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

Question: What Friday night programming block included what collective series that includes "Whatever Happened to... Robot Jones?"?

The following are given passages.
Context 1: Passage 1:
Whatever Happened, Happened
"Whatever Happened, Happened" is the 11th television episode of the fifth season of ABC's Lost  The 97th episode of the show overall, "Whatever Happened, Happened" aired April 1, 2009, on ABC in the United States  The episode was written by executive producers/show runners Damon Lindelof & Carlton Cuse and directed by "The Man Behind the Curtain" director Bobby Roth In 1977, Kate Austen (Evangeline Lilly) goes to extreme measures to save young Benjamin Linus (Sterling Beaumon) when Jack Shephard (Matthew Fox) refuses to help  In flashbacks, Kate takes care of Sawyer's (Josh Holloway) favor and begins to tell the truth to protect Aaron (William Blanchette) 

Plot
Flashbacks
Shortly after the Oceanic six's rescue, Kate Austen and a baby Aaron visit Cassidy, who is an ex-girlfriend of James "Sawyer" Ford  Kate gives Cassidy and Sawyer's daughter Clementine (Olivia Vickery) money from the severance pay from Oceanic  Cassidy deduces that Aaron is not Kate's baby, prompting her to tell her the truth about everything that happened on the island  Cassidy eventually leads Kate to realize that the reason she took Aaron as her own, is because Kate needed him in order to get over her emotional attachment to Sawyer  After the survivors's confrontation with Ben, Kate momentarily loses Aaron in a supermarket  She recovers it from a woman who bears a strong resemblance of Claire Littleton (Emilie de Ravin), Aaron's mother  After this, she decides to return to the island with the others who left  She leaves Aaron in the care of Carole Littleton (Susan Duerden), Aaron's biological grandmother  Kate also tells Carole that she is returning to the island to find Carole's daughter, Claire, and bring her home 

1977
After Sayid shoots a young Ben, Jin-Soo Kwon (Daniel Dae Kim) wakes up and notices the situation  He brings Ben to the barracks so that his injuries can be treated by Juliet Burke (Elizabeth Mitchell)  Juliet is unable to perform the necessary surgery on Ben and sends James "Sawyer" Ford (Josh Holloway) to retrieve Jack Shephard (Matthew Fox), a spinal surgeon  Meanwhile, Hugo "Hurley" Reyes (Jorge Garcia) and Miles Straume (Ken Leung) debate the nature of time travel  Hurley is convinced that they have changed the past, as in Back to the Future, but Miles tells him that these events always happened in the past  Hurley, however, points that an older Ben didn't recognize Sayid when he was tortured in 2004, as the man who shot him as a kid  Jack, knowing what Ben does in the future, refuses to help, saying that "he already saved him once"  This drives Kate Austen (Evangeline Lilly) to do everything she can to help Ben 
Kate goes to the sick bay where Ben is being treated and donates her blood because she is a universal donor  She strikes up a conversation with Ben's father, Roger (Jon Gries), who is upset that Ben stole his keys and freed Sayid from the jail  Once it becomes clear that Ben will succumb to his injuries without further intervention, Kate decides to take Ben to the Others, the island's native population  Sawyer comes to Kate's aid and they bring Ben to Richard Alpert (Nestor Carbonell), who warns them that if he treats Ben, he will not remember what has happened and will never be the same again  They agree anyway  Another Other urges Richard to inform "Ellie" of his intentions and implies that "Charles" will not be pleased if he finds out, but Richard says he doesn't answer to either of them  Richard then carries Ben into the temple 

2007
After being knocked out unconscious by Sun, Ben (Michael Emerson) wakes up in the infirmary, and is greeted by John Locke (Terry O'Quinn), who welcomes him back to "the land of the living" 

Notes
Passage 2:
SNICK
SNICK (short for Saturday Night Nickelodeon) was a two-hour programming block on the American cable television network Nickelodeon, geared toward older (preteen to teen) audiences, that ran from August 15, 1992 until January 29, 2005  It was aired on Saturdays starting at 8 p m and ending at 10 p m  ET  In 2005, SNICK was revamped as the Saturday night edition of TEENick  Nickelodeon continues to run a Saturday night programming block today, though since the TEENick name was removed from the lineup in February 2009, the block no longer goes by any name 
The block debuted on Saturday, August 15, 1992, with a pair of Sunday favorites (the teen sitcom Clarissa Explains It All and The Ren & Stimpy Show) and the network premieres of Roundhouse (a musical comedy variety series) and Are You Afraid of the Dark? (a horror fantasy-drama anthology series) 

Background
At the time of SNICK's creation, traditional networks such as ABC, NBC and CBS didn't like to program for younger viewers on Saturday nights  The consensus at the time was that viewers who were 50 years of age and older, were the only ones available, since younger viewers traditionally went out on Saturday nights  This would explain why shows such as NBC's The Golden Girls and Empty Nest were the most predominant shows on Saturday nights at the time  Previously on Saturdays, Nickelodeon themselves ceded the 8 p m  timeslot to the vintage sitcoms of the channel's late night programming block, Nick at Nite Then-Nickelodeon president Geraldine Laybourne wanted to expose the myth that there is no audience for kids and teen programming on Saturday nights  Laybourne on that end, was a purveyor of market niche-talk, which was a strategy of programming highly focused programs targeted to specific groups defined by age, gender, race, education, religion or any of a number of other factors  In theory, the audience who would most likely watch SNICK would be too young to be out on the town and subsequently too old to be in bed by eight Laybourne believed that the original shows on the SNICK block would double Nickelodeon's audience on Saturday night by as many as 650,000 to one million viewers  According to Nickelodeon, about one-third of The Ren & Stimpy Show's audience, more than a million viewers, were between the ages of 18 and 35  By early 1993, Nickelodeon according to A C  Nielsen ratings, was the number one network among viewers ages 6–11 on Saturday nights  With a 6 4 age-group rating, Nickelodeon beat Fox's 5 5, NBC's 5 2, CBS' 4 8, and ABC's 3 2

History
1999–2001: SNICK House
On October 16, 1999, SNICK was revamped and was renamed to the SNICK House  With this came a number of changes  The block was now hosted by Nick Cannon, and each week, a celebrity or music group made an appearance  The format was very similar to the former TEENick block, but was more of a party  Each week, kids could go online and vote for their favorite SNICK House Video Picks  The winning music video would then be played during the block  The SNICK House was cancelled on October 1, 2000, making the way for the return of the regular SNICK block 

2001–2002: Elevator Music Era
After SNICK was cancelled on June 30, 2001, with the last program aired being All That, Nick replaced SNICK's normal slot with "Nick Flicks", 90 minute Nicktoon specials followed by The Brothers García  This went on from July 7, 2001 to January 12, 2002 and from June 29, 2002 to September 7, 2002  On January 19, 2002, the brand new SNICK began with a whole new lineup, including a brand new season and subsequently a new cast of All That, which had been on hiatus for a year and a half  Bumpers now featured still pictures of various SNICK stars with a SNICK "talk bubble" above them, with elevator music playing in the background 

2002–2004: SNICK On-Air Dare
Starting in September 2002, SNICK featured a series of On-Air Dare segments featuring members of the All That cast  All but three members of the cast would pull a lever to determine the night's "dare", which one of the three would have to do  The three cast members from All That in each segment would be placed in a glass cylinder and one would be randomly chosen to participate in a dare  If chosen, two security guards enter and grab the cast member (as if he or she was arrested) so they don't escape  This appears to have been based on Fear Factor Some of these dares included singing the National Anthem in a diaper, apple bobbing in a toilet, taking a bath in a tub of raw eggs, eating a couple gallons of blue cheese, being painted with peanut butter and licked by dogs, hanging upside down and being dipped in dog food, having buckets of worms dumped on the cast member's head, drinking a gallon of sweat, sitting in a giant bowl of chili, eating 1,000 toe nails, the cast member putting an entire scorpion in their mouth, the cast member being pecked by hungry chickens, or shaving their school principal's legs 
During this era of SNICK, the SNICK line-ups went through some major transitions that included the phasing out of The Nick Cannon Show and Cousin Skeeter and the addition of a new show, Romeo! 
In 2003, design company Beehive created brand new bumpers for SNICK, featuring an orange splat morphing into a show's character  Instead of saying "SNICK", the announcer said "Saturday Night Nickelodeon" 

2004–2005: Saturday Night on Nickelodeon era and the end of SNICK
On September 4, 2004, SNICK was quietly rebranded as Saturday Night on Nickelodeon  However, the SNICK name was still used during live on-air segments  TEENick Saturday Night replaced SNICK for the 2004–2005 television season and onward  The TEENick block name was dropped in February 2009 in preparation for the launch of a separate channel named after the block, TeenNick  TeenNick launched in September 2009 and much of its programming was sourced from the original TEENick block 

2011: SNICK on The '90s Are All That
In 2011, TeenNick would begin airing 1990s era Nickelodeon shows starting at 12:00 AM Eastern Time under the banner The '90s Are All That  All That and Kenan & Kel are the most prominent and consistent SNICK shows to get reruns  It was announced that the week of December 26, 2011 up until New Year's Eve that TeenNick would air classic SNICK lineups from each year of the 1990s, with a special marathon airing New Year's Eve, all with classic SNICK and Nickelodeon bumpers from the 1990s 
On August 17, 2013, SNICK returned to The '90s Are All That, for its "SNICK-iversary", celebrating its 21st anniversary, reaching drinking age if it were a person  The original lineup was aired (Clarissa Explains It All, The Ren & Stimpy Show and Are You Afraid of the Dark?) with the exception of Roundhouse being replaced by All That 

2017: SNICK on NickSplat
Since the block's 2011 resurgence, SNICK has returned to TeenNick three times  The first two under the block timeslot of The '90s Are All That, which was renamed to The Splat on October 5, 2015, and was renamed once again as NickSplat on May 1, 2017  SNICK's third appearance on TeenNick was to celebrate SNICK's 25th anniversary by airing episodes Saturday nights during the month of August 2017 
August 5, 2017:

12AM The Adventures of Pete and Pete
12:30AM Clarissa Explains It All
1AM Are You Afraid of the Dark?
1:30AM The Ren & Stimpy ShowAugust 12, 2017:

12AM All That
12:30AM All That
1AM Kenan & Kel
1:30AM Kenan & KelAugust 15, 2017:

10PM Clarissa Explains It All
10:30PM Roundhouse
11PM The Ren & Stimpy Show
11:30PM Are You Afraid of the Dark?August 19, 2017:

12AM KaBlam!
12:30AM Rugrats
1AM CatDog
1:30AM The Angry BeaversAugust 26, 2017:

12AM The Amanda Show
12:30AM The Amanda Show
1AM All That
1:30AM All That

Ads and bumpers
Ads and bumpers for SNICK featured the programming block's "mascot," dubbed "The Big Orange Couch," in several locales, including in front of the Midnight Society's campfire, Ren and Stimpy's house, the Roundhouse, as well as various real life and fictional locations  It was retired in June 1999 (however the couch was briefly returned from 2000–2001, in which it was redesigned), when the iconic couch, stuffed with $25,000 and 6,000 cookies, was given away in a contest celebrating Nickelodeon's 20 years on television  In 2006, one of Nickelodeon's celebrities would take over Nickelodeon from Monday to Friday, sitting on the Big Orange Couch 

SNICK line-ups
The following are the shows aired during SNICK for the year listed  Although these are the standard shows aired, some days would see variation in the SNICK line-up 

Home video releases
In August 1993, Nickelodeon released two VHS video tapes meant to recreate the SNICK-watching experience by including episodes from all four of the original SNICK shows: Clarissa Explains It All, Roundhouse, The Ren & Stimpy Show, and Are You Afraid of the Dark?  The tapes also included episodes of the original The Adventures of Pete & Pete shorts in between each SNICK show  as well as SNICK bumpers featuring the Big Orange Couch  The videos were released through Sony Wonder and came in orange-colored cassette tapes 

Volume 1: Nick SNICKS Friendship
Clarissa Explains It All: Season 3 episode "Sam's Swan Song"
The Ren & Stimpy Show: Season 1 episode "The Littlest Giant"
Are You Afraid of the Dark: Season 1 episode "The Tale of the Lonely Ghost"
Roundhouse: Season 1 episode "New Kid In Town"
The Adventures of Pete & Pete shorts "Artie, the Strongest Man in the World," "X-Ray Man," and "Route 34"

Volume 2: Nick SNICKS The Family
Clarissa Explains It All: Season 1 episode "Cool Dad"
The Ren & Stimpy Show: Season 2 episode "Fake Dad"
Are You Afraid of the Dark: Season 1 episode "The Tale of the Hungry Hounds"
Roundhouse: Season 1 episode "You Can't Fire Your Family"
The Adventures of Pete & Pete shorts "The Burping Room," "Mom's Plate," and "The Punishment"

Notes
Passage 3:
CBS Block Party
CBS Block Party (referred to on-air as the CBS Friday Night Block Party) was a programming block that aired on the CBS television network during the 1997–1998 television season  The block was similar to, and was intended as direct competition to, ABC's TGIF lineup and aired on Friday nights from 8:00 p m  to 10:00 p m  ET, and included two former stalwarts of the TGIF lineup  Although the block was canceled after one year, the resulting audience fracture caused what turned out to be irreparable harm to the previously dominant TGIF, eventually clearing the way for CBS to dominate the Friday night lineup beginning in the next decade 

Background
When ABC (a network that was in the midst of an overhaul as The Walt Disney Company took over) canceled the long-running shows Family Matters and Step by Step, CBS picked them up, paying a $40 million sum to earn the rights to the shows, and made them the cornerstones of the new "Block Party " Two new family comedies were added  The first was a new production from Miller-Boyett Productions (the production company behind Family Matters and Step By Step among other TGIF series), Meego  Meego, in addition to being produced by TGIF alumni, also starred a TGIF alumnus: Bronson Pinchot, who previously starred as Balki Bartokomous in Perfect Strangers and as Jean-Luc Rieupeyroux in the sixth season of Step by Step (Pinchot even used a similar accent to the one he used for the Balki character); Meego also featured well-known contemporary child stars Michelle Trachtenberg and Jonathan Lipnicki  The second new series was The Gregory Hines Show, an eponymous sitcom featuring entertainer Gregory Hines; CBS head Leslie Moonves described the Hines show as being more mature and edgy than the other shows in the block, but still family-friendly enough that children could watch comfortably Jaleel White, who played Family Matters star character Steve Urkel, stated that the producers jumped at the opportunity to jump to CBS because ABC was already shifting the TGIF block toward a much more child- and teen-oriented image, moving away from the whole-family approach it had taken at the beginning of its run (White believed being paired with the likes of The Gregory Hines Show was a far better fit than shows such as Muppets Tonight and Aliens in the Family that had been appearing on TGIF at the time), and that they did not believe Disney would give Miller-Boyett as prominent of a role as they had held with ABC before Disney had bought it  CBS, still experiencing aftereffects from the loss of NFL rights and multiple key affiliates to Fox in 1994, saw the purchase as a golden opportunity to draw a younger demographic than it was drawing at the time The CBS Block Party was CBS's second and final attempt to compete with TGIF; in 1992, the network attempted a similar block, albeit targeting an older demographic than either TGIF or the Block Party, that featured The Golden Palace (the continuation of the long-running NBC sitcom The Golden Girls), Designing Women, Major Dad, and Bob  Like the Block Party, this block also failed after one season, and by the end of 1993, all four series had been canceled 

Lineup
8:00pm Family Matters
8:30pm Meego
Replaced midseason with Kids Say the Darndest Things
9:00pm The Gregory Hines Show
9:30pm Step by Step(all times U S  Eastern Time)

Aftermath
None of the shows in the initial lineup lasted beyond that season  Meego lasted a mere six weeks, and The Gregory Hines Show was gone after fourteen  Though the two ABC series were picked up for full seasons, they suffered badly from the network jump, with both series hitting all-time lows in the Nielsen ratings (Family Matters was nevertheless modestly successful enough to beat the show that replaced it in the TGIF lineup, You Wish; the success was short-lived when You Wish was canceled)  Family Matters also suffered due to extensive retooling: Steve Urkel was revamped to tone down his nerdiness, several characters were written out or reduced to guest appearances, and Jo Marie Payton left the show midseason after getting into an altercation with White that nearly turned into fisticuffs (her role as Harriette Winslow was recast with Judyann Elder playing her the rest of the season) 
When the series were canceled, none were afforded a series finale  Kids Say the Darndest Things, however, would continue for two additional seasons, usually paired on Friday nights with a revival of Candid Camera  Kids Say    and Candid Camera would have more sustained success against TGIF, which eventually declined over the next two years until it ended in 2000 CBS has mostly focused on dramatic programming in the time slot since the Block Party was canceled, a programming strategy that has been a relative success in the so-called "Friday night death slot "
Passage 4:
Bob Ferris (Likely Lads)
Robert Andrew Scarborough Ferris is a fictional character in British sitcoms The Likely Lads and Whatever Happened to the Likely Lads? and in The Likely Lads film, played by Bingley-born actor Rodney Bewes  He is single in The Likely Lads, marries Thelma Chambers in Whatever Happened to the Likely Lads? and is still married to her in the film  He works as an electrician and later as a civil engineer  Bob is a long-term friend of Terry Collier 

Early life
Bob was conceived in Scarborough (hence his middle name) by unmarried parents, the day before his father was posted to Catterick by the British Army  Sharing his birthdate with entertainer Bruce Forsyth - as we learn in 'Birthday Boy' - Bob was born on 22 February 1944 into a working-class family  Once he started school, he proved to be an impressionable child, on his own being conscientious, but being easily coaxed into trouble by friends, particularly Terry  At an early age Bob and Terry got into mild trouble, stealing Dinky toys from Woolworths and a hosepipe from a care home  Bob left school to become an electrical apprentice with Ellison's Electrical  While serving his apprenticeship, he also attended night school, eventually becoming a qualified electrician  In the last episode of The Likely Lads, he signs up for the British Army but is discharged for having flat feet  Terry, who only signed up in order to be alongside his friend, is accepted, and goes on to serve in Munchen Gladbach, West Germany 

Personality
Bob is keener than Terry to mask his working-class roots  After marrying Thelma, Bob aspires to be accepted into the middle class, much to Terry's disgust  Bob enjoys playing squash with Thelma, but equally enjoys drinking with Terry  He often blames his drinking, smoking and poor diet on Terry  Although that is in part true, Bob needs little persuasion to stay out drinking with Terry rather than going home to his wife 
Bob is hard-working, conscientious, fairly conventional, and (unlike Terry) ambitious, although he is usually in need of guidance in order to achieve his ambitions  However, he is not particularly assertive, which makes him easily led by his headstrong wife Thelma and equally headstrong friend Terry 
Despite Bob's ambition and enjoyment of his new-found status, he has often defended Terry's "down-to-earth" and "unpretentious" ways, on one occasion even offending one of his own and Thelma's friends in order to defend Terry 
Passage 5:
Whatever Happened to    Robot Jones?
Whatever Happened to    Robot Jones? (simply known as Robot Jones or WHTRJ?) is an American animated television series created by Greg Miller for Cartoon Network  It follows Robot Jones, a teenage robot who attends the fictional suburban Polyneux Middle School in a retrofuturistic 1980s world  Episodes follow Robot Jones researching aspects of human life, including music, facial hair, and gym class  Jones is guided by his three friends, Socks, Mitch, and Cubey  Robot Jones is often smitten with his crush, Shannon Westerburg, a tall, young girl with orthodontic headgear and a prosthesis  In school, Robot Jones interacts with his teachers, Mr  McMcMc, Mr  Workout, and Mrs  Raincoat; the principal, Mr  Madman; and janitor Clancy Q  Sleepyjeans  His arch-rivals, Lenny and Denny Yogman, try to sabotage Jones's research by making school more difficult for him 
Miller's first pilot aired on Cartoon Network on June 16, 2000, as part of "Voice Your Choice Weekend", a contest in which previously unaired pilots were broadcast for viewers to decide which should be given a full series  Even though the Robot Jones pilot ranked second below Grim & Evil in the event, Robot Jones was greenlit for its own series, which premiered on July 19, 2002  The first season voice of Robot Jones was created with a Microsoft Word 97 text-to-speech function  Beginning with the second season, Robot Jones's voice was dubbed over by child actor Bobby Block, and reruns of the first season were re-dubbed with Block's voice overs  The series ended on November 14, 2003, after 13 episodes and a pilot 

Premise
Robot Jones (voiced by a text-to-speech program in the pilot and season 1; Bobby Block in season 2 and season 1 reruns) is a teenage robot living in a fictional early 1980s version of Delaware where robots are commonplace  Robot attempts to learn human nature by attending Polyneux Middle School with his new friends Timothy "Socks" Morton (Kyle Sullivan), a tall boy who loves rock music, Mitch Davis (Gary LeRoi Gray), a headphones-wearing boy whose eyes are hidden by his long hair, and Charles "Cubey" Cubinacle (Myles Jeffrey), a shorter boy who loves video games  He holds a crush on Shannon Westerburg (Grey DeLisle), a girl with a large retainer and prosthetic metal leg 
In each episode, Robot Jones explores a concept faced by average teenagers, such as gym class or competitions  Robot immerses himself in each subject to fully understand it while trying to fit in with his human peers, but this is challenging due to his social ineptitude and others' lack of understanding  As Robot settles in at school, he explores humanoid concepts of his own will  Though the situations he finds himself in are usually at his parents' insistence, others are a result of Robot trying to get closer to Shannon  An example is in "Summer Camp" when Socks convinces Robot to go camping and Robot discovers the ability to feel jealous  Due to his polite nature and short stature, students at his school tend to ignore Robot or are oblivious to his existence  His good grades, poor social skills, and status as a robot are at odds with Principal Madman (Jeff Bennett), a technophobic principal, Mr  McMcMc (Rip Taylor), a jealous and insecure math teacher, and Lenny (Josh Peck) and Denny (Austin Stout) Yogman, two genius twin brothers  At the end of an episode, Robot reads a "data log entry" about what he learned that day and what conclusions he has arrived at on humanity 
The opening sequence, in which Robot Jones is factory-assembled and inserted into a school bus, is an homage to that of 1980s children's show You Can't Do That on Television  When the title of the show is spoken, a group of young children voice the "Whatever Happened to   " part in unison while the "Robot Jones?" part is done by a Macintosh Macintalk voice known as Trinoids  The first season has children speaking out episode titles while season 2 episode titles are spoken by voices of the characters 

Production
Greg Miller's original series pilot aired on Cartoon Network on June 8, 2000, in a contest featuring 11 animated shorts to be chosen for a spot on the network's 2000 schedule  During the weekend of August 25–27, 2000, all 11 pilots aired as part of a 52-hour marathon called "Voice Your Choice Weekend", in which viewers would vote for their favorite pilots  While Grim & Evil won the contest with 57% of the vote, Robot Jones came in second place with 23% and was given its own series run beginning July 19, 2002 Robot Jones's animation style can be seen as a throwback to 1970s and 1980s cartoons such as Schoolhouse Rock!, with an intentionally messy and rough look; it also strongly resembles classic newspaper comic strips such as Calvin and Hobbes  The series' animation technique is different from most American cartoons from the early 2000s  It was animated with traditional cel animation, at a time when many American cartoons had switched to digital ink and paint  The show was animated at Rough Draft Studios in Seoul, South Korea 
Greg Miller stated in an interview on Facebook that he used a Microsoft Word 97 text-to-speech software on his old Macintosh computer for Robot's voice during production for season one, but after the first season was completed, the executives of Cartoon Network didn't like how it sounded  Bobby Block was chosen to take the role of Robot in season two  Robot Jones's text-to-speech voice was also recorded for production of the second season, but because the voice change happened during the production of those episodes, this voice was never dubbed into the final prints  In that interview, he also said that he would want to do a revival of Robot Jones, but it would be up to Cartoon Network 
The aforementioned interview also revealed that the show was originally planned to be about Robot Jones growing up in the style of The Wonder Years only to take over the world in the style of The Terminator, and when asked how the show would have ended, Greg Miller explained it would end in the show's version of the 1990s with Robot Jones rallying a robot army to attack the human race 

Episodes
Series overview
Pilot (2000)
Season 1 (2002)
Season 2 (2003)
Broadcast
After production ceased on Robot Jones, it aired in syndication before being removed from Cartoon Network's schedule, but episodes were available online on Cartoon Network Video for a short period 
From 2005 to 2006, Robot Jones reran sporadically on The Cartoon Cartoon Show, along with segments of other Cartoon Cartoons from that time period 
Reruns began airing on Cartoon Network's Latin-American sister network Tooncast in 2015  It has also been added to the local version of HBO Max in 2022 
Robot Jones made a cameo appearance on the OK K O ! Let's Be Heroes episode "Crossover Nexus" that aired October 8, 2018, along with other Cartoon Network characters from current and ended shows  This marks the first appearance of Robot Jones's character since the show's cancellation and the first time since the first season where the character's voice was provided by the Microsoft Word 97 text-to-speech programmed voice 

See also
List of fictional robots and androids
List of science fiction universes
Passage 6:
Whatever Happened to    ?
Whatever Happened to   ? is a series of eleven plays broadcast in two series on BBC Radio 4 in 1994 and 1995  They covered the fate of various fictional characters, such as Popeye and Susan Foreman, the granddaughter of the Doctor in Doctor Who  The writer was Adrian Mourby, who in 1997 published a book called Whatever Happened to    ?: The Ultimate Sequels Book, in a similar vein with the further adventures of Frankenstein's Monster, The Artful Dodger, Snow White, Romeo, Big Bad Wolf, Pinocchio, Man Friday, Jane Eyre, Dorothy Gale from The Wonderful Wizard of Oz, and Jim Hawkins 

Episodes
Series one
Series two
Commercial releases
Whatever Happened to Susan Foreman? has been released as an extra on the Doctor Who DVD The Dalek Invasion of Earth 
The Radio 4 series starred Sir Michael Hordern, Jane Asher (as Susan), Lesley Philips (as the Big Bad Wolf), Roshan Seth (as Mowgli) Warren Mitchell and James Grout  The first series won Adrian Mourby the Sony Silver Award for Creative Writing on Radio 

External links
Whatever Happened to    ? at BBC Online
Episode listing on epguides com
Review of the Susan Foreman episode at pagefillers com
Passage 7:
Whatever Happened to Old-Fashioned Love
"Whatever Happened to Old-Fashioned Love" is a song recorded by American country music artist B  J  Thomas  It was released in May 1983 as the first single from the album New Looks  The song was written by Lewis Anderson 
The song was his biggest hit in over five years  "Whatever Happened to Old-Fashioned Love" was the second of three number ones on the country chart  It was his first number one since "(Hey Won't You Play) Another Somebody Done Somebody Wrong Song" eight years before  The single stayed at number one for one week and spent a total of fourteen weeks on the country chart  The song was Thomas' final entry on the pop chart, reaching number 93 
The song was a Top 20 pop hit in the UK for Daniel O'Donnell in the 1990s 

Charts
Weekly charts
Year-end charts
Passage 8:
Richard J  Maybury
Richard J  Maybury (born October 10, 1946) is the publisher of U S  & World Early Warning Report for Investors   He has written several entry level books on United States economics, law, and history from a libertarian perspective  He has written these things in epistolatory form, usually as an uncle writing to his nephew, answering questions  Maybury was a high school economics teacher  After failing to find a book which would give a clear explanation on his view of economics he wrote one himself  Some of his books include Uncle Eric Talks About Personal, Career & Financial Security; a book that is basically the foundation for his other books about the model perspective and Higher Law, Whatever Happened to Penny Candy?; a book that explains the history of the [United States] economic model and how it was based on free-market Austrian economics, Whatever Happened to Justice?; a book about his juris naturalist philosophical viewpoints regarding the foundations of America's legal system, British Common Law, the law of the Franks, and early Christian Ireland 

Early life and family
Richard J  Maybury was born on October 10, 1946 in Hamilton, Ohio, to parents Anthony J , and executive of a West Coast coffee company and co-author of Common Sense Business for Kids, and Ruth M  (née Wellinghoff) Maybury  He married Marilyn N  Williams on August 7, 1967   He has 4 siblings: David, Linda, Jane, and Debra 

Theories
Juris Naturalism
Maybury's viewpoint is "juris naturalism"  Maybury created the term juris naturalism, and called himself a juris naturalist, because he believed no other label was able to fully describe the concept, which he believed is modeled on the viewpoints of many of America's Founders 

Thousand Year War
Maybury has had disagreements with those who say that Muslims are terrorists  In his book, The Thousand Year War, he says that Muslims have been persecuted as much as the Jews by Western civilization through events such as the Crusades, and that they are retaliating after being wronged by the Europeans and the western culture, including the United States government  Maybury states that Muslim nations and people still treat events that occurred centuries ago as modern-day events, and that the recent attacks are retaliatory strikes against what they perceive to be their long-time enemies  He praises the mediaeval Muslim civilizations for their advances in many fields  He also states that Muslims are responsible for preserving the philosophies of ancient people, such as Aristotle 

Maybury's Two Laws
Maybury bases his work on common law, namely

Do all you have agreed to do
Do not encroach on other persons or their property The first law is related to contract law   A contract is an agreement between two or more parties, in which they promise to perform certain actions for and recognize certain rights of the other parties   The second law is related to some criminal law and tort law   Violators of these types of laws have committed acts like theft or violence against other people  (When referencing these two laws, Maybury has at times requested they be known as "Maybury's Laws," and stated exactly as above ) He has also mentioned that there may be another (or others) undiscovered law related to the subjects of law that the two he shows don't cover 

Chaostan
Maybury has declared that nearly a third of the Earth's surface is Chaostan, the land of great chaos  Chaostan is in his view prone to war, financial ill, and tyranny because they never received the Two Laws  The area extends from the Arctic Ocean to the Indian Ocean and Poland to the Pacific, plus North Africa 

The New Axis
Maybury thinks it is possible that some or all of the areas in Chaostan are secretly co-operating, either through political alliance or along ancient ethnic lines  This term was first used in May 1996 

Military Experience
Maybury was a sergeant in the United States Air Force from 1967 to 1971  He served with the 605th Air Commando Squadron in Central America, and with the 75th Military Airlift Squadron in Vietnam  He was also a General Military Training instructor at Travis Air Force Base; and participated in covert operations in South and Central America 

Books
Themes
Maybury's books are marked with emphasis on paradigms, or "models" as he calls them  One of his books, Are You Liberal, Conservative, or Confused is dedicated entirely to this topic  He commonly addresses his letters to an imaginary student named Chris 

Style
All of his books are written in the epistolatory style, as letters from the fictitious Uncle Eric to his nephew  The personal tone of the "letters" convey a certain sense of urgency, yet are remarkably understated compared to other revisionist and contrarian viewpoints 
The books have many illustrations, maps and pull-quotations of historical persons   Though, oddly to some, he rarely if ever quotes recent (20th century) writers   Perhaps it is because he distills the essence of free-market economic thought (what we often call "Libertarian") into fundamental terms that stand on their own   In other words, rather than quoting for instance Henry Hazlitt to support a thesis, he describes an idea in foundational terms that arrive at a conclusion that readers of Hazlitt may find familiar 

Titles
Maybury's in-print books to date are:

Ancient Rome: How It Affects You Today
Are You Liberal? Conservative? or Confused?
Evaluating Books: What Would Thomas Jefferson Think About This?
The Clipper Ship Strategy: For Success in Your Career, Business, and Investments
The Money Mystery: The Hidden Force Affecting Your Career, Business, and Investments
The Thousand Year War in the Mideast
Uncle Eric Talks About Personal, Career, and Financial Security
Whatever Happened to Justice?
Whatever Happened to Penny Candy? 5th Edition
World War I: The Rest of the Story and How It Affects You Today
World War II: The Rest of the Story & How It Affects You TodayAll of his books are published by Bluestocking Press

Journals & Newspapers
EWR
The US & World Investors Early Warning Report (EWR) is Maybury's monthly financial newsletter  EWR seeks to apply the Uncle Eric model to the real world and provide forecasts and warnings of financial changes before they happen  It is very cautious in outlook, and has low toleration of risk 

Freelance Work
Following his military experience, but prior to EWR, Maybury was a freelance writer whose works were featured in the Wall Street Journal, Washington Times, USA Today and other notable publications 

Moneyworld
Maybury was previously global affairs editor for Moneyworld
Passage 9:
The New CBS Tuesday Night Movies
The New CBS Tuesday Night Movies (known as The New CBS Friday Night Movies in its first season) was a weekly 90-minute motion picture made expressly for television   The series aired on CBS from 1971 to 1974  During its first two seasons, the program was similar to ABC's Movie of the Week, which presented a brand-new full-length feature film in a regular weekly time slot with no connecting theme or arc among the films   In the fall of 1972, the series moved from Friday nights to Tuesdays, with its Friday night slot given back to traditional previously released theatrical films under The CBS Friday Night Movies banner (The New CBS Friday Night Movies replaced The CBS Friday Night Movies during its first season) 
During the 1973-1974 television season, CBS revised the series into The New CBS Tuesday Night Movies   In the revision CBS adopted both the ABC and NBC approaches   They developed two rotating series, similar to The NBC Mystery Movie (both produced by MGM Television), and continued to premiere brand new feature-length films as television movies seen on alternating weeks 
The two series-like projects were:

Shaft, a series television version of the 1970s blaxploitation film franchise (itself based on Ernest Tidyman's 1970 novel of the same name), starring Richard Roundtree reprising the role of John Shaft 
Hawkins, starred James Stewart as Billy Jim Hawkins, a rural lawyer who investigated the cases he was involved in, not unlike Stewart's role in the 1959 film Anatomy of a Murder 
Every third week was a television movie The New CBS Tuesday Night Movies was cancelled after the 1973-1974 television season  Television films seen on CBS would be incorporated into its Thursday and Friday night movie programs, beginning with the 1974-1975 season 
Passage 10:
Cartoon Cartoons
Cartoon Cartoons is a collective name used by Cartoon Network for their original animated television series originally aired between 1995 and 2003 and produced in majority by Hanna-Barbera and/or Cartoon Network Studios  Beginning with its inception into cable broadcasting on October 1, 1992, Cartoon Network had focused its programming on reruns of older animated series which it had acquired through its parent company's film library  The Cartoon Cartoons label originated with Fred Seibert's animation anthology series What a Cartoon!, an animation showcase series featuring pilots of original cartoon ideas submitted by independent animators  Dexter's Laboratory was the first such pilot to be greenlit by the network for a full series in 1996  After other pilots were successfully produced into their own series, including Cow and Chicken, Johnny Bravo, and The Powerpuff Girls, the collective Cartoon Cartoons were featured on the network's Friday night programming block, Cartoon Cartoon Fridays from 1999 to 2003  Not all CN original series created around this time were officially recognized as Cartoon Cartoons; Samurai Jack, for example, did not bear the moniker 
The moniker was retired by the network in 2004, and its last surviving series, Ed, Edd n Eddy, ended in 2009 after a ten-year run  Since their heyday, reruns of the Cartoon Cartoons continued to air on The Cartoon Cartoon Show (2005–2008) and Cartoon Planet (2012–2014)  In 2021, the name was resurrected by the network for a new shorts program 

History
Cartoon Cartoons first appeared as shorts on animation showcase series What a Cartoon! in 1995, under the name of World Premiere Toons  The series was produced by Hanna-Barbera and Cartoon Network Studios under the direction of Fred Seibert  Seibert had been a guiding force for Nickelodeon (having overseen the creation of Nicktoons shortly prior to his departure) prior to joining Hanna-Barbera and would establish Frederator Studios years later Through What a Cartoon!, Cartoon Network was able to assess the potential of certain shorts to serve as pilots for spin-off series and signed contracts with their creators to create ongoing series  Dexter's Laboratory was the most popular short series according to a vote held in 1995, and became a full series in 1996  Dexter was retroactively labeled the first Cartoon Cartoon in 1997; however, the network's previous original shows, The Moxy Show and Space Ghost Coast to Coast, were not retroactively given the label 
The Cartoon Cartoon brand was first introduced in July 1997 for the network's Cartoon Cartoon Weekend block  Three more series based on shorts debuted in 1997: Johnny Bravo, Cow and Chicken, and I Am Weasel (the latter two as segments of the same show; I Am Weasel was later spun off into a separate show)  These were followed by The Powerpuff Girls in 1998 and Ed, Edd n Eddy in 1999, and Mike, Lu & Og and Courage the Cowardly Dog in 1999, creating a lineup of critically acclaimed shows  From 1999 to 2003, the Cartoon Cartoon Fridays block was the network's marquee night for premieres of new episodes and series 
In 2001, the network received Time Squad and Grim & Evil  Also in 2001, the show Samurai Jack premiered, but was not officially branded as a Cartoon Cartoon despite airing during the various programming blocks  In 2002, Codename: Kids Next Door became a full series after being chosen in the previous year's Big Pick Weekend  In 2003, Grim & Evil was split into The Grim Adventures of Billy & Mandy and Evil Con Carne; they were the last original series to officially carry the Cartoon Cartoon branding before it was discontinued 
The Cartoon Cartoons were intended to appeal to a wider audience than the average Saturday-morning cartoon  Linda Simensky, vice president of original animation, reminded adults and teenage girls that the cartoons could appeal to them as well  Kevin Sandler's article on them claimed that these cartoons were both less "bawdy" than their counterparts at Comedy Central and less "socially responsible" than their counterparts at Nickelodeon  Sandler pointed to the whimsical rebelliousness, high rate of exaggeration and self-consciousness of the overall output which each individual series managed In October 2003, the live-action Fridays premiered on the network as a replacement for Cartoon Cartoon Fridays  The Cartoon Cartoons bumpers (that appeared before and after episodes of its original series) were dropped after the network's CN City rebrand in June 2004  In August 2004, the block Cartoon Cartoons: The Top 5 was renamed to simply The Top 5  CN still kept the Cartoon Cartoons name around in various forms applying to their older series (such as for The Cartoon Cartoon Show from 2005 to 2008), but since newer shows such as Foster's Home for Imaginary Friends, Camp Lazlo, and Ben 10 were stylistically different from previous shows, the moniker was not applied to them 
However, internationally in places like Asia and Latin America, the moniker continued on until 2007 with shows like Foster's Home, Hi Hi Puffy AmiYumi, Camp Lazlo, and My Gym Partner's a Monkey 

Revival
On April 15, 2021, Cartoon Network announced a new iteration of the Cartoon Cartoons shorts program  On November 24, 2021, the first new Cartoon Cartoons shorts completed production  The first nine shorts include Accordions Geoffery & Mary Melodica by Louie Zong (of The Ghost and Molly McGee and We Bare Bears), Dang! It's Dracula by Levon Jihanian (of Tig n' Seek), Hungy Ghost by Jesse Moynihan (of Adventure Time), Fruit Stand at the End of the World by Rachel Liu, Off the Menu by Shavonne Cherry (of Ren & Stimpy and The Looney Tunes Show), Harmony in Despair by Andrew Dickman (of Looney Tunes Cartoons), Unravel by Alexis Sugden, Mouthwash Madness by Lisa Vandenberg (of Animaniacs), and Scaredy Cat by JJ Villard (of King Star King)  On June 7, 2022, More Cartoon Cartoons completed production  The next seven shorts include The All-Nimal by Nick Edwards (of Apple and Onion and The Fungies), Buttons' Gamezone by Fernando Puig (of The Cuphead Show and Tig n' Seek), Tib Tub, We Need You by Sean Godsey and Mike Rosenthal, I Love You Jocelyn by Tracey Laguerre (Art and Animation Director for brands like Google, Dreamworks, Buzzfeed and more) , Pig in a Wig by Sam Marin (of Regular Show), The Good Boy Report (based on the webcomic of the same name) by Kasey Williams (of Niko and the Sword of Light and Harley Quinn) and Maude Macher and Dom Duck by Kali Fontecchio (of The Looney Tunes Show and Jellystone!) 

Programming blocks
More shows premiered bearing the Cartoon Cartoons brand, airing throughout the network's schedule and prominently on Cartoon Cartoon Fridays, which became the marquee night for premieres of new episodes and shows beginning June 11, 1999  On June 9, 2000, the Cartoon Cartoon Fridays block began to be hosted each week by a different character from a Cartoon Cartoon series, with the first host being Eustace from Courage the Cowardly Dog  The June 9 broadcast also began the first week of The Big Pick, a showcase of cartoon pilots that could become full series based on the results of an online viewer poll  A similar event, The Big Pick II, aired the following year  On October 3, 2003, following a months-long switch to Summer Fridays and Fridays, the block was rebooted under a hybrid live-action format as Fridays, hosted by Tommy Snider and Nzinga Blake, the latter of whom was later replaced by Tara Sands  It aired shows outside the Cartoon Cartoon moniker, such as Foster's Home for Imaginary Friends, Hi Hi Puffy AmiYumi, The Life and Times of Juniper Lee, Camp Lazlo, My Gym Partner's a Monkey, Squirrel Boy, and Class of 3000  The last airing of Fridays was on February 23, 2007 
Cartoon Cartoons: The Top 5 (simply retitled The Top 5 in 2004), an hour-long program featuring a countdown of the week's five "best" Cartoon Cartoon episodes from the network's lineup, ran from 2002 to 2008  From 2005 to 2008, the Cartoon Cartoons label was primarily used for The Cartoon Cartoon Show, a half-hour program featuring episodes of older Cartoon Cartoons that were no longer shown regularly on the network 
The block Cartoon Planet was revived on Cartoon Network from 2012 to 2014, airing in a format similar to The Cartoon Cartoon Show  It featured Cartoon Cartoons such as Dexter's Laboratory, Johnny Bravo, Cow and Chicken, I Am Weasel, The Powerpuff Girls, Courage the Cowardly Dog, Ed, Edd n Eddy, Codename: Kids Next Door, The Grim Adventures of Billy & Mandy, and other original Cartoon Network Studios series such as Foster's Home for Imaginary Friends, Camp Lazlo, and Chowder 

List of series
Precursor
Full series
(+) Indicates that the show originally aired as part of Grim & Evil, and that the 2003-2004 episodes were not produced for the standalone show 

In other media
DC Comics ran an anthology comic based on the Cartoon Cartoons; the series ran from March 2001 to October 2004 for a total of 33 issues 
In the OK K O ! Let's Be Heroes episode "Crossover Nexus", the Cartoon Cartoon logo is shown in the bottom of a wall inside the Cartoon Network headquarters; the Cartoon Cartoon jingle theme song is played when Ben Tennyson (Ben 10) shape-shifts into different Cartoon Network characters 

See also
List of programs broadcast by Cartoon Network
Nicktoons

Notes
Context 2: Passage 1:
Robert Aldrich
Robert Burgess Aldrich (August 9, 1918 – December 5, 1983) was an American film director, producer, and screenwriter  An iconoclastic and maverick auteur working in many genres during the Golden Age of Hollywood, he directed mainly films noir, war movies, westerns and dark melodramas with Gothic overtones  His most notable credits include Vera Cruz (1954), Kiss Me Deadly (1955), The Big Knife (1955), Autumn Leaves (1956), Attack (1956), What Ever Happened to Baby Jane? (1962), Hush   Hush, Sweet Charlotte (1964), The Flight of the Phoenix (1965), The Dirty Dozen (1967), and The Longest Yard (1974) 
Aldrich's directorial style combined "macho mise-en-scene and resonant reworkings of classic action genres," and were known for pushing the boundaries of violence in mainstream cinema, and for their psychologically-complex interpretations of genre film tropes  The British Film Institute wrote that Aldrich's films "subversive sensibility in thrall to the complexities of human behaviour " Several of his films later proved influential to members of the French New Wave Aside from his directorial work, Aldrich was also noted for his advocacy as a member of the Directors Guild of America, serving as its President for two terms, and becoming the namesake for its Robert B  Aldrich Achievement Award 

Early life
Family
Robert Burgess Aldrich was born in Cranston, Rhode Island, into a family of wealth and social prominence – "The Aldriches of Rhode Island"  His father, Edward Burgess Aldrich (1871–1957) was the publisher of The Times of Pawtucket and an influential operative in state Republican politics  His mother, Lora Elsie (née Lawson) of New Hampshire (1874–1931), died when Aldrich was 13 and was remembered with fondness by her son  Ruth Aldrich Kaufinger (1912–1987) was his elder sister and only sibling Among his notable ancestors were the American Revolutionary War general Nathanael Greene and the theologian Roger Williams, founder of Rhode Island Colony His grandfather, Nelson Wilmarth Aldrich, was a self-made millionaire and art investor  A Republican member of the U S  Senate for thirty years (1881–1911), he was dubbed "General Manager of the Nation" by the press for his dominant role in framing federal monetary policy A number of Aldrich's paternal uncles had impressive careers, among them a successful investment banker, an architect and Harvard instructor, a member of the U S  House of Representatives, and a chairman of the Chase Manhattan Bank who also served as U S  Ambassador to Great Britain   An aunt, Abigail Greene "Abby" Aldrich married John D  Rockefeller Jr , scion of the Standard Oil fortune, and was a leading figure in the establishment of the Museum of Modern Art in New York City  Nelson Rockefeller, a four-term governor of New York State and U S  vice-president under Gerald Ford, and Rockefeller's four brothers were the director's first cousins 

Education
As the only male heir to the Lawson-Aldrich family line, Aldrich was under considerable pressure to compete successfully with his numerous cousins in a family of high achievers Following family tradition and expectations, Aldrich was educated at Moses Brown School in Providence from 1933 to 1937  There he served as captain of the track and football teams and was elected president of his senior class 
Failing to matriculate to Yale due to mediocre grades, Aldrich attended the University of Virginia from 1937 to 1941, majoring in economics  He continued to excel in sports and played a leading role in campus clubs and fraternities During the Great Depression, the adolescent Aldrich began to question the justice of his family's "politics and power" which clashed with his growing sympathies with left-wing social and political movements of the 1930s  Aldrich's disaffection from the Aldrich-Rockefeller right-wing social and political orientation contributed to a growing tension between father and son Having satisfactorily demonstrated his aptitude for a career in finance, Aldrich defied his father by dropping out of college in his senior year without taking a degree Aldrich approached his uncle Winthrop W  Aldrich, who got his 23-year-old nephew a job at RKO Studios as a production clerk at $25 a week  For this act of defiance, Aldrich was promptly disinherited  Aldrich reciprocated by expunging public records of his connection with the Aldrich-Rockefeller clan, while stoically accepting the breach  He rarely mentioned or invoked his family thereafter  It has been said that "No American film director was born as wealthy as Aldrich — and then so thoroughly cut off from family money "

RKO Pictures: 1941–1943
At the age of 23, Aldrich began work at RKO Pictures as a production clerk, an entry-level position, after declining an offer through his Rockefeller connections to enter the studio as an associate producer He married his first wife, Harriet Foster, a childhood sweetheart, shortly before he departed for Hollywood in May 1941 Though the smallest of Hollywood's top studios, RKO could boast an impressive roster of directors (George Cukor, John Ford and Howard Hawks) as well as movie stars (Fred Astaire and Ginger Rogers, Cary Grant, Katharine Hepburn and the Marx Brothers)  The 23-year-old Aldrich assumed his duties shortly after Orson Welles, at 26, signed a six-movie contract with RKO after the release of the widely acclaimed Citizen Kane (1941) When the United States entered the Second World War in December 1941, Aldrich was inducted into the Air Force Motion Picture Unit, but was quickly discharged when an old football injury disqualified him for military service  The film studios' manpower shortage allowed Aldrich to win assignments as third- or second-tier director's assistant to learn the basics of filmmaking 

Second assistant director
In just two years he participated on two dozen movies with well-known directors  He was second assistant director on Joan of Paris (1942, directed by Robert Stevenson), The Falcon Takes Over (1942, directed by Irving Reis), The Big Street (1942), directed by Reis, Bombardier (1943, directed by Richard Wallace), Behind the Rising Sun (1943, directed by Edward Dmytryk),  A Lady Takes a Chance (1943, directed by William A  Seiter), The Adventures of a Rookie (1943, directed by Leslie Goodwins), Gangway for Tomorrow (1943, directed by John H  Auer), and Rookies in Burma (1943, directed by Goodwins) 

First assistant director
Towards the end of the war, Aldrich had risen to first assistant director making comedy shorts with director Leslie Goodwins 
In 1944, Aldrich departed RKO to begin free-lancing on feature films at other major studios, including Columbia, United Artists, and Paramount 

Assistant director: 1944–1952
Aldrich was fortunate to serve as an assistant director to many notable and talented Hollywood filmmakers  During these assignments, which spanned nine years, Aldrich gained both practical and aesthetic fundamentals of filmmaking: "set location and atmosphere" (Jean Renoir, The Southerner, 1945), the "techniques of pre-planning a shot" (Lewis Milestone's The Strange Love of Martha Ivers, 1946), "action scenes" (William A  Wellman's The Story of G I  Joe, 1946), the "importance of communication with actors" (Joseph Losey's The Prowler, 1951), and "establishing visual empathy between camera and audience" (Charlie Chaplin's Limelight, 1952) He also worked on Pardon My Past (1945, directed by Leslie Fenton) and The Private Affairs of Bel Ami (1947, directed by Albert Lewin) 
Aldrich approached these projects and directors with a fine discrimination, enabling him to learn from both their strengths and weaknesses During these years Aldrich forged lasting professional relationships with talented artists who would serve him throughout his filmmaking career, namely, cinematographer Joseph Biroc, film editor Michael Luciano, music director Frank De Vol, art director William Glasgow and screenwriter Lukas Heller  A troupe of loyal, mostly male, players were enlisted for his film leads and supporting roles: Burt Lancaster, Jack Palance, Lee Marvin, Eddie Albert, Richard Jaeckel, Wesley Addy, Ernest Borgnine and Charles Bronson 

The Enterprise Studios: 1946–1948
Aldrich's association with The Enterprise Studios marks the most formative period of his apprenticeship  The production company offered a unique venue of independent filmmakers welcoming socially conscious themes critical of authoritarian aspects of American society While at Enterprise, Aldrich established both a professional and a personal affiliation with screenwriter and director Abraham Polonsky, a major figure in the Popular Front movement of the 1930s  Their respective films addressed the issue of an individual's often desperate struggle to resist destruction by an oppressive society Enterprise's Body and Soul (1947), written by Polonsky, directed by Robert Rossen, and starring John Garfield, made a deep and lasting impression on the 29-year-old assistant director from both structural and thematic standpoints  Garfield plays a corrupt prizefighter who seeks to redeem himself by defying mobsters who insist he throw a fight or forfeit his life  While the protagonist's personal failings contribute to his own oppression, the film censures capitalism as an unredeemable system  Aldrich would revisit Body and Soul throughout his career when seeking guidance on how to convey the progressive ideals of the 1930s while working in the reactionary political atmosphere of the Cold War era 

In 1948 Aldrich joined Polonsky and Garfield on the early noir film Force of Evil  The story concerns a Wall Street attorney turned mob lawyer (Garfield) who informs on his employers when they murder his brother  Force of Evil's cinematically excessive visuals and striking sound would later appear in Aldrich's films Kiss Me Deadly and Twilight's Last Gleaming A number of Aldrich's associates at Enterprise came under scrutiny by the HUAC in the late 1940s after Enterprise had closed its doors  Among them were Rossen, Polonsky, Garfield, directors John Berry, and Joseph Losey, producer Carl Foreman, and screenwriter Dalton Trumbo, some of whom suffered blacklisting and imprisonment  Aldrich was never targeted by the authorities, despite his collaborations with these artists  This was largely due to his post-1930s entry into the film industry when recruitment by Communist and leftist organizations was declining  Nonetheless, Aldrich remained a champion for the victims of the Red Scare At Enterprise, Aldrich also worked as an assistant director on Arch of Triumph (1948) and No Minor Vices (1948) for Lewis Milestone, So This Is New York (1948) for director Richard Fleischer and producer Stanley Kramer, and Caught (1949) for Max Ophüls 
During his apprenticeship Aldrich developed a keen appreciation for the nexus between autonomous control over every element of picture production and achievement of his creative vision  He would forever strive for full control over his films 

Freelance assistant director: 1948–1952
After the demise of The Enterprise Studios, Aldrich continued to be in much demand as an assistant director  He worked again for Lewis Milestone on The Red Pony (1949) at Republic and did Red Light (1949) for Roy Del Ruth, A Kiss for Corliss (1949) for Richard Wallace,  The White Tower (1950) for Ted Tetzlaff, M (1951) and The Prowler (1951) for Joseph Losey, and New Mexico (1951) for Reis 
Aldrich was assistant to producer Harold Hecht on Ten Tall Men (1951), a French Foreign Legion action film starring Burt Lancaster  He worked as production manager on When I Grow Up (1951) for Sam Spiegel and as production manager on The Steel Trap (1952) for Andrew L  Stone 
Hecht had enjoyed working with Aldrich on Ten Tall Men and used him on The First Time (1952), the feature directorial debut of Frank Tashlin 
Aldrich's most notable credit to date came on Limelight (1952), for which he was assistant director to Charlie Chaplin  He was assistant on Abbott and Costello Meet Captain Kidd (1952) 

Television: 1952–1954
By 1952, the 34-year old assistant director, fully prepared to make his directorial debut, had no offers materializing in Hollywood  Eager to perform at a journeyman level, he moved to New York City to join its television startups 
The infant industries' golden age of live broadcasts was in a primitive stage of organization, and producers were pleased to enlist talent from the Hollywood film industry  More than merely a career move, television offered Aldrich an opportunity to apply the cinematic skills and concepts he had garnered during his eclectic education in movie-making to an entirely new medium "All they were paying directors was scale", recalled Aldrich of this time  "Who the hell wanted to go live in New York and work for scale? Only guys that had never directed or couldn't get a shot    Walter Blake    convinced these people who were doing the Camay soap shows that I was a genius waiting behind a rock out here  I had been assistant director on a Chaplin picture, so he told them that I had directed Chaplin  Nobody directs Chaplin except Chaplin, but these guys didn't know the difference  So I went back to New York and did, I don't know, thirty or forty shows "Procter & Gamble hired Aldrich in 1952 to direct episodes of the anthology series The Doctor (later retitled The Guest in syndication), an early soap opera starring Warner Anderson  Shooting schedules were notoriously tight  Despite this, Aldrich routinely dedicated half or more of the allotted time to rehearsals, an immensely reassuring practice for the players that contributed to the efficient execution of the final live shoot Following The Doctor, Aldrich resettled in Hollywood to complete twenty episodes of television's China Smith starring Dan Duryea, filmed on an even tighter timetable 
He also filled in as director on TV's Four Star Playhouse and the Schlitz Playhouse of Stars ("The Pussyfootin' Rocks") Aldrich described the early TV industry as a "director's crash course" where, unlike feature film production, the overall quality of the series outweighed the success or failure of an individual episode   In his two-year stint in television, Aldrich was free to experiment with technique and narrative schemes that would appear later in his film treatments  As such, he used cinematic framing and composition to reveal character motivation and close ups serving to highlight dialog, all of which endowed his episodes with a polished Hollywood studio-like appearance  Aldrich avoided disparaging television as an art form, only regretting its "rushed schedules and lack of preparation time "

Feature film director
Early feature films
In December 1951 Irving Allen announced he had formed Warwick Productions with Albert Broccoli  He intended to make The Gamma People with Robert Aldrich  In August 1952 Allen announced that Aldrich would make his feature debut as director with The Gamma People, to be shot in Europe in the winter from Aldrich's own script  Dick Powell was slated to star  However, the film would not be made for several years, with Aldrich's involvement limited to working on the story 
Aldrich broke into feature films as a director when Herbert Baker, who had worked with Aldrich on So This is New York, recommended the director to MGM, which was looking for someone with a background in sports for a low-budget baseball film, Big Leaguer (1953) The film was not particularly successful, so Aldrich returned to television, doing episodes of Four Star Playhouse, several of which were written by Blake Edwards  He directed "The Witness", which starred Dick Powell, Strother Martin, and Charles Bronson, and "The Bad Streak" with Charles Boyer Aldrich remained ambitious to work in features and raised money for a low-budget action film using many of the same sets and cast members of China Smith, including star Dan Duryea, called World for Ransom (1954)  It was made for Plaza Productions and financed by Allied Artists; Aldrich produced and directed  The cinematographer was Joseph F  Biroc, who would shoot many of Aldrich's later features 

Burt Lancaster: Apache and Vera Cruz
World for Ransom was seen by Harold Hecht and Burt Lancaster, who hired Aldrich to direct his first color film, Apache (1954), a western starring Lancaster as an Apache fighter  It was made for Hecht-Lancaster Productions and released through United Artists  This film was a big hit, earning $6 million Hecht and Lancaster used Aldrich again on Vera Cruz (1954), a western starring Gary Cooper and Lancaster   It was even more successful at the box office than Apache, making $9 million, and firmly established Aldrich as a director 

Turning producer: Kiss Me Deadly, The Big Knife and Attack
The success of these movies enabled Aldrich to set up his own company, The Associates and Aldrich, and sign a deal with United Artists  Its first movie was to be The Way We Are by Jack Jevne, about a woman who has an affair with a younger man  It was not immediately made 
Instead Aldrich produced and directed Kiss Me Deadly (1955), a film noir adapted by A  I  Bezzerides from a novel by Mickey Spillane starring Ralph Meeker as Mike Hammer   It was made for Parklane Productions, the independent company of Victor Saville, who owned the rights, and released through United Artists Aldrich and his company then made The Big Knife (1955), based on a play by Clifford Odets  Aldrich directed and produced this film about a movie star played by Jack Palance 
The Associates and Aldrich Company made a second film, also based on a play and released through United Artists, Attack (1956), starring Palance and Lee Marvin None of the three films was particularly successful at the box office, although they received some excellent reviews  In particular, Kiss Me Deadly became a major cult favorite in France  "I worked almost for nothing, economically, on those movies", he said  "They got caught up in the system and were not profitable pictures " Aldrich said his experiences made him "more cynical in terms of what preference to give survival and what preference to give material that might make a fine film which nobody or very few would go to see  That was the break  I realized that if you're careful in choosing projects and setting costs your taste and knowledge will, out of every six or seven pictures, produce one that makes a good deal of profitable return for everybody "The Associates announced numerous projects around this time, including Tryanny, Kinderspiel, Potluck for Pomeroy, Candidate for President (by Don Weis) and Machine for Chuparosa The Associates and Aldrich Company expanded to offer financing and distribution for other films  The only one that resulted was The Ride Back (1957) for UA  They wanted to make The Build Up Boys with Dana Andrews but the film did not eventuate 

Columbia: Autumn Leaves and The Garment Jungle
In between making Big Knife and Attack, Aldrich directed the Joan Crawford melodrama Autumn Leaves (1956) (originally The Way We Are), which was a minor hit Aldrich worked on the original story for the thriller The Gamma People (1956), made for Columbia and Warwick Productions in England 
In July 1956 Robert Aldrich signed a two-picture deal with Columbia to make films through his own company  The first was to be The Garment Jungle (1957)  The second was to be Until Proven Guilty  He also acquired the John O'Hara story Now We Know Aldrich started directing Garment but was fired towards the end of filming and replaced by Vincent Sherman In March 1957 Aldrich sued Columbia for reneging on a promise to make a film of the play Storm in the Sun, which he wanted to do with Crawford  The case was settled the following month Aldrich announced a range of projects – Kinderspiel, Pommeroy, The Snipe Hunt, Until Proven Guilty, Now We Know – but he found it difficult to get financing The Associates and Aldrich had the rights to the script for 3:10 to Yuma but ended up selling the project outright to Columbia 

Europe
Aldrich was unable to get a job until he had an offer from Hammer Films and Seven Arts to write and direct Ten Seconds to Hell (1959), starring Palance and Jeff Chandler, in Germany  While there, he was head of the jury at the 9th Berlin International Film Festival Aldrich stayed in Europe to make The Angry Hills (1959), based on the novel by Leon Uris and starring Robert Mitchum, for MGM in Greece for producer Raymond Stross  Aldrich had the film rewritten by Bezzerides, but then his cut of the film was re-edited by Stross  It was an unhappy experience for Aldrich and the film lost money Adlrich was going to make Taras Bulba in Yugoslavia with Anthony Quinn and a budget of $3 million, but the film did not proceed  Neither did another proposed subject, The Catalyst, based on a play by Ronald Duncan about male bisexuality  Aldrich would attempt to make Taras Bulba several times but ended up having to sell his script to Harold Hecht, who produced a film without Aldrich in 1962  Other projects he developed around this time include Angry Odyssey, The Left Bank, and Too Late the Hero Aldrich returned to Hollywood to direct episodes of Hotel de Paree ("Sundance Returns"), and Adventures in Paradise 
He directed a western, The Last Sunset (1961), starring Kirk Douglas and Rock Hudson, made for Douglas's company at Universal 
Aldrich tried to make Cross of Iron with John Mills but could not get financing Aldrich then went back to Italy, where he directed the Biblical spectacular Sodom and Gomorrah (1962)  for Joseph E  Levine  Aldrich disparaged the final film, which ended up costing $6 million 

Warner Bros: What Ever Happened to Baby Jane? and 4 For Texas
Aldrich rejuvenated his career by optioning the novel What Ever Happened to Baby Jane? (1962) for the Associates and Aldrich Company  He signed Bette Davis and Joan Crawford as stars, got Lukas Heller to write the script, and raised financing through Warner Bros  The film was a massive hit at the box office and earned five Academy Award nominations (including a win for black-and-white costume design), restoring Aldrich's commercial and critical reputation  It also revived the popularity of Davis and Crawford as box office draws and led to a subgenre of horror movies starring elder actresses nicknamed "Psycho-biddy"  It also started a run of films (continued in Hush Hush Sweet Charlotte and others) with a gothic, camp sensibility that became an immediate hit with queer audiences Still at Warners, Aldrich wrote, produced and directed a comic western with Frank Sinatra and Dean Martin, 4 for Texas (1963)  Made for Sam Productions, it had Charles Bronson, Victor Buono, Ursula Andress and Anita Ekberg in supporting roles  The film was reasonably popular at the box office, but Aldrich disliked working with Sinatra and the resulting film 

20th Century Fox: Hush Hush Sweet Charlotte and Flight of the Phoenix
Emboldened by his recent commercial successes, Aldrich announced a $14 million production program of eight films, including Cross of Iron, Whatever Happened to Cousin Charlotte, The Tsar's Bride, Brouhaha, The Legend of Lylah Clare, Paper Eagle, Genghis Khan's Bicycle, and There Really Was a Gold Mine a sequel to Vera Cruz  He had prepared scripts on  Now We Know, Vengeance Is Mine, Potluck for Pomeroy and Too Late the Hero  Other projects were The Strong Are Lonely, Pursuit of Happiness and the TV series The Man He started with a follow up to Baby Jane, Hush   Hush, Sweet Charlotte (1964), made for the Associates and Aldrich at 20th Century Fox  Bette Davis starred as a Southern woman who lives in a mansion and thinks she is going insane  Davis was to be reunited with Joan Crawford, but Crawford left the film and was replaced by Olivia de Havilland  The movie was popular, though not as successful as Baby Jane 
Aldrich stayed at Fox for his next film, the all-male action story The Flight of the Phoenix (1965), with James Stewart, Richard Attenborough and Peter Finch  The film was a commercial disappointment but eventually proved profitable 

MGM: The Dirty Dozen and The Legend of Lylah Clare
Aldrich had his biggest hit to date with The Dirty Dozen (1967), produced by Kenneth Hyman's Seven Arts Productions and released through MGM  Starring Lee Marvin, Charles Bronson, Ernest Borgnine and John Cassavetes, the film was a massive success at the box office Aldrich stayed at MGM for The Legend of Lylah Clare (1968) starring Finch and Kim Novak, made for Aldrich's own company  It was a critical and commercial disappointment 

Aldrich Studios
Aldrich sold his profit participation in Dirty Dozen to MGM for $1,350,000 and used the money to achieve a long-time dream – to buy his own studios, which he called the Aldrich Studios  He picked a facility at 201 North Occidental Boulevard, which had been in existence as a film studio since 1913, making Mary Pickford movies, and had recently been the basis of Sutherland Productions  Aldrich had made The Big Knife there "My dream has always been to own my own studio", he said  "With the possible exception of the old Enterprise Studio back in '45 I've never seen a studio run the way it should  That's because everybody at Enterprise felt they could make a contribution
and that's the feeling I hope we can have here "The studios were opened in August 1968  Along with Goldwyn, The Associates and Aldrich was the only major independent company with a studio in Hollywood  For the next few years he would make his movies there 

ABC Pictures
Aldrich's success with The Dirty Dozen led to the newly formed ABC Pictures offer the Associates and Aldrich Company a four-film contract  Aldrich announced they would be The Killing of Sister George, The Greatest Mother of Them All, Whatever Happened to Aunt Alice and Too Late the Hero Aldrich's first film for ABC was The Killing of Sister George (1968), adapted from by Lukas Heller from the play by Frank Marcus  It starred Beryl Reid and Susannah York and was notable for its frank depiction of a lesbian relationship  The movie was popular but because of its high cost lost money Aldrich produced but did not direct What Ever Happened to Aunt Alice? (1969), a psycho-biddy thriller in the vein of Baby Jane directed by Lee H  Katzin and starring Geraldine Page and Ruth Gordon  It also lost money  (Aldrich  announced he would make a third "Whatever Happened to" film, Whatever Happened to Dear Elva? based on the novel Goodbye, Dear Elva by Elizabeth Fenwick  However no film was made )
Aldrich made a 20-minute demo film, "The Greatest Mother of Them All" (1969), in an attempt to raise money for a feature-length version, but was unable to attract interest from ABC  Peter Finch starred ABC wanted Aldrich to make a war film in the vein of The Dirty Dozen so he produced and directed Too Late the Hero (1970), a "patrol" film, which he had been developing since 1959  Despite starring Michael Caine and Cliff Robertson and location work in the Philippines, the film made an overall loss of $6,765,000, making it one of the biggest money losers in the history of ABC Films Aldrich's next film for ABC was The Grissom Gang (1971), an adaptation of No Orchids for Miss Blandish set in the 1930s, with Scott Wilson and Kim Darby  It was another flop, losing ABC $3,670,000 Films Aldrich announced but did not make around this time included Rebellion, a western about Victoriano Huerta with Ernest Borgnine and George Kennedy;, The Movement, about student protest;  He also developed scripts for books which were turned into films by others: Coffee, Tea or Me? and Monte Walsh By now Aldrich's relationship with ABC had become fraught and devolved into lawsuits, in part caused by ABC refusing to finance other Aldrich projects  Aldrich parted company with ABC and in January 1972 put his studios up for sale In a 1972 interview Aldrich said that:

Lasting power is the most important power  Especially in this business, staying at the plate or staying at the table, staying in the game, is the essential  You can't allow yourself to get passed over or pushed aside  Very, very talented people got pushed aside and remained unused    If you must make a choice between luck and talent, you have to opt for luck  It's nice to have some of both, or a lot of both; but if you can't, luck is the answer  Nowhere else more so than in this business  The right place, the right time, the right script, all the right auspices—they made the difference to directors, writers, actors 

Ulzana's Raid and Emperor of the North Pole
Aldrich returned to westerns with Ulzana's Raid (1972), made at Universal for the Associates and Aldrich with producer Carter De Haven  It reteamed Aldrich with Lancaster for the first time since Vera Cruz  The film was a commercial disappointment but has subsequently come to be regarded as one of his finest films Aldrich followed it with Emperor of the North Pole (1973), a story of railway hobos in the 1930s starring Lee Marvin and Ernest Borgnine  Produced by Hyman at 20th Century Fox, it was another box office failure, though it too has seen its reputation soar in recent years (Leonard Maltin gave it 3 1/2 stars, calling it "unusual, exciting" and a "unique entertainment") 

Two with Burt Reynolds: The Longest Yard and Hustle
Aldrich's commercial fortunes were revived with a prison comedy starring Burt Reynolds,The Longest Yard (1974)  Made for producer Albert S  Ruddy at Paramount, it was Aldrich's biggest hit since The Dirty Dozen Aldrich and Reynolds promptly reteamed on Hustle (1975), made for their own production company RoBurt and released through Paramount  A tough police drama co-starring Catherine Deneuve, it was another box office success  However, tension between Aldrich and Reynolds during filming meant they made no more movies together  In 1975 Aldrich was elected president of the Directors Guild of America and served two two-year terms 

Lorimar: Twilight's Last Gleaming and The Choirboys
Aldrich signed a two-picture deal with Lorimar Productions, a TV company which wanted to move into features 
The first was Twilight's Last Gleaming (1977), an action thriller starring Lancaster  The second was a comedy, The Choirboys (1977), based on the best selling novel by Joseph Wambaugh, which Wambaugh disliked so much he sued to get his name taken off the film 

Final films: The Frisco Kid and All the Marbles
Aldrich's last movies were comedies: The Frisco Kid (1979), set in the West with Gene Wilder and Harrison Ford, and    All the Marbles (1981), set in the world of female wrestling with Peter Falk  Neither was particularly popular 
When the latter film came out, Aldrich said, "I'm 63 and I've had hits every ten years and I just hope I can function long enough to have one in the 90s "

Personal life
From his marriage to Harriet Foster (1941–1965), Aldrich had four children, all of whom work in the film business—Adell, William, Alida and Kelly  In 1966, after divorcing Foster, he married fashion model Sibylle Siegfried 

Death and legacy
Aldrich died of kidney failure on December 5, 1983, in a Los Angeles hospital  He is buried in Lot 5153 of the Whispering Trees Section of Forest Lawn Cemetery in Hollywood Hills Film critic John Patterson summarized his career in 2012: "He was a punchy, caustic, macho and pessimistic director, who depicted corruption and evil unflinchingly, and pushed limits on violence throughout his career  His aggressive and pugnacious film-making style, often crass and crude, but never less than utterly vital and alive, warrants — and will richly reward — your immediate attention "In 2012, John Patterson of The Guardian commented that Aldrich is "a wonderful director nearly 30 years dead now, whose body of work is in danger of slipping over the horizon " Japanese film director Kiyoshi Kurosawa noted Aldrich's influence on him In the FX miniseries Feud: Bette and Joan, Aldrich is portrayed by English actor Alfred Molina  The series follows the productions of Baby Jane and Sweet Charlotte 

Filmography
Films
Other film work
The Southerner (1945) (assistant director)
The Story of G I  Joe (1945) (assistant director)
Force of Evil (1948) (assistant director)
Caught (1949) (uncredited director of reshoots)
When I Grow Up (1950) (assistant director)
Limelight (1952) (assistant director)
The Gamma People (1956) (story)
The Garment Jungle (1957) (uncredited original director)
What Ever Happened to Aunt Alice? (1969) (producer)

Television
Unmade projects
Rebellion (late 1960s) — a western
The Crowded Bed (early 1970s)
The Greatest Mother of 'em All (1969) — the full-length feature was never shot
Rage of Honor (1970s) — western set in 1929 about an aging cowboy
Coffee, Tea or Me?  (early 1970s) — comedy about virginal air stewardess

Footnotes
Sources
Arnold, Edward T  and Miller, Eugene, L  1986  The Films and Career of Robert Aldrich  University of Tennessee Press  Knoxville, Tennessee  ISBN 0-87049-504-6
Sarris, Andrew 1981  What Ever Happened to Bobby Aldrich? CineFiles  University of California, Berkeley Art Museum and Pacific Film Archive  Retrieved 18 October, 2018 
Sauvage, Pierre  1976  Aldrich Interview in Edward Arnold's and Eugene Miller's Robert Aldrich: Interviews, 2004  University of Mississippi Press  ISBN 1-57806-602-6
Silver, Alain and Ursini, James  1995  What Ever Happened to Robert Aldrich?: His Life and His Films Limelight Editions  ISBN 0-87910-185-7
Walsh, David  2018  100 years since the birth of American filmmaker Robert Aldrich: Including an interview with film historian Tony Williams Retrieved 10 October 2018



ground_truth: Cartoon Cartoon Fridays

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

Question: Who starred in her final film role in the 1964 film directed by the man who also did Vera Cruz and Kiss Me Deadly?

The following are given passages.
Context 2: 
Williams, Tony  2003  Body and Soul: the cinematic vision of Robert Aldrich  The Scarecrow Press, Inc  Lanham, Maryland  ISBN 978-0-8108-4993-8

Further reading
Robert Aldrich biography and credits at the BFI's Screenonline Entry written by Robert Shail 
"Aldrich & Associates special section"  Screening the Past (10)  2000  A special issue of a film journal that emerged from a symposium devoted to Aldrich & Associates on August 2, 1998, in Melbourne 
Silver, Alain (May 2002)  "Robert Aldrich"  Senses of Cinema (20)  Silver's contribution to the journal's "Great Directors" series 

External links

Robert Aldrich at IMDb
Robert Aldrich at the TCM Movie Database 
Robert Aldrich at AllMovie
Robert Aldrich at Find a Grave
Literature on Robert Aldrich
Passage 2:
Hush… Hush, Sweet Charlotte
Hush   Hush, Sweet Charlotte is a 1964 American psychological thriller film directed and produced by Robert Aldrich, and starring Bette Davis, Olivia de Havilland, Joseph Cotten, Agnes Moorehead and Mary Astor in her final film role  It follows a middle-aged Southern woman, suspected in the unsolved murder of her lover from decades before, who is plagued by bizarre occurrences after summoning her cousin to help challenge the local government's impending demolition of her home  The screenplay was adapted by Henry Farrell and Lukas Heller, from Farrell's unpublished short story "What Ever Happened to Cousin Charlotte?"
Following his previous success adapting Farrell's novel What Ever Happened to Baby Jane?, Aldrich originally cast the film to reunite Davis with Joan Crawford, despite their notorious turbulence on set  Principal photography began with Davis in the title role and Crawford as Miriam, but shooting was postponed while Crawford dropped out and the role was recast with de Havilland  The film was a critical success, earning seven Academy Award nominations 

Plot
In 1927, young Southern belle Charlotte Hollis and her married lover John Mayhew plan to elope during a party at the Hollis family's antebellum mansion in Ascension Parish, Louisiana  Charlotte's father, Sam, confronts John over the affair and intimidates him with the news that John's wife Jewel visited the day before and revealed the affair  John pretends to Charlotte he can no longer love her and that they must part  Shortly after, John is ambushed and decapitated in the summerhouse by an assailant with a cleaver  Charlotte returns to the house in a bloodstained dress, which all of the guests witness 
Thirty-seven years later, Charlotte, a spinster, having inherited the estate after her father died, is tended to by her loyal housekeeper, Velma  In the intervening years, John's death has remained an unsolved murder, though it is commonly held that Charlotte was responsible  Despite notice from the Louisiana Highway Commission that she has been evicted from the property to make way for the impending construction of a new interstate, Charlotte is defiant, and threatens the demolition crew with a rifle  Seeking help in her fight against the Highway Commission, Charlotte summons Miriam, a poor cousin who lived with the family as a girl, but has since moved to New York City  Miriam returns and soon renews her relationship with Drew Bayliss, a local doctor who jilted her  Charlotte's sanity soon deteriorates following Miriam's arrival, her nights haunted by a mysterious harpsichord playing the song John wrote for her and by the appearance of his disembodied hand and head  Suspecting that Miriam and Drew are after Charlotte's money, Velma seeks help from Mr  Willis, an insurance investigator from England who is still fascinated by the case and who has visited Mayhew's ailing widow, Jewel; she gave him an envelope only to be opened after her death 
Miriam fires Velma, who later returns to discover Charlotte has been drugged  Velma plans to expose Miriam's exploitation of Charlotte, but Miriam hits Velma with a chair and she falls down the stairs to her death  Drew covers up the murder by declaring it an accident  One night, a drugged Charlotte runs downstairs in the grip of a hallucination, believing that John has returned to her  After Miriam tricks the intoxicated Charlotte into shooting Drew with a gun loaded with blanks, the two dispose of his body in a swamp  Charlotte returns to the house and witnesses the revived Drew walking downstairs after he returned, reducing her to insanity  Believing she has shattered Charlotte's mental state, Miriam celebrates with Drew in the garden, where they discuss the plan to have Charlotte committed to a psychiatric hospital and usurp her fortune  Charlotte overhears the entire conversation from the balcony, except for Miriam's admission that she had witnessed Jewel kill John, and has been using the knowledge to blackmail Jewel throughout the years  Charlotte kills Miriam and Drew, by pushing a large stone urn off the  balcony 
The next day, the authorities escort Charlotte from home, as a crowd gathers around to observe the spectacle  Charlotte receives an envelope from Mr Willis, which he received from Jewel (who died of a stroke after hearing of the incident which occurred on the previous night), ostensibly confessing to the murder of her husband John   As the authorities leave with Charlotte, she looks back at the house 

Cast
Production
Development and casting
Following the unexpected box office success of What Ever Happened to Baby Jane? (1962), Aldrich wanted to make a film with similar themes for Joan Crawford and Bette Davis  Their feud was infamous and legendary, and they were not initially eager to repeat themselves  
Writer Henry Farrell, on whose novel the film had been based, had written an unpublished short story called "What Ever Happened to Cousin Charlotte?" that Aldrich envisioned as a suitable follow-up  It told a similar story of a woman who manipulates a relative for personal gain, but for this film, Aldrich's idea was that the two actresses would switch the roles from the previous one, with Crawford playing the devious cousin trying to manipulate the innocent Davis into giving up her estate  Aldrich's frequent collaborator, Lukas Heller, wrote a draft of the screenplay, but was replaced by Farrell in late 1963 Three other cast members from What Ever Happened to Baby Jane? were cast in Hush   Hush, Sweet Charlotte: Wesley Addy, Dave Willock and Victor Buono 

The cast included Mary Astor, a friend of Davis' since their days at Warner Bros  Astor retired from acting and died in 1987  She said: My agent called: 'There's this cameo in a movie with Bette Davis  It's a hell of a part; it could put you right up there again ' I read the script  The opening shot described a severed head rolling down the stairs, and each page contained more blood and gore and hysterics and cracked mirrors and everybody being awful to everybody else  I skipped to my few pages–a little old lady sitting on her veranda waiting to die  There was a small kicker to it inasmuch as it was she who was the murderess in her youth and had started all the trouble  And then in the story, she died  Good! Now, I'd really be dead! And it was with Bette–which seemed sentimentally fitting 

Filming
Principal photography of the film began in mid-1964, with the on-location shooting commencing in Baton Rouge, Louisiana  However, the shoot was temporarily suspended on several occasions early on  Initially, it was halted after a third-party lawsuit was brought against Davis by Paramount Pictures over a commitment to complete additional filming on Where Love Has Gone (1964)  When this was resolved, filming recommenced 
The production was postponed again to allow Crawford to recover after she was admitted into the hospital due to an upper respiratory ailment, though Aldrich hired a private investigator to track her and determine whether or not she was actually ill  By August 4, 1964, the production had been suspended indefinitely, and the studio's insurance company insisted that Crawford be replaced, or else the film would have to be cancelled entirely Aldrich sought several actresses to replace Crawford, including Loretta Young, and Vivien Leigh, but they were each either unable or unwilling to take the role  Aldrich ultimately sought Olivia de Havilland for the part, and flew to her home in Switzerland to attempt to convince her to take the role  de Havilland agreed and she subsequently flew to Los Angeles to begin filming  In later interviews, de Havilland expressed displeasure with the film: "I wasn't thrilled with the script, and I definitely didn't like my part  I was reverse-typecast, being asked to be an unsympathetic villain  It wasn't what people expected of me  It wasn't really what I wanted to do  Bette wanted it so much, so I did it  I can't say I regretted it, because working with her was special, but I can't say it was a picture I am proud to put on my resume  Given the choice, I wouldn't have deprived Joan Crawford of the honor " According to Crawford, she only learned of her firing from a news radio broadcast  However, despite  being replaced (and because a planned reshoot with de Havilland in Louisiana was cancelled), brief footage of Crawford made it into the film, when she is seen sitting in the taxi in the wide shot for Miriam's arrival at the house (Crawford can be seen peering out of the window wearing dark sunglasses/clothing) 
Scenes outside the Hollis mansion were shot on location at Houmas House plantation in Louisiana  Scenes of the interior were shot on a soundstage in Hollywood 

Musical score
The title song by Frank de Vol became a hit for Patti Page, who recorded a version which reached no  8 on the Billboard Hot 100 

Release
Box office
According to Fox records, the film needed to earn $3,900,000 in rentals to break even and made $4,950,000, meaning it made a profit of $1,050,000  In France, the film sold 79,168 tickets 

Critical reception
Hush   Hush, Sweet Charlotte was another hit for Aldrich, opening to positive reviews  A pan, however, came from The New York Times  Bosley Crowther observed, "So calculated and coldly carpentered is the tale of murder, mayhem and deceit that Mr  Aldrich stages in this mansion that it soon appears grossly contrived, purposely sadistic and brutally sickening  So, instead of coming out funny, as did Whatever Happened to Baby Jane?, it comes out grisly, pretentious, disgusting and profoundly annoying "Variety's reviewer wrote: "Davis' portrayal is reminiscent of Jane in its emotional overtones, in her style of characterization of the near-crazed former Southern belle, aided by haggard makeup and outlandish attire  It is an outgoing performance, and she plays it to the limit  De Havilland, on the other hand, is far more restrained but nonetheless effective dramatically in her offbeat role " Judith Crist wrote about the film, "The guignol is about as grand as it gets " Kenneth Tynan asserted that "(Davis) has done nothing better since The Little Foxes " A later review for Time Out (London) observed: "Over the top, of course, and not a lot to it, but it's efficiently directed, beautifully shot, and contains enough scary sequences amid the brooding, tense atmosphere  Splendid performances from Davis and Moorehead, too "On the review aggregator website Rotten Tomatoes, 82% of 28 reviews are positive, with an average rating of 7 3/10 

Accolades
Moorehead won the Golden Globe for Best Supporting Actress  The film also received seven nominations (two more than Baby Jane: one less in the acting category, namely for Davis) for the 37th Academy Awards, breaking the record as the most for a horror film up to that time 

Home media
The film was first released on DVD on August 9, 2005  It was re-released on April 8, 2008, as part of The Bette Davis Centenary Celebration Collection 5-DVD box-set  On October 17, 2016, It was released onto high-definition Blu-ray in the US by Twilight Time as a 3,000-print limited edition  Another Blu-ray edition was released in the UK by Eureka Entertainment as a part of their "Masters of Cinema" collection on January 21, 2019 

See also
List of American films of 1964
Psycho-biddy
Passage 3:
A Kiss for Corliss
A Kiss for Corliss (retitled Almost a Bride before its release) is a 1949 American comedy film directed by Richard Wallace, written by Howard Dimsdale, and starring David Niven and Shirley Temple  The film, which was the last for both Wallace and Temple, was released on November 25, 1949, by United Artists  It is a sequel to the 1945 film Kiss and Tell, also directed by Wallace and starring Temple 

Plot
Playboy Kenneth Marquis is divorcing his third wife, who is represented by her attorney, Harry Archer  Corliss, Archer's teenaged daughter, is smitten with the charismatic Marquis and his free-wheeling lifestyle  Marquis sends a box of candy to Corliss, infuriating Archer, who interprets the gift as a jab at his settlement demand  Archer also prohibits Corliss' boyfriend Dexter from dating her after he sees Dexter at the Penguin Club, a restaurant that doubles as a gambling joint  Corliss manipulates Dexter into taking her to the club, but just after they arrive, the club is raided by police  Corliss and Dexter hide in the basement, but are temporarily trapped, causing Corliss to arrive home late, so she feigns amnesia to her parents to cover the truth  To refresh Corliss' memory, Archer reads her diary, which contains her imaginary romantic trysts with Marquis  The contents of the diary, along with Marquis' gift of candy, cause Corliss' parents to assume the worst 
Corliss' friend Raymond Pringle, who publishes a neighborhood paper, shows Marquis some of the diary entries, threatening to publish them unless Marquis buys advertising  Marquis visits the Archers and says that every word in the diary is true, that he is in love with Corliss, and that he wants to make her his fourth wife  When Archer explodes in anger, Corliss admits that the diary is not true and was written to make Dexter jealous  Marquis insists that the diary is true, though Corliss reveals why she was out late  Dexter arrives and eventually agrees with Corliss' version of events, but the Archers remain unconvinced  Marquis announces his engagement to Corliss in the newspaper to sue the Archers for breach of promise when the engagement is cancelled  The Archers delay rescinding the engagement to avoid the appearance of an immediate breach 
Marquis has gifts for Corliss delivered, and Archer is hounded by the media  Corliss continues to insist that the diary is false to her parents' continuing disbelief  Glimpse, a national magazine, runs photos of Marquis and Corliss  Archer's brother Uncle George, a Navy chaplain, visits and offers to perform the wedding  At the wedding rehearsal, held in the Archers' home, Dexter tells Mr  Archer that he has a witness who can attest to Corliss and his version of the events from the night when she was out late  Marquis' lie is revealed and the men escort him outside, where an offscreen fight ensues, and Archer and Dexter both return bloodied  Archer had overcome Marquis in the fight, but Dexter had accidentally hit  Archer  Marquis passes by an open window, his eye blackened, and mocks Archer and Dexter as he departs 

Cast
Shirley Temple as Corliss Archer
David Niven as Kenneth Marquis
Tom Tully as Harry P  Archer
Virginia Welles as Mildred Pringle
Darryl Hickman as Dexter Franklin
Gloria Holden as Mrs  Janet Archer
Robert Ellis as Raymond Pringle
Kathryn Card as Louise
Richard Gaines as Taylor
Roy Roberts as Uncle George
Passage 4:
The Ambulance
The Ambulance is a 1990 American comedy thriller film written and directed by Larry Cohen  It stars Eric Roberts, Megan Gallagher, James Earl Jones, Janine Turner, Red Buttons, and Eric Braeden as the Doctor  Kevin Hagen plays a cop   In his first film role, Stan Lee of Marvel Comics has a small role as himself 

Plot
Aspiring comic book artist Josh Baker meets a young woman named Cheryl on the streets of New York City, who proceeds to collapse and is rushed to a hospital by an ambulance   When Josh arrives at the hospital, he is shocked to find that there is no record of Cheryl ever being admitted and he soon learns another startling discovery, Cheryl's roommate also vanished after being picked up by the same ambulance 
Convinced that there is some sort of conspiracy going on, Josh proceeds to investigate the disappearances, despite the overt disdain and discouragement from Lt  Spencer 

Cast
Eric Roberts as Josh Baker
James Earl Jones as Lieutenant Frank Spencer
Megan Gallagher as Officer Sandra Malloy
Red Buttons as Elias Zacharai
Janine Turner as Cheryl Turner
Eric Braeden as The Doctor
Richard Bright as Detective Jerry McClosky
James Dixon as Detective John "Jughead" Ryan
Jill Gatsby as Jerilyn O'Brien
Martin Barter as Street Gang Leader
Laurene Landon as Patty
Nick Chinlund as Hugo (as Nicholas Chinlund)
Beatrice Winde as Head Nurse
Kevin Hagen as Cop At Stables
Matt Norklun as Ambulance Driver
Rudy Jones as Ambulance Driver
Stan Lee as Marvel Comics Editor
Deborah Hedwall as Nurse Barbera Feinstein
Susan Blommaert as Hospital Receptionist
Jordan Derwin as Hospital Official
Alexandra Jones as The Waitress
Michael O'Hare as Hal

Production
Cohen later said he was inspired by "the concept of taking something that is thought of as being benign or benevolent    or anything else that has a safe and wholesome image, and turning it into an object of terror " He had done this for It's Alive (babies) and The Stuff (junk food) and wanted to do it with ambulances  "When you hear or see an ambulance on the street, it’s usually considered to be something that is going to rescue you and take care of you, a vehicle of mercy," said Cohen  "In this story, it’s actually a vehicle of murder  The whole idea of an ambulance that suddenly arrives from nowhere, picks people up, and takes them away to some dark place where they are never seen or heard of again was completely original and creepy "Cohen says at one stage the financiers wanted a "classier" title than The Ambulance so he retitled it In Thin Air  They changed their mind and the film went back to being called The Ambulance  In the May, 1990 edition of his column Stan's Soapbox, Stan Lee mentions playing himself in a scene in "an adventure mystery called Into Thin Air and refers to the name change in a later column Cohen wanted to cast John Travolta or Jim Carrey in the lead but his producers refused Donald Trump made a small cameo in a deleted scene 
Jamie Lee Curtis was originally considered to play Officer Sandra Malloy
The role of the villain was originally played by Wesley Addy  However Cohen was unhappy with his performance and recast the role with Eric Braeden  Braeden's casting came at the suggestion of Cohen's mother who was a fan of The Young and the Restless 

Home media
The film was released on Blu-ray on March 13, 2018 by Scream Factory 

See also
List of films featuring diabetes
Passage 5:
Vera Cruz (film)
Vera Cruz is a 1954 American Western film directed by Robert Aldrich and starring Gary Cooper and Burt Lancaster, featuring Denise Darcel, Sara Montiel, Cesar Romero, Ernest Borgnine, Charles Bronson and Jack Elam  Set during the Franco-Mexican War, the film centers on a group of American mercenaries tasked with transporting a large shipment of Imperial gold to the port of Veracruz, but begin to have second thoughts about their allegiances  It was produced by Hecht-Lancaster Productions and released by United Artists on 25 December 1954 
The picture's amoral characters and cynical attitude towards violence (including a scene where Lancaster's character threatens to murder child hostages) were considered shocking at the time and influenced future Westerns such as The Magnificent Seven (1960), The Professionals (1966), Sam Peckinpah's The Wild Bunch (1969), and the Spaghetti Western films of Sergio Leone, which often featured supporting cast members from Vera Cruz in similar roles  Its influence on the latter led some critics to label it "the first Spaghetti Western "

Plot
During the Franco-Mexican War, ex-Confederate soldier Ben Trane travels to Mexico seeking a job as a mercenary  He falls in with Joe Erin, a younger gunslinger who heads a gang of cutthroats  They are recruited by Marquis Henri de Labordere for service with Emperor Maximilian  Maximilian offers them $25,000 to escort the Countess Duvarre to the city of Veracruz  Trane gets the emperor to double the offer 
During a river crossing, Trane notices that the stagecoach in which the countess is traveling is extremely heavy  Erin and Trane later discover that hidden inside are six cases of gold coins  The countess informs them that it is worth $3 million which is intended to pay for reinforcements from Europe  They form an uneasy alliance to steal and split the gold  Unbeknownst to them, the marquis is listening from the shadows 
The Juaristas, led by General Ramírez, attack the column several times  Pickpocket and Juarista undercover agent Nina joins the convoy  When Trane, Erin and their men are surrounded by the Juaristas, Trane persuades Ramirez to join forces and agree to pay them $100,000  The marquis succeeds in getting the gold to Veracruz  In the Juarista attack, the French are defeated, but most of Erin's men are killed  Erin attempts to steal the gold for himself by getting the countess to reveal the location of the ship she had hired to transport it  He even kills one of his own men  However, Trane arrives in time to confront him  They face off in a showdown that ends in Erin's death  Trane and Nina leave, while women search the dead for their loved ones 

Cast
Production
Burt Lancaster and Harold Hecht had just signed a contract with United Artists to make two films, starting with Apache, also directed by Robert Aldrich  Just before filming on that movie began in October 1953, Lancaster announced their second film would be Vera Cruz with himself and Gary Cooper, based on a story by Borden Chase In December 1953, after Apache finished filming, Lancaster announced Aldrich would direct Vera Cruz United Artists were so happy with Apache they changed the two-picture deal with Hecht and Lancaster into a two-year deal covering seven films 

Casting
Before taking the role of Ben Trane, Gary Cooper was advised by Clark Gable not to work with Burt Lancaster, fearing the younger actor would upstage him Mari Blanchard was meant to play the female lead and Hecht signed to borrow her from Universal  However, there was a clause forbidding her to appear on television which Hecht disagreed with  Instead they cast Denise Darcel  Mamie Van Doren claimed in her autobiography Playing the Field that Lancaster interviewed her for the role of the Countess, but she lost the part after refusing to sleep with him Charles Bronson was billed under his real name, 'Charles Buchinsky', in the film  This would mark the last time he would be credited that way, before he adopted his more well-known stage name 

Shooting
Filming started in February 1954  Vera Cruz was the first American film production to be shot entirely in Mexico  Though set in the city of Veracruz, the majority of the film was actually shot in and around Cuernavaca  Exterior shots were filmed at Chapultepec Castle in Mexico City, the ruins of Teotihuacan, and the climax was shot at Molino de Flores Nezahualcóyotl National Park in Texcoco de Mora  The interiors were filmed at Estudios Churubusco Vera Cruz was also the first production to use the SuperScope widescreen process, which was designed to achieve anamorphic prints from standard flat 35mm negatives  Shot at a conventional 1 37:1 aspect ratio, the film was cropped to 2:1 in post-production, given a CinemaScope-compatible (2x) squeeze, and blown up to normal frame height  
Aldrich and Lancaster got along well on Apache but as to Vera Cruz, the director said "we probably had a less amicable relationship than we anticipated  This was because Burt, until he directed The Kentuckian, thought he was going to be a director and when you're directing your first great big picture you don't welcome somebody else on hand with directorial notions  There were a few differences of opinion about concepts and about action " Lancaster recalled that Cooper demanded rewrites to his character to make him less morally-gray and more conventionally heroic 
According to Eli Wallach, the Mexican authorities were appalled at the unflattering depiction of their country, so any subsequent Hollywood productions (including The Magnificent Seven) were thoroughly overseen by state censors 

Reception
The film earned an estimated $5 million at the North American box office during its first run and $9 million overall In 1963, Aldrich announced he was working on a sequel There Really Was a Gold Mine but it was never made 

Legacy
Critic and historian Dave Kehr would later cite Vera Cruz as one of the most influential films of the 1950s, inspiring later Westerns by such directors as Sam Peckinpah and especially Sergio Leone  Kehr also praised Cooper and Lancaster's performances in the film, writing that "the generational transition from an aging star to his up-and-coming replacement has seldom been handled with better humor or more biting wit "

Home media
Vera Cruz was released to DVD by MGM Home Video on March 20, 2001, and to Blu-Ray on June 7, 2011  Kino Lorber re-released the film on Blu-ray on October 12, 2021 

See also
You Can't Win 'Em All, a 1970 film with a similar plot set in the Greco-Turkish War 
Passage 6:
Ten Tall Men
Ten Tall Men is a 1951 American adventure film starring Burt Lancaster about the French Foreign Legion during the Rif War in Morocco  Though co-written and directed by Willis Goldbeck, Goldbeck walked off the film due to disputes with Lancaster (whose own company, Norma Productions, produced the film) with the movie being completed by Robert Parrish   Credited as an associate producer, Robert Aldrich was a production manager on the film where he met Lancaster, which led him to direct Vera Cruz for him  Robert Clary made his debut in the film as an Arab batman  Portions of the film were filmed in Palm Springs, California  The story was released as a Fawcett Movie Comic #16 in April 1951 

Plot
After capturing an important Rif prisoner in an undercover operation, Sergeant Mike Kincaid (Lancaster) is imprisoned himself for striking a lieutenant (Stephen Bekassy) who beats a French woman (Mari Blanchard) with his riding crop for preferring Kincaid to him  Kincaid has a longstanding rivalry with the lieutenant, but the lieutenant is now in command of the company holding the city of Tarfa while the regiment is away  As the ranking officer, the lieutenant uses Kincaid's striking of him to get his revenge 
Kincaid is imprisoned alongside seven military prisoners and the captured Rif who has refused to talk, with the lieutenant refusing food and water to both Kincaid and the Rif   When his two comrades-in-arms who accompanied him on the mission, Corporals Luis Delgado (Gilbert Roland) and Pierre Molier (Kieron Moore), sneak food and water to Kincaid, he shares them with the Rif   To repay Kincaid's kindness and assuage his own guilt for telling the lieutenant about Kincaid's assignation with the Frenchwoman, the tells of an impending attack on Tarfa while the garrison is weak  The Rif believes Kincaid will escape to save himself, but he instead warns the lieutenant 
The experienced Kincaid tells the lieutenant that their only chance is to release him to lead a series of guerrilla hit-and-run attacks to delay the enemy for five days until the regiment returns   The lieutenant agrees, but only if Kincaid will testify that the idea was his  Kincaid agrees to his terms  The only men available for the mission are the seven prisoners, who receive full pardons for their crimes   His two corporals join them, raising their number to ten 
When scouting an enemy camp, the Legionnaires discover two rival tribes have joined forces, making them strong enough to take the city  Using his expertise in disguise and language, Kincaid finds out that the Rif leader, Khalid Hussein (Gerald Mohr), is marrying Mahla (Jody Lawrance) in order to cement an alliance with the other tribe  Kincaid kidnaps her to force the enemy to chase him for the five days 
Mahla begins to fall in love with her handsome captor, as Hussein pursues the Legionnaires across the desert  In the midst of the dangers, the patrol finds a destroyed Legion truck containing a safe that one of the men opens, revealing a large Legion payroll  When Jardine (John Dehner) tries to get away with the payroll, he is shot, but that tells the Rifs where they are 
Kincaid is eventually captured and Mahla freed  She demands that Kincaid be released unharmed, or she will not marry Hussein  Hussein reluctantly does so  Kincaid and his men infiltrate the wedding ceremony, and fighting breaks out  Mahla's tribe switches sides, and Hussein is killed 

Cast
Production
The film was the first of a two-picture deal Columbia Pictures signed with Norma Productions, the company of Burt Lancaster and Harold Hecht  (The second was to be Small Wonder, a film in which Lancaster would not appear )It was originally a Western story by James Warner Bellah and Willis Goldbeck which concerned conflict between the US cavalry and Apaches  Producer Harold Hecht and star Burt Lancaster then decided that "John Ford and other Hollywood operators have so effectively decimated the Apache population" that they hired writer A I  Bezzerides to reimagine the story with a Foreign Legion setting which wound up involving the Rif War (1911-1927)  Roland Kibbee and Frank Davis were hired to rewrite the script to make it more comedic The film was shot in February 1950 at the Columbia Ranch in the San Fernando Valley and on location in Yuma, Arizona 

Notes
External links
Ten Tall Men at the American Film Institute Catalog
Ten Tall Men at IMDb
Ten Tall Men at the TCM Movie Database
Passage 7:
Enteng the Dragon
Enteng the Dragon is a 1988 Philippine comedy film directed by Romy Villaflor and written by Tony S  Mortel  It is a parody of the film Enter the Dragon 

Plot
The story revolves around \ Enteng (Dolphy) a vendor of a mobile food house in China Town  Enteng is known for his humor, and a journalist and star reporter named Rowena (Dang Cecilio) was interested to cover his story after her Editor-in-Chief saw him as worthy of human interest  Kuto (Vandolph), a young boy that he found sleeping in his food wagon, led him to the shrine of the monks, that sealed his destiny as a vigilante and hero 

Cast
Dolphy as Enteng
Vandolph as Kuto
Dang Cecilio as Rowena
Eddie Garcia as the Evil Leader
Monica Herrera as Christina
Monsour del Rosario
Rommel Valdez
Tsing Tong Tsai
Panchito
Babalu
Don Pepot
Che-Che Sta  Ana
Roy Aoyama
Ros Olgado
Ernie Ortega
Estrella Querubin

Production
The film was produced by the RVQ Productions, a production owned by Dolphy himself 

Release
The film was released on July 14, 1988 

Accolades
Passage 8:
O Cangaceiro
O Cangaceiro (lit  "The Cangaceiro"; also known as The Bandit and The Bandits) is a 1953 Brazilian adventure western film directed by Lima Barreto  After some reluctance by its studio Vera Cruz, Barreto shot it in 1952  After its release it was national and international success, and won several awards, including the Adventure Film Award at the 1953 Cannes Film Festival  It was poorly received in retrospect despite being praised by the time of its release and started a subgenre in Brazilian cinema 

Cast
Alberto Ruschel as Teodoro
Marisa Prado as Olívia
Milton Ribeiro as Galdino
Vanja Orico as Maria Clódia
Adoniran Barbosa as Mané Mole

Production
In 1950, Lima Barreto joined the film studio Companhia Cinematográfica Vera Cruz invited by its then president Alberto Cavalcanti  After releasing two documentaries successfully for the studio, Painel and Santuário, Barreto get the chance to direct a feature film  With the idea to shoot a film about Lampião since the early 1940s, he only commenced to shoot it in 1952 after some reluctance by Franco Zampari, Vera Cruz's founder  Although he went to Bahia and did some research there, it was shot in Vargem Grande do Sul, São Paulo, with a production that lasted nine months due to internal conflicts 

Reception
O Cangaceiro was released on January 20, 1953, and was  a public success; it grossed ₢$30 million (about US$1 5 million) in the 24 Brazilian theaters in which it spent six weeks  After its national success, it was distributed to over 80 countries, becoming one of the most internationally successful Brazilian films—a feat uncommon in that time  It led it to be considered Vera Cruz's "high point" and its "most important production" by Georges Sadoul, author of Dictionary of Films, and by O Estado de S  Paulo's Luiz Zanin, respectively After winning several Brazilian awards, the film was entered into the 1953 Cannes Film Festival, where it was "much liked for its original and truly national flavour " O Cangaceiro won the Best Adventure Film Award, making it the first Brazilian film to win a prize at Cannes, and received a special mention to Gabriel Migliori's musical composition  At the Edinburgh International Film Festival it was awarded the Best Film It received mixed commentaries since its release  It was once voted the best Brazilian film in 1968 by National Film Institute's magazine Revista Film Cultura  Sadoul declared, "Lima Barreto well conveys a sense of poetry of the open desert space of the Sertão and makes this story lively and suspenseful"  After praising its cast performances and its "thrilling" musical score, Bosley Crowther of The New York Times said, "This [O] Cangaceiro is a picture that will cause the Western fans to rub their eyes " However, Cinema Novo representants—mainly Glauber Rocha—would criticize it for borrowing too much the style of American films  Critics also went on to comment on its "sociological inaccuracies "

Legacy
It is the first film to mix cangaço with Western, starting a genre called "Nordestern" —an amalgam of the words "Nordeste" (Northeast) and "Western"  It would be followed by successful films such as Carlos Coimbra's A Morte Comanda o Cangaço (1960), Lampião, o Rei do Cangaço (1964) and Corisco, o Diabo Louro (1969), and Aurélio Teixeira's Os Três Cabras de Lampião  It also established cangaço as a subgenre in Brazilian cinema; subsequently, cangaço would be featured as a theme from comedy—such as Os Três Cangaceiro and O Lamparina—to pornochanchada films—As Cangaceiras Eróticas and A Ilha das Cangaceiras Virgens  Also, Ruschel and Ribeiro would reprise the role of "good cangaceiro" and "bad cangaceiro" in other films 
Context 3: Passage 1:
Capital Cities (band)
Capital Cities is an American pop duo from Los Angeles, California, formed in 2008 by Ryan Merchant (vocals, keyboard, guitar) and Sebu Simonian (vocals, keyboard)  Their debut EP was released on June 7, 2011, with lead single "Safe and Sound" which became their first, and only, top ten hit single  The band currently consists of Ryan Merchant, Sebu Simonian, Manny Quintero on bass guitar, Spencer Ludwig on trumpet, Nick Merwin on guitar and Channing Holmes on drums 
A subsequent single, "Kangaroo Court", was released on March 27, 2012  The band was featured on the Pop Up #1 compilation selected by Perez Hilton that was released on August 7, 2012  The band's song "Safe and Sound" charted at #1 on the US Alternative Songs chart  The song was also used in a German Vodafone commercial, in a television commercial in the United States and Canada for the 2014 Mazda 3, and in an Air New Zealand in-flight safety video  The song "Center Stage" was featured on ESPN's First Take where they played a short segment of the retro-sounding track before going to commercial breaks 
The band's debut album, In a Tidal Wave of Mystery, was released June 4, 2013 via Capitol Records in partnership with Lazy Hooks  It was the first release of new material on Capitol with a Universal Music Group catalog number  The album debuted at number sixty-six on the Billboard 200 chart 

History
The two musicians met after Merchant responded to Simonian's open ad on Craigslist offering his production services  They began jingle-writing together  After three years successfully  composing music for commercials and advertising campaigns, the duo formed Capital Cities  The band released its debut, self-titled EP in June 2011 via their label, Lazy Hooks 
In 2012, the band signed with Capitol Records  In partnership with Lazy Hooks, the label released In a Tidal Wave of Mystery, the band's debut album, on June 4, 2013  The album takes its name from the lyrics of its top 10 Modern Rock radio hit "Safe and Sound",  the album's first single  The song has been used in promotional campaigns for HBO, Smart Car, Microsoft, Mazda and many other spots  The album includes the songs "Kangaroo Court" and "I Sold My Bed, But Not My Stereo"  Outkast's André 3000, vocalist Shemika Secrest and NPR's Frank Tavares are featured on the song "Farrah Fawcett Hair"  The album is produced and mixed entirely by the pair of Merchant and Simonian  The artwork is by Brazilian artist João Lauro Fonte 

The band embarked on its first-ever North American outing, the "Dancing with Strangers" tour, with special guests Gold Fields, which kicked off on April 23, 2013, at the Crescent Ballroom in Phoenix, Arizona  Capital Cities' May 9 show at New York City's Irving Plaza sold out two months in advance as well two nights at the El Rey Theatre in Los Angeles  All proceeds from the June 7 show at the El Rey went to MusiCares and a Place Called Home  The band has also appeared and performed at Sundance, SXSW, SweetLife, and ULTRA 
The band premiered the official video of "Safe and Sound" on April 25, 2013 on Vevo  The clip was directed by Grady Hall (who also has worked with Beck and Modest Mouse)  In the video, the song fuels a mash-up of the past 100 years of dance, presided over by the band at the newly restored Los Angeles Theater in downtown Los Angeles  The video featured work from Emmy-nominated choreographer Mandy Moore  The video was nominated for two 2013 MTV Video Music Awards: Best Art Direction and Best Visual Effects  The video won a 2013 MTV Video Music Award for Best Visual Effects 
In May 2013, "Safe and Sound" reached number one on the German Singles Chart 
September 5, 2013 marked the premiere of the "Kangaroo Court" music video  The video features appearances from Darren Criss, Shannon Woodward, and Channing Holmes  The story tells of a zebra (Merchant) who has been forbidden from a club, The Kangaroo Court  Attempting entry disguised as a horse, he falls for a lapdog (Woodward)  Her date that night, a bulldog (Criss), becomes jealous and reveals the zebra for who he actually is  The zebra is placed under arrest for his crime and sent to court to face a kangaroo judge (Holmes)  He is found guilty immediately and is executed by lion (Simonian) 
The band was nominated for a Grammy Award for Best Music Video 
Capital Cities joined Katy Perry on the North American leg of her Prismatic World Tour 
In April and May 2016, nearly three years after the release of the band's debut album, the official Capital Cities Facebook page made two posts strongly suggesting that new music was in the works  Two years later, the band released four singles within the span of four weeks and followed up with the release of Solarize on August 10, 2018 as their latest album to date 

Discography
Studio albums
Extended plays
Singles
Notes
Awards and nominations
Passage 2:
Capital Cities/ABC Inc 
Capital Cities/ABC Inc  was an American media company  It was founded in 1985 when Capital Cities Communications purchased the much larger American Broadcasting Company  It was eventually acquired by The Walt Disney Company and re-branded itself as Disney–ABC Television Group (now Disney General Entertainment Content) in 1996 

History
Origins
Capital Cities/ABC Inc  origins trace back in 1946, when Hyman Rosenblum (1911–1996), a local Albany businessman, and several investors, including future Congressman Leo William O'Brien and local advertising executive Harry L  Goldman decided to bid for a new radio station license in Albany  Rosenblum was also instrumental in help co-founding Hudson Valley Community College in Troy several years later, when he was on the Board of Trustees from 1953 to 1957 and then became the board's secretary in 1957, holding that position until his death in 1996  The company was incorporated as Hudson Valley Broadcasting Company on April 5, 1946   when the company received the license for WROW radio in Albany, New York  In October 1953, it opened the Albany-Schenectady-Troy area's second television station, WROW-TV on channel 41  In the late fall of 1954, a group of New York City-based investors, led by famous radio broadcaster and author Lowell Thomas, bought majority control of Hudson Valley Broadcasting from Rosenblum and associates  Thomas' manager/investing partner, Frank Smith became the President of the company 

The Capital Cities era
In 1956, WROW-TV moved from channel 41 to channel 10 and became WCDA  In 1957, Hudson Valley Broadcasting merged with Durham Broadcasting Enterprises, the owners of WTVD television in Durham, North Carolina   The new company took the name Capital Cities Television Corporation in November 1957, as both WROW/WCDA (now WTEN) and WTVD served the capital regions of their respective states  Capital Cities then began purchasing stations, starting with WPRO-AM-FM-TV in Providence, Rhode Island (another capital city) in 1959  In December 1959, the company's name was changed to Capital Cities Broadcasting During the 1960s, Capital Cities' holdings grew with the separate 1961 purchases of WPAT-AM-FM in Paterson, New Jersey, and WKBW radio and WKBW-TV in Buffalo, New York; and of the Goodwill Stations, which included WJR-AM-FM in Detroit, WJRT-TV in Flint, Michigan, and WSAZ-AM-TV in Huntington, West Virginia (serving the Charleston capital region), in 1964   CapCities entered the Los Angeles market in 1966 with its purchase of KPOL (later KZLA and now the present-day KMPC) and KPOL-FM (later KZLA-FM and now KLLI)  As a result of the Goodwill Stations purchase, and to adhere to Federal Communications Commission rules limiting ownership of VHF television stations to five per company, Capital Cities spun off WJRT-TV to Poole Broadcasting, a company owned by former CapCities shareholder John B  Poole  Poole's own Poole Broadcasting firm would later purchase two other television stations from CapCities: the second was WPRO-TV (now WPRI-TV) in 1967, coinciding with CapCities' purchase of KTRK-TV in Houston from the Houston Chronicle in June of that year In 1968, Capital Cities entered the publishing business by acquiring Fairchild Publications, publisher of several magazines including Women's Wear Daily   The following year the firm purchased its first newspaper, The Oakland Press of Pontiac, Michigan 
The following year, the company made another big purchase—acquiring WFIL-AM-FM-TV in Philadelphia, WNHC-AM-FM-TV in New Haven, Connecticut (in another capital region), and KFRE-AM-FM-TV in Fresno, California from Triangle Publications, as well as its syndicated television unit Triangle Program Sales  Capital Cities would immediately sell the radio stations to new owners, and, so as to comply with an FCC rule in place then that prohibited TV and radio stations in the same market, but different ownership from sharing the same callsigns, changed the television stations' calls to WPVI-TV, WTNH-TV, and KFSN-TV respectively  The acquisitions of WPVI and WTNH gave them seven VHF stations, two stations over the FCC limit at the time, and WTEN and WSAZ-TV were respectively spun off by CapCities to Poole Broadcasting and Lee Enterprises not long after the Triangle purchase was finalized  After the sale was consummated, its syndicated unit was renamed to Capital Cities Television Productions  Charles Keller was named general manager of the unit  WSAZ radio in Huntington was divested to Stoner Broadcasting (it is now WRVC), also as a result of the Triangle deal  To reflect the diversity of their holdings, the company changed its name to Capital Cities Communications on May 4, 1973 In 1974, Capital Cities bought WBAP and KSCS-FM in Fort Worth, Texas, along with its purchase of the Fort Worth Star-Telegram  The firm also increased its newspaper and publishing holdings during the middle-1970s  In 1974, Capital Cities acquired the Oregon-based Jackson Newspapers chain, which included the Albany Democrat-Herald, the Ashland Daily Tidings, and several other local newspapers and magazines  The Kansas City (Missouri) Star was acquired in 1977, and the following year CapCities bought Times Leader of Wilkes-Barre, Pennsylvania In 1977, the company was a lead plaintiff in a lawsuit by the owners of Buffalo-based TV stations against the Canadian Radio-television and Telecommunications Commission over that country's simultaneous substitution rules  The Supreme Court of Canada ruled against the broadcasters 
Returning to broadcasting, WBIE-FM (now WKHX-FM) in Marietta, Georgia (near Atlanta, another capital city), was bought in 1981   WROW radio in Albany, the company's first station, and its FM counterpart (which is now WYJB) were sold in 1983, and in 1984 the company made its last pre-ABC-merger purchases with independent station WFTS-TV in Tampa, Florida and KLAC radio in Los Angeles (concurrent with the sale of KZLA) 

Capital Cities/ABC
On March 19, 1985, Capital Cities announced that it would purchase ABC for $3 5 billion, which shocked the media industry, as ABC was some four times bigger than Capital Cities was at the time  Berkshire Hathaway chairman Warren Buffett helped to finance the deal in exchange for a 25 percent share in the combined company  The deal was, at the time, the largest non-oil merger in world business history  However, this record would be surpassed by year's end by the merger of General Electric and RCA (the latter company then being the parent company of rival network NBC) The newly merged company, known as Capital Cities/ABC (or CapCities/ABC), was forced to sell off some stations due to FCC ownership limits  Between them, ABC and CapCities owned more television stations than FCC rules allowed at the time  Also, the two companies owned several radio stations in the same markets  Of the former Capital Cities television stations, the new company opted to keep the outlets in Philadelphia, Houston, Durham, and Fresno  WFTS and ABC's WXYZ-TV in Detroit were divested as a pair to the E  W  Scripps Company's broadcasting division (then known as Scripps-Howard Broadcasting)  WTNH and WKBW-TV were sold separately to minority-owned companies; WKBW-TV would eventually be acquired by E W  Scripps by 2014  WTNH would have been sold in any event due to a significant city-grade signal overlap with ABC flagship WABC-TV in New York City  At the time, the FCC normally did not allow companies to own two television stations with common coverage areas (known commonly as the "one-to-a-market" rule), and would not even consider granting a waiver for a city-grade overlap 
The merged company could have been forced to sell off WPVI as well due to a large Grade B signal overlap with WABC-TV  Citing CBS' ownership of television stations in New York City (WCBS-TV) and Philadelphia (at the time WCAU-TV) under grandfathered status, Capital Cities/ABC requested, and was granted a permanent waiver from the FCC allowing it to keep WPVI-TV  Had the waiver request been denied, WXYZ-TV would have been retained 
WPVI-TV and KTRK-TV had long been ABC affiliates (in fact, two of ABC's strongest affiliates), while WTVD and KFSN-TV, longtime CBS affiliates, respectively switched to ABC in August and September 1985 (CBS went to WRAL-TV and KJEO now KGPE) 
On the radio side, new owners were found for CapCities' WPAT stations (Park Communications was the buyer), WKBW (Price Communications, the new owner, changed its call letters to WWKB, which was necessitated due to an FCC regulation in effect then that forbade TV and radio stations in the same city, but with different owners from sharing the same call letters) and KLAC and KZLA-FM (to Malrite Communications), and ABC's WRIF-FM in Detroit (to a minority-owned concern), among others The merger was completed on January 3, 1986   The new company retained ABC's radio and television combinations in New York City (WABC, WABC-TV and WPLJ), Los Angeles (KABC, KABC-TV and KLOS), Chicago (WLS, WLS-FM and WLS-TV), and San Francisco (KGO and KGO-TV), along with WMAL and WRQX-FM in Washington, D C ; CapCities' aforementioned television outlets and the Detroit, Providence, Marietta and Fort Worth radio stations; Fairchild Publications; the Fort Worth Star-Telegram and the Kansas City Star; and other broadcasting and publishing properties  Orbis Communications immediately purchased the syndication rights to the Capital Cities production library In May 1991, Capital Cities/ABC's Farm Progress Cos  closed its purchase of Harcourt Brace Jovanovich Inc 's 12-magazine farm publishing group  In 1992, Capital Cities/ABC sold Word Inc 's music and book publishing to Thomas Nelson  In 1992, ABC launched its new home video unit ABC Video, which was headed by former Vestron Video employee Jon Peisinger  In February 1993, the company formed a television production joint venture with Brillstein-Grey Entertainment to tap into their managed talent and to take advantage of relaxed production regulations   In July, CC/ABC purchased a majority ownership in animation studio DIC Animation City, forming a joint venture called DIC Entertainment L P  Later in July, CC/ABC reorganized into 4 groups, ABC TV Network Group, CC/ABC Publishing Group, the CC/ABC Broadcast Group, and a newly formed CC/ABC Multimedia Group overseeing the network, magazines & newspapers, stations and new technology & miscellaneous operations respectively  Network Group president Bob Iger was also promoted to executive president of CC/ABC  Also in 1993, ABC launched a new video line Signet Video, which were designed to release feature films for theatrical release or telemovies  It was subsequently changed its name to Summa Video, and signed a deal with Paramount Home Video to handle distribution of the titles In 1994, CC/ABC agreed to a $200 million seven-year television production joint venture with the original DreamWorks live-action studio  Also that year, CC/ABC formed a partnership with Brillstein/Grey Entertainment to launch Brillstein/Grey Communications During the 1994-1996 United States broadcast TV realignment, the Fox Broadcasting Company agreed to a multi-year, multi-station affiliation deal with New World Communications  Unless Scripps told that they would affiliate the other three stations to ABC and threatened to flip WEWS and WXYZ to CBS, Capital Cities/ABC and Scripps-Howard Broadcasting reached a deal to affiliate five of the Scripps-Howard TV properties with ABC (WEWS, WXYZ, two outgoing Fox affiliates KNXV and WFTS, and NBC affiliate WMAR-TV), with one additional outlet received in a separate deal (CBS affiliate WCPO) in September 1995  As a contingency, ABC bought WJRT-TV in Flint, Michigan and WTVG in Toledo, Ohio from SJL Broadcasting in 1995  In a separate deal, Allbritton Communications purchased WCFT-TV and WJSU-TV, and made them full power satellites of WBMA-LP; this prompted Allbritton to sign a groupwide affiliation deal with ABC which caused WCIV and Brunswick sister station WBSG-TV (now Ion Television O&O WPXC-TV) to become ABC affiliates  The latter had joined ABC as a semi-satellite of WJXX, which replaced WJKS as Jacksonville's ABC affiliate upon its 1997 sign-on)  In a separate deal, McGraw-Hill had to switch KERO-TV (channel 23) in Bakersfield, California; and KMGH-TV (channel 7) in Denver to ABC, and a renewal of the affiliation agreements with existing ABC affiliates WRTV (channel 6) in Indianapolis and KGTV (channel 10) in San Diego  This deal was made in response of the agreement stemming from NBC's acquisition of WCAU and the trade of KCNC and KUTV to CBS The Walt Disney Company announced that it would merge with Capital Cities/ABC in 1995  This merger of equals led to the formation of a new subsidiary, ABC, Inc , on September 19, 1996 

Structure at Disney acquisition
ABC Television Network Group
ABC News
ABC Sports
ABC Entertainment
ABC Daytime
ABC Children's Programming
CC/ABC Broadcasting Group
ABC Radio Network
eight TV stations
21 radio stations
ABC Cable and International Broadcast Group
ESPN Inc  (80%)
Eurosport (33 3%, England)
TV Sport (10%, France; Eurosport affiliate)
The Japan Sports Channel (20%)
A&E Television Networks (37 5%)
Lifetime Television (50%)
Tele-Muchen (50%, Germany)
RTL2 20%
Hamster Productions  (33%, France)
DIC Entertainment (Limited Partnerships with Andy Heyward)
DIC Entertainment, L P  (100%)
DIC Productions, L P  (95%)
Scandinavian Broadcasting System (23%, Luxembourg)
CC/ABC Publishing Group
Fairchild Publications
Chilton Publications
multiple newspapers from a dozen dailies  and more weeklies
Ft  Worth Star-Telegram
The Kansas City Star
Belleville News-Democrat
Times Leader
Pacific Northwest GroupAlbany Democrat-Herald
Ashland Daily Tidings
The Sandy Post
Lebanon Express
Cottage Grove Sentinel
The Outlook
News-Times (Newport)
The Oakland Press
dozens more publications in the fields of business and law trade journals
Farm Progress
Los Angeles Magazine
Institutional Investor
CC/ABC Multimedia GroupCreative Wonders (Joint-venture with Electronic Arts)

Former Capital Cities-owned stations
Stations are listed alphabetically by state and city of license 
Notes:

(**) – indicates a station built and signed on by a predecessor company of Capital Cities 

Television stations
This list does not include WTVG in Toledo, Ohio  That station, which switched its affiliation from NBC to ABC, was purchased by Capital Cities/ABC in 1995, and was completed just before Disney's acquisition of the combined group was finalized  In addition, WJRT-TV was reacquired in the same deal 

Radio stations
All stations currently under ownership of Cumulus Media were previously owned by Citadel Broadcasting before Cumulus acquired the company on September 16, 2011  Most of these same stations were owned by the Walt Disney Company until Citadel's purchase of ABC Radio Networks and these stations on June 12, 2007 (except for WPRO-AM-FM, which were sold by Capital Cities/ABC in 1993 and acquired by Citadel in 1997) 

Financial results
Passage 3:
Thomas Murphy (broadcasting)
Thomas Sawyer Murphy (May 31, 1925 – May 25, 2022) was an American broadcasting executive, and was chair and chief executive officer of Capital Cities / ABC, Inc  until 1996  Together with fellow Capital Cities executive Daniel Burke, Murphy engineered the acquisition of the American Broadcasting Company in 1986 for $3 5 billion  Murphy and Burke, who served as president and chief executive of ABC until 1994, are credited with increasing the profitability and efficiency of ABC 

Early life
Murphy was born in Brooklyn on May 31, 1925   His father, Charles, was a lawyer involved in Democratic Party politics and later worked as a judge in the Judiciary of New York; his mother, Elizabeth (Sawyer), was a homemaker   Murphy initially studied at Princeton University, before enlisting in the US Navy and serving from 1943 to 1946   He then studied mechanical engineering at Cornell University, graduating with a Bachelor of Science in 1945   After his application to Harvard Business School was rejected, he was employed by Texaco as an oil salesman for a year   He was later accepted by Harvard and obtained a Master of Business Administration in 1949, graduating as a Baker Scholar 

Career
Murphy first worked at Kenyon & Eckhardt as an account executive, before becoming a brand manager for Lever Brothers   His fortunes changed when broadcaster and author Lowell Thomas, and his business manager/partner, Frank Smith, led a New York City-based investor group to buy control of Albany, New York-based Hudson Valley Broadcasting Company, in 1954 and hired Murphy to run the WROW stations as their new general manager  Although Murphy did not have any broadcast experience, his leadership and conservative financial restraint helped bring WROW-TV (now WTEN) to profitability three years later   In December 1957, Hudson Valley merged with Durham Television Enterprises, owners of WTVD in Durham, North Carolina, to form Capital Cities Television Corporation, which later became Capital Cities Broadcasting Corp  in 1960 and Capital Cities Communications thirteen years later Murphy moved up quickly in the ranks of the company   He became Capital Cities' first vice president in 1960   Four years later, he was promoted to president while Smith moved up to become the company's first chairman   After Smith's unexpected death in 1966, Murphy became chairman and chief executive officer, a position that he held for the next 30 years   Under his leadership, he helped build Capital Cities from a small broadcasting company into a multibillion-dollar media conglomerate  He then got into the publishing and newspaper business by buying Fairchild Publications in 1968, and then bought several newspapers including The Kansas City Star and Fort Worth Star-Telegram  Murphy's biggest acquisition came in 1985 when he bought the American Broadcasting Company for $3 5 billion to form Capital Cities/ABC  The merger was engineered by Murphy and the man who replaced him as WTEN's station manager, Daniel B  Burke, who became ABC's president 
In 1995 Capital Cities / ABC was bought by Disney  He was a member of the board of directors of Berkshire Hathaway, General Housewares Corp , Texaco, Inc , Johnson & Johnson, and IBM Corporation and a life trustee and honorary vice chair of New York University 

Personal life and death
Murphy was married to Suzanne Crosby Murphy until her death in 2009  Together, they had four children: Emilie, Thomas Jr , Kathleen, and Mary  Murphy died on May 25, 2022, at his home in Rye, New York 

Awards
Television Hall of Fame
1996 NATPE Lifetime Achievement Award

Citations
General and cited sources
"Thomas S  Murphy", Encyclopedia of television, Editor Horace Newcomb, CRC Press, 2004, ISBN 978-1-57958-411-5
Forbes, Malcolm S  "Mighty CEOs Who are Also All-round Nice Guys are Rare " Forbes (New York), December 11, 1989 
Gibbs, Nancy  "Easy as ABC " Time (New York), August 14, 1995 
Hawver, W  Capital Cities/ABC The Early Years: 1954-1986 How the Minnow Came to Swallow The Whale  Radnor, Pennsylvania: Chilton, 1994 
Ländler, Mark  "Creators of the Big Deal, Capital Cities' Tandem Team " The New York Times, August 1, 1995 
Roberts, Johnnie L  "The Men Behind the Big Megadeals " Newsweek (New York), August 14, 1995 

External links
"TOM MURPHY", Harvard Business School, December 2000, Amy Blitz
Passage 4:
Wandu
Hwando (Chinese: 丸都; pinyin: Wandu) is a mountain fortress of the ancient Korean kingdom of Goguryeo, built to protect Goguryeo's second capital, Gungnae  It is located in present-day Ji'an city of the province of Jilin, China 
The fortress is located 2 5 km west of Ji'an, Jilin province in Northeast China, near the North Korean border  It is part of the UNESCO World Heritage Site Capital Cities and Tombs of the Ancient Koguryo Kingdom, together with nearby Gungnae City and the Ohnyeosan City, because of its historical importance and exceptional architecture 

History
In 3 CE, King Yuri of Goguryeo moved the capital to Gungnae Fortress, and built the Wina Rock fortress  Gungnae Fortress, the capital, was a fortress on Amnok River's plain, while "Wina Rocks fortress" (Hangul: 위나암성, Hanja: 尉那巖城) was a fortified city in the mountain which was later renamed to Hwando by King Sansang of Goguryeo 
Goguryeo consolidated its power and began to threaten the Chinese commanderies, under the nominal control of Wei  In 242, Dongcheon attacked a Chinese fortress near the mouth of the Amnok River leading to the Goguryeo–Wei War; in 244, Wei invaded Goguryeo and sacked Hwando Goguryeo ended China's presence on the Korean peninsula by conquering the Lelang commandery in 313  However, Goguryeo faced opposition by the proto-Mongol Xianbei who had conquered northern China; the Murong clan of the Xianbei attacked Goguryeo and sacked Hwando in 341, capturing thousands of prisoners to provide cheap labor  The Xianbei also devastated Buyeo in 346, accelerating Buyeo migration to the Korean peninsula



ground_truth: Mary Astor

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

Question: Which is in the pop genre, Capital Cities or Tweaker?

The following are given passages.
Context 3:  Goguryeo, though temporarily weakened, would soon recoup and continue its expansion 

Gallery
Passage 5:
Premio Lo Nuestro 2003
Premio Lo Nuestro 2003 was the 15th anniversary of the awards  the show was hosted by Mexican presenters Marco Antonio Regil and Adal Ramones  Juanes, Thalía, Marc Anthony, Pilar Montenegro, Sin Bandera, Banda el Recodo and other Latin music greats gave electrifying performances  In the show, there was 36 awards winners with 135 nominations  In Pop genre, Awards was given for : Album of the Year, Best Male Artist, Best Female Artist, Best Group or duo, Best New Artist and Song of the Year  In Rock Genre : Best Rock Album and Best rock Performer of the Year  In Tropical genre : Best Tropical Album of the Year, Best Tropical Male Artist, Best Tropical Female Artist, Best Tropical Group or Duo of the Year, Best Tropical New Artist, Tropical Song of the Year, Best Merengue Performance, Best Salsa Performance and Best Traditional Performance  Juanes was the biggest winner of night, took home four awards Best Pop Male Artist, Best Music Video, Best Rock Performance, and Pop Song of the Year   In the Regional Mexican, Pilar Montenegro took three awards for Regional Mexican Song of the Year, Pop Song of the Year ("Quitame Ese Hombre"), and for Best Regional Mexican Female Artist  In the tropical genre, Celia Cruz took home with four great awards of the night for Best Salsa Performance, Best Tropical Female Artist, Best Tropical Song of the year and Tropical Album of the Year  At the night, the greatest performance was a medley of top Latin hits from the last 15 years, performed by the artists that made them famous, including Vikki Carr, Son by Four, Los Ilegales, La Mafia, Luis Enrique, Wilfrido Vargas and Olga Tañón  There was a great tribute to Celia Cruz by the world-famous salsa group "Fania All-Stars", of which Cruz was a member during the 1970s, reunited for an exclusive performance that rocked the house 

Nominees and winners
Special awards
Excellence Award: Luis Miguel
Premio del Pueblo (People's Choice):
Pop: Thalía
Rock: Shakira
Tropical: Marc Anthony
Regional/Mexican: Vicente Fernández
Urban: El General

Pop category
Rock category
Tropical category
Regional Mexican category
Urban category
Popular award
Passage 6:
Safe and Sound (Capital Cities song)
"Safe and Sound" is a song by American indie pop duo Capital Cities, written and produced by band members Ryan Merchant and Sebu Simonian  The song was released as a single on January 6, 2011, and first appeared on their debut EP Capital Cities (2011), later serving as the lead single from their debut studio album, In a Tidal Wave of Mystery (2013)  "Safe and Sound" became the duo's breakout hit, peaking at number eight on the United States Billboard Hot 100 and achieving commercial success in several other territories  Three music videos were produced for the single, with the third video, directed by Grady Hall and set in the Los Angeles Theatre, later being nominated for Best Music Video at the 56th Annual Grammy Awards  It is the theme song for the Washington Capitals of the National Hockey League 

Background and composition
"Safe and Sound" is a synth-pop, dance-pop and alternative rock song, and was written and produced by Capital Cities members Ryan Merchant and Sebu Simonian  It features a prominent trumpet line, which was only incorporated into its production after eight previous takes of the song 

Music videos
The first music video for "Safe and Sound" was self-produced and edited by the band and uploaded to their official YouTube account on February 24, 2011  It features alternating historical film clips of dancing and war from the last century generally arranged in chronological order  Another video, directed by Jimmy Ahlander, was released on October 21, depicting the duo being led through a junkyard by a monk The third and most well-known video for the song was directed by Grady Hall and released on April 25, 2013  The video is set in the Los Angeles Theatre and depicts Capital Cities performing on stage as dancers of all types (1940s swing dancers, 1970s roller-disco skaters, 1990s hip-hop dancers, etc ) emerge from pictures on the wall and film clips from different time periods in the theater's history come to life and compete in dance-offs  It received a nomination in the Best Music Video category at the 56th Annual Grammy Awards 

Cover versions and in other media
On November 7, 2013, the song was performed by Team Adam (consisted of Tessanne Chin, James Wolpert, Will Champlin, Grey and Preston Pohl) from the fifth season of the series, The Voice Zendaya, Kina Grannis, Kurt Hugo Schneider and Max Schneider (not related) released a cover of the song on March 31, 2014, used for a Coca-Cola commercial  Actual Coca-Cola bottles served as instruments in the version Air New Zealand have used the song in their in-flight safety video for 2014, while the Barcelona's Institute for Research in Biomedicine (IRB) has used it in its dance video to raise awareness and support for research into diseases such as cancer and metastasis, Alzheimer's and diabetes The song was featured as the background music for the 2014 model year Mazda3 vehicles  The music video featured prominent figures Bruce Lee, Frank Lloyd Wright, and Jackie Robinson to promote the all new features, including the "kodo" design Mazda has introduced post-Ford ownership of the company 
The song is briefly played at a party scene in the beginning of the 2015 film Alvin and the Chipmunks: The Road Chip 
McDonald's has used the song in 2020 in McDonald's Australia promotion for the return of the McRib® & El Maco® as part of the that year’s summer menu Beginning in July 2021, the song was used in an advertising campaign for ADT Home Security titled “It’s Safe To Say”, which featured Drew and Jonathan Scott from the HGTV series “Property Brothers” 

Commercial performance
"Safe and Sound" first gained commercial success in Germany following its use in a Vodafone commercial, later topping the German Media Control singles chart  A sleeper hit, it peaked at number eight on the Billboard Hot 100 in September 2013, over two-and-a-half years after its initial release  It has sold over two million copies in the United States as of January 2014  It also reached #2 on the Mainstream Top 40 chart  In the United Kingdom, the single was added to the BBC Radio 2 playlist on August 31, 2013; following its official single release in the country the following month, it peaked at number 42 on the UK Singles Chart 

Awards and nominations
Track listing
Charts
Certifications
Release history
Passage 7:
Institutional Investor (magazine)
Institutional Investor magazine is a periodical published by Euromoney Institutional Investor  It was founded in 1967 by Gilbert E  Kaplan  A separate international edition of the magazine was established in 1976 for readers in Europe and Asia 

History
Capital Cities Communications purchased the magazine in early 1984  The Walt Disney Company bought Capital Cities in 1996 and sold the magazine to Euromoney one year later  Institutional Investor has offices in New York City, London and Hong Kong  In 2018, Institutional Investor became digital only In March 2021, it was announced that Diane Alfano, the CEO of Institutional Investor, would be stepping down effective June 30, 2021  Alfano has worked at Institutional Investor since 1984  According to the announcement, her resignation comes as Euromoney, the publication's publicly-traded parent company, plans to merge Institutional Investor with sister companies BCA Research and NDR into an asset management division  As of May 2021, the CEO of the new unit is Francis Cashman 

Research and rankings
Institutional Investor publishes global research and issues rankings throughout the year that often serve as industry benchmarks  Top-line results are published in the magazine while the full details are available on institutionalinvestor com  The rankings include:

Executive teams
The All-America Executive Team
The All-Europe Executive Team
The All-Asia Executive Team (excludes Japan)
The All-Japan Executive Team
The Latin America Executive Team

Research teams
The All-America Research Team
The All-Europe Research Team
The All-Asia Research Team (excludes Japan)
The All-Japan Research Team
The All-China Research Team
The Latin America Research Team
The All-Brazil Research Team
The All-India Research Team
The All-America Fixed-Income Research Team
The All-America Research Team Rising Stars
The All-Europe Fixed-Income Research Team
America's Top Corporate Access Providers
Asia's Top Corporate Access Providers
The Emerging EMEA Research Team
Europe's Top Corporate Access Providers
Japan's Top Corporate Access Providers
Passage 8:
History of Northwest Territories capital cities
The history of Northwest Territories capital cities begins with the purchase of the Territories by Canada from the Hudson's Bay Company in 1869, and includes a varied and often difficult evolution  Northwest Territories is unique amongst the other provinces and territories of Canada in that it has had seven capital cities in its history  The territory has changed the seat of government for numerous reasons, including civil conflict, development of infrastructure, and a history of significant revisions to its territorial boundaries 
The result of these changes has been a long and complex road to responsible government  Effectively providing services and representation for the population has been a particular challenge for the Territories' government, a task often complicated by the region's vast and changing geographic area  A small number of communities in Northwest Territories have unsuccessfully tried to become the capital over the years  The territory has had the seat of government outside of its territorial boundaries twice in its history  The only other political division in Canada without a seat of government inside its own boundaries was the defunct District of Keewatin that existed from 1876 until 1905 
The term "capital" refers to cities that have served as home for the Legislative Assembly of Northwest Territories, the legislative branch of Northwest Territories government  In Canada, it is customary for provincial and territorial level government to have the administrative centre of the civil service in the same city as the legislative branch  The Northwest Territories, however, had separate administrative and legislative capitals officially exist between 1911 and 1967  This is the only province or territory in Canadian history to have had such an arrangement 

Fort Garry (1870–1876)
The Government of Canada purchased the North-Western Territory and Rupert's Land from the Hudson's Bay Company in 1868, under the terms of the Rupert's Land Act 1868 for £300,000 sterling  Both purchased territories were largely uninhabited, consisting mostly of uncharted wilderness  After the purchase, the Government decided to merge both of the properties into a single jurisdiction and appoint a single territorial government to run both  The purchase of the two territories added a sizable portion of the current Canadian landmass 

In 1869, Ontario Member of Parliament William McDougall was appointed as the first Lieutenant Governor of the Northwest Territories and sent to Fort Garry to establish formal governance for Canada  Before his party arrived at the settlement, a small group led by Louis Riel intercepted him near the Ontario border and forced him to turn back because they opposed the transfer to the Canadian government  The inhabitants of the Red River Valley began the Red River Rebellion, delaying formal governance until their demands for provincial status were met The rebellion resulted in the creation of the Province of Manitoba (inclusive of Fort Garry) and a delay in establishing governance in the Territories  In 1870, the Northwest Territories and Manitoba formally entered the Canadian confederation  The two jurisdictions remained partially conjoined: under the Temporary Government Act, 1870  The Temporary North-West Council was appointed in 1872, mainly from members of the new Manitoba Legislative Assembly, with the Lieutenant Governor of Manitoba serving as the leader of the territorial government  The Governor and Council were mandated to govern the Territories through the Manitoba Act and did so from outside of the Northwest Territories  Fort Garry served as the first seat of government for both jurisdictions 

The temporary government sat for the first time in 1872  It was renewed by federal legislation each year until a permanent solution for governance was decided upon  The federal government renewed the Temporary Council for the last time in 1875 and chose a new location, within the boundaries of the Northwest Territories, to form a new government  Along with the new seat of power, a new council greatly reduced in size was appointed along with a new Lieutenant Governor to specifically lead the Territories without also governing Manitoba In the 1870s, Fort Garry consisted of two distinct settlements  The first site was named Upper Fort Garry, and the secondary site was named Lower Fort Garry, 32 kilometres (20 mi) downstream on the Red River  After the territorial government moved, Fort Garry continued to be the seat of government for Manitoba, and for the now defunct District of Keewatin territory between 1876 and 1905  Fort Garry evolved to become modern-day Winnipeg, still the capital of Manitoba, with Lower Fort Garry being declared a national historical site 

Fort Livingstone (1876–1877)
The North-West Territories Act, 1875 dissolved the Temporary North-West Council and appointed a permanent government to take effect on October 7, 1876  The new council governed from Fort Livingstone, an outpost constructed west of the Manitoba border, in modern-day Saskatchewan  Fort Livingstone served as a small frontier outpost and not as a bona fide capital city   The location was chosen by the federal government as a temporary site to establish the new territorial government until the route of the railway was determined Fort Livingstone was founded in 1875 by the newly created North-West Mounted Police, the predecessor of the Royal Canadian Mounted Police, Canada's national police force  The Swan River North-West Mounted Police Barracks, inside Fort Livingstone, became the temporary assembly building for legislative-council sessions as well as the office for the Lieutenant Governor The bulk of the police forces moved out to Fort Macleod in 1876, to crack down on the whisky trade  A year later, Lieutenant Governor David Laird moved the seat of government to Battleford  The decision was based upon the original plans of constructing the Canadian Pacific Railway (CPR) through Battleford Fort Livingstone continued to serve as a small outpost until being totally destroyed by a prairie grass fire in 1884  The nearest modern settlement to the original Fort Livingstone site is Pelly, Saskatchewan, four kilometres (2 5 mi) to the south  The fort is sometimes referred to as Fort Pelly or Swan River  The Fort Livingstone site is marked with a plaque as was declared a Saskatchewan provincial heritage site and contains no resident population 

Battleford (1877–1883)
The Northwest Territories government moved to Battleford in 1877 on the order of the Lieutenant Governor  Battleford was supposed to be the permanent capital of the Territories  The town was chosen because it was expected to be linked with the Canadian Pacific Railway The government in Battleford would see significant milestones towards attaining responsible government for the Northwest Territories  For the first time, the territory had democratically elected members join the appointed members in the assembly  Elections in the territory became a reality after the passage of the Northwest Territories election ordinance 1880  The first election took place in 1881, after electoral districts were created by royal proclamations, issued the order of the Lieutenant Governor  Battleford hosted the first official royal visit in western Canada, when the Marquis of Lorne and Princess Louise Caroline Alberta toured the territories in 1881 The first Northwest Territories legislature building, and residence for the Lieutenant Governor named "NWT Government House", was completed and used by the territorial government until 1883  After the government moved the building stood as a historical site until it was destroyed in a fire in 2003 After consultation with Canadian Pacific Railway officials, Lieutenant Governor Edgar Dewdney made the decision to move the capital to Regina, also in present-day Saskatchewan, in June 1882  The decision to move the capital was controversial with the public because Edgar Dewdney owned real estate in Regina  He was accused of having conflicted interests between his private affairs and the needs of the government 

Regina (1883–1905)
After Edgar Dewdney ordered that the government be moved south to meet the railway in Regina, it was confirmed as the new territorial capital on March 27, 1883  Construction of a new legislature began  In Regina, the government continued to grow as the size of the settlement increased rapidly  The legislature had the most sitting members in Northwest Territories history after the fifth general election in 1902 The government in Regina struggled to deliver services to the vast territory  The influx of settlers and responsibility for the Klondike, as well as constant fighting with the federal government over limited legislative powers and minimal revenue collection, hampered the effectiveness of government  The government during this period slowly released powers to the elected members  In 1897, after control of the executive council was ceded to elected members from the Lieutenant-Governors, a short-lived period of party politics evolved that challenged the consensus model of government that had been used since 1870 

The territorial government under the leadership of Premier Frederick Haultain struck a deal with the federal Government of Canada in early 1905 to bring provincial powers to the territories  This led to the creation of the provinces of Saskatchewan and Alberta from the southernmost and most populous areas of the territory  The Northwest Territories, reduced to its northern, lightly populated hinterland, continued to exist under the 1870s constitutional status under control of the federal government  A new council was convened in Ottawa, Ontario, to deal with the region The Territorial Administration Building was declared a historical site by the Saskatchewan government after it was restored by the Saskatchewan Government in 1979, the building remains standing to this day  The territorial government would not have another permanent legislature of its own design until 1993  After 1905, Regina continued to serve as capital for the province of Saskatchewan 

Ottawa (1905–1967)
In 1905, under the direction of Wilfrid Laurier, the Northwest Territories seat of government was moved to Ottawa, Ontario, the capital of Canada  This change was made when Northwest Territories defaulted back to the 1870 constitutional status after Alberta and Saskatchewan were sectioned off from the territory on September 1, 1905  After the populated regions of the territory were made into their own jurisdictions, there were very few settlements left in the territory with any significant population or infrastructure  The non-Inuit population was estimated to total around 1,000  Inuit were not counted at the time because they had no status under Canadian law, and were not yet settled in towns or villages In the period without a sitting council from 1905 to 1921, the government of the Territories was small but still active  A small civil service force was sent to Fort Smith to set the town up as the new administrative capital in 1911  A budget to provide minimal services was still given by the federal government  Commissioner Frederick D  White administered the territories day-to-day operations during that period  During this 16-year lapse in legislative government, no new laws were created, and the Territories and its population were severely neglected even with the services provided at the time The first session of the new council was called to order in 1921, a full 16 years after the government was dissolved in Regina  This new government contained no serving member who was resident in the Territories  The council during this period was primarily composed of high-level civil servants who lived and worked in Ottawa   The first person to sit on the council since 1905 who actually resided from within the Territories was John G  McNiven who was appointed in 1947 The Ottawa-based council eventually grew sensitive to the needs of the territory residents  Democracy returned to the territories in the sixth general election in 1951  After the election, the council was something of a vagabond body, with alternating sittings in Ottawa, and various communities in Northwest Territories  The council held meetings in school gymnasiums, community halls, board rooms, or any suitable infrastructure  The council even transported ceremonial implements to conduct meetings with such as the speakers chair and mace  Both are traditional artifacts common to Westminster style parliaments Legislative sessions held in Ottawa were conducted in an office building on Sparks Street  The Northwest Territories government continues to hold an office in Ottawa on Sparks Street to this day  In 1965, a federal government commission was set up to determine a new home for the government and the future of the territory  The seat of government was moved back inside the territories to Yellowknife, after it was selected capital in 1967 

Fort Smith (1911–1967)
Fort Smith became the official administration and transportation hub for the Northwest Territories in 1911  This marked the first services provided by the territorial government in six years  The first services included an agent from the Department of Indian Affairs, a medical doctor, and a Royal Canadian Mounted Police station Fort Smith was chosen to house the civil service because of its geographical location and state of development  The community was one of the few that had steamboat service from the railheads in Alberta and access to the vast waterways in the territory  The community was the easiest for the government to access, and the most well developed community, closest to Ottawa Fort Smith housed the civil service working in the Territories officially until 1967  The town continued to host the civil service for many years after Yellowknife was picked as capital, because the infrastructure was not yet in place in the new capital city at the time 

Carrothers Commission (1965-1967)
The "Advisory Commission on the Development of Government in the Northwest Territories", commonly called the Carrothers Commission for its chair, Alfred Carrothers, was struck by the Government of Canada in 1965  The Carrothers Commission marked a significant turning point in modern Northwest Territories history  The Carrothers Commission was tasked to evaluate and recommend changes to the Northwest Territories to deal with an array of outstanding issues regarding self-government in the north  One of the more visible and lasting effects of the Carrothers Commission was to choose a new capital city for the territorial government The Carrothers Commission, for the first time, gave some voice to residents in the Northwest Territories through extensive consultations with the territorial population   In prior years, the decision to change the seat of government had always been made without consulting Northwest Territories residents  Edgar Dewdney, for example, who made the decision to change the capital from Battleford to Regina, faced controversy because he owned property in Regina  After the territorial government moved to Ottawa, the government was often resented for being so far away The Carrothers Commission spent two years visiting nearly every community in the territory and consulting with residents, community leaders, business people, and territorial politicians  The Carrothers Commission investigated and considered five communities for the capital: Hay River, Fort Simpson, Fort Smith, Inuvik and Yellowknife 
Many people in the Northwest Territories believed that Fort Smith would win since it already housed the Territories' civil service 

Yellowknife (1967–present)
Yellowknife officially became the capital on September 18, 1967, after the Carrothers commission chose it for its central location, transportation links, industrial base and residents' preferences Yellowknife, in 1967, was not yet ready to serve as home for the government  During the years that it took for the capital's infrastructure to slowly develop, most of the civil service remained in Fort Smith for many years and the governing Council continued its practice of holding legislative sessions all over the territory for a number of years The Northwest Territories marked a new era when the legislative council moved into a newly constructed legislature building on November 17, 1993  The new legislature was the first building built specifically for the Northwest Territories government since the government sat in Regina 88 years earlier  The legislature building was constructed to feature themes derived from the Inuit culture, which signaled that the government was sensitive to the ethnicity of the resident population The modern day territorial government has matured in Yellowknife to become effective and responsible  The government in Yellowknife had largely gained back its powers on par with the pre-1905 government that was dissolved during creation of Alberta and Saskatchewan  The civil service has been effectively consolidated into the city of Yellowknife; and has gained control over administering its own elections from Elections Canada  Education is now under the jurisdiction of the territorial government and the territory has most powers afforded to the rest of the provinces  There has even talk by the Federal government of the territories gaining provincial status in the future 

Lessons learned for Nunavut capital (1995 vote)
As chronicled above, all seven capitals throughout the history of the Northwest Territories were chosen by some form of external government decision, though the Carrothers Commission did consult with the territorial population to guide its decision 
After the selection of Yellowknife as the capital in 1967, many residents in the eastern Arctic continued to feel unrepresented by the territorial government, and many movements and groups were formed to remedy the situation   Lessons had been learned from the historical changes in the Northwest Territories' seat of power, resulting in a number of territorial democratic processes leading to the creation of the new territory of Nunavut in 1999, formed from the eastern half of the Northwest Territories 
In 1976, as part of the land claims negotiations between the Inuit Tapiriit Kanatami population and the Government of Canada, the parties discussed division of the Northwest Territories to provide a separate territory for the Inuit  In 1982, a plebiscite on division was held throughout the Northwest Territories, in which a majority of the residents voted in favour of division The land claims agreement was completed in September 1992 and ratified by a majority of voters  On July 9, 1993, the Nunavut Land Claims Agreement Act and the Nunavut Act were passed by the Canadian Parliament 
In December, 1995, the Nunavut capital plebiscite was held, and the voters in the future Nunavut territory chose Iqaluit as their capital city, defeating Rankin Inlet  Iqaluit became the official capital on April 1, 1999, when Nunavut separated from the Northwest Territories 

See also
Commissioners of the Northwest Territories
List of Northwest Territories general elections
List of premiers of the Northwest Territories
List of Northwest Territories Legislative Assemblies
Passage 9:
Tweaker (band)
Tweaker is an American alternative rock collaboration project band founded by Chris Vrenna in the late 1990s  Tweaker's musical style incorporates synthpop, progressive rock, modern jazz and electronica genres, and is characterized by a generally melancholy and somber sound with matching artwork 

History
The album The Attraction to All Things Uncertain was Vrenna's "solo" debut and it was not until the follow-up album, 2 a m  Wakeup Call, that Clint Walsh was announced as a permanent fixture to the band  While Vrenna and Walsh supply most instruments and electronics, many other musicians contributed to Tweaker's performances and recordings, including Robert Smith, David Sylvian, Burton C  Bell, Craig Wedren, Will Oldham, Hamilton Leithauser, Buzz Osborne, Jonathan Bates and Johnny Marr  The subsequent albums followed a preset central theme 
Tweaker wrote and performed the theme music to Doom 3, of which the theme song was released via the band's website  The rest of the soundtrack is accessible from the game's files  Tweaker also composed the theme music for the animated television show Xiaolin Showdown  Unlike the band's usual synthpop, shoegaze, modern jazz, Dark Ambient and industrial sound, the Doom 3 theme was mainly heavy metal 
In 2004, Tweaker opened for Skinny Puppy on select dates with a full live band, consisting of Chris Vrenna (drums, percussion and keyboard), Clint Walsh (guitar and keyboard), William Faith (bass guitar) and Nick Young (vocals)  They performed everything live (i e , no pre-recorded tape), although they did have to alter some of their songs to fit the live format — the most extreme case being a completely revamped rock version of "Microsize Boy"   The final performance on the tour was at QuakeCon 2005 in Dallas, TX 

Official members
Chris Vrenna
Clint Walsh

Discography
Studio albums
The Attraction to All Things Uncertain (September 18, 2001)
2 a m  Wakeup Call (April 20, 2004)
Call the Time Eternity (October 23, 2012)

Remix albums
And Then There's Nothing (November 26, 2013)

EPs
Linoleum (August 21, 2001)

Singles
Linoleum (2001)
Xiaolin Showdown (2003)
The Steel Box (2019)



ground_truth: Capital Cities