contain bull semen  Nevertheless, she tells Jack that she is ready to have a child and wants to adopt  Kenneth learns of an opportunity to be an NBC page at the Beijing Olympics, however, head page Donny Lawson (Paul Scheer) tries to make sure that he does not submit his essay on time  Jenna Maroney (Jane Krakowski) helps him complete his essay, but Donny stalls Kenneth by forcing him to deliver paper  This begins a sequence which references several Summer Olympic events  Pete shoots Donny in the leg with an arrow (archery), dressed in his gear from when he was an Olympic archer  Kenneth then goes through a series of obstacles themed to different Summer Olympic events  He begins by running and jumping over a "Wet Floor" sign (low hurdles) and then an airplane chair prop carried by two men (high hurdles)  Kenneth next grabs a bamboo pole and runs with it, using it to push the button on the elevator before throwing it to another page (likely pole vault, but possibly javelin throw)  He then does a forward flip into the elevator, ending with him standing and saluting to the back and front of the elevator (gymnastics/floor routine)  Finally, Kenneth makes it to the 27th floor only to see his way blocked by workmen painting  As an executive opens the door to the NBC Olympic Headquarters, Kenneth spins and throws his application pack through the closing door (discus)  He finally runs forward a few feet to break the blue painter's tape and collapse victorious, then throws up (sprint)  Tracy's invention, the world's first pornographic video game, is nearly complete  He gives Frank, who has helped him, the prototype copy of the game 
The episode shows what happens three months later, in August 2008  Jack and Cooter present their "gay bomb" to the Pentagon, which works only in enclosed areas, making it useless in combat  However, Cooter accidentally breaks the vial, causing everybody in the room, including Vice President Dick Cheney, to "feel weird"  Frank emerges from his office after playing Tracy's game non-stop for three months, not realizing the amount of time that has passed  While in Beijing, Kenneth gets involved with a Chinese woman who wants his kidneys  The last point was said in Mandarin without subtitles, leaving the English-speaking audience unaware of Kenneth's trouble 
The conversation roughly translates as:
Lady: "Kenneth, I like you, because I am attracted to your two healthy kidneys "
Kenneth: "What?"
(Man breaks down the door with gun drawn)
Kenneth: "I had no idea!"
The conversation in Mandarin:
Lady: Kenneth, 我喜歡你，因為我看上了你那兩個健壯的腎。
Kenneth: 什麼？
(Man breaks down the door with gun drawn)
Kenneth: 真沒想到！

Production
The title of the episode is one of Fey's favorite words, which she used multiple times when she appeared as an anchor on the Saturday Night Live sketch Weekend Update  Fey explains that she likes the word because "it's one of the least graphic ways to describe the female genitals"  This episode marks the final appearance of Edie Falco, who was hired for a three-episode arc  Falco made her debut in the episode "Somebody to Love" as Celeste Cunningham, a Congresswoman and romantic interest of Jack's  She appeared in "Secrets and Lies", where James Carville helps the fledgling relationship  The pair breaks up in Episode 210, when they realize their careers prevent them from staying together  Falco said that she was "thrilled for the opportunity to work with such great comic actors", and expressed her enjoyment of watching the series  Fey was "thrilled to have such an amazing actress come join us", and joked that "a lot of guys on our crew want The Sopranos ending explained to them", in which Falco was a series star 

Reception
"Cooter" was watched by 5 6 million viewers, and received a 2 6 rating and 7 share in the 18–49 demographic  The 2 6 refers to 2 6% of all 18- to 49-year-olds in the U S , and the 7 refers to 7% of all 18- to 49-year-olds watching television in the U S  at the time of the broadcast  By comparison CBS's CSI was viewed by 17 82 million viewers, ABC's Grey's Anatomy received 15 60 million viewers, Fox's Don't Forget the Lyrics! received 6 22 million viewers, and The CW's Supernatural received 2 53 million viewers   The finale was watched by 206,000 more viewers than the previous episode Terry Morrow of the Knoxville News Sentinel said that, although 30 Rock is struggling to find viewers, this "tiny show   shines with absolute brilliance", and judged "Cooter" as one of its best episodes  He speculated that the lack of viewers might have been because the show had failed to create an emotional bond with its audience, despite its being "happy to be a very witty sitcom"   He felt the entire cast was "spot on", but singled out Jane Krakowski for her "scene-stealing" moments when she revealed the art of backhanded compliments  Verne Gay of Newsday praised Jenna's and Kenneth's storylines, and liked the cameo by Broderick, stating his "comic chops [were] on full display"  Robert Canning of IGN praised Kenneth's and Tracy's storylines, and described Tracy's voice-recording session for his porn video game as "thank-goodness-this-is-airing-later-than-8:30"   Alan Sepinwall of The Star-Ledger felt that the "nearly-perfect" episode was marred by Kenneth's page-rivalry, which "didn't work"  Time called "Cooter" the eighth-best episode of 2008 Mark A  Perigard of the Boston Herald felt that "Cooter" was one of the best episodes of 30 Rock's shortened season, with something for everyone in the ensemble cast to do   He noted that Fey's character, Liz, has a pregnancy scare the same week that Fey's film, Baby Mama, was in theaters, asking "How much mama drama does Tina Fey think viewers want?" Bob Sassone of TV Squad originally thought the episode might have been secretly cross promoting Baby Mama, but ultimately decided against this judgment  Jeff Labrecque of Entertainment Weekly was disappointed that Liz was not actually pregnant, and hoped that her former boyfriend, Dennis, would continue to reappear in the next season  Oscar Dahl of BuddyTV speculated that the episode may have been hinting at Alec Baldwin's real-life political plans  (He was considering running for office )The episode was nominated for Primetime Emmy Awards, winning one  Tina Fey won for Outstanding Writing for a Comedy Series, and Ken Eluto was nominated for Outstanding Single-Camera Picture Editing for a Comedy Series 
Passage 9:
Louie (season 4)
The fourth season of the American television comedy series Louie premiered on May 5, 2014, and concluded on June 16, 2014  It consists of fourteen episodes (an additional episode more than previous seasons), most running approximately 23 minutes in length  FX broadcast the fourth season on Mondays at 10:00 and 10:30 pm in the United States with back-to-back episodes  The season was produced by 3 Arts Entertainment and the executive producers were Louis C K , Dave Becky and M  Blair Breard 
Louie was created, written and directed by Louis C K , who stars as a fictionalized version of himself, a comedian and newly divorced father raising his two daughters in New York City  The show has a loose format atypical for television comedy series, consisting of largely unconnected storylines and segments (described as "extended vignettes") that revolve around Louie's life, punctuated by live stand-up performances 

Production
FX announced in July 2012 that it had renewed Louie for a fourth season to consist of 13 episodes, and was later confirmed in October 2012 that the season would be delayed from airing in summer 2013 to May 2014, to give more time for Louie C K  to develop the season  C K  said, "I want season four to go somewhere new   I'm looking back to when I did the first season and the time I took to do the show and decide which directions to go in and I want that back again  I want a little breathing room " In March 2014, FX announced the season would premiere on May 5, 2014, moving to Mondays and would air back-to-back episodes for seven consecutive weeks, containing an additional fourteenth episode  C K  said that the fourth season would include a multi-part, connected storyline after the third episode C K  collaborated with comedian Steven Wright (who previously guest starred on the series as himself) on some of the scripts for the fourth season, and Wright is credited as a consulting producer for the season  According to guest star Jeremy Renner, Philip Seymour Hoffman was supposed to appear in an episode this season, however, Hoffman died in February 2014  Episodes 11 and 12, "In the Woods" have an extended run time of an hour and a half (with commercials) 

Cast
Main cast
Louis C K  as Louie

Recurring cast
Guest stars
Episodes
Reception
Reviews
The fourth season of Louie received universal acclaim from critics, receiving a Metacritic score of 93 out of 100, based on 28 reviews  Robert Llyod of the Los Angeles Times wrote that  "Each [episode] stands on its own as a TV art film, an independent work of short fiction " Andrew Romano of The Daily Beast wrote that "Season 4 is just as brilliant as the seasons that preceded it " On Rotten Tomatoes, the season has an approval rating of 93% with an average score of 8 9 out of 10 based on 43 reviews  The website's critical consensus reads, "Thanks to Louis C K 's unique brand of awkward, brutally honest humor, Louie remains one of the best written and most relatable comedies on television "

Ratings
The season 4 premiere received 941,000 total viewers, a 19 percent boost over last season's average 

Accolades
For the 30th TCA Awards, Louie won for Outstanding Achievement in Comedy and Louis C K  received a nomination for Individual Achievement in Comedy  For the 4th Critics' Choice Television Awards, Louie received nominations for Best Comedy Series, C K  for Best Actor in a Comedy Series, and Sarah Baker for Best Guest Performer in a Comedy Series  For the 66th Primetime Emmy Awards, the series was nominated for Outstanding Comedy Series, and Louie C K  was nominated for Outstanding Lead Actor in a Comedy Series and Outstanding Directing for a Comedy Series for the episode "Elevator, Part 6", and won for Outstanding Writing for a Comedy Series for the episode "So Did the Fat Lady"  For the 67th Writers Guild of America Awards, the series won for Best Comedy Series and C K  won for Best Episodic Comedy for "So Did the Fat Lady"  For the 21st Screen Actors Guild Awards, C K  was nominated for Best Comedy Actor  For the 72nd Golden Globe Awards, C K  was nominated for Best Actor – Television Series Musical or Comedy  For the 67th Directors Guild of America Awards, C K  was nominated for Outstanding Directing – Comedy Series for the episode "Elevator Part 6" 

Broadcast
The season premiered on OSN First Comedy HD in the Middle East on September 4, 2014 
Context 3: Passage 1:
PLOS ONE
PLOS One (stylized PLOS ONE, and formerly PLoS ONE) is a peer-reviewed open access mega journal published by the Public Library of Science (PLOS) since 2006  The journal covers primary research from any discipline within science and medicine  The Public Library of Science began in 2000 with an online petition initiative by Nobel Prize winner Harold Varmus, formerly director of the National Institutes of Health and at that time director of Memorial Sloan–Kettering Cancer Center; Patrick O  Brown, a biochemist at Stanford University; and Michael Eisen, a computational biologist at the University of California, Berkeley, and the Lawrence Berkeley National Laboratory 
Submissions are subject to an article processing charge, and according to the journal, papers are not to be excluded on the basis of lack of perceived importance or adherence to a scientific field  All submissions go through a pre-publication review by a member of the board of academic editors, who can elect to seek an opinion from an external reviewer  In January 2010, the journal was included in the Journal Citation Reports and received its first impact factor of 4 411  According to Journal Citation Reports, PLOS ONE's 2022 impact factor is 3 7  PLOS One papers are published under Creative Commons licenses 

History
Development
The Gordon and Betty Moore Foundation awarded PLOS a $9 million grant in December 2002 and $1 million grant in May 2006 for its financial sustainability and launch of new free-access biomedical journals  Later, PLOS One was launched in December 2006 as a beta version named PLOS One  It launched with commenting and note-making functionality, and added the ability to rate articles in July 2007  In September 2007, the ability to leave "trackbacks" on articles was added  In August 2008, the journal moved from a weekly to a daily publication schedule, publishing articles as soon as they became ready  PLOS One came out of "beta" in October 2008 
In September 2009, as part of its article-level metrics program, PLOS One made its full online usage data, including HTML page views and PDF or XML download statistics, publicly available for every published article  In mid-2012, as part of a rebranding of PLoS as PLOS, the journal changed its name to PLOS One 

Output and turnaround
The number of papers published by PLOS One grew rapidly from inception to 2013 and has since declined somewhat   By 2010, it was estimated   to have become the largest journal in the world, and in 2011, 1 in 60 articles indexed by PubMed were published by PLOS One  By September 2017, PLOS One confirmed they had published over 200,000 articles  By November 2017, the journal Scientific Reports overtook PLOS One in terms of output At PLOS One, the median review time has grown from 37 days to 125 days over the first ten years of operation, according to Himmelstein's analysis, done for Nature  The median between acceptance and posting a paper on the site has decreased from 35 to 15 days over the same period  Both numbers for 2016 roughly correspond to the industry-wide averages for biology-related journals  The average acceptance rates for submission across 2020 and 2021 range from 47 9 to 49 9% [1]

Management
The founding managing editor was Chris Surridge  He was succeeded by Peter Binfield in March 2008, who was publisher until May 2012  Damian Pattinson then held the chief editorial position until December 2015  Joerg Heber was as editor-in-chief from November 2016 before Emily Chenette took over in that position in March 2021 

Publication concept
PLOS One is built on several conceptually different ideas compared to traditional peer-reviewed scientific publishing in that it does not use the perceived importance of a paper as a criterion for acceptance or rejection  The idea is that, instead, PLOS One only verifies whether experiments and data analysis were conducted rigorously, and leaves it to the scientific community to ascertain importance, post publication, through debate and comment 
Each submission will be assessed by a member of the PLOS ONE Editorial Board before publication  This pre-publication peer review will concentrate on technical rather than subjective concerns and may involve discussion with other members of the Editorial Board and/or the solicitation of formal reports from independent referees  If published, papers will be made available for community-based open peer review involving online annotation, discussion, and rating 
According to Nature, the journal's aim is to "challenge academia's obsession with journal status and impact factors"  Being an online-only publication allows PLOS One to publish more papers than a print journal  In an effort to facilitate publication of research on topics outside, or between, traditional science categories, it does not restrict itself to a specific scientific area Papers published in PLOS One can be of any length, contain full color throughout, and contain supplementary materials such as multimedia files  Reuse of articles is subject to a Creative Commons Attribution License  In the first four years following launch, it made use of over 40,000 external peer reviewers  The journal uses an international board of academic editors with over 6,000 academics handling submissions and publishes approximately 50 % of all submissions, after review by, on average, 2 9 experts  Registered readers can leave comments on articles on the website 

Business model
As with all journals of the Public Library of Science, open access to PLOS One is financed by an article processing charge, typically paid by the author's institution or by the author  This model allows PLOS journals to make all articles available to the public for free immediately upon publication   As of April 2021, PLOS One charges a publication fee of $1,745 to publish an article  Depending on circumstances, it may waive or reduce the fee for authors who do not have sufficient funds PLoS had been operating at a loss until 2009 but covered its operational costs for the first time in 2010, largely due to the growth of PLOS One   The success of PLOS One has inspired a series of other open access journals, including some other mega journals having broad scope, low selectivity, and a pay-to-publish model using Creative Commons licenses 

Reception
In September 2009, PLOS One received the Publishing Innovation Award of the Association for Learned and Professional Society Publishers  The award is given in recognition of a "truly innovative approach to any aspect of publication as adjudged from originality and innovative qualities, together with utility, benefit to the community and long-term prospects"  In January 2010, it was announced that the journal would be included in the Journal Citation Reports, and the journal received an impact factor of 4 411 in 2010  According to the Journal Citation Reports, the journal has a 2022 impact factor of 3 7 

Abstracting and indexing
The articles are indexed in:

Response to controversial publications
Alleged sexism in one peer review instance
On April 29, 2015, Fiona Ingleby and Megan Head, postdoctoral fellows at the University of Sussex and Australian National University respectively, posted a rejection letter, which they said was sent to them by a peer reviewer for a journal they did not wish to name  The rejection letter concerned Ingleby and Head's paper about differences in PhD-to-postdoc transition between male and female scientists  The reviewer argued that the authors should "find one or two male biologists to work with" to ensure the manuscript doesn't drift into "ideologically biased assumptions", comments which the authors found to be "unprofessional and inappropriate" and veering into sexism  Shortly afterward, the journal was reported to be PLOS One  By May 1, PLOS had announced that it was severing ties with the reviewer responsible for the comments and asking the editor who relayed them to step down  PLOS One also issued an apology statement following the incident 

CreatorGate
On March 3, 2016, the editors of PLOS One initiated a reevaluation of an article about the functioning of the human hand due to outrage among the journal's readership over a reference to "Creator" inside the paper  The authors, who received grants from the Chinese National Basic Research Program and National Natural Science Foundation of China for this work, responded by saying "Creator" is a poorly-translated idiom (造化(者), literally "(that which) creates or transforms") which means "nature" in the Chinese language  Despite the authors' protests, the article was retracted  
A less sympathetic explanation for the use of "Creator" was suggested to The Chronicle of Higher Education by Chinese-language experts who noted that the academic editor listed on the paper, Renzhi Han, previously worked at the Chinese Evangelical Church in Iowa City Sarah Kaplan of The Washington Post presented a detailed analysis of the problem, which she named #CreatorGate, and concluded that the journal's hasty retraction may have been an even bigger offense than the publication of the paper in the first place  To contrast PLOS One's handling of the problem, she used a 12-year history of retraction of the fraudulent paper on vaccine and autism by The Lancet and the lack of a retraction of a debunked study on "arsenic life" by Science  Others added the history of the article in Nature on "water memory" that was not retracted either Jonathan Eisen, chair of the advisory board of a sister journal PLOS Biology and an advocate for open-access, commended PLOS One for their prompt response on social media, which in his words "most journals pretend doesn't even exist"  David Knutson issued a statement about the paper processing at PLOS One, which praised the importance of post-publication peer review and described their intention to offer open signed reviews in order to ensure accountability of the process  From March 2 to 9, the research article received a total of 67 post-publication reader comments and 129 responses on PLOS One site  Signe Dean of SBS put #CreatorGate in perspective: it is not the most scandalous retraction in science, yet it shows how a social media outrage storm does expedite a retraction 

Rapid-onset gender dysphoria controversy

On August 27, 2018, the editors of PLOS One initiated a reevaluation of an article they published two weeks earlier submitted by Brown University School of Public Health assistant professor Lisa Littman  The study described a phenomenon of social contagion, or "cluster outbreaks" in gender dysphoria among young people, which Littman called "rapid-onset gender dysphoria"  Data was obtained from a survey placed on three websites for concerned parents of children with gender dysphoria, asking for responses from parents whose children had experienced "sudden or rapid development of gender dysphoria beginning between the ages of 10 and 21"  The study was criticized by transgender activists like Julia Serano and medical professionals like developmental and clinical psychologist Diane Ehrensaft, as being politicized and having self-selected samples, as well as lacking clinical data or responses from the adolescents themselves On March 19, 2019, PLOS One completed its review  PLOS One psychology academic editor Angelo Brandelli Costa acted as a reviwer criticizing the methods and conclusion of the study in a formal comment, saying, "The level of evidence produced by the Dr  Littman's study cannot generate a new diagnostic criterion relative to the time of presentation of the demands of medical and social gender affirmation " In a separate letter apologizing for the failure of peer review to address the issues with the article, PLOS One Editor-in-chief Joerg Heber said, "we have reached the conclusion that the study and resultant data reported in the article represent a valid contribution to the scientific literature  However, we have also determined that the study, including its goals, methodology, and conclusions, were not adequately framed in the published version, and that these needed to be corrected "The paper was republished with updated Title, Abstract, Introduction, Methodology, Discussion, and Conclusion sections, but the Results section was mostly unchanged  In her correction, Littman emphasized that the article was "a study of parental observations which serves to develop hypotheses", saying "Rapid-onset gender dysphoria (ROGD) is not a formal mental health diagnosis at this time  This report did not collect data from the adolescents and young adults (AYAs) or clinicians and therefore does not validate the phenomenon  Additional research that includes AYAs, along with consensus among experts in the field, will be needed to determine if what is described here as rapid-onset gender dysphoria (ROGD) will become a formal diagnosis "
Passage 2:
Behavior Genetics (journal)
Behavior Genetics is a peer-reviewed scientific journal published monthly by Springer Science+Business Media that is covering "research in the inheritance of behavior"  It is the official journal of the Behavior Genetics Association  The journal was established in 1971 with Steven G  Vandenberg as its founding editor-in-chief  The abstracts of the annual meetings are printed in the journal  Each year, the editorial board chooses a particularly meritorious paper in the previous year's volume of the journal for the Fulker Award, acknowledged by "$1000 and a good bottle of wine" as well as a citation made in the journal  This award was created in the honor of David Fulker, a past president of the Behavior Genetics Association (1982) and former editor-in-chief of the journal 

Abstracting and indexing
The journal is abstracted in Biological Abstracts/BIOSIS Previews, CAB Abstracts, Current Awareness in Biological Sciences, Current Contents/Social & Behavioral Sciences and Life Sciences, EMBASE, PsycINFO, PubMed/MEDLINE, Science Citation Index, Scopus, Social Sciences Citation Index, and The Zoological Record  According to the Journal Citation Reports, the journal has a 2020 impact factor of 2 805 
Passage 3:
Bosque (journal)
Bosque is a scientific journal published by the Forestry Faculty of the Southern University of Chile  It publishes articles on a wide range of forestry-related topics, primarily on issues that are relevant to Chile, Latin America and the Southern Hemisphere  The published articles include peer-reviewed scientific research papers, items of current interest and opinion pieces  Bosque's first issue was published in 1975 and the journal was issued yearly until 1985  From 1985 to 2003 it was issued twice a year and from 2003 on three times a year  The topics covered in Bosque are management and production of forestry resources, wood science and technology, silviculture, forest ecology, natural resources conservation, and rural development associated with forest ecosystems  The journal publishes research articles, notes and opinions, both in Spanish and English  Bosque was included in the Science Citation Index Expanded in 2009  The journal is also indexed in The Zoological Record 

See also
List of forestry journals
Passage 4:
Geophysical Journal International
Geophysical Journal International is a monthly peer-reviewed scientific journal published by Oxford University Press on behalf of the Royal Astronomical Society and the Deutsche Geophysikalische Gesellschaft (German Geophysical Society)  The journal publishes original research papers, research notes, letters, and book reviews  It was established in 1922  The editor-in-chief is Joerg Renner (Ruhr University Bochum)  The journal covers research on all aspects of theoretical, computational, applied and observational geophysics 

History
The journal was formerly entitled Geophysical Journal (Oxford) from January 1988 to June 1989  The Geophysical Journal was itself formed by the merger of three other publications: Geophysical Journal of the Royal Astronomical Society, Journal of Geophysics, and Annales Geophysicae, Series B: Terrestrial and Planetary Physics Geophysical Journal of the Royal Astronomical Society was in existence from March 1958 to December 1987 and was preceded by Monthly Notices of the Royal Astronomical Society, Geophysical Supplement  The Journal of Geophysics was in existence from 1974 to 1987, and preceded by the German-language journal, Zeitschrift für Geophysik (1924–1973) Finally, Annales Geophysicae, Series B: Terrestrial and Planetary Physics was in existence from 1986 to 1987, and preceded by Annales Geophysicae (Gauthier-Villars) (1983–1985)  Annales Geophysicae was formed by the merger of two other journals: Annales de Géophysique (Centre National de la Recherche Scientifique) (1942–1982), and Annali di Geofisica (1948–1982) 

Abstracting and indexing
The journal is abstracted and indexed in:

According to the Journal Citation Reports, the journal has a 2021 impact factor of 3 352, ranking it 35th out of 100 journals in the category "Geochemistry & Geophysics" 
Passage 5:
Scientific journal
In academic publishing, a scientific journal is a periodical publication intended to further the progress of science, usually by sharing findings from research with readers  They are normally specialized based on discipline, with authors picking which one they send their manuscripts to 

Content
Scientific journals
There are thousands of scientific journals in publication, with one estimate from 2012 indicating that there were 28,100 that were active, and many more have been published at various points in the past (see list of scientific journals)  Most journals are highly specialized, although some of the oldest journals such as Science and Nature publish articles and scientific papers across a wide range of scientific fields  Scientific journals contain articles that have been peer reviewed, in an attempt to ensure that articles meet the journal's standards of quality and scientific validity Although scientific journals are superficially similar to professional magazines (or trade journals), they are actually quite different   Among others, scientific journals' papers' authors are experts who must cite everything (and have a bibliography)   They also deal with research, and are peer reviewed   Meanwhile, trade journals are aimed at people in different fields, they focus on how people in them can do their jobs better, they cover information related to work, and they include tips and advice for improving performance   Also, they are not scholarly 

Articles in scientific journals
Articles in scientific journals are mostly written by active scientists such as students, researchers, and professors instead of professional journalists   Their intended audience is others in the field (such as students and experts), plus their content is more advanced and sophisticated than what is found regular publications  They have different purposes, depending on the type   Ones with original research are meant to share it with others in the field, review articles give summaries of research that has already been done, and perspective articles give researchers' views on research that their peers performed Each article has several different sections, including the following:
The title;
Information about the author(s);
The abstract, which is a one-paragraph summary of the article;
The introduction, including a background, why the research was done, research on this topic that has been done before, and (possibly) a hypothesis;
The methodology or method, which includes the way the research was done, details concerning the study's sample, measures for assessment, and the procedure;
Findings or results, which summarize what the study found;
Conclusion, comments, or discussion, which both explain how the results answered the questions that were posed, as well as areas that could be researched in the future; and
A list of works that the article's author cited Scientific journal articles are not read casually like a person would read a magazine   For, whereas magazine articles can be read in a more casual manner, reading one in a scientific periodical would require a lot more concentration   More to the point, reading an article in a scientific journal would entail first reading the title, to see if it was related to the desired topic   If it was, the next step would be to read the abstract (or summary or conclusion, if it is missing the abstract), to see if it seems worth reading   And, if it seemed like reading it would be worthwhile, the reader would then read the whole article Publishing research results is an essential part of helping science to advance  If scientists are describing experiments or calculations, they should explain how they did them so that an independent researcher could repeat the experiment or calculation to verify the results, or so that they could evaluate whatever the research article's findings were  Each such journal article also becomes part of the permanent scientific record 

Scope
Articles in scientific journals can be used in research and higher education  Scientific articles allow researchers to keep up to date with the developments of their field and direct their own research  An essential part of a scientific article is citation of earlier work  The impact of articles and journals is often assessed by counting citations (citation impact)  Some classes are partially devoted to the explication of classic articles, and seminar classes can consist of the presentation by each student of a classic or current paper  Schoolbooks and textbooks have been written usually only on established topics, while the latest research and more obscure topics are only accessible through scientific articles  In a scientific research group or academic department it is usual for the content of current scientific journals to be discussed in journal clubs  Public funding bodies often require the results to be published in scientific journals  Academic credentials for promotion into academic ranks are established in large part by the number and impact of scientific articles published  Many doctoral programs allow for thesis by publication, where the candidate is required to publish a certain number of scientific articles 

Wording
Articles tend to be highly technical, representing the latest theoretical research and experimental results in the field of science covered by the journal  They are often incomprehensible to anyone except for researchers in the field and advanced students  In some subjects this is inevitable given the nature of the content  Usually, rigorous rules of scientific writing are enforced by the editors; however, these rules may vary from journal to journal, especially between journals from different publishers  Articles are usually either original articles reporting completely new results or reviews of current literature  There are also scientific publications that bridge the gap between articles and books by publishing thematic volumes of chapters from different authors  Many journals have a regional focus, specializing in publishing papers from a particular geographic region, like African Invertebrates 

History
In the 17th century, scientists wrote letters to each other, and included scientific ideas with them   Then, in the mid-17th century, scientists began to hold meetings and share their scientific ideas   Eventually, they led to starting organizations, such as the Royal Society (1660) and the French Academy of Sciences (1666)  In 1665, the French Journal des sçavans and the English Philosophical Transactions of the Royal Society began systematically publishing research results  Over a thousand, mostly ephemeral, were founded in the 18th century, and the number has increased rapidly since then Peer review did not begin until the 1970s, and was seen as a way of enabling researchers who were not as well-known to have their papers published in journals that were more prestigious   Though it was originally done by mailing copies of papers to reviewers, it is now done online 

Publishing process
The authors of scientific articles are active researchers instead of journalists; typically, a graduate student or a researcher writes a paper with a professor  As such, the authors are unpaid and receive no compensation from the journal  However, their funding bodies may require them to publish in scientific journals  The paper is submitted to the journal office, where the editor considers the paper for appropriateness, potential scientific impact and novelty  If the journal's editor considers the paper appropriate, the paper is submitted to scholarly peer review  Depending on the field, journal and paper, the paper is sent to 1–3 reviewers for evaluation before they can be granted permission to publish  Reviewers are expected to check the paper for soundness of its scientific argument, including whether the author(s) are sufficiently acquainted with recent relevant research that bears on their study, whether the data was collected or considered appropriately and reproducibly, and whether the data discussed supports the conclusion offered and the implications suggested  Novelty is also key: existing work must be appropriately considered and referenced, and new results improving on the state of the art presented  Reviewers are usually unpaid and not a part of the journal staff—instead, they should be "peers", i e  researchers in the same field as the paper in question 

Standards and impact
The standards that a journal uses to determine publication can vary widely  Some journals, such as Nature, Science, PNAS, and Physical Review Letters, have a reputation of publishing articles that mark a fundamental breakthrough in their respective fields  In many fields, a formal or informal hierarchy of scientific journals exists; the most prestigious journal in a field tends to be the most selective in terms of the articles it will select for publication, and usually will also have the highest impact factor  In some countries, journal rankings can be utilized for funding decisions and even evaluation of individual researchers, although they are poorly suited for that purpose 

Reproducibility and replicability
For scientific journals, reproducibility and replicability of the scientific results are core concepts that allow other scientists to check and reproduce the results under the same conditions described in the paper or at least similar conditions and produce similar results with similar measurements of the same measurand or carried out under changed conditions of measurement  While the ability to reproduce the results based only on details included in the article is expected, verification of reproducibility by a third party is not generally required for publication  The reproducibility of results presented in an article is therefore judged implicitly by the quality of the procedures reported and agreement with the data provided  However, some journals in the field of chemistry such as Inorganic Syntheses and Organic Syntheses require independent reproduction of the results presented as part of the review process  The inability for independent researches to reproduce published results is widespread, with 70% of researchers reporting failure to reproduce another scientist's results, including more than half who report failing to reproduce their own experiments  Sources of reproducibility vary, including publication of falsified or misrepresented data and poor detailing of procedures 

Types of articles
There are several types of journal article; the exact terminology and definitions vary by field and specific journal, but often include:

Letters (also called communications, and not to be confused with letters to the editor) are short descriptions of important current research findings that are usually fast-tracked for immediate publication because they are considered urgent 
Research notes are short descriptions of current research findings that are considered less urgent or important than Letters 
Articles are usually between five and twenty pages and are complete descriptions of current original research findings, but there are considerable variations between scientific fields and journals—80-page articles are not rare in mathematics or theoretical computer science 
Supplemental articles contain a large volume of tabular data that is the result of current research and may be dozens or hundreds of pages with mostly numerical data  Some journals now only publish this data electronically on the Internet  Supplemental information also contains other voluminous material not appropriate for the main body of the article, like descriptions of routine procedures, derivations of equations, source code, non-essential data, spectra or other such miscellaneous information 
Review articles do not cover original research but rather accumulate the results of many different articles on a particular topic into a coherent narrative about the state of the art in that field  Review articles provide information about the topic and also provide journal references to the original research  Reviews may be entirely narrative, or may provide quantitative summary estimates resulting from the application of meta-analytical methods 
Data papers are articles dedicated to describe datasets  This type of article is becoming popular and journals exclusively dedicated to them have been established, e g  Scientific Data and Earth System Science Data 
Video papers are a recent addition to practice of scientific publications  They most often combine an online video demonstration of a new technique or protocol combined with a rigorous textual description The formats of journal articles vary, but many follow the general IMRAD scheme recommended by the International Committee of Medical Journal Editors  Such articles begin with an abstract, which is a one-to-four-paragraph summary of the paper  The introduction describes the background for the research including a discussion of similar research  The materials and methods or experimental section provides specific details of how the research was conducted  The results and discussion section describes the outcome and implications of the research, and the conclusion section places the research in context and describes avenues for further exploration 
In addition to the above, some scientific journals such as Science will include a news section where scientific developments (often involving political issues) are described  These articles are often written by science journalists and not by scientists  In addition, some journals will include an editorial section and a section for letters to the editor  While these are articles published within a journal, in general they are not regarded as scientific journal articles because they have not been peer-reviewed 

Electronic publishing
Electronic publishing is a new area of information dissemination  One definition of electronic publishing is in the context of the scientific journal  It is the presentation of scholarly scientific results in only an electronic (non-paper) form  This is from its first write-up, or creation, to its publication or dissemination  The electronic scientific journal is specifically designed to be presented on the internet  It is defined as not being previously printed material adapted, or retooled, and then delivered electronically Electronic publishing will likely continue to exist alongside paper publishing for the foreseeable future, since whilst output to a screen is important for browsing and searching, it is not well suited for extensive reading  Formats suitable both for reading on paper, and for manipulation by the reader's computer will need to be integrated  Many journals are electronically available in formats readable on screen via web browsers, as well as in portable document format PDF, suitable for printing and storing on a local desktop or laptop computer  New tools such as JATS and Utopia Documents provide a 'bridge' to the 'web-versions' in that they connect the content in PDF versions directly to the World Wide Web via hyperlinks that are created 'on-the-fly'  The PDF version of an article is usually seen as the version of record, but the matter is subject to some debate Electronic counterparts of established print journals already promote and deliver rapid dissemination of peer-reviewed and edited, "published" articles  Other journals, whether spin-offs of established print journals, or created as electronic only, have come into existence promoting the rapid dissemination capability, and availability, on the Internet  In tandem with this is the speeding up of peer review, copyediting, page makeup, and other steps in the process to support rapid dissemination Other improvements, benefits and unique values of electronically publishing the scientific journal are easy availability of supplementary materials (data, graphics and video), lower cost, and availability to more people, especially scientists from non-developed countries  Hence, research results from more developed nations are becoming more accessible to scientists from non-developed countries Moreover, electronic publishing of scientific journals has been accomplished without compromising the standards of the refereed, peer review process One form is the online equivalent of the conventional paper journal  By 2006, almost all scientific journals have, while retaining their peer-review process, established electronic versions; a number have moved entirely to electronic publication  In a similar manner, most academic libraries buy the electronic version and purchase a paper copy only for the most important or most-used titles 
There is usually a delay of several months after an article is written before it is published in a journal, making paper journals not an ideal format for announcing the latest research  Many journals now publish the final papers in their electronic version as soon as they are ready, without waiting for the assembly of a complete issue, as is necessary with paper



ground_truth: Netflix

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What are some other areas that share a common deer species with the forests of Mara and Mondrem?

The following are given passages.
Context 2: Passage 1:
Fallow deer
Dama is a genus of deer in the subfamily Cervinae, commonly referred to as fallow deer 

Name
The name fallow is derived from the deer's pale brown colour  The Latin word dāma or damma, used for roe deer, gazelles, and antelopes, lies at the root of the modern scientific name, as well as the German Damhirsch, French daim, Dutch damhert, and Italian daino  In Serbo-Croatian, the name for the fallow deer is jelen lopatar ("shovel deer"), due to the form of its antlers  The Modern Hebrew name of the fallow deer is yachmur (יחמור) 

Taxonomy and evolution
The genus includes two extant species:

Extant species
Some taxonomists classify the Persian fallow deer as a subspecies (D  d  mesopotamica), while others, such as the IUCN, treat it as a separate species (D  mesopotamica) 
Passage 2:
Moose
The moose (PL: moose; used in North America) or elk (PL: elk or elks; used in Eurasia) (Alces alces) is the only species in the genus Alces  It is the largest and heaviest extant species of deer  Most adult male moose have distinctive broad, palmate ("open-hand shaped") antlers; most other members of the deer family have antlers with a dendritic ("twig-like") configuration  Moose typically inhabit boreal forests and temperate broadleaf and mixed forests of the Northern Hemisphere in temperate to subarctic climates  Hunting and other human activities have caused a reduction in the size of the moose's range over time  It has been reintroduced to some of its former habitats  Currently, most moose occur in Canada, Alaska, New England (with Maine having the most of the lower 48 states), New York State, Fennoscandia, the Baltic states, Poland, Kazakhstan, and Russia 
Its diet consists of both terrestrial and aquatic vegetation  Predators of moose include wolves, bears, humans, wolverines (rarely), and orcas (while feeding underwater)  Unlike most other deer species, moose do not form herds and are solitary animals, aside from calves who remain with their mother until the cow begins estrus (typically at 18 months after birth of the calf), at which point the cow chases them away  Although generally slow-moving and sedentary, moose can become aggressive, and move quickly if angered or startled  Their mating season in the autumn features energetic fights between males competing for a female 

Etymology and naming
Alces alces is called a "moose" in North American English, but an "elk" in British English  The word "elk" in North American English refers to a completely different species of deer, Cervus canadensis, also called the wapiti  A mature male moose is called a bull, a mature female a cow, and an immature moose of either sex a calf 
According to the Oxford English Dictionary, the etymology of the species is "of obscure history"  In Classical Antiquity, the animal was known as ἄλκη álkē in Greek and alces in Latin, words probably borrowed from a Germanic language or another language of northern Europe  By the 8th century, during the Early Middle Ages, the species was known as Old English: elch, elh, eolh, derived from the Proto-Germanic: *elho-, *elhon- and possibly connected with the Old Norse: elgr  Later, the species became known in Middle English as elk, elcke, or elke, appearing in the Latinized form alke, with the spelling alce borrowed directly from Latin: alces  Noting that elk "is not the normal phonetic representative" of the Old English elch, the Oxford English Dictionary derives elk from Middle High German: elch, itself from Old High German: elaho The word "elk" has cognates in other Indo-European languages, e g  elg in Danish/Norwegian; älg in Swedish; alnis in Latvian; eland in Dutch/Frisian; Elch in German; and łoś in Polish  In the continental European languages, these forms of the word "elk" always refer to Alces alces 
The youngest elk bones in Great Britain were found in Scotland and are roughly 3,900 years old  The elk was probably extinct on the island before 900 AD  The word "elk" remained in usage because of English-speakers' familiarity with the species in Continental Europe; however, without any living animals around to serve as a reference, the meaning became rather vague, and by the 17th century "elk" had a meaning similar to "large deer"  Dictionaries of the 18th century simply described "elk" as a deer that was "as large as a horse" Confusingly, the word "elk" is used in North America to refer to a different animal, Cervus canadensis, which is also called by the Algonquian indigenous name, "wapiti"  The British began colonizing America in the 17th century, and found two common species of deer for which they had no names  The wapiti appeared very similar to the red deer of Europe (which itself was then almost extinct in Southern Britain) although it was much larger and was not red; the two species are indeed closely related, though distinct behaviorally and genetically  The moose was a rather strange-looking deer to the colonists, and they often adopted local names for both  In the early days of American colonization, the wapiti was often called a gray moose and the moose was often called a black moose, but early accounts of the animals varied wildly, adding to the confusion The word "moose" had first entered English by 1606 and is borrowed from the Algonquian languages (compare the Narragansett moos and Eastern Abenaki mos; according to early sources, these were likely derived from moosu, meaning "he strips off"), and possibly involved forms from multiple languages mutually reinforcing one another  The Proto-Algonquian form was *mo·swa Early European explorers in North America, particularly in Virginia where there were no moose, called the wapiti "elk" because of its size and resemblance to familiar-looking deer like the red deer  The moose resembled the "German elk" (the moose of continental Europe), which was less familiar to the British colonists  For a long time neither species had an official name, but were called a variety of things  Eventually, in North America the wapiti became known as an elk while the moose retained its indigenous name  In 1736, Samuel Dale wrote to the Royal Society of Great Britain:

The common light-grey moose, called by the Indians, Wampoose, and the large or black-moose, which is the beast whose horns I herewith present  As to the grey moose, I take it to be no larger than what Mr  John Clayton, in his account of the Virginia Quadrupeds, calls the Elke     was in all respects like those of our red-deer or stags, only larger     The black moose is (by all that have hitherto writ of it) accounted a very large creature      The stag, buck, or male of this kind has a palmed horn, not like that of our common or fallow-deer, but the palm is much longer, and more like that of the German elke 

Description and anatomy
Antlers
Bull moose have antlers like other members of the deer family  The size and growth rate of antlers is determined by diet and age; symmetry reflects health  Size and symmetry in the number of antler points signals bull moose quality; cows may select mates based on antler size and symmetry  Bull moose use dominant displays of antlers to discourage competition and will spar or fight rivals The male's antlers grow as cylindrical beams projecting on each side of the head at right angles to the midline of the skull, and then fork  The lower prong of this fork may be either simple, or divided into two or three tines, with some flattening  Most moose have antlers that are broad and palmate (flat) with tines (points) along the outer edge  Within the ecologic range of the moose in Europe, those in northerly locales display the palmate pattern of antlers, while the antlers of European moose over the southerly portion of its range are typically of the cervina dendritic pattern and comparatively small, perhaps due to evolutionary pressures of hunting by humans, who prize the large palmate antlers  European moose with antlers intermediate between the palmate and the dendritic form are found in the middle of the north–south range  Moose with antlers have more acute hearing than those without antlers; a study of trophy antlers using a microphone found that the palmate antler acts as a parabolic reflector, amplifying sound at the moose's ear The antlers of mature Alaskan adult bull moose (5 to 12 years old) have a normal maximum spread greater than 200 centimeters (79 in)  By the age of 13, moose antlers decline in size and symmetry  The widest spread recorded was 210 centimeters (83 in) across  An Alaskan moose also holds the record for the heaviest weight at 36 kilograms (79 lb) Antler beam diameter, not the number of tines, indicates age  In North America, moose (A  a  americanus) antlers are usually larger than those of Eurasian moose and have two lobes on each side, like a butterfly  Eurasian moose antlers resemble a seashell, with a single lobe on each side  In the North Siberian moose (A  a  bedfordiae), the posterior division of the main fork divides into three tines, with no distinct flattening  In the common moose (A  a  alces) this branch usually expands into a broad palmation, with one large tine at the base and a number of smaller snags on the free border  There is, however, a Scandinavian breed of the common moose in which the antlers are simpler and recall those of the East Siberian animals  The palmation appears to be more marked in North American moose than in the typical Scandinavian moose 

After the mating season males drop their antlers to conserve energy for the winter  A new set of antlers will then regrow in the spring  Antlers take three to five months to fully develop, making them one of the fastest growing animal organs  Antler growth is "nourished by an extensive system of blood vessels in the skin covering, which contains numerous hair follicles that give it a 'velvet' texture " This requires intense grazing on a highly-nutritious diet  By September the velvet is removed by rubbing and thrashing which changes the colour of the antlers  Immature bulls may not shed their antlers for the winter, but retain them until the following spring  Birds, carnivores and rodents eat dropped antlers as they are full of protein and moose themselves will eat antler velvet for the nutrients If a bull moose is castrated, either by accidental or chemical means, he will shed his current set of antlers within two weeks and then immediately begin to grow a new set of misshapen and deformed antlers that he will wear the rest of his life without ever shedding again; similarly deformed antlers can result from a deficiency of testosterone caused by cryptorchidism or old age  These deformed antlers are composed of living bone which is still growing or able to grow, since testosterone is needed to stop antler growth; they may take one of two forms  "Cactus antlers" or velericorn antlers usually retain the approximate shape of a normal moose's antlers but have numerous pearl-shaped exostoses on their surface; being made of living bone, they are easily broken but can grow back  Perukes (US: ) are constantly growing, tumor-like antlers with a distinctive appearance similar to coral  Like roe deer, moose are more likely to develop perukes, rather than cactus antlers, than the more developed cervine deer, but unlike roe deer, moose do not suffer fatal decalcification of the skull as a result of peruke growth, but rather can support their continued growth until they become too large to be fully supplied with blood  The distinctive-looking perukes (often referred to as "devil's antlers") are the source of several myths and legends among many groups of Inuit as well as several other tribes of indigenous peoples of North America 
In extremely rare circumstances, a cow moose may grow antlers  This is usually attributed to a hormone imbalance 

Proboscis and olfaction
The moose proboscis is distinctive among the living cervids due to its large size; it also features nares that can be sealed shut when the moose is browsing aquatic vegetation  The moose proboscis likely evolved as an adaptation to aquatic browsing, with loss of the rhinarium, and development of a superior olfactory column separate from an inferior respiratory column  This separation contributes to the moose's keen sense of smell, which they employ to detect water sources, to find food under snow, and to detect mates or predators 

Hooves
As with all members of the order Artiodactyla (even-toed ungulates), moose feet have two large keratinized hooves corresponding to the third and fourth toe, with two small posterolateral dewclaws (vestigial digits), corresponding to the second and fifth toe  The hoof of the fourth digit is broader than that of the third digit, while the inner hoof of the third digit is longer than that of the fourth digit  This foot configuration may favor striding on soft ground  The moose hoof splays under load, increasing surface area, which limits sinking of the moose foot into soft ground or snow, and which increases efficiency when swimming  The body weight per footprint surface area of the moose foot is intermediate between that of the pronghorn foot, (which have stiff feet lacking dewclaws—optimized for high-speed running) and the caribou foot (which are more rounded with large dewclaws, optimized for walking in deep snow)  The moose's body weight per surface area of footprint is about twice that of the caribou On firm ground, a bull moose leaves a visible impression of the dewclaws in its footprint, while a cow moose or calf does not leave a dewclaw impression  On soft ground or mud, bull, cow, and calf footprints may all show dewclaw impressions 

Skin and fur
Moose skin is typical of the deer family  Moose fur consists of four types of hair: eyelashes, vibrissae, guard hairs and wool hairs  Hair length and hair density varies according to season, age, and body region  The coat has two layers—a top layer of long guard hairs and a soft wooly undercoat  The guard hairs are hollow and filled with air for better insulation, which also helps them stay afloat when swimming 

Dewlap
Both male and female moose have a dewlap or bell, which is a fold of skin under the chin  Its exact function is unknown, but some morphologic analyses suggest a cooling (thermoregulatory) function  Other theories include a fitness signal in mating, as a visual and olfactory signal, or as a dominance signal by males, as are the antlers 

Tail
The tail is short (6 cm to 8 cm in length) and vestigial in appearance; unlike other ungulates the moose tail is too short to swish away insects 

Size
On average, an adult moose stands 1 4–2 1 m (4 ft 7 in – 6 ft 11 in) high at the shoulder, which is more than 30 centimetres (1 ft) higher than the next-largest deer on average, the wapiti  Males (or "bulls") normally weigh from 380 to 700 kg (838 to 1,543 lb) and females (or "cows") typically weigh 200 to 490 kg (441 to 1,080 lb), depending on racial or clinal as well as individual age or nutritional variations  The head-and-body length is 2 4–3 1 m (7 ft 10 in – 10 ft 2 in), with the vestigial tail adding only a further 5–12 cm (2–4+1⁄2 in)  The largest of all the races is the Alaskan subspecies (A  a  gigas), which can stand over 2 1 m (6 ft 11 in) at the shoulder, has a span across the antlers of 1 8 m (5 ft 11 in) and averages 634 5 kg (1,399 lb) in males and 478 kg (1,054 lb) in females  Typically, however, the antlers of a mature bull are between 1 2 and 1 5 m (3 ft 11 in and 4 ft 11 in)  The largest confirmed size for this species was a bull shot at the Yukon River in September 1897 that weighed 820 kg (1,808 lb) and measured 2 33 m (7 ft 8 in) high at the shoulder  There have been reported cases of even larger moose, including a bull killed in 2004 that weighed 1,043 kg (2,299 lb), and a bull that reportedly scaled 1,180 kg (2,601 lb), but none are authenticated and some may not be considered reliable   Among extant terrestrial animal species in North America, Europe, and Siberia, the moose is dwarfed only by two species of bison 

Ecology and biology
Diet
The moose is a browsing herbivore and is capable of consuming many types of plant or fruit  The average adult moose needs to consume 96 megajoules (23,000 kilocalories) per day to maintain its body weight  Much of a moose's energy is derived from terrestrial vegetation, mainly consisting of forbs and other non-grasses, and fresh shoots from trees such as willow and birch  As these terrestrial plants are rather low in sodium, as much as half of its diet usually consists of aquatic plants, including lilies and pondweed, which while lower in energy content, provide the moose with its sodium requirements  In winter, moose are often drawn to roadways, to lick salt that is used as a snow and ice melter  A typical moose, weighing 360 kg (794 lb), can eat up to 32 kg (71 lb) of food per day Moose lack upper front teeth, but have eight sharp incisors on the lower jaw  They also have a tough tongue, lips and gums, which aid in the eating of woody vegetation  Moose have six pairs of large, flat molars and, ahead of those, six pairs of premolars, to grind up their food  A moose's upper lip is very sensitive, to help distinguish between fresh shoots and harder twigs, and is prehensile, for grasping their food  In the summer, moose may use this prehensile lip for grabbing branches and pulling, stripping the entire branch of leaves in a single mouthful, or for pulling forbs, like dandelions, or aquatic plants up by the base, roots and all  A moose's diet often depends on its location, but they seem to prefer the new growths from deciduous trees with a high sugar content, such as white birch, trembling aspen and striped maple, among many others  To reach high branches, a moose may bend small saplings down, using its prehensile lip, mouth or body  For larger trees a moose may stand erect and walk upright on its hind legs, allowing it to reach branches up to 4 26 meters (14 ft 0 in) or higher above the ground Moose are excellent swimmers and are known to wade into water to eat aquatic plants  This trait serves a second purpose in cooling down the moose on summer days and ridding itself of black flies  Moose are thus attracted to marshes and river banks during warmer months as both provide suitable vegetation to eat and water to wet themselves in  Moose have been known to dive over 5 5 metres (18 ft) to reach plants on lake bottoms, and the complex snout may assist the moose in this type of feeding  Moose are the only deer that are capable of feeding underwater  As an adaptation for feeding on plants underwater, the nose is equipped with fatty pads and muscles that close the nostrils when exposed to water pressure, preventing water from entering the nose  Other species can pluck plants from the water too, but these need to raise their heads in order to swallow 

Moose are not grazing animals but browsers (concentrate selectors)  Like giraffes, moose carefully select foods with less fiber and more concentrations of nutrients  Thus, the moose's digestive system has evolved to accommodate this relatively low-fiber diet  Unlike most hooved, domesticated animals (ruminants), moose cannot digest hay, and feeding it to a moose can be fatal  The moose's varied and complex diet is typically expensive for humans to provide, and free-range moose require a lot of forested hectarage for sustainable survival, which is one of the main reasons moose have never been widely domesticated 

Natural predators
A full-grown moose has few enemies except Siberian tigers (Panthera tigris tigris) which regularly prey on adult moose, but a pack of gray wolves (Canis lupus) can still pose a threat, especially to females with calves  Brown bears (Ursus arctos) are also known to prey on moose of various sizes and are the only predator besides the wolf to attack moose both in Eurasia and North America  However, brown bears are more likely to take over a wolf kill or to take young moose than to hunt adult moose on their own  Black bears (Ursus americanus) and cougars (Puma concolor) can be significant predators of moose calves in May and June and can, in rare instances, prey on adults (mainly cows rather than the larger bulls)  Wolverines (Gulo gulo) are most likely to eat moose as carrion but have killed moose, including adults, when the large ungulates are weakened by harsh winter conditions  Orcas (Orcinus orca) are the moose's only confirmed marine predator as they have been known to prey on moose swimming between islands out of North America's Northwest Coast, however, there is at least one recorded instance of a moose preyed upon by a Greenland shark (Somniosus microcephalus) 
In some areas, moose are the primary source of food for wolves  Moose usually flee upon detecting wolves  Wolves usually follow moose at a distance of 100 to 400 meters (300 to 1,300 ft), occasionally at a distance of two to three kilometers (1 to 2 mi)  Attacks from wolves against young moose may last seconds, though sometimes they can be drawn out for days with adults  Sometimes, wolves will chase moose into shallow streams or onto frozen rivers, where their mobility is greatly impeded  Moose will sometimes stand their ground and defend themselves by charging at the wolves or lashing out at them with their powerful hooves  Wolves typically kill moose by tearing at their haunches and perineum, causing massive blood loss  Occasionally, a wolf may immobilize a moose by biting its sensitive nose, the pain of which can paralyze a moose  Wolf packs primarily target calves and elderly animals, but can and will take healthy, adult moose  Moose between the ages of two and eight are seldom killed by wolves  Though moose are usually hunted by packs, there are cases in which single wolves have successfully killed healthy, fully-grown moose Research into moose predation suggests that their response to perceived threats is learned rather than instinctual  In practical terms this means moose are more vulnerable in areas where wolf or bear populations were decimated in the past but are now rebounding  These same studies suggest, however, that moose learn quickly and adapt, fleeing an area if they hear or smell wolves, bears, or scavenger birds such as ravens Moose are also subject to various diseases and forms of parasitism  In northern Europe, the moose botfly is a parasite whose range seems to be spreading 

Parasites
Moose typically carry a heavy burden of parasites, both externally and internally  Parasitosis is an important cause of moose morbidity and mortality and also contributes to vulnerability to predators 

Ectoparasites
Ectoparasites of moose include the moose nose bot fly, and winter ticks 

Endoparasites
Endoparasites of moose include dog tapeworm, meningeal worm, lungworm, and roundworm 

Social structure and reproduction
Moose are mostly diurnal  They are generally solitary with the strongest bonds between mother and calf  Although moose rarely gather in groups, there may be several in close proximity during the mating season 
Rutting and mating occurs in September and October  During the rut, mature bulls will cease feeding completely for a period of approximately two weeks; this fasting behavior has been attributed to neurophysiological changes related to redeployment of olfaction for detection of moose urine and moose cows  The males are polygynous and will seek several females to breed with  During this time both sexes will call to each other  Males produce heavy grunting sounds that can be heard from up to 500 metres (1,600 ft) away, while females produce wail-like sounds  Males will fight for access to females  Initially, the males assess which of them is dominant and one bull may retreat, however, the interaction can escalate to a fight using their antlers 
Female moose have an eight-month gestation period, usually bearing one calf, or twins if food is plentiful, in May or June  Twinning can run as high as 30% to 40% with good nutrition Newborn moose have fur with a reddish hue in contrast to the brown appearance of an adult  The young will stay with the mother until just before the next young are born  The life span of an average moose is about 15–25 years  Moose populations are stable at 25 calves for every 100 cows at 1 year of age  With availability of adequate nutrition, mild weather, and low predation, moose have a huge potential for population expansion 

Aggression
Moose are not typically aggressive towards humans, but will be aggressive when provoked or frightened  Moose attack more people than bears and wolves combined, but usually with only minor consequences  In the Americas, moose injure more people than any other wild mammal; worldwide, only hippopotamuses injure more  When harassed or startled by people or in the presence of a dog, moose may charge  Also, as with bears or any wild animal, moose accustomed to being fed by people may act aggressively when denied food  During the fall mating season, bulls may be aggressive toward humans  Cows are protective of young calves and will attack humans who come close, especially if they come between mother and calf  Moose are not territorial, and do not view humans as food, and usually will not pursue humans who run away 
Moose are unpredictable  They are most likely to attack if annoyed or harassed, or if approached too closely  A moose that has been harassed may vent its anger on anyone in the vicinity, and they often do not make distinctions between their tormentors and innocent passers-by  Moose are very limber animals with highly flexible joints and sharp, pointed hooves, and are capable of kicking with both front and back legs  Unlike other large, hooved mammals, such as horses, moose can kick in all directions including sideways  Thus, there is no safe side from which to approach  Moose often give warning signs prior to attacking, displaying aggression by means of body language  Maintained eye contact is usually the first sign of aggression, while laid-back ears or a lowered head is a sign of agitation  When the hairs on the back of the moose's neck and shoulders (hackles) stand up, a charge is usually imminent  The Anchorage Visitor Centers warn tourists that "   a moose with its hackles raised is a thing to fear "Moose cows are more likely to emit protest moans when courted by small males  This attracts the attention of large males, promotes male-male competition and violence, reduces harassment of cows by small males, and increases mating opportunities with large males  This in turn means that the cow moose has at least a small degree of control over which bulls she mates with Moose often show aggression to other animals as well; especially predators  Bears are common predators of moose calves and, rarely, adults  Alaskan moose have been reported to successfully fend off attacks from both black and brown bears  Moose have been known to stomp attacking wolves, which makes them less preferred as prey to the wolves  Moose are fully capable of killing bears and wolves  In one rare event, a female moose killed two adult male wolves  A moose of either sex that is confronted by danger may let out a loud roar, more resembling that of a predator than a prey animal  European moose are often more aggressive than North American moose, such as the moose in Sweden, which often become very agitated at the sight of a predator  However, like all ungulates known to attack predators, the more aggressive individuals are always darker in color, with the darkest coloring usually in areas facing the opponent, thus serving as a natural warning to other animals 

Habitat, range, and distribution
Habitat
Moose require habitat with adequate edible plants (e g , pond grasses, young trees and shrubs), cover from predators, and protection from extremely hot or cold weather  Moose travel among different habitats with the seasons to address these requirements  Moose are cold-adapted mammals with thickened skin, dense, heat-retaining coat, and a low surface:volume ratio, which provides excellent cold tolerance but poor heat tolerance  Moose survive hot weather by accessing shade or cooling wind, or by immersion in cool water  In hot weather, moose are often found wading or swimming in lakes or ponds  When heat-stressed, moose may fail to adequately forage in summer and may not gain adequate body fat to survive the winter  Also, moose cows may not calve without adequate summer weight gain  Moose require access to both young forest for browsing and mature forest for shelter and cover  Forest disturbed by fire and logging promotes the growth of fodder for moose  Moose also require access to mineral licks, safe places for calving and aquatic feeding sites Moose avoid areas with little or no snow as this increases the risk of predation by wolves and avoid areas with deep snow, as this impairs mobility  Thus, moose select habitat on the basis of trade-offs between risk of predation, food availability, and snow depth  With reintroduction of bison into boreal forest, there was some concern that bison would compete with moose for winter habitat, and thereby worsen the population decline of moose  However, this does not appear to be a problem  Moose prefer sub-alpine shrublands in early winter, while bison prefer wet sedge valley meadowlands in early winter  In late winter, moose prefer river valleys with deciduous forest cover or alpine terrain above the tree line, while bison preferred wet sedge meadowlands or sunny southern grassy slopes 

North America
After expanding for most of the 20th century, the moose population of North America has been in steep decline since the 1990s  Populations expanded greatly with improved habitat and protection, but now the moose population is declining rapidly  This decline has been attributed to opening of roads and landscapes into the northern range of moose, allowing deer to become populous in areas where they were not previously common  This encroachment by deer on moose habitat brought moose into contact with previously unfamiliar pathogens, including brainworm and liver fluke, and these parasites are believed to have contributed to the population decline of moose In North America, the moose range includes almost all of Canada (excluding the arctic and Vancouver Island), most of Alaska, northern New England and upstate New York, the upper Rocky Mountains, northern Minnesota, northern Wisconsin, Michigan's Upper Peninsula, and Isle Royale in Lake Superior  This massive range, containing diverse habitats, contains four of the six North American subspecies  In the West, moose populations extend across Canada (British Columbia and Alberta)  Isolated groups have been verified as far south as the mountains of Utah and Colorado and as far west as the Lake Wenatchee area of the Washington Cascades  In the northwestern US, the range includes Wyoming, Montana, Idaho, and smaller areas of Washington, and Oregon  Moose have extended their range southwards in the western Rocky Mountains, with initial sightings in Yellowstone National Park in 1868, and then to the northern slope of the Uinta Mountains in Utah in the first half of the twentieth century  This is the southernmost naturally established moose population in the United States  In 1978, a few breeding pairs were reintroduced in western Colorado, and the state's moose population is now more than 2,400 In northeastern North America, the Eastern moose's history is very well documented: moose meat was often a staple in the diet of  indigenous peoples for centuries   The common name "moose" was brought into English from the word used by those who lived in present day coastal Rhode Island  The indigenous 
people often used moose hides for leather and its meat as an ingredient in pemmican, a type of dried jerky used as a source of sustenance in winter or on long journeys The historical range of the subspecies extended from well into Quebec, the Maritimes, and Eastern Ontario south to include all of New England finally ending in the very northeastern tip of Pennsylvania in the west, cutting off somewhere near the mouth of the Hudson River in the south  The moose has been extinct in much of the eastern U S  for as long as 150 years, due to colonial era overhunting and destruction of its habitat: Dutch, French, and British colonial sources all attest to its presence in the mid 17th century from Maine south to areas within 160 kilometers (100 mi) of present-day Manhattan  However, by the 1870s, only a handful of moose existed in this entire region in very remote pockets of forest; less than 20% of suitable habitat remained Since the 1980s, however, moose populations have rebounded, thanks to regrowth of plentiful food sources, abandonment of farmland, better land management, clean-up of pollution, and natural dispersal from the Canadian Maritimes and Quebec  South of the Canada–US border, Maine has most of the population with a 2012 headcount of about 76,000 moose  Dispersals from Maine over the years have resulted in healthy, growing populations each in Vermont and New Hampshire, notably near bodies of water and as high up as 910 m (3,000 ft) above sea level in the mountains  In Massachusetts, moose had gone extinct by 1870, but re-colonized the state in the 1960s, with the population expanding from Vermont and New Hampshire; by 2010, the population was estimated at 850–950  Moose reestablished populations in eastern New York and Connecticut and appeared headed south towards the Catskill Mountains, a former habitat In the Midwest U S , moose are primarily limited to the upper Great Lakes region, but strays, primarily immature males, have been found as far south as eastern Iowa  For unknown reasons, the moose population is declining rapidly in the Midwest Moose were successfully introduced on Newfoundland in 1878 and 1904, where they are now the dominant ungulate, and somewhat less successfully on Anticosti Island in the Gulf of Saint Lawrence 

Decline in population
Since the 1990s, moose populations have declined dramatically in much of temperate North America, although they remain stable in Arctic and subarctic regions  The exact causes of specific die-offs are not determined, but most documented mortality events were due to wolf predation, bacterial infection due to injuries sustained from predators, and parasites from white-tailed deer to which moose have not developed a natural defense, such as liver flukes, brain worms and winter tick infestations  Predation of moose calves by brown bear is also significant  Landscape change from salvage logging of forest damage caused by the mountain pine beetle has resulted in greater foraging in logged areas by female moose, and this is the lead hypothesis as to why the moose population is declining in eastern North American forests, as this likely leads to increased predation  An alternate hypotheses among biologists for generalized, nonhunting declines in moose populations at the southern extent of their range is increasing heat stress brought on by the rapid seasonal temperature upswings as a result of human-induced climate change  Biologists studying moose populations typically use warm-season, heat-stress thresholds of between 14 and 24 °C (57 and 75 °F)  However, the minor average temperature increase of 0 83–1 11 °C (1 5–2 °F), over the last 100 years, has resulted in milder winters that induce favorable conditions for ticks, parasites and other invasive species to flourish within the southern range of moose habitat in North America  The moose population in New Hampshire fell from 7,500 in the early 2000s to a 2014 estimate of 4,000 and in Vermont the numbers were down to 2,200 from a high of 5,000 animals in 2005  Much of the decline has been attributed to the winter tick, which, between 2017 and 2019, accounted for 74% of all winter mortality and 91% of winter calf deaths in Vermont  Moose with heavy tick infections will rub their fur down to the skin raw trying to get the ticks off, making them look white when their outer coat rubs off  Locals call them ghost moose  Loss of the insulating winter coat through attempts to rid the moose of winter tick increases the risk of hypothermia in winter 

Europe and Asia
In Europe, moose are currently found in large numbers throughout Norway, Sweden, Finland, Latvia, Estonia, Poland, with more modest numbers in the southern Czech Republic, Belarus, and northern Ukraine  They are also widespread through Russia on up through the borders with Finland south towards the border with Estonia, Belarus and Ukraine and stretching far away eastwards to the Yenisei River in Siberia  The European moose was native to most temperate areas with suitable habitat on the continent and even Scotland from the end of the last Ice Age, as Europe had a mix of temperate boreal and deciduous forest  Up through Classical times, the species was certainly thriving in both Gaul and Magna Germania, as it appears in military and hunting accounts of the age  However, as the Roman era faded into medieval times, the beast slowly disappeared: soon after the reign of Charlemagne, the moose disappeared from France, where its range extended from Normandy in the north to the Pyrenees in the south  Farther east, it survived in Alsace and the Netherlands until the 9th century as the marshlands in the latter were drained and the forests were cleared away for feudal lands in the former  It was gone from Switzerland by the year 1000, from the western Czech Republic by 1300, from Mecklenburg in Germany by c  1600, and from Hungary and the Caucasus since the 18th and 19th century, respectively 
By the early 20th century, the last strongholds of the European moose appeared to be in Fennoscandian areas and patchy tracts of Russia, with a few migrants found in what is now Estonia and Lithuania  The USSR and Poland managed to restore portions of the range within its borders (such as the 1951 reintroduction into Kampinos National Park and the later 1958 reintroduction in Belarus), but political complications limited the ability to reintroduce it to other portions of its range  Attempts in 1930 and again in 1967 in marshland north of Berlin were unsuccessful  At present in Poland, populations are recorded in the Biebrza river valley, Kampinos, and in Białowieża Forest  It has migrated into other parts of Eastern Europe and has been spotted in eastern and southern Germany  Unsuccessful thus far in recolonizing these areas via natural dispersal from source populations in Poland, Belarus, Ukraine, Czech Republic, and Slovakia, it appears to be having more success migrating south into the Caucasus  It is listed under Appendix III of the Bern Convention In 2008, two moose were reintroduced into the Scottish Highlands in Alladale Wilderness Reserve  The moose disappeared as a breeding species from Denmark about 4,500 years ago (in the last century, a very small number have lived for periods in Zealand without establishing a population after swimming across the Øresund from Sweden), but in 2016-17 ten were introduced to Lille Vildmose from Sweden  In 2020, this population had increased to about 25 animals The East Asian moose populations confine themselves mostly to the territory of Russia, with much smaller populations in Mongolia and Northeastern China  Moose populations are relatively stable in Siberia and increasing on the Kamchatka Peninsula  In Mongolia and China, where poaching took a great toll on moose, forcing them to near extinction, they are protected, but enforcement of the policy is weak and demand for traditional medicines derived from deer parts is high  In 1978, the Regional Hunting Department transported 45 young moose to the center of Kamchatka  These moose were brought from Chukotka, home to the largest moose on the planet  Kamchatka now regularly is responsible for the largest trophy moose shot around the world each season  As it is a fertile environment for moose, with a milder climate, less snow, and an abundance of food, moose quickly bred and settled along the valley of the Kamchatka River and many surrounding regions  The population in the past 20 years has risen to over 2,900 animals 
The size of the moose varies  Following Bergmann's rule, population in the south (A  a  cameloides) usually grow smaller, while moose in the north and northeast (A  a  buturlini) can match the imposing sizes of the Alaskan moose (A  a  gigas) and are prized by trophy hunters 

New Zealand
In 1900, an attempt to introduce moose into the Hokitika area failed; then in 1910 ten moose (four bulls and six cows) were introduced into Fiordland  This area is considered a less than suitable habitat, and subsequent low numbers of sightings and kills have led to some presumption of this population's failure  The last proven sighting of a moose in New Zealand was in 1952  However, a moose antler was found in 1972, and DNA tests showed that hair collected in 2002 was from a moose  There has been extensive searching, and while automated cameras failed to capture photographs, evidence was seen of bedding spots, browsing, and antler marks 

Evolutionary history
Moose are members of the subfamily Capreolinae  Members of the moose lineage extend back into the Pliocene-Early Pleistocene  Some scientists, group the moose and all its extinct relatives into one genus, Alces, while others, such as Augusto Azzaroli, restrict Alces to the living species, placing the fossil species into the genera Cervalces (stag moose) and Libralces The earliest known species in the moose lineage is Libralces gallicus, which lived in the Pliocene-Early Pleistocene  Libralces gallicus came from the warm savannas of Pliocene Europe, with the best-preserved skeletons being found in southern France  L  gallicus was 1 25 times larger than the Alaskan moose in linear dimensions, making it nearly twice as massive  L  gallicus had many striking differences from its modern descendants  It had a longer, narrower snout and a less-developed nasal cavity, more resembling that of a modern deer, lacking any sign of the modern moose-snout  Its face resembled that of the modern wapiti  However, the rest of its skull structure, skeletal structure and teeth bore strong resemblance to those features that are unmistakable in modern moose, indicating a similar diet  Its antlers consisted of a horizontal bar 2 5 m (8 ft 2 in) long, with no tines, ending in small palmations  Its skull and neck structure suggest an animal that fought using high-speed impacts, much like the Dall sheep, rather than locking and twisting antlers the way modern moose combat  Their long legs and bone structure suggest an animal that was adapted to running at high speeds over rough terrain Libralces gallicus was followed by Cervalces carnutorum during the first half of the Early Pleistocene  Cervalces carnutorum was soon followed by a much larger species called Cervalces latifrons (broad-fronted stag-moose), which first appeared during the late Early Pleistocene  Many fossils of Cervalces latifrons have been found across Eurasia  Like its descendants, it inhabited mostly northern latitudes, and was probably well-adapted to the cold  C  latifrons was the largest deer known to have ever existed, standing more than 2 1 m (6 ft 11 in) tall at the shoulders  This is bigger than even the Irish elk, which was 1 8 m (5 ft 11 in) tall at the shoulders  Its antlers were smaller than the Irish elk's, but comparable in size to those of L  gallicus  However, the antlers had a shorter horizontal bar and larger palmations, more resembling those of a modern moose  Probably sometime in the Middle Pleistocene, Cervalces latifrons migrated into North America, giving rise to the stag moose (Cervalces scotti)  The modern moose is thought to have evolved from Cervalces latifrons at around the end of the Middle Pleistocene to the beginning of the Late Pleistocene, probably somewhere in East Asia, with the earliest fossils of the species in Europe dating to the early Late Pleistocene  The modern moose only arrived in North America around 15,000 years ago, at the end of the Late Pleistocene 

Populations
North America:

In Canada: There are an estimated 500,000 to 1,000,000 moose, with 150,000 in Newfoundland in 2007 descended from just four that were introduced in the 1900s 
In United States: There are estimated to be around 300,000:
Alaska: The state's Department of Fish and Game estimated 200,000 in 2011 
Northeast: A wildlife ecologist estimated 50,000 in New York and New England in 2007, with expansion expected 
Rocky Mountain states: Wyoming is said to have the largest share in its six-state region, and its Fish and Game Commission estimated 7,692 in 2009 
Upper Midwest: Michigan 2000 on Isle Royale (2019) and an estimated 433 (in its Upper Peninsula) in 2011, Wisconsin, 20–40 (close to its border with Michigan) in 2003, Minnesota 5600 in its northeast in 2010, and under 100 in its northwest in 2009; North Dakota closed, due to low moose population, one of its moose-hunting geographic units in 2011, and issued 162 single-kill licenses to hunters, each restricted to one of the remaining nine units Europe and Asia:

Finland: In 2009, there was a summer population of 115,000 
Norway: In 2009, there were a winter population of around 120,000  In 2015 31,131 moose were shot  In 1999, a record number of 39,422 moose were shot 
Latvia: in 2015, there were 21,000 
Estonia: 13,260
Lithuania: around 14,000 in 2016
Poland: 28,000
Czech Republic: maximum of 50
Russia: In 2007, there were approximately 600,000 
Sweden: Summer population is estimated to be 300,000–400,000  Around 100,000 are shot each fall  About 10,000 are killed in traffic accidents yearly 

Subspecies
Relationship with humans
History
European rock drawings and cave paintings reveal that moose have been hunted since the Stone Age  Excavations in Alby, Sweden, adjacent to the Stora Alvaret have yielded moose antlers in wooden hut remains from 6000 BCE, indicating some of the earliest moose hunting in northern Europe  In northern Scandinavia one can still find remains of trapping pits used for hunting moose  These pits, which can be up to 4 m × 7 m (13 ft 1 in × 23 ft 0 in) in area and 2 m (6 ft 7 in) deep, would have been camouflaged with branches and leaves  They would have had steep sides lined with planks, making it impossible for the moose to escape once it fell in  The pits are normally found in large groups, crossing the moose's regular paths and stretching over several km  Remains of wooden fences designed to guide the animals toward the pits have been found in bogs and peat  In Norway, an early example of these trapping devices has been dated to around 3700 BC  Trapping elk in pits is an extremely effective hunting method  As early as the 16th century the Norwegian government tried to restrict their use; nevertheless, the method was in use until the 19th century 
The earliest recorded description of the moose is in Julius Caesar's Commentarii de Bello Gallico, where it is described thus:

There are also [animals], which are called alces (moose)  The shape of these, and the varied color of their skins, is much like roes, but in size they surpass them a little and are destitute of horns, and have legs without joints and ligatures; nor do they lie down for the purpose of rest, nor, if they have been thrown down by any accident, can they raise or lift themselves up  Trees serve as beds to them; they lean themselves against them, and thus reclining only slightly, they take their rest; when the huntsmen have discovered from the footsteps of these animals whither they are accustomed to betake themselves, they either undermine all the trees at the roots, or cut into them so far that the upper part of the trees may appear to be left standing  When they have leant upon them, according to their habit, they knock down by their weight the unsupported trees, and fall down themselves along with them 
In book 8, chapter 16 of Pliny the Elder's Natural History from 77 CE, the elk and an animal called achlis, which is presumably the same animal, are described thus:

     there is, also, the moose, which strongly resembles our steers, except that it is distinguished by the length of the ears and of the neck  There is also the achlis, which is produced in the land of Scandinavia; it has never been seen in this city, although we have had descriptions of it from many persons; it is not unlike the moose, but has no joints in the hind leg  Hence, it never lies down, but reclines against a tree while it sleeps; it can only be taken by previously cutting into the tree, and thus laying a trap for it, as otherwise, it would escape through its swiftness  Its upper lip is so extremely large, for which reason it is obliged to go backwards when grazing; otherwise, by moving onwards, the lip would get doubled up 

As food
Moose are hunted as a game species in many of the countries where they are found  Moose meat tastes, wrote Henry David Thoreau in "The Maine Woods", "like tender beef, with perhaps more flavour; sometimes like veal"  While the flesh has protein levels similar to those of other comparable red meats (e g  beef, deer and wapiti), it has a low fat content, and the fat that is present consists of a higher proportion of polyunsaturated fats than saturated fats Dr  Valerius Geist, who emigrated to Canada from the Soviet Union, wrote in his 1999 book Moose: Behaviour, Ecology, Conservation:

In Sweden, no fall menu is without a mouthwatering moose dish  The Swedes fence their highways to reduce moose fatalities and design moose-proof cars  Sweden is less than half as large as the Canadian province of British Columbia, but the annual take of moose in Sweden—upward of 150,000—is twice that of the total moose harvest in North America 
Boosting moose populations in Alaska for hunting purposes is one of the reasons given for allowing aerial or airborne methods to remove wolves in designated areas, e g , Craig Medred: "A kill of 124 wolves would thus translate to [the survival of] 1488 moose or 2976 caribou or some combination thereof"  Some scientists believe that this artificial inflation of game populations is actually detrimental to both caribou and moose populations as well as the ecosystem as a whole  This is because studies have shown that when these game populations are artificially boosted, it leads to both habitat destruction and a crash in these populations 

Consumption of offal
Cadmium levels are high in Finnish moose liver and kidneys, with the result that consumption of these organs from moose more than one year old is prohibited in Finland  As a result of a study reported in 1988, the Ontario Ministry of Natural Resources recommended against the consumption of moose and deer kidneys and livers  Levels of cadmium were found to be considerably higher than in Scandinavia  The New Brunswick Department of Natural Resources advises hunters not to consume cervid offal Cadmium intake has been found to be elevated amongst all consumers of moose meat, though the meat was found to contribute only slightly to the daily cadmium intake  However the consumption of moose liver or kidneys significantly increased cadmium intake, with the study revealing that heavy consumers of moose organs have a relatively narrow safety margin below the levels which would probably cause adverse health effects 

Vehicle collisions
The center of mass of a moose is above the hood of most passenger cars  In a collision, the impact crushes the front roof beams and individuals in the front seats  Collisions of this type are frequently fatal; seat belts and airbags offer little protection  In collisions with higher vehicles (such as trucks), most of the deformation is to the front of the vehicle and the passenger compartment is largely spared  Moose collisions have prompted the development of a vehicle test referred to as the "moose test" (Swedish: Älgtest, German: Elchtest)  A Massachusetts study found that moose–vehicular collisions had a very high human fatality rate and that such collisions caused the death of 3% of the Massachusetts moose population annually Moose warning signs are used on roads in regions where there is a danger of collision with the animal  The triangular warning signs common in Sweden, Norway, and Finland have become coveted souvenirs among tourists traveling in these countries, causing road authorities so much expense that the moose signs have been replaced with imageless generic warning signs in some regions In Ontario, Canada, an estimated 265 moose die each year as a result of collision with trains  Moose–train collisions were more frequent in winters with above-average snowfall  In January 2008, the Norwegian newspaper Aftenposten estimated that some 13,000 moose had died in collisions with Norwegian trains since 2000  The state agency in charge of railroad infrastructure (Jernbaneverket) plans to spend 80 million Norwegian kroner to reduce collision rate in the future by fencing the railways, clearing vegetation from near the tracks, and providing alternative snow-free feeding places for the animals elsewhere In the Canadian province of New Brunswick, collisions between automobiles and moose are frequent enough that all new highways have fences to prevent moose from accessing the road, as has long been done in Finland, Norway, and Sweden  A demonstration project, Highway 7 between Fredericton and Saint John, which has one of the highest frequencies of moose collisions in the province, did not have these fences until 2008, although it was and continues to be extremely well signed  Newfoundland and Labrador recommended that motorists use caution between dusk and dawn because that is when moose are most active and most difficult to see, increasing the risk of collisions  Local moose sightings are often reported on radio stations so that motorists can take care while driving in particular areas  An electronic "moose detection system" was installed on two sections of the Trans-Canada Highway in Newfoundland in 2011, but the system proved unreliable and was removed in 2015 In Sweden, a road will not be fenced unless it experiences at least one moose accident per km per year In eastern Germany, where the scarce population is slowly increasing, there were two road accidents involving moose since 2000 

Domestication
Domestication of moose was investigated in the Soviet Union before World War II  Early experiments were inconclusive, but with the creation of a moose farm at Pechora-Ilych Nature Reserve in 1949, a small-scale moose domestication program was started, involving attempts at selective breeding of animals on the basis of their behavioural characteristics  Since 1963, the program has continued at Kostroma Moose Farm, which had a herd of 33 tame moose as of 2003  Although at this stage the farm is not expected to be a profit-making enterprise, it obtains some income from the sale of moose milk and from visiting tourist groups  Its main value, however, is seen in the opportunities it offers for the research in the physiology and behavior of the moose, as well as in the insights it provides into the general principles of animal domestication 
In Sweden, there was a debate in the late 18th century about the national value of using the moose as a domestic animal  Among other things, the moose was proposed to be used in postal distribution, and there was a suggestion to develop a moose-mounted cavalry  Such proposals remained unimplemented, mainly because the extensive hunting for moose that was deregulated in the 1790s nearly drove it to extinction  While there have been documented cases of individual moose being used for riding and/or pulling carts and sleds, Björklöf concludes no wide-scale usage has occurred outside fairy tales 

Heraldry
As one of the Canadian national symbols, the moose occurs on several Canadian coats of arms, including Newfoundland and Labrador, and Ontario  Moose is also a common coat of arms in Europe as well; for example, in Finland, it appears on the coats of arms of Hirvensalmi and Mäntsälä municipalities  The Seal of Michigan features a moose 

See also
Älgen Stolta, a rare example of a domesticated moose
Passage 3:
White-bellied musk deer
The white-bellied musk deer or Himalayan musk deer (Moschus leucogaster) is a musk deer species occurring in the Himalayas of Nepal, Bhutan, India, Pakistan and China  It is listed as endangered on the IUCN Red List because of overexploitation resulting in a probable serious population decline It was previously considered a subspecies of the Alpine musk deer, but was separated on the basis of different skull proportions 

Characteristics
White-bellied musk deer are very well adapted for high altitudes; they demonstrate such adaptations as well-developed dew claws, broad toes that provide increased stability on steep slopes, and a dense coat of coarse hairs with air-filled cells to insulate against the extreme temperature   While they lack antlers, a trait notable among all musk deer, they do possess a pair of enlarged and easily broken canines that grow continuously  The maximum length of these tusks is about 10 cm (4 in)  These deer have a stocky body type; their hind legs are also significantly longer and more muscular than their shorter, thinner forelimbs  In place of running or leaping, this species tends to "bound " Finally, fawns of this species have white spots to help with camouflage, but as they mature these spots disappear 
The white-bellied musk deer has a waxy substance called musk that the male secretes from a gland in the abdomen  The deer use this to mark territories and attract females, but the musk is also used in the manufacture of perfumes and medicines 

Distribution and habitat
Himalayan musk deer occurs in parts of northern Afghanistan, Pakistan, Tibet, Nepal, Bhutan, and in northern India such as in Jammu and Kashmir, Himachal Pradesh, Uttarakhand, Sikkim and Arunachal Pradesh  It inhabits high alpine environments above altitudes of 2,500 m (8,200 ft) 

Ecology and behaviour
During the day, white-bellied musk deer hide in dense cover and are shy and secretive  At night, they emerge to feed in more open habitats, and preferably select leaves of trees and shrubs with high protein and low fibre contents  During the winter, they subsist on poorer quality lichens, and even climb small trees to feed upon leaves that would otherwise be out of reach They are fairly sedentary occupying a small home range of up to 22 hectares  Males are fiercely territorial, only allowing females to enter their range  Territories are marked by carefully placed defecation sites and strong-smelling secretions, which are placed onto the surrounding plants 
Males fight each other over females during the mating season, and use their long canines to fight and defend their territories  The females hide from all the commotion  For the males to attract the females and bring them out from hiding, they use their strong smelling musk A female has one or two young at a time  The young musk deer live off their mother's milk until they are about six months old and able to eat regular foods available in the wild  At 16 to 24 months old, they become sexually mature Himalayan musk deer can live for up to 10 to 14 years Their predators include leopard, snow leopard, Eurasian lynx, red fox, gray wolf  Juveniles were also killed by yellow-throated marten and large raptors 

Threats
As the musk the deer produces is in demand for the manufacture of perfumes and medicines, it is highly valuable  Since the species is endangered and hard to find, its value on the wildlife trade market is increased still further  The hunting and trade of the white-bellied musk deer is the main threat to the species  Deer musk may sell for as much as $45,000/kg, making it one of the most valuable animal-derived products in the world  Hunters catch and kill the deer using snares  Only males produce the musk, so this creates a problem because females and young are caught in the traps and killed 

Conservation
The white-bellied musk deer is protected by law in Bhutan, Nepal, and India  In China, hunting may be permitted in some areas, although a license is required  It is listed as an endangered species in Pakistan and is also found in a number of protected areas throughout; however, the uneven enforcement of legislation across its range has meant little impact on preventing the rampant trade in the species  Improving the enforcement of antipoaching laws is a key priority for the conservation of this species 

Efforts being made
Captive farming for musk has been developed in China, and so far has shown that it is possible to extract musk from a deer without having to kill it  However, the captive deer succumb to disease and fighting and produce poorer quality musk  The killing of wild deer is thought to be the most cost-effective method of extracting musk  Open farming is a possible new way to extract the musk, whereby free-ranging or wild musk deer are caught and the musk then extracted, allowing the species to be conserved and survive 

See also
Kedarnath Wild Life Sanctuary
Askot Musk Deer Sanctuary
Passage 4:
Sri Lankan sambar deer
The Sri Lankan sambar or Indian sambar (Rusa unicolor unicolor), also known as ගෝනා (gōṇā) in Sinhala, is a subspecies of the sambar that lives in India and Sri Lanka  British explorers and planters referred to it, erroneously, as an elk, leading to place names such as Elk Plain 

Description
This subspecies is the largest sambar subspecies and representative of the Rusa genus, with the largest antlers both in size and in body proportions  Large males weight up to 270–280 kg 

Distribution and habitat
Sambar live in both lowland dry forests and mountain forests  Large herds of sambar roam the Horton Plains National Park, where it is the most common large mammal 
Passage 5:
Forests of Mara and Mondrem
The Forests of Mara and Mondrem were adjacent medieval forests in Cheshire, England, which in the 11th century extended to over 60 square miles (160 km2), stretching from the Mersey in the north almost to Nantwich in the south, and from the Gowy in the west to the Weaver in the east  Mara and Mondrem were a hunting forest of the Norman Earls of Chester, established soon after 1071 by the first earl, Hugh d'Avranches  They might earlier have been an Anglo-Saxon hunting forest  Game included wild boar, and red, fallow and roe deer 
After the earldom lapsed in 1237, the forest rights passed to the Crown, with the monarch's heir being given the title of Earl of Chester  Edward I and James I both hunted in the forests  Clearance for agricultural use began to be permitted after 1215, and by the mid-14th century, large areas of the Forest of Mondrem had been cleared  Deer hunting still continued within the remaining forest in the 17th century, and the forest was not formally disafforested, or removed from forest law, until 1812  The modern Delamere Forest is the remnant of the medieval forests, but little ancient woodland survives 

Extent
In the 11th century, the Forests of Mara and Mondrem stretched from the Mersey in the north to a few miles north of Nantwich in the south, and from the Gowy in the west to the Weaver in the east  The total extent was over 60 square miles (160 km2)  An undated document quoted by Ormerod lists 62 townships and villages within the two forests (although several of these places were exempt from forest law); as the document mentions Vale Royal Abbey, this must refer to some time between the abbey's foundation in 1277 and its dissolution in 1536 The precise boundary between the two adjacent forests is uncertain, but the Forest of Mara probably extended from the Mersey to the south of the area now known as Delamere Forest, while the Forest of Mondrem occupied the area between Delamere and Nantwich  The boundary might have coincided with a road known as "Peytevinisti" or "Peytefynsty", which also defined the limit of the grazing rights of Vale Royal Abbey; this is believed to have run from Weaverham in the north through Cuddington to Tarporley in the south 

History
Earls' hunting forest
The Forests of Mara and Mondrem together formed one of the three hunting forests of the Earls of Chester, the others being the Forests of Macclesfield and Wirral  It was created by Hugh d'Avranches, a keen huntsman, soon after he became Earl of Chester in 1071, although the area might have been an Anglo-Saxon hunting forest before the Norman Conquest  "Forest", in this context, means an area outside the common law and subject to forest law; it does not imply that the area was entirely wooded, and the land remained largely in private ownership  The forest boundary was marked with "irremovable marks, meres and boundaries", and the entire area also appears to have been enclosed  Game was hunted with dogs and included wild boar, and red, fallow and roe deer The original woodland was mixed, predominantly oak, but also including elm, lime, yew, chestnut, fir, larch, beech, ash, silver birch, hazel, willow and alder  The forest area also encompassed heath and wetland, as well as pasture, arable land and even small settlements  Agriculture was, however, allowed within the forest boundaries only under severe restrictions; assarting, or enclosing and clearing new land for agriculture, was completely prohibited until 1215–16 During the early Norman period, the penalties for killing game were blinding, mutilation or execution  These savage punishments were gradually replaced by huge fines, and in 1215, the Magna Carta reduced the maximum penalty for breaking forest law nationally to fines or imprisonment  Ranulf de Blondeville, the 6th Earl, issued a charter in 1215–16 which granted a more humane legal code for the Cheshire hunting forests This charter also, for the first time, conceded to the barons and their knights and freeholders the "right to assart their lands within the arable area of the forest and to grow crops on land formerly cultivated and free from wood without payment " Within the Forests of Mara and Mondrem, custom did not, however, follow the charter, a fine of 5 shillings per acre in Mondrem or 6 shillings 8 pence per acre in Mara being paid at the time of enclosure  Later, a licence was also required to assart forest land, which required the payment of a further fee and was very unpopular  Enclosure and assarting in Mara and Mondrem during this period is poorly documented, but is known to have occurred at Frodsham, Weaverham and Darnhall 

After the Earls
After the lapse of the Chester earldom in 1237, the forest rights passed to the Crown and the monarch's heir was given the title of Earl of Chester  Although Edward I hunted in the forest, the sport became less important, and the forests were used for timber production and as a source of revenue from taxes, fees and fines  In 1300, Edward I confirmed Ranulf de Blondeville's charter of 1215–16, but in the mid-14th century, Edward of Woodstock, the Black Prince, introduced various restrictive measures, which led to a large number of complaints recorded in the Black Prince's Register of 1351  Agricultural exploitation of the eastern edge of the forest was hampered by outbreaks of Black Death at Over, Little Budworth and Vale Royal Abbey in 1349, 1361 and 1369  The Old Pale and Eddisbury Hill were enclosed in the 14th century, to retain deer 

The northerly Forest of Mara remained wooded in the 14th century, and still retained a population of wild boar, lynx and wolves  By that date, however, large areas of the southerly Forest of Mondrem had been cleared  The remaining Mondrem woodland in the mid-14th century appears to have been concentrated in the north around Castle Northwich, Hartford and Winnington, and to a lesser extent in the south east around Aston juxta Mondrum, Calveley, Cholmondeston, Church Minshull, Poole and Wettenhall  Extensive assarting by Vale Royal Abbey made a major contribution to the loss of Mondrem woodland before the abbey's dissolution  The proximity to the medieval salt wiches of Nantwich and Middlewich, with their wood-fuelled salt pans, might also have been a factor 
Deer continued to be hunted in the 17th century; a large area at New Pale was enclosed at this time for the retention of deer  James I, on a royal visit to Cheshire in August 1617, hunted in the forest, describing it as "this delectable place"  From the early 18th century, however, the focus of hunting moved away from deer; Tarporley Hunt Club was founded in 1762, and the local gentry hunted hares and later foxes 

Disafforestation
The late 18th and early 19th centuries saw much of the surviving forest enclosed  A total of 7,755 acres (3,138 ha) in the south of the Forest of Mara, by then known as Delamere Forest, remained nominally a hunting forest until the early 19th century  In 1812, an Enclosure Act was passed disafforesting the remaining forest (that is, returning its legal status to ordinary land) and transferring ownership of the remnant half to the Crown and half to surrounding major landowners  Very little ancient woodland now survives, mainly concentrated on the banks of the Weaver and within steep cloughs running into that river, although there are also pockets of old, semi-natural woodland elsewhere, such as Cocked Hat Covert, near Little Budworth, and Dorfold Park, near Acton 

Administration
Each of the Cheshire hunting forests was administered by a master-forester on behalf of the Earl  For the Forests of Mara and Mondrem, this hereditary position was given by Ranulf le Meschin, the 3rd Earl, to Ranulf or Ralph de Kingsley in 1123, and it passed by marriage to the Launcelyn family and later to the Done family of Utkinton and Tarporley  Sixteen Dones held the position over nearly four centuries  In 1662, the master-forestership passed to the Crewe family and then to the Ardernes, who held it until the disafforestation in 1812  The position was symbolised by a black horn, which was given to the Kingsleys in the 12th century; now known as the "Delamere Horn", it is in the collection of the Grosvenor Museum  The master-foresters answered to the Chester justiciar, who was responsible for the administration of forest law across all three Cheshire forests The privileges claimed by the Mara and Mondrem master-forester were set out in detail by Richard Done in the 14th century  They included the right shoulder of all deer killed in hunting; windfallen and felled timber within the demesne wood; swarms of bees, sparrowhawks, merlins and hobbies found throughout the forest; and the right of pannage, or feeding pigs in the forest  He also claimed halfpence per head of cattle and goats found straying within the forest between Michaelmas and Martinmas, the payments made for the agistment of hogs between Martinmas and Christmas, as well as the pick of the property forfeited by poachers  The master-forester had a lodge, known as the "Chamber of the Forest", in which he occasionally stayed; it was built in Peckforton in 1351 and later moved to Eddisbury Hill A large staff supported the Mara and Mondrem master-forester, which is known in the mid-14th century to have included eight underforesters and two garçons who administered particular districts of the forest, assuming much of the role of the county sergeants within the forest bounds  Additionally, agisters collected monies charged for grazing, verderers attended the forest courts, and inspectors termed "regarders", huntsmen and kennelmen were also employed 

See also
History of Cheshire
Context 3:  In many fields in which even greater speed is wanted, such as physics, the role of the journal at disseminating the latest research has largely been replaced by preprint databases such as arXiv org  Almost all such articles are eventually published in traditional journals, which still provide an important role in quality control, archiving papers, and establishing scientific credit 

Cost
Many scientists and librarians have long protested the cost of journals, especially as they see these payments going to large for-profit publishing houses  To allow their researchers online access to journals, many universities purchase site licenses, permitting access from anywhere in the university, and, with appropriate authorization, by university-affiliated users at home or elsewhere  These may be quite expensive, sometimes much more than the cost for a print subscription, although this may reflect the number of people who will be using the license—while a print subscription is the cost for one person to receive the journal; a site-license can allow thousands of people to gain access Publications by scholarly societies, also known as not-for-profit-publishers, usually cost less than commercial publishers, but the prices of their scientific journals are still usually several thousand dollars a year  In general, this money is used to fund the activities of the scientific societies that run such journals, or is invested in providing further scholarly resources for scientists; thus, the money remains in and benefits the scientific sphere 
Despite the transition to electronic publishing, the serials crisis persists Concerns about cost and open access have led to the creation of free-access journals such as the Public Library of Science (PLoS) family and partly open or reduced-cost journals such as the Journal of High Energy Physics  However, professional editors still have to be paid, and PLoS still relies heavily on donations from foundations to cover the majority of its operating costs; smaller journals do not often have access to such resources 
Based on statistical arguments, it has been shown that electronic publishing online, and to some extent open access, both provide wider dissemination and increase the average number of citations an article receives 

Copyright
Traditionally, the author of an article was required to transfer the copyright to the journal publisher  Publishers claimed this was necessary in order to protect authors' rights, and to coordinate permissions for reprints or other use  However, many authors, especially those active in the open access movement, found this unsatisfactory, and have used their influence to effect a gradual move towards a license to publish instead  Under such a system, the publisher has permission to edit, print, and distribute the article commercially, but the authors retain the other rights themselves 
Even if they retain the copyright to an article, most journals allow certain rights to their authors  These rights usually include the ability to reuse parts of the paper in the author's future work, and allow the author to distribute a limited number of copies  In the print format, such copies are called reprints; in the electronic format, they are called postprints  Some publishers, for example the American Physical Society, also grant the author the right to post and update the article on the author's or employer's website and on free e-print servers, to grant permission to others to use or reuse figures, and even to reprint the article as long as no fee is charged  The rise of open access journals, in which the author retains the copyright but must pay a publication charge, such as the Public Library of Science family of journals, is another recent response to copyright concerns 

See also
Passage 6:
Mycologia
Mycologia is a peer-reviewed scientific journal that publishes papers on all aspects of the fungi, including lichens  It first appeared as a bimonthly journal in January 1909, published by the New York Botanical Garden under the editorship of William Murrill  It became the official journal of the Mycological Society of America, which still publishes it today  It was formed as a merger of the Journal of Mycology (14 volumes; 1885–1908) and the Mycological Bulletin (7 volumes; 1903–1908)  The Mycological Bulletin was known as the Ohio Mycological Bulletin in its first volume 

Editors
The following persons have been editor-in-chief of the journal:

The following persons have been managing editor of the journal:

Abstracting and indexing
Mycologia is abstracted and indexing in the following databases:
Passage 7:
The Raffles Bulletin of Zoology
The Raffles Bulletin of Zoology is a peer-reviewed open-access scientific journal published by the Lee Kong Chian Natural History Museum at the National University of Singapore 

Overview
It covers the taxonomy, ecology, and conservation of Southeast Asian fauna  Supplements are published as and when funding permits and may cover topics that extend beyond the normal scope of the journal depending on the targets of the funding agency  It was established as the Bulletin of the Raffles Museum in 1928 and renamed Bulletin of the National Museum of Singapore in 1961, before obtaining its current title in 1971 

See also
List of zoology journals
Passage 8:
New York Botanical Garden
The New York Botanical Garden (NYBG) is a botanical garden at Bronx Park in the Bronx, New York City  Established in 1891, it is located on a 250-acre (100 ha) site that contains a landscape with over one million living plants; the Enid A  Haupt Conservatory, a greenhouse containing several habitats; and the LuEsther T  Mertz Library, which contains one of the world's largest collections of botany-related texts  As of 2016, over a million people visit the New York Botanical Garden annually 
NYBG is also a major educational institution, teaching visitors about plant science, ecology, and healthful eating through NYBG's interactive programming  Nearly 90,000 of the annual visitors are children from underserved neighboring communities  An additional 3,000 are teachers from New York City's public school system participating in professional development programs that train them to teach science courses at all grade levels  NYBG operates one of the world's largest plant research and conservation programs 
NYBG was established in 1891 and the first structures on the grounds opened at the end of that decade  Since 1967, the garden has been listed as a National Historic Landmark, and several buildings have been designated as official New York City landmarks 

Mission statement
The New York Botanical Garden is an advocate for the plant world  The Garden pursues its mission through its role as a museum of living plant collections arranged in gardens and landscapes across its National Historic Landmark site; through its comprehensive education programs in horticulture and plant science; and through the wide-ranging research programs of the International Plant Science Center 

History
Context
As early as 1877, ideas had been circulating in New York City to create a botanical garden; funding could not be obtained at the time, although the efforts led to parkland being set aside for future use  By 1888, the Torrey Botanical Society was promoting the construction of a large botanical garden in New York City  The Garden's creation followed a fund-raising campaign led by the Torrey Botanical Society and Columbia University botanist Nathaniel Lord Britton and his wife Elizabeth Gertrude Britton, who were inspired to emulate the Royal Botanic Gardens in London : 2 In 1889, the Torrey Botanical Society's members decided to build the botanical garden at Bronx Park in the center of the Bronx, New York City's northernmost borough : 2  The Lorillard family owned most of the land at that location : 147  The city had already been given authorization to acquire the land as part of the 1884 New Parks Act, which was intended to preserve lands that would soon become part of New York City : 166  Some 640 acres (2 6 km2) of land surrounding the Lorillard estate was acquired by the City of New York as part of Bronx Park in 1888–1889 : 147

Establishment
By act of the New York State Legislature, the New York Botanical Garden was established on April 28, 1891  The garden occupied part of the grounds of the Lorillard estate and a parcel that was formerly the easternmost portion of the campus of St  John's College (now Fordham University);: 147  the latter included three graves of the Fordham University Cemetery, which were then relocated  The stated purpose of the act was:

    for the purpose of establishing and maintaining a botanical garden and museum and arboretum therein, for the collection of and culture of plants, flowers, shrubs and trees, the advancement of botanical science and knowledge, and the prosecution of original researches therein and in kindred subjects, for affording instruction in the same, for the prosecution and exhibition of ornamental and decorative horticulture and gardening, and for the entertainment, recreation and instruction of the people : 2 
As per the acts of incorporation, a board of directors would manage the NYBG  The board of directors included Columbia College's president and professors of biology, chemistry, and geology; the presidents of the Torrey Society, New York City Board of Education, and the Department of Public Parks' board of commissioners; the Mayor of New York City; and nine other members elected to the board : 2  The legislation would provide 250 acres (100 ha) within Bronx Park to the NYBG, and enable the board of directors to construct a library and conservatory, if at least $250,000 was raised within five years  If this condition were reached, the city would then issue $0 5 million in bonds : 2  The principal officers of the new corporation set up for the garden were Cornelius Vanderbilt, Andrew Carnegie and J P  Morgan, with Nathaniel Lord Britton as the new secretary Prominent civic leaders and financiers, including Vanderbilt, Carnegie, and Morgan, agreed to match the City's commitment to finance the buildings and improvements : 2  By May 1895, the $250,000 in bonds had been raised but the plans had not been fully confirmed  The Board of Directors then asked landscape architect Calvert Vaux and his partner, Parks Superintendent Samuel Parsons Jr , to consult on site selection  The north end of Bronx Park was decided as the best location for the NYBG  By August 1895, the architects had started a survey on the site  Because the Bronx River and various small tributaries ran through the park, drainage was a major consideration  Though Vaux's preliminary layout was approved in October 1895, he died the following month : 3  The topographical survey was completed in March 1896  The master plan was created by a team that included Britton & Parsons, as well as landscape engineer John R  Brinley, landscape gardener Samuel Henshaw, botanist Lucien Marcus Underwood, and architects Robert W  Gibson and Lincoln Pierson (the latter from the firm Lord & Burnham) : 3 The LuEsther T  Mertz Library and Enid A  Haupt Conservatory were among the first structures at the NYBG to open  The Library was built between 1897 and 1900,: 4  and the Conservatory was built around the same time, being completed in 1902 

Later operations
For over a century after its opening, the NYBG refused to charge admission  Because of this, as well as insufficient government and private funding, its budget deficit started to increase in the 1950s  After the city cut the NYBG's budget in 1970, the garden was forced to remain closed for 3 to 4 days a week, and officials worried that this could eventually lead to permanent closure  In 1974, for the first time in the botanical garden's history, officials had to annually petition New York State Legislature for funds  That year, the NYBG announced a major renovation to the conservatory and the addition of a building dedicated to displaying plants in different habitats  The next year, budget cuts related to the 1975 New York City fiscal crisis resulted in the NYBG being closed on weekdays for the first time in its history In 1988, the NYBG announced a renovation of its museum building, including the addition of a new annex, which was supposed to open in 1991  By the early 1990s, the NYBG facilities were neglected  The garden did not have enough space in its parking lots to accommodate all its visitors, turning away potential guests  Many areas were neglected, except for the 40 acres (16 ha) surrounding the conservatory, and a wetland had even been created unintentionally due to a broken sewer  A controversy arose in 1994 when the adjacent Fordham University proposed building a 480-foot-tall (150 m) radio tower for its radio station WFUV directly across from the Haupt Conservatory  The dispute continued until 2002, after several years of failed resolutions, when Montefiore Medical Center offered to move WFUV's antenna to its own facilities By the mid-1990s, additions to the NYBG were being undertaken to reverse years of neglect  In 1994 the formerly free garden started charging an admission fee to fund these improvements as well as the continued maintenance of existing facilities  The Everett Children's Garden opened in mid-1998  By 2000, the NYBG had requested $300 million for renovations, including a new gift shop and renovation of the greenhouses and roads  A new visitor center and gift shop were announced the following year, which would replace temporary facilities built in 1990  The new main entrance, with a gift shop, bookstore, plaza, restrooms, cafe, and information kiosks, was completed in 2004 at a cost of $21 million  Meanwhile, the addition of the library annex was delayed to 1994, then to 2000  Construction on the annex started in 1998 and it opened in 2002 as the International Plant Science Center Through the next two decades, a number of projects were completed and programs were implemented  In 2004, the Leon Levy Visitor Center opened as the Botanical Garden's main entrance  It included the NYBG Shop and the Pine Tree Café  The following year, the Nolen Greenhouses for Living Collections opened with its publicly accessible Bourke-Sullivan Display House  Off-site, the institution opened The New York Botanical Garden Midtown Education Center in Manhattan in 2010  NYBG added a parking garage, the Peter J  Sharp Building, nearby in 2012, along with a Bedford Gate entrance to the Garden  NYBG restored its Lorillard Snuff Mill in 2010 and it was named the Lillian and Amy Goldman Stone Mill  NYBG's Humanities Research Institute, supported by The Andrew W  Mellon Foundation, was created in 2014 to stimulate public discourse about humankind's relationship with nature and the environment  NYBG opened an on-site restaurant, the Hudson Garden Grill, in 2015  It redesigned and reopened its East Gate entrance in 2017  The Edible Academy, an educational facility for teaching children, families, educators, and the general public about vegetable gardening, nutrition awareness, and environmental stewardship, opened in 2018  In February 2020, NYBG announced that it was partnering with Douglaston Development to create affordable apartments on the northwest edge of the garden 

Grounds
The different spaces
The Garden contains 50 different gardens and plant collections  There is a serene cascade waterfall, as well as wetlands and a 50-acre (20 ha) tract of original, never-logged, old-growth New York forest Garden highlights include the 1890s-vintage Haupt Conservatory, designed by Lord & Burnham; the Peggy Rockefeller Rose Garden, originally laid out by Beatrix Jones Farrand in 1916; an alpine rock garden, designed and installed by Thomas H  Everett in the 1930s; an Herb Garden, designed by Penelope Hobhouse; and a 37-acre (15 ha) conifer collection  The NYBG's extensive research facilities include a propagation center, 550,000-volume research library, and an herbarium of 7 2 to 7 8 million botanical specimens dating back more than three centuries, among the largest in the world At the heart of the Garden is the Thain Family Forest, an old-growth forest  It is the largest existing remnant of the original forest which covered all of New York City before the arrival of European settlers in the 17th century  The forest, which was never logged, contains oaks, American beeches, cherry, birch, tulip and white ash trees, some more than two centuries old The forest itself is split by the Bronx River, the only freshwater river in New York City, and this stretch of the river includes a riverine canyon and rapids  Along the shores sits the Stone Mill, previously known as the Lorillard Snuff Mill, built in 1840  Sculptor Charles Tefft created the Fountain of Life on the grounds in 1905 : 9 The Ladies' Border, originally commissioned by the Women's Auxiliary Committee in the 1920s, was designed by Ellen Shipman and installed between 1931 and 1933   In 2000, designer Lynden B  Miller created a new plan for the Ladies' Border  The Jane Watson Irwin Perennial Garden was designed in the 1970s by Dan Kiley and redefined by Miller in the 1980s and again in 2003 In addition to restoring or redesigning existing gardens and collections, such as the Ladies' Border (2002), the Benenson Ornamental Conifers (2004), the Peggy Rockefeller Rose Garden (2007), the Thain Family Forest (2011), and the Marjorie G  Rosen Seasonal Walk by Piet Oudolf (2014), The New York Botanical Garden added new gardens and collections to its grounds: the Home Gardening Center (2005), the Maureen K  Chilton Azalea Garden (2011) by landscape architect Shavaun Towers of Towers|Golde LLC, and Native Plant Garden (2013), by landscape architect Sheila Brady of Oehme, van Sweden 

Research laboratories
The Pfizer Plant Research Laboratory, built with funding from the National Oceanic and Atmospheric Administration, New York State and New York City, and named for its largest private donor, is a major new research institution at the Garden that opened in 2006  The laboratory is a pure research institution, with projects more diverse than research in universities and pharmaceutical companies 
The laboratory's research emphasis is on plant genomics, the study of how genes function in plant development  One question scientists hope to answer is Darwin's "abominable mystery"; when, where, and why flowering plants emerged  The laboratory's research also furthers the discipline of molecular systematics, the study of DNA as evidence that can reveal the evolutionary history and relationships of plant species  Staff scientists also study plant use in immigrant communities in New York City and the genetic mechanisms by which neurotoxins are produced in some plants, work that may be related to nerve disease in humans 
A staff of 200 trains 42 doctoral students at a time  Since the 1890s, scientists from the NYBG have mounted about 2,000 exploratory missions worldwide to collect plants in the wild 
At the Pfizer Plant Research Laboratory, genomic DNA from many different species of plants is extracted to create a library of the DNA of the world's plants  This collection is stored in a 768-square-foot (71 3 m2) DNA storage room with 20 freezers housing millions of specimens, including rare, endangered or extinct species  To protect the collection during winter power outages, there is a backup 300-kilowatt electric generator 
The Alfred P  Sloan Foundation has granted the NYBG $572,000 to begin a project called TreeBOL, the Tree Barcode of Life  By sampling the DNA from all 100,000 different species of trees from around the world, TreeBOL will document the diversity of plant life, and advance the process of plant DNA barcoding 

LuEsther T  Mertz Library
Founded in 1899 and named after supporter LuEsther Mertz, the LuEsther T  Mertz Library is located in the northern section of NYBG  A 2002 New York Times article mentioned that the library had 775,000 items and 6 5 million plant specimens in its collection  However, a book published in 2014 by the NYBG mentioned that the library had "550,000 physical volumes and 1,800 journal titles"  As of 2016 the Mertz Library still contained one of the world's largest collections of botany-related texts  Stephen Sinon, who leads the NYBG's special collections, research and archives, called its collection "the largest of its kind in the world under one roof" The library is housed in what was formerly known as the NYBG's Museum Building or Administration Building  Construction started in 1897 and it was completed in 1900  The structure was designed by Robert W  Gibson in the Renaissance Revival style : 1

Enid A  Haupt Conservatory
The Enid A  Haupt Conservatory, named after Enid A  Haupt, is a greenhouse near the western end of the NYBG  The conservatory was designed by the major greenhouse company of the late 1890s, Lord and Burnham Co  The design was modeled after the Palm House at the Royal Botanic Garden and Joseph Paxton's Crystal Palace in Italian Renaissance style  Groundbreaking took place on January 3, 1899, and the conservatory was completed in 1902 at a cost of $177,000  The building was constructed by John R  Sheehan under contract for the New York City Department of Parks and Recreation  Since the original construction, major renovations took place in 1935, 1950, 1978, and 1993 The conservatory houses numerous tropical plants and flowers, cacti and other desert plants, and rainforest vegetation  In summer months, the two pools adjacent to the conservatory display many varieties of lotuses and water lilies 

William & Lynda Steere Herbarium
The William & Lynda Steere Herbarium, in the International Plant Science Center behind the library, is one of the largest herbaria in the world, with approximately 7 2 million to 7 8 million specimens  after the French National Museum of Natural History in Paris  Founded in 1891, the herbarium quickly became a repository for many important collections  In 1895 the garden incorporated the herbarium of Columbia College, an acquisition of approximately 600,000 specimens, including the private herbaria of John Torrey and C  F  Meisner  In 1945 the garden incorporated the herbaria of the Columbia College of Pharmacy and Princeton University   The herbarium is named after William Steere (son of William C  Steere) and his wife Lynda, who endowed the herbarium in 2002 The Index Herbariorum code assigned to this botanic garden is NY and it is used when citing housed specimens 

School of Professional Horticulture
In 1932, Thomas H  Everett expanded an existing training program into a robust curriculum for developing professional horticulturists   Patterned after diploma programs at the Royal Botanic Gardens, Kew and the Royal Botanic Garden Edinburgh, the School for Gardeners combined academic studies with hands-on practical experience in a two-year, full-time program  With the exception of a hiatus during and after the Second World War, the School has trained students since then  Now called the School of Professional Horticulture, this fully-accredited program continues to develop horticulturists of the highest caliber for positions in both public and private gardens  After successfully completing the program, students receive The New York Botanical Garden's Diploma in Horticulture 

Exhibitions
The New York Botanical Garden has mounted public exhibitions throughout its history  In 1992, NYBG began presenting what would eventually be called the Holiday Train Show, an annual exhibition of model trains running through a display of New York landmarks made of natural materials  In 2002, it introduced The Orchid Show, an annual exhibition of orchid displays and designed installations with changing themes  Beginning in 2007, the Garden added an annual fall exhibition of kiku, Japanese chrysanthemums trained to grow in modern and ancient forms The New York Botanical Garden has also presented large-scale, stand-alone exhibitions, including: Sculpture from the Museum of Modern Art at The New York Botanical Garden (2002), Chihuly at The New York Botanical Garden (2006), Darwin's Garden: An Evolutionary Adventure (2008), Moore in America: Monumental Sculpture at The New York Botanical Garden (2008–2009), Emily Dickinson's Garden: The Poetry of Flowers (2010), Spanish Paradise: Gardens of the Alhambra (2011), Monet's Garden (2012), Manolo Valdés: Monumental Sculpture (2012), Frida Kahlo: Art, Garden, Life (2015), Impressionism: American Gardens on Canvas (2016), CHIHULY (2017), Georgia O'Keeffe: Visions of Hawai'i (2018), Brazilian Modern: The Living Art of Roberto Burle Marx (2019), and KUSAMA: Cosmic Nature (2021) 

Executive leadership
Dr  Nathaniel Lord Britton (1891–1929)
Elmer D  Merrill (1930–1935)
Dr  Marshall A  Howe (1935–1936)
Dr  Henry A  Gleason (acting, 1937–1938)
Dr  William J  Robbins (1938–1958)
Dr  William C  Steere (1958–1972)
Dr  Howard S  Irwin (1973–1979)
James M  Hester (1980–1989)
Gregory Long (1989–2018)
Dr  Carrie Rebora Barratt (2018–2020)
Jennifer Bernstein (2021–Present)

Publications
The NYBG published The Garden Journal (ISSN 0016-4585) from 1977 to 1990 and from 1931 has produced the scientific journal, Brittonia 

Landmark status
The New York Botanical Garden was declared a National Historic Landmark in 1967  In addition, three structures are designated as individual New York City landmarks: the Enid A  Haupt Conservatory (designated in 1973),: 1  the LuEsther T  Mertz Library (2009),: 1  and the Lorillard Snuff Mill (1966, also separately on the National Register of Historic Places) 

See also
Education in New York City
List of herbaria in North America
List of botanical gardens and arboretums in New York
List of museums and cultural institutions in New York City
List of National Historic Landmarks in New York City
National Register of Historic Places listings in Bronx County, New York
Other botanical gardens in New York City
Brooklyn Botanic Garden
Queens Botanical Garden
Staten Island Botanical Garden
Passage 9:
ACS Macro Letters
ACS Macro Letters is a peer-reviewed scientific journal published by the American Chemical Society  As of 2017, ACS Macro Letters has the highest impact factor of any journal in the field of polymer science (6 131)  With the launch of ACS Macro Letters, all Communications to the Editor that were formerly published in Macromolecules will be published as Letters in ACS Macro Letters  Researchers are advised turn to ACS Macro Letters for reports of early, urgent results in polymer science and to Macromolecules for more detailed discussions of comprehensive research findings 

Scope
Examining both synthetic and naturally occurring polymers, ACS Macro Letters reports major advances in polymer synthesis, modification reactions, characteristics, theory, simulation, surface properties, and kinetics and mechanisms   The journal reports on all areas of soft matter science where macromolecules play a key role, including nanotechnology, self-assembly, supramolecular chemistry, biomaterials, energy, and sustainable materials 

Readership
ACS Macro Letters is intended for researchers in polymer science as well as materials science, nanotechnology, pharmaceuticals, and energy   The journal makes it possible for these researchers to stay abreast of the most urgent research results in polymer science and its related disciplines 

Types of Articles
ACS Macro Letters publishes peer-reviewed…

Letters: Short reports of original research focused on an individual finding of great significance to the field of polymer science 
Viewpoints: In-depth examinations and perspective on topics of current interest to researchers in the field 

Editor-in-Chief
Timothy P  Lodge served as the Founding Editor-in-Chief of ACS Macro Letters (2011–2017)  In 2018, Lodge was succeeded by Stuart J  Rowan, who was formerly the Deputy Editor 

Submissions
ACS Macro Letters enables researchers in the field to bring their important findings in polymer science and related disciplines to the attention of the global scientific community   Manuscripts are typically published within four to six weeks of manuscript submission   The journal encourages submissions and publishes Letters from around the world 

See also
Biomacromolecules
Macromolecules



ground_truth: New Zealand, Canada, the United States, the Falkland Islands, and Peru.

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: What was the first year a scientific journal published by an organization located in the Bronx was published?

The following are given passages.
Context 4:  He served two months, and although thereafter he was technically liable to further charges for failing to comply with the terms set by his tribunal, the authorities left him alone 

Recognition and controversy
On his release, Tippett returned to his duties at Morley, where he boosted the college's Purcell tradition by persuading Alfred Deller, the countertenor, to sing several Purcell odes at a concert on 21 October 1944—the first modern use of a countertenor in Purcell's music  Tippett formed a fruitful musical friendship with Benjamin Britten and Peter Pears, for whom he wrote the cantata Boyhood's End for tenor and piano  Encouraged by Britten, Tippett made arrangements for the first performance of A Child of Our Time, at London's Adelphi Theatre on 19 March 1944  Goehr conducted the London Philharmonic Orchestra, and Morley's choral forces were augmented by the London Regional Civil Defence Choir  Pears sang the tenor solo part, and other soloists were borrowed from Sadler's Wells Opera  The work was well received by critics and the public, and eventually became one of the most frequently performed large-scale choral works of the post-Second World War period, in Britain and overseas  Tippett's immediate reward was a commission from the BBC for a motet, The Weeping Babe, which became his first broadcast work when it was aired on 24 December 1944  He also began to give regular radio talks on music In 1946 Tippett organised at Morley the first British performance of Monteverdi's Vespers, adding his own organ Preludio for the occasion  Tippett's compositions in the immediate postwar years included his First Symphony, performed under Sargent in November 1945, and the String Quartet No  3, premiered in October 1946 by the Zorian Quartet  His main creative energies were increasingly devoted to his first major opera, The Midsummer Marriage  During the six years from 1946 he composed almost no other music, apart from the Birthday Suite for Prince Charles (1948) 

The musical and philosophical ideas behind the opera had begun in Tippett's mind several years earlier  The story, which he wrote himself, charts the fortunes of two contrasting couples in a manner which has brought comparisons with Mozart's The Magic Flute  The strain of composition, combined with his continuing responsibilities at Morley and his BBC work, affected Tippett's health and slowed progress  Following the death in 1949 of Morley's principal, Eva Hubback, Tippett's personal commitment to the college waned  His now-regular BBC fees had made him less dependent on his Morley salary, and he resigned his college post in 1951  His farewell took the form of three concerts which he conducted at the new Royal Festival Hall, in which the programmes included A Child of Our Time, the British première of Carl Orff's Carmina Burana, and Thomas Tallis's rarely performed 40-part motet Spem in alium In 1951 Tippett moved from Limpsfield to a large, dilapidated house, Tidebrook Manor in Wadhurst, Sussex  As The Midsummer Marriage neared completion he wrote a song cycle for tenor and piano, The Heart's Assurance  This work, a long-delayed tribute to Francesca Allinson (who had committed suicide in 1945), was performed by Britten and Pears at the Wigmore Hall on 7 May 1951  The Midsummer Marriage was finished in 1952, after which Tippett arranged some of the music as a concert suite, the Ritual Dances, performed in Basel, Switzerland, in April 1953  The opera itself was staged at Covent Garden on 27 January 1955  The lavish production, with costumes and stage designs by Barbara Hepworth and choreography by John Cranko, perplexed the opera-going public and divided critical opinion  According to Bowen, most "were simply unprepared for a work that departed so far from the methods of Puccini and Verdi"  Tippett's libretto was variously described as "one of the worst in the 350-year history of opera" and "a complex network of verbal symbolism", and the music as "intoxicating beauty" with "passages of superbly conceived orchestral writing"  A year after the première, the critic A E F  Dickinson concluded that "in spite of notable gaps in continuity and distracting infelicities of language, [there is] strong evidence that the composer has found the right music for his ends" Much of the music Tippett composed following the opera's completion reflected its lyrical style  Among these works was the Fantasia Concertante on a Theme of Corelli (1953) for string orchestra, written to commemorate the 300th anniversary of the composer Arcangelo Corelli's birth  The Fantasia would eventually become one of Tippett's most popular works, though The Times's critic lamented the "excessive complexity of the contrapuntal writing     there was so much going on that the perplexed ear knew not where to turn or fasten itself"  Such comments helped to foster a view that Tippett was a "difficult" composer, or even that his music was amateurish and poorly prepared  These perceptions were strengthened by controversies around several of his works in the late 1950s  The Piano Concerto (1955) was declared unplayable by its scheduled soloist, Julius Katchen, who had to be replaced before the première by Louis Kentner  The Dennis Brain Wind Ensemble, for whom Tippett had written the Sonata for Four Horns (1955), complained that the work was in too high a key and required it to be transposed down  When the Second Symphony was premièred by the BBC Symphony Orchestra under Boult, in a live broadcast from the Royal Festival Hall on 5 February 1958, the work broke down after a few minutes and had to be restarted by the apologetic conductor: "Entirely my mistake, ladies and gentlemen"  The BBC's Controller of Music defended the orchestra in The Times, writing that it "is equal to all reasonable demands", a wording that implied the fault was the composer's 

International acclaim
King Priam and after
In 1960 Tippett moved to a house in the Wiltshire village of Corsham, where he lived with his long-term partner Karl Hawker  By then Tippett had begun work on his second major opera, King Priam  He chose for his theme the tragedy of Priam, mythological king of the Trojans, as recorded in Homer's Iliad, and again he prepared his own libretto  As with The Midsummer Marriage, Tippett's preoccupation with the opera meant that his compositional output was limited for several years to a few minor works, including a Magnificat and Nunc Dimittis written in 1961 for the 450th anniversary of the foundation of St John's College, Cambridge  King Priam was premièred in Coventry by the Covent Garden Opera on 29 May 1962 as part of a festival celebrating the consecration of the new Coventry Cathedral  The production was by Sam Wanamaker and the lighting by Sean Kenny  John Pritchard was the conductor  The music for the new work displayed a marked stylistic departure from what Tippett had written hitherto, heralding what a later commentator, Iain Stannard, refers to as a "great divide" between the works before and after King Priam  Although some commentators questioned the wisdom of so radical a departure from his established voice, the opera was a considerable success with critics and the public  Lewis later called it "one of the most powerful operatic experiences in the modern theatre"  This reception, combined with the fresh acclaim for The Midsummer Marriage following a well-received BBC broadcast in 1963, did much to rescue Tippett's reputation and establish him as a leading figure among British composers As earlier with The Midsummer Marriage, the compositions that followed King Priam retained the musical idiom of the opera, notably the Piano Sonata No  2 (1962) and the Concerto for Orchestra (1963), the latter written for the Edinburgh Festival and dedicated to Britten for his 50th birthday  Tippett's main work in the mid-1960s was the cantata The Vision of Saint Augustine, commissioned by the BBC, which Bowen marks as a peak of Tippett's compositional career: "Not since The Midsummer Marriage had he unleashed such a torrent of musical invention"  His status as a national figure was now being increasingly recognised  He had been appointed a Commander of the Order of the British Empire (CBE) in 1959; in 1961 he was made an honorary Fellow of the Royal College of Music (HonFRCM), and in 1964 he received from Cambridge University the first of many honorary doctorates  In 1966 he was awarded a knighthood 

Wider horizons
In 1965 Tippett made the first of several visits to the United States, to serve as composer in residence at the Aspen Music Festival in Colorado  Tippett's American experiences had a significant effect on the music he composed in the late 1960s and early 1970s, with jazz and blues elements particularly evident in his third opera, The Knot Garden (1966–69), and in the Symphony No  3 (1970–72)  At home in 1969, Tippett worked with the conductor Colin Davis to rescue the Bath International Music Festival from a financial crisis, and became the festival's artistic director for the following five seasons  In 1970, following the collapse of his relationship with Hawker, he left Corsham and moved to a secluded house on the Marlborough Downs  Among the works he wrote in this period were In Memoriam Magistri (1971), a chamber piece commissioned by Tempo magazine as a memorial to Stravinsky, who had died on 6 April 1971, and the Piano Sonata No  3 (1973) 

In February 1974 Tippett attended a "Michael Tippett Festival", arranged in his honour by Tufts University, near Boston, Massachusetts  He was also present at a performance of The Knot Garden at Northwestern University at Evanston, Illinois—the first Tippett opera to be performed in the US  Two years later he was again in the country, engaged on a lecture tour that included the Doty Lectures in Fine Art at the University of Texas  Between these American journeys, Tippett travelled to Lusaka for the first African performance of A Child of Our Time, at which the Zambian president, Kenneth Kaunda, was present In 1976 Tippett was awarded the Gold Medal of the Royal Philharmonic Society  The following few years saw journeys to Java and Bali—where he was much attracted by the sounds of gamelan ensembles—and to Australia, where he conducted a performance of his Fourth Symphony in Adelaide  In 1979, with funds available from the sale of some of his original manuscripts to the British Library, Tippett inaugurated the Michael Tippett Musical Foundation, which provided financial support to young musicians and music education initiatives Tippett maintained his pacifist beliefs, while becoming generally less public in expressing them, and from 1959 served as president of the Peace Pledge Union  In 1977 he made a rare political statement when, opening a PPU exhibition at St Martin-in-the-Fields, he attacked President Carter's plans to develop a neutron bomb 

Later life
In his seventies, Tippett continued to compose and travel, although now handicapped by health problems  His eyesight was deteriorating as a result of macular dystrophy, and he relied increasingly on his musical amanuensis and near namesake Michael Tillett, and on Meirion Bowen, who became Tippett's assistant and closest companion in the remaining years of the composer's life  The main works of the late 1970s were a new opera, The Ice Break, the Symphony No  4, the String Quartet No  4 and the Triple Concerto for violin, viola and cello  The Ice Break was a reflection of Tippett's American experiences, with a contemporary storyline incorporating race riots and drug-taking  His libretto has been criticised for its awkward attempts at American street vernacular, and the opera has not found a place in the general repertory  Mellers finds that its fusion of "art music, rock ritual and performance art fail to gel"  The Triple Concerto includes a finale inspired by the gamelan music that Tippett absorbed during his visit to Java In 1979 Tippett was made a Companion of Honour (CH)  The main composition that occupied him in the early 1980s was his oratorio The Mask of Time, loosely based on Jacob Bronowski's 1973 TV series The Ascent of Man  In Tippett's words, this is an attempt to deal "with those fundamental matters that bear upon man, his relationship with Time, his place in the world as we know it and in the mysterious universe at large"  The oratorio was commissioned by the Boston Symphony Orchestra for its centenary, and was one of several of Tippett's late compositions that were premièred in America 

In 1983 Tippett became president of the London College of Music and was appointed a Member of the Order of Merit (OM)  By the time of his 80th birthday in 1985 he was blind in his right eye, and his output had slowed  Nevertheless, in his final active years he wrote his last opera, New Year  This futuristic fable involving flying saucers, time travel and urban violence was indifferently received on its première in Houston, Texas, on 17 October 1989  Donal Henahan in The New York Times wrote that "Unlike Wagner, [Tippett] does not provide music of enough quality to allow one to overlook textual absurdities and commonplaces " The opera was introduced to Britain in the Glyndebourne Festival of 1990 In spite of his deteriorating health, Tippett toured Australia in 1989–90, and also visited Senegal  His last major works, written between 1988 and 1993, were: Byzantium, for soprano and orchestra; the String Quartet No  5; and The Rose Lake, a "song without words for orchestra" inspired by a visit to Lake Retba in Senegal during his 1990 trip  He intended The Rose Lake to be his farewell, but in 1996 he broke his retirement to write "Caliban's Song" as a contribution to the Purcell tercentenary 

Death
In 1997 he moved from Wiltshire to London to be closer to his friends and caregivers; in November of that year he made his last overseas trip, to Stockholm for a festival of his music  After suffering a stroke he was taken home, where he died on 8 January 1998, six days after his 93rd birthday  He was cremated on 15 January, at Hanworth crematorium, after a secular service 

Music
General character
Bowen has described Tippett as "a composer of our time", one who engaged with the social, political and cultural issues of his day  Arnold Whittall sees the music as embodying Tippett's philosophy of "ultimately optimistic humanism"  Rather than ignoring the barbarism of the 20th century, says Kemp, Tippett chose through his works to seek "to preserve or remake those values that have been perverted, while at the same time never losing sight of the contemporary reality"  The key early work in this respect is A Child of Our Time, of which Clarke writes: "[t]he words of the oratorio's closing ensemble, 'I would know my shadow and my light, So shall I at last be whole', have become canonical in commentary on Tippett     this [Jungian] statement crystallizes an ethic, and aesthetic, central to his world-view, and one which underlies all his text-based works" Sceptical critics such as the musicologist Derrick Puffett have argued that Tippett's craft as a composer was insufficient for him to deal adequately with the task that he had set himself of "transmut[ing] his personal and private agonies into     something universal and impersonal"  Michael Kennedy has referred to Tippett's "open‐eyed, even naive outlook on the world", while accepting the technical sophistication of his music  Others have acknowledged his creative ingenuity and his willingness to adopt whatever means or techniques were necessary to fit his intentions Tippett's music is marked by the expansive nature of his melodic line—the Daily Telegraph's Ivan Hewett refers to his "astonishingly long-breathed melodies"  According to Jones, a further element of the "individual voice" that emerged in 1935 was Tippett's handling of rhythm and counterpoint, demonstrated in the First String Quartet—Tippett's first use of the additive rhythm and cross-rhythm polyphony which became part of his musical signature  This approach to metre and rhythm is derived in part from Bartók and Stravinsky but also from the English madrigalists  Sympathy with the past, observed by Colin Mason in an early appraisal of the composer's work, was at the root of the neoclassicism that is a feature of Tippett's music, at least until the Second Symphony (1957) In terms of tonality, Tippett shifted his ground in the course of his career  His earlier works, up to The Midsummer Marriage, are key-centred, but thereafter he moved through bitonality into what the composer Charles Fussell has summarised as "the freely-organized harmonic worlds" of the Third Symphony and The Ice Break  Although Tippett flirted with the "twelve-tone" technique—he introduced a twelve-tone theme into the "storm" prelude that begins The Knot Garden—Bowen records that he generally rejected serialism as incompatible with his musical aims 

Compositional process
Tippett described himself as the receiver of inspiration rather than its originator, the creative spark coming from a particular personal experience, which might take one of many forms but was most often associated with listening to music  The process of composing was lengthy and laborious, the actual writing down of the music being preceded by several stages of gestation; as Tippett put it, "the concepts come first, and then a lot of work and imaginative processes until eventually, when you're ready, finally ready, you look for the actual notes"  Tippett elaborated: "I compose by first developing an overall sense of the length of the work, then of how it will divide itself into sections or movements, then of the kind of texture or instruments or voices that will be performing it  I prefer not to consider the actual notes of the composition until this process     has gone as far as possible"  Sometimes the time required to see a project through from conception to completion was very lengthy—seven years, Tippett says, in the case of the Third Symphony  In the earlier, contemplative stages he might be simultaneously engaged on other works, but once these stages were complete he would dedicate himself entirely to the completion of the work in hand Tippett preferred to compose in full score; once the writing began, progress was often not fluent, as evidenced by Tippett's first pencil draft manuscripts which show multiple rubbings-out and reworkings  In this, the musicologist Thomas Schuttenhelm says, his methods resembled those of Beethoven, with the difference that "whereas Beethoven's struggle is considered a virtue of his work, and almost universally admired, Tippett's was the source and subject of a debate about his competency as a composer" 

Influences
The style that emerged from Tippett's long compositional apprenticeship was the product of many diverse influences  Beethoven and Handel were initial models (Handel above Bach, who in Tippett's view lacked drama), supplemented by 16th- and 17th-century masters of counterpoint and madrigal—Thomas Weelkes, Monteverdi and Dowland  Purcell became significant later, and Tippett came to lament his ignorance of Purcell during his RCM years: "It seems to me incomprehensible now that his work was not even recommended in composition lessons as a basic study for the setting of English" Tippett recognised the importance to his compositional development of several 19th- and 20th-century composers: Berlioz for his clear melodic lines, Debussy for his inventive sound, Bartók for his colourful dissonance, Hindemith for his skills at counterpoint, and Sibelius for his originality in musical forms  He revered Stravinsky, sharing the Russian composer's deep interest in older music  Tippett had heard early ragtime as a small child before the First World War; he noted in his later writings that, in the early years of the 20th century, ragtime and jazz "attracted many serious composers thinking to find     a means to refresh serious music by the primitive"  His interest in these forms led to his fascination with blues, articulated in several of his later works  Among his contemporary composers, Tippett admired Britten and shared his desire to end the perception of English music as provincial  He also had a high regard for Alan Bush, with whom he joined forces to produce the 1934 Pageant of Labour  "I can remember the excitement I felt when he outlined to me his plan for a major string quartet" Although influences of folk music from all parts of the British Isles are evident in Tippett's early works, he was wary of the English folksong revival of the early 20th century, believing that much of the music presented as "English" by Cecil Sharp and his followers originated elsewhere  Notwithstanding his doubts, Tippett took some inspiration from these sources  The composer David Matthews writes of passages in Tippett's music which "evoke the 'sweet especial rural scene' as vividly as Elgar or Vaughan Williams     perhaps redolent of the Suffolk landscape with its gently undulating horizons, wide skies and soft lights" 

Works
After the withdrawn works written in the 1920s and early 1930s, analysts generally divide Tippett's mature compositional career into three main phases, with fairly fluid boundaries and some internal subdivision in each main period  The first phase extends from the completion of the String Quartet No  1 in 1935 to the end of the 1950s, a period in which Tippett drew on the past for his main inspiration   The 1960s marked the beginning of a new phase in which Tippett's style became more experimental, reflecting both the social and cultural changes of that era and the broadening of his own experiences  The mid-1970s produced a further stylistic change, less marked and sudden than that of the early 1960s, after which what Clarke calls the "extremes" of the experimental phase were gradually replaced by a return to the lyricism characteristic of the first period, a trend that was particularly manifested in the final works 

Withdrawn compositions
Tippett's earliest compositions cover several genres  Kemp writes that the works indicate Tippett's deep commitment to the learning of his craft, his early ability to manipulate traditional forms, and a general willingness to experiment  Clarke observes that in these youthful efforts, characteristics which would mark his mature work were already discernible  Some of the early work is of high quality—the Symphony in B flat of 1933 was, in Kemp's view, comparable to William Walton's contemporaneous First Symphony  Tippett pondered for years whether to include this work in his formal canon before deciding that its debt to Sibelius was too great  Nevertheless, it foreshadows techniques that feature in the String Quartet No  1 and in the Corelli Fantasia Other accomplished early works include the two string quartets, composed between 1928 and 1930, in which Tippett sought to combine the styles of Beethoven and Haydn respectively with folk-song, as Beethoven had in his Rasoumovsky quartets of 1806  Tippett explains the withdrawal of these and the other early works: "I realised very clearly that they were not totally consonant with myself  I didn't think they had the stamp of artistic durability  So I took the whole lot along to R O  Morris who agreed that they didn't show enough technical mastery "

First period: 1935 to late 1950s
Kemp identifies the String Quartet No  1 (1935) as marking Tippett's discovery of his individual voice  According to the composer Alan Ridout, the work stamped its character on Tippett's first period, and together with the second and third quartets of 1942 and 1946 it typifies his style up to The Midsummer Marriage  In the two works that immediately followed the first quartet, Bowen finds the Piano Sonata No  1 (1938) full of the young composer's inventiveness, while Matthews writes of the Concerto for Double String Orchestra (1939): "[I]t is the rhythmic freedom of the music, its joyful liberation from orthodox notions of stress and phrase length, that contributes so much to its vitality"  Both of these works show influence of folk music, and the finale of the Piano Sonata is marked by innovative jazz syncopations  According to Schuttenhelm, the Double Concerto marks the proper beginning of Tippett's  maturity as an orchestral composer 

In A Child of Our Time Tippett was, in Kemp's view, wholly successful in integrating the language of the spirituals with his own musical style  Tippett had obtained recordings of American singing groups, especially the Hall Johnson Choir, which provided him with a  model for determining the relationships between solo voices and chorus in the spirituals  Thus, Kemp believes, the fourth spiritual "O by and by" sounds almost as if it had been composed by Tippett   The composer's instructions in the score specify that "the spirituals should not be thought of as congregational hymns, but as integral parts of the Oratorio; nor should they be sentimentalised but sung with a strong underlying beat and slightly 'swung'" In Tippett's Symphony No  1 (1945), his only large-scale work between A Child of Our Time and The Midsummer Marriage, his "gift for launching a confident flow of sharply characterized, contrapuntally combined ideas" is acknowledged by Whittall  The same critic found the symphony's quality uneven, and the orchestral writing weaker than in the Double Concerto  Whittall offers nearly unqualified praise for The Midsummer Marriage, a view largely echoed by Mellers, who saw the perceived "difficulty" of the music as "an aspect of its truth"  He considered the opera one of the best musical-theatrical works of its era Three major works of the 1950s round off Tippett's first period: the Corelli Fantasia (1953), in which Clarke sees, in the alla pastorale section, the composer's instrumental writing at its best; the mildly controversial Piano Concerto (1955) which Whittall regards as one of the composer's most intriguing works—an attempt to "make the piano sing"; and the Symphony No  2 (1957) which Tippett acknowledges as a turning-point in his music  Until this point, says Matthews, Tippett's style had remained broadly tonal  The Second Symphony was his first essay in polytonality, paving the way to the dissonance and chromaticism of subsequent works  Milner, too, recognises the pivotal position of this symphony in Tippett's development which, he says, both sums up the style of the late 1950s and presages the changes to come 

Second period: King Priam to 1976
In his analysis of King Priam, Bowen argues that the change in Tippett's musical style arose initially from the nature of the opera, a tragedy radically different in tone from the warm optimism of The Midsummer Marriage  Clarke sees the change as something more fundamental, the increases in dissonance and atonality in Priam being representative of a trend that continued and reached a climax of astringency a few years later in Tippett's third opera, The Knot Garden  Tippett's new modernistic language, writes Clarke, was rooted in his desire to represent a wider range of human experiences, characteristic of a changing world: "War, violence, sex, homoeroticism, and social and interpersonal alienation [would now feature] much more overtly in [his] dramatic works or works with text"  Critics acknowledged Priam as a considerable achievement, but received the new musical style cautiously  While Gloag thought the change was not an absolute departure from Tippett's earlier style, Milner viewed King Priam as a complete break with Tippett's previous work, pointing out the lack of counterpoint, the considerably increased dissonances, and the move towards atonality: "very little of the music is in a definite key" 

Many of the minor works that Tippett wrote in the wake of King Priam reflect the musical style of the opera, in some cases quoting directly from it  In the first purely instrumental post-Priam work, the Piano Sonata No  2 (1962), Milner thought the new style worked better in the theatre than in the concert or recital hall, although he found the music in the Concerto for Orchestra (1963) had matured into a form that fully justified the earlier experiments  The critic Tim Souster refers to Tippett's "new, hard, sparse instrumental style" evident in The Vision of Saint Augustine (1965), written for baritone soloist, chorus and orchestra, a work which Bowen considers one of the peaks of Tippett's career During the late 1960s Tippett worked on a series of compositions that reflected the influence of his American experiences after 1965: The Shires Suite (1970), The Knot Garden (1970) and the Symphony No  3 (1972)  In The Knot Garden Mellers discerns Tippett's "wonderfully acute" ear only intermittently, otherwise: "thirty years on, the piece still sounds and looks knotty indeed, exhausting alike to participants and audience"  The Third Symphony is overtly linked by Tippett to Beethoven's Ninth Symphony through a vocal finale of four blues songs, introduced by a direct quotation from Beethoven's finale  Tippett's intention, explained by the music critic Calum MacDonald, was to explore the contemporary relevance of the grand, universal sentiments in Schiller's Ode to Joy, as set by Beethoven  Tippett's conclusion is that while the need to rejoice remains, the twentieth century has put paid to the Romantic ideals of universality and certainty After completing his Piano Sonata No  3 (1973), "a formidable piece of abstract composition" according to Bowen, Tippett returned to the modern vernacular in his fourth opera The Ice Break (1976)  Describing the music in an introduction to the published libretto, Tippett identifies "two archetypal sounds: one relating to the frightening but exhilarating sound of the ice breaking on the great northern rivers in the spring; the other related to the exciting or terrifying sound of the slogan-shouting crowds, which can lift you on your shoulders in triumph, or stamp you to death"   Although the work was generally regarded as a critical and public failure, aspects of its music have been recognised as among Tippett's best  The critic John Warrack writes that, after the violence of the opening acts, the third act's music has a lyrical warmth comparable to that of The Midsummer Marriage"  William Mann in The Times was equally enthusiastic, finding the music compelling and worthy of many a rehearing 

Third period: 1977 to 1995
In the late 1970s Tippett produced three single-movement instrumental works: the Symphony No  4 (1977), the String Quartet No  4 (1978), and the Triple Concerto for violin, viola and cello (1979)  The symphony, written in the manner of the tone poem or symphonic fantasia exemplified by Sibelius, represents what Tippett describes as a birth-to-death cycle, beginning and ending with the sounds of breathing  This effect was initially provided by a wind machine, although other means have been tried, with mixed results—according to Bowen "the sounds emitted can turn out to be redolent of a space-fiction film or a bordello"   The Fourth String Quartet, Tippett explains, is an exercise in "finding a sound" that he first encountered in the incidental music to a television programme on Rembrandt  In the Triple Concerto, which is thematically related to the Fourth Quartet and quotes from it, the three solo instruments perform individually rather than as a formal grouping  The work acknowledges Tippett's past with quotations from The Midsummer Marriage 
 
Tippett described the longest and most ambitious of his late works, the oratorio The Mask of Time (1982), as "a pageant of sorts with an ultimately lofty message"  Mellers called the work "a mind-boggling cosmic history of the universe"   Paul Driver, who had been a critic of Tippett's new style, wrote that the Mask revealed "the authentic early Tippett", with a return to the lyricism of The Midsummer Marriage and multiple acknowledgements of his early compositions Tippett had intended The Ice Break to be his final opera, but in 1985 he began work on New Year  Bowen saw this work as a summary of ideas and images that had attracted Tippett throughout his working life  Donal Henahan was dismissive of the music: "    the score generally natters along in the numbing, not-quite-atonal but antimelodic style familiar from other Tippett works " In Byzantium (1990), Tippett set the five stanzas of W  B  Yeats's poem, with added orchestral interludes  By this time he was professing little interest in his own work beyond its creation; performance and reception had become irrelevant to him  In 1996 he told an interviewer: "I'm outside the music I've made, I have no interest in it"  After the String Quartet No  5 (1991), which connects thematically with earlier works, Tippett closed his main output with The Rose Lake (1993), described in Tippett's Daily Telegraph obituary as "of luminous beauty     a worthy ending to a remarkable career" 

Reputation and legacy
In a joint study of Tippett and Britten published in 1982, Whittall designated the pair as "the two best British composers of that     generation born between 1900 and the outbreak of the First World War, and among the best of all composers born in the first two decades of the twentieth century"  After Britten's death in 1976, Tippett became widely regarded as the doyen of British music, but critical opinion of his later works was not always positive  After the first performance of the Triple Concerto in 1980, Driver wrote that "not since The Knot Garden has [he] produced anything worthy of his early masterpieces" In 1982, in his comparative study of Britten and Tippett, Whittall asserted that "it would be difficult to claim that any of the works [Tippett] has begun in his seventies are the equal of earlier compositions"  Although both Driver and Whittall later modified their opinions, such comments represented a general view among critics that Tippett's creative powers had begun to decline after the triumph of King Priam  This perception was strongly expressed by Derek Puffett, who argued that the decline followed Tippett's abandonment of myth—seen as the key to the success of The Midsummer Marriage and King Priam—and stemmed from his increasingly futile efforts to universalise his private agonies and express them musically  Despite his admiration for the early works, Puffett consigned Tippett "to the ranks of those noble but tragic composers who have lived beyond their time"  The  critic Norman Lebrecht, writing in 2005, dismissed almost all Tippett's output, labelling him "a composer to forget"  With the forthcoming centenary celebrations in mind, Lebrecht wrote: "I cannot begin to assess the damage to British music that will ensue from the coming year's purblind promotion of a composer who failed so insistently to observe the rules of his craft" Against these criticisms Kemp maintained that while the style had become less immediately accessible, Tippett's later works showed no loss of creative power   The critic Peter Wright, writing in 1999, challenged the "decline" theory with the view that the later compositions are "harder to come to terms with     because of the more challenging nature of their musical language", a theme he developed in a detailed study of the Fifth String Quartet After Tippett's death the more popular pieces from his first period continued to be played, but there was little public enthusiasm for the later works  After the relatively muted 2005 centenary celebrations, performances and recordings tailed off  In October 2012 Hewett wrote in the Daily Telegraph of a "calamitous fall" in Tippett's reputation since his death  Geraint Lewis acknowledges that "no consensus yet exists in respect of the works composed from the 1960s onwards", while forecasting that Tippett will in due course be recognised as one of the most original and powerful musical voices of twentieth-century Britain" Many of Tippett's articles and broadcast talks were issued in collections between 1959 and 1995  In 1991 he published an episodic autobiography, Those Twentieth Century Blues, notable for its frank discussions of personal issues and relationships  Collectively, Tippett's writings define his aesthetic standpoint, which Clarke summarises thus: "Tippett holds that art's role in post-Enlightenment culture is to offer a corrective to society's spiritually injurious domination by mass technology  Art, he suggests, can articulate areas of human experience, unapproachable through scientific rationality, by presenting 'images' of the inner world of the psyche "Although Tippett did not found a compositional school, composers who have acknowledged his influence include David Matthews and William Mathias  More generally, his musical and educational influence continues through the Michael Tippett Foundation  He is also commemorated in the Michael Tippett Centre, a concert venue within the Newton Park campus of Bath Spa University  In Lambeth, home of Morley College, is Heron Academy (previously named The Michael Tippett School), an educational facility for young people aged 11–19 with complex learning disabilities  Within the school's campus is the Tippett Music Centre, which offers music education for children of all ages and levels of ability 

Writings
Three collections of Tippett's articles and broadcast talks have been published:

Moving into Aquarius (1959)  London, Routledge and Kegan Paul  OCLC 3351563
Music of the Angels: essays and sketchbooks of Michael Tippett (1980)  London, Eulenburg Books  ISBN 0-903873-60-5
Tippett on Music (1995)  Oxford, Clarendon Press  ISBN 0-19-816541-2



ground_truth: 1909