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

Question: Who is the brother of the Nothin' My Love Can't Fix performer?

The following are given passages.
Context 1: Passage 1:
Can't Hurry Love
Can't Hurry Love is an American sitcom television series created by Gina Wendkos, starring Nancy McKeon that aired on CBS from September 18, 1995, to February 26, 1996 

Premise
The series is about Annie, a single, thirty-something woman living in New York and her three friends: Didi, Roger and Elliot  The general premise of the series centers around love seeking by Annie  Most of the action takes place in either Annie's small apartment or the employment agency she manages  Roger and Elliot work with her at the agency and Didi, the beautiful free spirit of the group, often drops by the agency  or Annie's apartment 

Cast
Nancy McKeon as Annie O'Donnell
Mariska Hargitay as Didi Edelstein
Louis Mandylor as Roger Carlucci
Kevin Crowley as Elliot Tenney

Cancellation
The series was canceled after one season despite having an average household rating of 11 4, tying it for 24th place among all TV shows that year 

Episodes
Passage 2:
Lava Ground
Lava Ground is the debut album from Jamaican reggae artist I Wayne  The album features guest appearances from Fire Chess, Harmony and Fire Star  As well as production from P  Henry, M Miller, O  Hibbert etc  The album includes the hits Living In Love and Can't Satisfy Her 

Track listing
"Life Seeds
"Lava Ground"
"Rastafari Liveth"
"More Life"
"Bleacher"
"Don't Worry"
"Ma Ma and Pa Pa" (feat  Fire Chess)
"Nah Draw Nil"
"Touch Her Softly"
"Ready Fe Live Up"
"Kid Artist"
"Living in Love"
"Conquer" (feat  Fire Star)
"Can't Satisfy Her (Prelude)"
"Can't Satisfy Her"
"Grow Proper"
"Cool as the Breeze"
"Keep Burning Rome" (feat  Harmony)
Passage 3:
John Cowsill
John Patrick Cowsill (born March 2, 1956) is an American musician, best known for his work as a singer and drummer with his siblings' band The Cowsills  He has been a drummer and vocalist for The Beach Boys touring band, which featured original Beach Boy Mike Love and long time member Bruce Johnston  Cowsill has also played keyboards for the "Beach Boys Band" performing Al Jardine's and the late Carl Wilson's vocal parts  He also has performed and recorded with Jan and Dean 

Early life
John Patrick Cowsill was born in Newport, Rhode Island to William "Bud" and Barbara Cowsill  He is the second youngest of seven children (Bill, Richard, Bob, Paul, Barry, John, Susan) 

The Cowsills
In the wake of Beatlemania, John and three of his brothers, Bill, Bob, and Barry, would form their own group solely based around the Liverpool band  Soon after, their mother Barbara and sister Susan would also join  They signed to a label in 1965 and after releasing a few non-commercially successful singles, were transferred to MGM Records in 1967  Their first single with MGM was The Rain, the Park & Other Things 
John mainly backing vocals, although he sang lead on Silver Threads and Golden Needles  From 1967 to 1969, the family group would have more hit songs such as Indian Lake, We Can Fly, and Hair, they split in 1972, although John would re-appear with the band for most of its reformed tenures  The Cowsills were the main inspiration for The Partridge Family 

Tommy Tutone
In the early 1980s, Cowsill recorded with the one-hit wonder band Tommy Tutone, playing percussion and singing back-up vocals on the band's hit, "867-5309/Jenny," although he did not appear in the video 

The Beach Boys
Cowsill began playing with the Beach Boys touring band on keyboards in 2000   He moved to the drums in 2008  His solos for the concerts include "Wild Honey," and "Sail On, Sailor " and also "Darlin" and "California Dreaming" on the 2022 tour  In 2011, Cowsill was confirmed to be performing alongside The Beach Boys on their 50th Anniversary Reunion Tour  Cowsill appears on the band's subsequent studio album, That's Why God Made the Radio (2012)  He also performed on Mike Love's solo albums Unleash the Love (2017) and Reason for the Season (2018) 

Other works
In 2017, Cowsill joined with Vicki Peterson and Bill Mumy as the band Action Skulls to release an album (also including posthumous contributions from the bassist Rick Rosas) entitled Angels Hear For a time, he was part of Dwight Twilley's band, as was his sister Susan Cowsill 

Personal life
In October 2003, he married Vicki Peterson of The Bangles 

Discography
With the Cowsills
With Tommy Tutone
Studio albums
Singles
With The Beach Boys
Albums
That's Why God Made the Radio (2012)

Singles
That's Why God Made the Radio (2012)
Isn't It Time (2012)

Mike Love
Albums
Unleash the Love (2017)
Reason for the Season (2018)
Passage 4:
Platonic love
Platonic love is a type of love in which sexual desire or romantic features are nonexistent or have been suppressed or sublimated, but it means more than simple friendship The term is derived from the name of Greek philosopher Plato, though the philosopher never used the term himself  Platonic love, as devised by Plato, concerns rising through levels of closeness to wisdom and true beauty, from carnal attraction to individual bodies to attraction to souls, and eventually, union with the truth Platonic love is contrasted with romantic love 

Classical philosophical interpretation
Platonic love is examined in Plato's dialogue, the Symposium, which has as its topic the subject of love, or more generally the subject of Eros  It explains the possibilities of how the feeling of love began and how it has evolved, both sexually and non-sexually, and defines genuine platonic love as inspiring a person's mind and soul and directing their attention towards spiritual matters  Of particular importance is the speech of Socrates, who attributes to the prophet Diotima an idea of platonic love as a means of ascent to contemplation of the divine, an ascent known as the "Ladder of Love"  For Diotima and Plato generally, the most correct use of love of human beings is to direct one's mind to love of divinity  Socrates defines love based on separate classifications of pregnancy (to bear offspring); pregnancy of the body, pregnancy of the soul, and direct connection to existence  Pregnancy of the body results in human children  Pregnancy of the soul, the next step in the process, produces "virtue"—which is the soul (truth) translating itself into material form  "    virtue for the Greeks means self-sameness     in Plato's terms, Being or idea "(106)

Eros
Pausanias, in Plato's Symposium (181b–182a), defines two types of the love known as "Eros": vulgar Eros, or earthly love, and divine Eros, or divine love  Pausanias defines vulgar Eros as material attraction towards a person's beauty for the purposes of physical pleasure and reproduction, and divine Eros as starting from physical attraction but transcending gradually to love for supreme beauty, placed on a similar level to the divine  This concept of divine Eros was later transformed into the term "platonic love" 
Vulgar Eros and divine Eros were both considered to be connected, and part of the same continuous process of pursuing perfection of one's being, with the purpose of mending one's human nature and eventually reaching a point of unity where there is no longer an aspiration or need to change 
"Eros is     a moment of transcendence     in so far as the other can never be possessed without being annihilated in its status as the other, at which point both desire and transcendence would cease     (84)

Eros as a god
In the Symposium, Eros is discussed as a Greek god—more specifically, the king of the gods, with each guest of the party giving a eulogy in praise of Eros 

Virtue
Virtue, according to Greek philosophy, is the concept of how closely reality and material form equates good, positive, or benevolent  This can be seen as a form of linguistic relativity 

Some modern authors' perception of the terms "virtue" and "good" as they are translated into English from the Symposium are a good indicator of this misunderstanding  In the following quote, the author simplifies the idea of virtue as simply what is "good" "    what is good is beautiful, and what is beautiful is good    "

Ladder of Love
The Ladder of Love is a metaphor that relates each step toward Being as consecutive rungs of a ladder  Each step closer to the truth further distances love from beauty of the body toward love that is more focused on wisdom and the essence of beauty 
The ladder starts with carnal attraction of body for body, progressing to a love for body and soul  Eventually, in time, with consequent steps up the ladder, the idea of beauty is eventually no longer connected with a body, but entirely united with Being itself "[   ] decent human beings must be gratified, as well as those that are not as yet decent, so that they might become more decent; and the love of the decent must be preserved " (187d, 17) - Eryximachus' "completion" of Pausanias' speech on Eros

Tragedy and comedy
Plato's Symposium defines two extremes in the process of platonic love; the entirely carnal and the entirely ethereal  These two extremes of love are seen by the Greeks in terms of tragedy and comedy  According to Diotima in her discussion with Socrates, for anyone to achieve the final rung in the Ladder of Love, they would essentially transcend the body and rise to immortality—gaining direct access to Being  Such a form of love is impossible for a mortal to achieve 
What Plato describes as "pregnancy of the body" is entirely carnal and seeks pleasure and beauty in bodily form only  This is the type of love, that, according to Socrates, is practiced by animals "Now, if both these portraits of love, the tragic and the comic, are exaggerations, then we could say that the genuine portrayal of Platonic love is the one that lies between them  The love described as the one practiced by those who are pregnant according to the soul, who partake of both the realm of beings and the realm of Being, who grasp Being indirectly, through the mediation of beings, would be a love that Socrates could practice "

Tragedy
Diotima considers the carnal limitation of human beings to the pregnancy of the body to be a form of tragedy, as it separates someone from the pursuit of truth  One would be forever limited to beauty of the body, never being able to access the true essence of beauty 

Comedy
Diotima considers the idea of a mortal having direct access to Being to be a comic situation simply because of the impossibility of it  The offspring of true virtue would essentially lead to a mortal achieving immortality 

Historical views of platonic love
In the Middle Ages, new interest in the works of Plato, his philosophy and his view of love became more popular, spurred on by Georgios Gemistos Plethon during the Councils of Ferrara and Firenze in 1438–1439  Later in 1469, Marsilio Ficino put forward a theory of neo-platonic love, in which he defined love as a personal ability of an individual, which guides their soul towards cosmic processes, lofty spiritual goals and heavenly ideas  The first use of the modern sense of platonic love is considered to be by Ficino in one of his letters 
Though Plato's discussions of love originally centered on relationships which were sexual between members of the same sex, scholar Todd Reeser studies how the meaning of platonic love in Plato's original sense underwent a transformation during the Renaissance, leading to the contemporary sense of nonsexual heterosexual love The English term "platonic" dates back to William Davenant's The Platonick Lovers, performed in 1635, a critique of the philosophy of platonic love which was popular at Charles I's court  The play was derived from the concept in Plato's Symposium of a person's love for the idea of good, which he considered to lie at the root of all virtue and truth  For a brief period, platonic love was a fashionable subject at the English royal court, especially in the circle around Queen Henrietta Maria, the wife of King Charles I  Platonic love was the theme of some of the courtly masques performed in the Caroline era, though the fashion for this soon waned under pressures of social and political change 

Seven types of love
Throughout these eras, platonic love was slowly categorized into seven different classical definitions  These were:

Eros: sexual or passionate love, or a modern perspective of romantic love 
Philia: the love of friendship or goodwill, often met with mutual benefits that can also be formed by companionship, dependability, and trust 
Storge: the love found between parents and children, often a unilateral love 
Agape: the universal love, consisting of love for strangers, nature, or God 
Ludus: playful and uncommitted love, intended for fun with no resulting consequences 
Pragma: love founded on duty and reason, and one's longer-term interests 
Philautia: self-love, both healthy or unhealthy; unhealthy if one places oneself above the gods (to the point of hubris), and healthy if it is used to build self-esteem and confidence Despite the variety and number of definitions, the different distinctions between types of love were not considered concrete and mutually exclusive, and were often considered to blend into one another at certain points 

Modern interpretations
Definition
"Platonic love in its modern popular sense is an affectionate relationship into which the sexual element does not enter, especially in cases where one might easily assume otherwise " "Platonic lovers function to underscore a supportive role where the friend sees [their] duty as the provision of advice, encouragement, and comfort to the other person     and do not entail exclusivity "

Complications
One of the complications of platonic love lies within the persistence of the use of the title itself "platonic love" versus the use of "friend"  It is the use of the word love that directs us towards a deeper relationship than the scope of a normal friendship 

Queerplatonic love
Some in the aromantic and asexual communities, within the broader LGBT community, have coined the term "queerplatonic" to refer to formal intimate relationships between significant others that do not involve romance  Queerplatonic feelings are often described, like romance, as involving a deeper and more profound emotional connection than friendship 
Julie Sondra Decker writes that queerplatonic love often "looks indistinguishable from romance when outside the equation", but should not be "assigned a romantic status if participants say it is not romantic"  She also notes that it can also be misread by observers as close friendship in circumstances where overtly romantic gestures are socially expected  For Decker, the essence of queerplatonic attraction is its ambiguous position in relation to normative categories: she writes that QPR "is a platonic relationship, but it is 'queered' in some way—not friends, not romantic partners, but something else" 

See also
Passage 5:
Ain't Nothin' Stoppin' Us Now
Ain't Nothin' Stoppin' Us Now is an album by Tower of Power released in 1976, the band's first record on Columbia Records  Ron Beck takes up the drummers spot after David Garibaldi exited for a second time 
This also would be the last album to feature bassist Francis "Rocco" Prestia as he would go on an extended hiatus from the band until his return in 1986  It is also the only album to feature vocalist Edward McGee 

Release history
In addition to the standard 2 channel stereo version the album was also released by Columbia in a 4 channel quadraphonic version in 1976 on LP and 8-track tape  The quad LP was encoded with the SQ matrix 
This album was reissued in the UK on the Super Audio CD format in 2016 by Dutton Vocalion  This release contains the complete stereo and quad recordings 

Track listing
"Ain't Nothin' Stoppin' Us Now" (Emilio Castillo, Stephen "Doc" Kupka, David Bartlett) – 3:58
"By Your Side" (Edward McGee, Clifford Coulter) – 4:30
"Make Someone Happy" (Ron E  Beck, Keith Rogers) – 2:47
"Doin' Alright" (Bruce Conte, Coleman Head) – 4:48
"Because I think the World Of You" (Stephen "Doc" Kupka, Frank Biner) – 	3:00
"You Ought To Be Havin' Fun" (Hubert Tubbs, Emilio Castillo, Stephen "Doc" Kupka) – 3:06
"Can't Stand To See The Slaughter" (Stephen "Doc" Kupka, Emilio Castillo) – 2:47
"It's So Nice" (T  Castillo, Emilio Castillo, David Bartlett, Stephen "Doc" Kupka, Frank Biner) – 5:39
"Deal With It" (Chester Thompson) – 3:20
"While We Went To The Moon" (Stephen "Doc" Kupka, David Bartlett, Emilio Castillo) – 4:24

Personnel
Tower of Power

Edward McGee – lead vocals
Chester Thompson – acoustic piano, Fender Rhodes, clavinet, organ, Moog synthesizer, bass pedals, backing vocals, horn arrangements (7, 9, 10), string arrangements and conductor (10)
Bruce Conte – guitars, backing vocals
Francis Rocco Prestia – bass guitar
Ron E  Beck – drums, percussion, backing vocals
Stephen "Doc" Kupka – baritone saxophone
Lenny Pickett – alto saxophone, tenor saxophone, Lyricon, tenor sax solo (1, 2)
Emilio Castillo – tenor saxophone, backing vocals
Mic Gillette – trombone, bass trombone, trumpet, flugelhorn, baritone horn, backing vocals, "superbone" solo (10)
Greg Adams – trumpet, flugelhorn, backing vocals, horn arrangements (1-6, 8), string arrangements and conductor (2, 4, 5, 8), flugelhorn solo (3)Additional musicians

Bill Lamb – trombone (2), trumpet (2), flugelhorn (2)
Tower of Power – horn arrangements (1, 8)
Patricia Henley – backing vocals (1, 2, 4, 5, 6)
Melba Joyce – backing vocals (1, 2, 4, 5, 6)
Ivory Stone – backing vocals (1, 2, 4, 5, 6)
Carol Rogers – backing vocals (3, 9, 10)

Production
Emilio Castillo – producer
Tower of Power – producers
Alan Chinowsky – production assistant, engineer, mixing
Bob Edwards – engineer, assistant engineer
Jim Gaines – mixing
Rich Ehrman – assistant engineer, mix assistant
Bruce Steinberg – art direction, design, photographyStudios

Recorded at Kendun Recorders (Burbank, California); Record Plant, Los Angeles (California); Record Plant, Sausalito (California); CBS Studios (San Francisco, California) 
Mixed at Record Plant, Sausalito 
Passage 6:
Can't Sleep, Can't Eat, I'm Sick
"Can't Sleep, Can't Eat, I'm Sick / Ningyo" is a song by Japanese singer Namie Amuro from her eighth studio album Play (2007)  It was released as a single on May 17, 2006, by Avex Trax, as the album's second single  Although she has had Japanese song titles prior to signing with Avex Trax, "Ningyo" or "人魚" which means mermaid, is her first with the label  "Can't Sleep, Can't Eat, I'm Sick" is featured on the album Play, although the latter A-side, "Ningyo" or "人魚", was excluded 

Background
In 1994 Amuro appeared in the drama "Toki wo Kakeru Shoujo" which used the original "Ningyo" as its ending theme song 
During the release of Queen of Hip-Pop (2005) to "White Light / Violet Sauce" (2005), Namie predominantly worked with producer/songwriter, Nao'ymt  This single reunites her with producers T Kura and Michico who crafted many of her early R&B hits in 2003  "Can't Sleep, Can't Eat, I'm Sick," produced by the pair has been described as a funky summer dance tune  The other a-side, "Ningyo," is a cover of Japanese artist, Nokko, who made the song a massive hit in 1994, and is a theme song of TV drama "Toki o Kakeru Shojo" in which Amuro played a younger sister of Yuki Uchida who is a leading actor 
For the production of the music video for "Can't Sleep, Can't Eat, I'm Sick", Namie teamed up with American choreographer Shawnette Heard  Shawnette Heard has danced and choreographed routines for many of the world's biggest musical artists including Christina Aguilera, Janet Jackson, Michael Jackson, Madonna, Ricky Martin, Mýa, and many more 
On May 17, 2006, along with the release of the single her complete solo catalog was released to iTunes Japan  Immediately afterwards, "Can't Sleep, Can't Eat, I'm Sick" and "Ningyo" ranked #4 and #6 respectively 

Commercial endorsements
"Can't Sleep, Can't Eat, I'm Sick" was used in commercials for ringtone service sites, Mu-Mo and Iromelo Mix DX  "Ningyo" was also used in commercials for Mu-Mo 

Music video
The promotional video for "Can't Sleep, Can't Eat, I'm Sick" debuted on music channel, VMC on May 1, 2006  Directed by longtime collaborator, Masashi Muto, the video focuses entirely on a dance routine choreographed by Shawnette Heard  It is also reminiscent of Kylie Minogue's "Can't Get You Out of My Head" (2001) as a majority of it is filmed in a dark room entirely adorned in lights  It was also filmed on top of a skyscraper roof engulfed in lights from the skyscrapers in the background  The video was named VMC's "Video of the Month" for May and was played in heavy rotation on the channel 
A promotional video for "Ningyo" was also filmed and premiered on the music video outlet M-ON on May 9, 2006  Based on the story of The Tale of the Bamboo Cutter, the video begins with a shot of a full moon that morphs into window  The window opens to show Amuro sitting on a rock before a mural  It transitions to a scene of her on a bridge grasping the moon from the sky  For the final scene, Amuro is again sitting in a dense bamboo forest before the window closes  The video ends with her becoming part of the mural in the opening scene  The video is unlike any of Amuro's previous videos as it portrays her in a distinctly Japanese manner 

Track listing
Personnel
"Can't Sleep, Can't Eat, I'm Sick"
Namie Amuro – vocals
Michico – background vocals
Producers – T Kura & Michico
Arranger – T Kura
Choreographer – Shawnette Heard
Director – Masashi Muto

"Ningyo"
Namie Amuro – vocals
Nao'ymt – background vocals
Producers – Nao'ymt
Arranger – Nao'ymt
Director – Masashi Muto

Live performances
Can't Sleep, Can't Eat, I'm Sick
May 11, 2006 – Utaban
May 15, 2006 – Hey! Hey! Hey!
May 19, 2006 – Music Station
May 20, 2006 – CDTV
May 26, 2006 – Music Fighter
May 28, 2006 – MTV VMAJ 2006 Red Carpet Show
June 5, 2006 – SMAPxSMAP
September 25, 2006 – Hey! Hey! Hey! 13th Year Special

Charts
Passage 7:
Erin Pitt
Erin Michelle Pitt (born September 22, 1999) is a Canadian actress, known for her trio of roles in the horror film Silent Hill: Revelation, where she played Dark Alessa, Alessa Gillespie, and the younger Sharon DaSilva  Pitt's first leading role was in the 2013 film Against the Wild as Hanna Wade  She also played the title role in the 2014 made-for-television film An American Girl: Isabelle Dances Into the Spotlight  Pitt is a voice actress and is known for her roles in the television series The 99 as Samda the Invulnerable and Evie in the television series Mike the Knight 

Life and career
Pitt was born in Hamilton, Ontario, one of six siblings  She has two sisters and three brothers  She has attended the Hamilton Academy of Performing Arts, where she studies acting, singing and dancing, and has performed with the Hamilton City Ballet Pitt first acted in a Paperoni toy commercial in 2008  In 2010 she has a role in the short film Rick Mercer — Canadian Action Plan  The same year she was cast in the film You Lucky Dog as the character Erin  Following this she acted in the film Camp Rock 2: The Final Jam as Junior Rocker Audrey Her first major film was 2012's Silent Hill: Revelation, in which she played the triple roles of Alessa Gillespie, Dark Alessa, and the younger Sharon DaSilva  Pitt appeared on the cover of Fangoria magazine that year as Dark Alessa  She then had the major starring role Hannah Wade in Against the Wild, released in 2014 In 2014 Pitt starred as Isabelle in the Universal Picture direct-to-DVD production An American Girl: Isabelle Dances Into the Spotlight  She also had the voice role of Evie in the animated series Mike the Knight 

Filmography
Awards and nominations
Passage 8:
Airplay (band)
Airplay was a short-lived American band, formed by David Foster and Jay Graydon  The band released a self-titled album in 1980, containing "Nothin' You Can Do About It" (originally recorded by The Manhattan Transfer) and the original recording of the Earth, Wind & Fire hit "After the Love Has Gone", written by Foster and Graydon with Bill Champlin 
Graydon was asked about Airplay in a 2014 interview:
Did you guys ever envision Airplay becoming a full-time, touring type of band?
David wanted to tour and I didn't  A dumb move on my part 

Personnel
Principal members
Jay Graydon – vocals, guitar
David Foster – keyboards, background vocals
Tommy Funderburk – vocals

Backing musicians
Toto membersJeff Porcaro – drums
David Hungate – bass
Steve Lukather – additional rhythm guitars
Steve Porcaro – synthesizer programmingOthersWarren Wiebe
Mike Baird – drums
Ray Parker Jr  – additional rhythm guitars
Pete Robinson – synthesizer programming
Jerry Hey – trumpet & flugelhorn
Gary Grant – trumpet
Steve Madaio – trumpet
Bill Reichenbach Jr  – trombone
Charlie Loper – trombone
Lew McCreary – tromboneBackground vocalsBill Champlin
Tom Kelly
Max Gronenthal

Discography
Studio albums
Airplay (1980)

Singles
"Stranded" (1980)
"Nothin' You Can Do About It" (1980)
"Should We Carry On" (1981)
"Stressed Out (Close to the Edge)" in St  Elmo's Fire soundtrack (1985)
Passage 9:
Are You Ready for Love
"Are You Ready for Love" is a song recorded by English musician Elton John in 1977 and first released in the UK in 1979 as the first single from the EP The Thom Bell Sessions   It was written by LeRoy Bell, Thom Bell and Casey James, and was originally produced in Philadelphia by Thom Bell, who had already produced a series of hits for the Spinners, the Delfonics and the Stylistics   While the song "Mama Can't Buy You Love" from the EP charted in 1979, this song and the other track on the three-track 12-inch vinyl disc, "Three Way Love Affair", were only minor footnotes at the time 
In 1989, MCA released a 6-track CD, The Complete Thom Bell Sessions, which contained a different mix of "Are You Ready for Love" in place of the one that appeared on the original 1979 EP  (The original Thom Bell Sessions EP mix did, however, surface – along with the EP's other two original tracks – as a B-side to a UK CD-single of "The Last Song" in 1992, issued as Rocket/Phonogram EJSCB-30) 

2003 version
In 2003, "Are You Ready for Love" was remixed by Ashley Beedle and released as a 12-inch vinyl single on 25 August 2003  It gave John the sixth No  1 hit of his career when it topped the UK Singles Chart in the first week of its 2003 re-release, following his performance of the song in a television advertisement promoting the new 2003–04 football season for Sky Sports  The 2003 single's B-side is "Three Way Love Affair" (from the original EP) and also the full-length 1979 version of "Are You Ready for Love"  On some CD versions, the CD also contains a QuickTime version of a video for the song, with recording studio footage from 1977 with John recording his vocals 
Various hit R&B vocalists of the late 1970s, including Bell and James, MFSB and the Spinners with lead singer John Edwards, contributed backing and accompanying lead vocals, most prominent on the Thom Bell Sessions mixes of the song  In 1979, the Spinners also recorded a version of the song which charted at number 25 on the US Billboard R&B chart 
The music video, produced in a 1970s retro style, was directed by Kate Dawkins 

Track listings
UK, US, and Australian CD single
"Are You Ready for Love" ('79 radio edit)
"Are You Ready for Love" (full length 1979 version)
"Three Way Love Affair"
"Are You Ready for Love" (CD-ROM video)UK 12-inch single 1
A  "Are You Ready for Love" (full length '79 version)
B  "Are You Ready for Love" (Freeform Reform remix)UK 12-inch single 2
A  "Are You Ready for Love" ('79 original)
B  "Are You Ready for Love" (Ashley Beedle Love and Protection mono edit)UK cassette single
"Are You Ready for Love" ('79 radio edit)
"Are You Ready for Love" (full length 1979 version)
"Three Way Love Affair"European CD single
"Are You Ready for Love" ('79 radio edit)
"Are You Ready for Love" (full length 1979 version)US 12-inch single
A1  "Are You Ready for Love" (Linus Loves Strobelight mix)
A2  "Are You Ready for Love" (79 full length)
B1  "Are You Ready for Love" (Mylo's Road Map to Peace remix)
B2  "Are You Ready for Love" (Ashley Beedle Love and Protection mono re-edit)

Charts and certifications
Cover versions
In 2003, the Spinners reissued "Are You Ready for Love", featuring them on backing vocals  In 1977, the Spinners had recorded two versions of the track  One had all of the Spinners, the other with only lead singer John Edwards on vocals  Finally in 1979, the John Edwards version was released making it to number 42 on the UK Singles Chart 

In popular culture
"Are You Ready for Love" was featured on the European version of Donkey Konga 2 

See also
List of number-one dance singles of 2004 (U S )
Passage 10:
Back to the Future (soundtrack)
The music of the Back to the Future series is composed in conjunction with the development of several feature films and a stage musical, within the Back to the Future franchise created by Robert Zemeckis and Bob Gale  All music in the franchise was composed by American composer Alan Silvestri, with The Musical being co-written with Glen Ballard 

Back to the Future (1985)
Soundtrack
Back to the Future: Music from the Motion Picture Soundtrack is the soundtrack album to the film of the same name, released on July 8, 1985, by MCA Records  The soundtrack includes two tracks from American composer Alan Silvestri's score for the film, two pop tracks from American rock band Huey Lewis and the News, two songs played by the fictional Marvin Berry and The Starlighters, one played by the fictional Marty McFly with The Starlighters, and two pop songs that are very briefly heard in the background of the film 
"The Power of Love" was released as the album's lead single in June 1985, becoming Huey Lewis and the News's first chart topper on the US Billboard Hot 100, as well as being certified Gold and nominated for an Academy Award for Best Original Song  The soundtrack spent nineteen weeks on the Billboard 200, peaking at number twelve in October 1985 

Development
American rock band Huey Lewis and the News performed "The Power of Love" and "Back in Time"  Huey Lewis was approached to write a theme song for the film  He met with Bob Gale, Steven Spielberg, and Robert Zemeckis, from the film's production team, who intended that the band be Marty McFly's favorite band  Though flattered, Lewis did not want to participate because he did not know how to write film songs and did not want to write one called "Back to the Future"  Zemeckis assured Lewis he could write any song he wanted  Lewis agreed to submit the next song he wrote, which was "The Power of Love"  The lyrics do not make any mention of the film's storyline Lewis was asked by Zemeckis to write one more song for the film's end credits, which came to be "Back in Time"  Unlike "The Power of Love", the lyrics for "Back in Time" center around the movie's story points  In an interview with People in 2015, Lewis states: "Sean [Hopper], [Chris] Hayes and I put together "Back in Time" – and it turned out that it's actually quite easy to write for film! In a way, it's easier, in that you don't have to invest yourself in it  So that was a lot of fun, actually" "Johnny B  Goode", written by Chuck Berry, is performed by the characters Marty McFly, and Marvin Berry and the Starlighters in the film, with lead vocals by Mark Campbell as Marty McFly, Harry Waters Jr  as Marvin Berry, and the guitar solo by Tim May  Campbell and May received a "special thanks" acknowledgment in the film's end credits, with the recording credit going to the fictional characters  Campbell did not receive credit as the filmmakers wanted to create the illusion that Fox was singing  When music supervisor Bones Howe learned of this, he secured Campbell a small percentage of the soundtrack revenue as compensation  Berry withheld permission to use "Johnny B  Goode" until the day before filming, and was paid $50,000 for the rights 

In the film
In the film, Marvin Berry, a fictitious cousin of Chuck Berry, phones Chuck and lets him listen to the music  The real "Johnny B  Goode" was released in 1958, three years after the time it is played in the film Huey Lewis portrays a high-school band audition judge who rejects Marty McFly's band, the "Pinheads", as they perform an instrumental hard rock version of "The Power of Love"  Lewis mentioned that his character was inspired by a Chrysalis Records executive  "Time Bomb Town", "Heaven Is One Step Away", and "Back in Time" are very briefly played in the background in some scenes during the film; "Back in Time" is additionally played in full in the film's end credits 

Track listing
^a  Lead vocals provided by Harry Waters Jr 
^b  Lead vocals provided by Mark CampbellSongs in the film but not included on the soundtrack album:
"The Washington Post" – composed by John Philip Sousa
"Mr  Sandman" – performed by The Four Aces
"The Ballad of Davy Crockett" – performed by Fess Parker
"Pledging My Love" – performed by Johnny Ace
"Out the Window" – Performed by Edward Van HalenThe tracks are not presented in the order they appear in the film  In chronological order, the track listing goes: 1, 2, 7, the first 90 seconds of 6, 8, 9, 10, the remainder of 6, 4, 5, and 3  "Back to the Future Overture" consists of the following cues, as released in its original form, on the subsequent score album:

Marty's Letter
Clocktower
'85 Lone Pine Mall

Charts
Certifications
Film score
Back to the Future: Intrada Special Collection was released by Intrada Records on November 24, 2009, and contains Alan Silvestri's complete score for Back to the Future  It is a two-disc release: the first disc contains the complete orchestral score for the film, along with two source cues that Silvestri wrote  The second disc contains alternate approaches that Silvestri took with a large portion of the score, with a darker and more serious tone  The two-disc set had a limited release of 10,000 units and sold nearly 6,000 units by the end of January 2010 The soundtrack was reissued on October 12, 2015, as a single-disc release, titled Back to the Future: Original Motion Picture Soundtrack (Expanded Edition), to commemorate the film's 30th anniversary  This release only contains the music on disc one of the initial limited two-disc set 

Development
Alan Silvestri had previously worked with director Robert Zemeckis on the score for Romancing the Stone  In composing the score, the only direction Zemeckis gave him was "it's got to be big"  Silvestri used an orchestral score to create a sound that contrasted with the small-town setting and the significant time-changing events occurring within it, and developed a heroic theme that was designed to be instantly recognizable in just a few notes For moments in the film where Silvestri's score was shortened (i e  the final moments of "Einstein Disintegrated" and "Peabody Barn; Marty Ditches DeLorean"), replaced with source music ("Town Square") or unused ("Logo"), the full score cue is presented as originally recorded 
The themes from the score have since been included in the scores of the film's sequels, in Back to the Future: The Ride, and used as ambient music at Universal Studios theme parks 

Track listing
Disc 1: The Complete Original Motion Picture Soundtrack

"Logo"
"DeLorean Reveal"
"Einstein Disintegrated"
"'85 Twin Pines Mall"
"Peabody Barn; Marty Ditches DeLorean"
"'55 Town Square"
"Lorraine's Bedroom"
"Retrieve DeLorean"
"1 21 Jigowatts"
"The Picture"
"Picture Fades"
"Skateboard Chase"
"Marty's Letter"
"George to the Rescue – Pt  1"
"Marvin Be-Bop"
"George to the Rescue – Pt  2"
"Tension; The Kiss"
"Goodnight Marty"
"It's Been Educational; Clocktower"
"Helicopter"
"'85 Lone Pine Mall"
"4x4"
"Doc Returns"
"Back to the Future"Disc 2: The Creation of a Classic    alternate Early Sessions

"DeLorean Reveal"
"Einstein Disintegrated"
"Peabody Barn"
"Marty Ditches DeLorean"
"'55 Town Square #1"
"'55 Town Square #2"
"Retrieve DeLorean"
"1 21 Jigowatts"
"The Picture"
"Skateboard Chase"
"George to the Rescue"
"Tension; The Kiss"
"Clocktower"
"'85 Lone Pine Mall"
"Doc Returns"
"Ling Ting Ring"

Back to the Future Part II (1989)
Back to the Future Part II: Original Motion Picture Soundtrack is the film score to the 1989 film of the same name, the second installment in the Back to the Future trilogy  It was released under MCA Records on November 22, 1989, and features most of the film score by American composer Alan Silvestri  AllMusic rated it four-and-a-half stars out of five  Unlike the previous soundtrack, it only contains the musical score by Silvestri, none of the vocal songs featured throughout the film are included 
Intrada Records reissued the soundtrack as a two-disc expanded edition on October 12, 2015, in commemoration of the first film's 30th anniversary  The soundtrack includes the complete score (22 tracks) on disc one and an arrangement of alternate cues and source music on disc two 

Track listings
Standard edition

"Main Title"
"The Future"
"Hoverboard Chase"
"A Flying DeLorean?"
"My Father!"
"Alternate 1985"
"If They Ever Did"
"Pair O' Docs"
"The Book"
"Tunnel Chase"
"Burn The Book"
"Western Union"
"End Title"Expanded edition – Disc 1: The Film Score"

"Back to Back / It's Your Kids"
"Main Title (extended version)"
"The Future"
"Chicken / Hoverboard Chase"
"A Flying DeLorean?"
"I'm in The Future / Biff Steals DeLorean"
"Chicken Needles / Jenn Sees Jenn"
"Biff's World / 27th Floor"
"My Father!"
"Alternate 1985"
"Gray's Sports Almanac / If They Ever Did"
"Something Inconspicuous"
"You'll Never Lose / Old New DeLorean"
"Pair O' Docs"
"The Book"
"Nobody / Tunnel Chase"
"Burn The Book"
"He's Gone"
"Western Union"
"I'm Back / End Logo"
"The West"
"End Title"Expanded edition – Disc 2: Alternates

"Back to Back (alternate)"
"Main Title (alternate)"
"The Future (alternate)"
"Hoverboard Chase (alternate)"
"A Flying DeLorean? (alternate)"
"Biff's World (alternate)"
"If They Ever Did (alternate segment)"
"You'll Never Lose (alternate)"
"Western Union (alternate #1)"
"I'm Back (alternate #1)"
"Western Union (alternate #2)"
"I'm Back (alternate #2)"
"End Logo (alternate)"
"The West (alternate)"
"End Title (alternate)"

Back to the Future Part III (1990)
Back to the Future Part III: Original Motion Picture Soundtrack is the film score to the film of the same name, the third and final installment in the Back to the Future trilogy  It was released under Varèse Sarabande on May 29, 1990, and features most of the film score by American composer Alan Silvestri  The soundtrack includes the acoustic instrumental version of the song "Doubleback" as performed during the film, but does not include the original ZZ Top version of the song played in the end credits 
Varèse Sarabande reissued the soundtrack as a two-disc expanded edition on October 12, 2015, in commemoration of the film's 25th anniversary  The soundtrack includes the complete score (26 tracks) in chronological order on disc one, and an arrangement of alternate cues, source music and acoustic renditions of traditional folk songs on disc two 

Track listings
Standard edition

"Main Title"
"It's Clara (The Train, Part II)"
"Hill Valley"
"The Hanging"
"At First Sight"
"Indians"
"Goodbye Clara"
"Doc Returns"
"Point of No Return (The Train, Part III)"
"The Future Isn't Written"
"The Showdown"
"Doc to the Rescue"
"The Kiss"
"We're Out of Gas"
"Wake Up Juice"
"A Science Experiment (The Train, Part I)"
"Doubleback (acoustic instrumental version)"
"End Credits"25th Anniversary edition – Disc 1: The Film Score

"Back to Back / Court House"
"Main Title"
"Into the Mine / Tombstone / It's Me"
"Warmed Up"
"Indians (film version)"
"Safe and Sound"
"Hill Valley"
"The Hanging"
"We're Out of Gas"
"There is No Bridge / Doc to the Rescue"
"At First Sight"
"Yellow"
"The Kiss"
"You Talkin' to Me?"
"The Future Isn't Written"
"Goodbye Clara"
"What's Up Doc / Marty Gallops / To the Future"
"Wake Up Juice"
"Callin' You Out / Count Off"
"The Showdown / The Kick"
"A Science Experiment (The Train – Part I)"
"It's Clara (The Train – Part II)"
"Point of No Return (The Train – Part III)"
"It's Destroyed / Back to the Girlfriend / It's Erased"
"Doc Returns"
"End Credits25th Anniversary edition – Disc 2: Alternates

"Back to Back / Court House (alternate)"
"I'm Back / Main Title (alternate)"
"Into the Mine / Tombstone (alternate)"
"Warmed Up (alternate)"
"Indians (alternate)"
"The Hanging (alternate)"
"Goodbye Clara (alternate segment)"
"Count Off (alternate)"
"The Kick (alternate)"
"Doc's Return (alternate)"
"Clock Dedication / Battle Cry of Freedom"
"Doubleback (extended version)"
"Turkey in the Straw"
"My Darling Clementine"
"Saloon Piano Melody"
"Arkansas Traveler"
"Devil's Dream"
"Pop Goes the Weasel"
"Virginia Reel (Tip-Top)"
"I'm Back (alternate #2)"
"Into the Mine (alternate #2)"
"Indians (alternate #2)"
"Doc Returns (alternate #2)"On the standard edition, the tracks are not presented in the order they appear in the film  In chronological order, the track listing goes 1, 6, 3, 4, 14, 12, 5, 17, 13, 10, 7, 15, 11, 16, 2, 9, 8, and 18 
Songs in the film not included on the soundtrack album:
"Doubleback" (original version) – performed by ZZ Top
"The Power of Love" – performed by Huey Lewis and the News

The Back to the Future Trilogy
The Back to the Future Trilogy is a soundtrack compilation album, released by Varèse Sarabande on September 21, 1999  The album is a compilation of Alan Silvestri compositions from all three Back to the Future film scores, as well the theme from Back to the Future: The Ride  Whilst the tracks from Part III are from the film's original soundtrack, the tracks for Part I, Part II and The Ride are re-recorded renditions performed by John Debney and the Royal Scottish National Orchestra at the Glasgow City Halls 

Track listing
Back to the Future: The Musical (2020)
Back to the Future: The Musical (Original Cast Recording) is the cast recording of the musical of the same name, with music and lyrics by Alan Silvestri and Glen Ballard, and a book by Bob Gale  Recorded by the musical's original West End cast, it was released by Sony Music's Masterworks Broadway imprint on March 11, 2022  The musical's score was nominated for the Laurence Olivier Award for Best Original Score or New Orchestrations in 2022 

Background
The Back to the Future website originally announced on October 21, 2020 ("Back to the Future Day") that a cast recording of the West End production will be released in summer 2021  The announcement was accompanied by the release of Dobson's rendition of "Back in Time", which was originally written for and featured in the first film, in addition to the original track "Put Your Mind to It"  The cast recording was originally set to be released on November 26, 2021, but was delayed several times, eventually releasing on March 11, 2022 

Track listing
Passage 11:
Pulse (1988 film)
Pulse is a 1988 American science-fiction horror film written and directed by Paul Golding, drawing influence from previous works of science fiction and horror, and starring Cliff De Young, Roxanne Hart, Joseph Lawrence, Matthew Lawrence, and Charles Tyner  The film's title refers to a highly aggressive and intelligent pulse of electricity that terrorizes the occupants of a suburban house in Los Angeles, California  The film was produced through Columbia Pictures and the Aspen Film Society and distributed by Columbia Pictures  The titular Pulse and its accompanying elements were designed by Cinema Research Corporation 

Plot
A highly aggressive, paranormal intelligence thriving within the electrical grid system of Los Angeles, California is moving from house to house  It terrorizes the occupants by taking control of the appliances, killing them or causing them to wreck the house in an effort to destroy it  Once this has been accomplished, it travels along the power lines to the next house, and the terror restarts  Having thus wrecked one household in a quiet, suburban neighborhood, the pulse finds itself in the home of a boy's divorced father whom he is visiting  It gradually takes control of everything, injuring the stepmother, and trapping father and son, who must fight their way out 

Cast
Cliff De Young as Bill Rockland
Roxanne Hart as Ellen Rockland
Joey Lawrence as David Rockland
Matthew Lawrence as Stevie
Charles Tyner as Old Man Holger
Dennis Redfield as Pete
Robert Romanus as Paul
Myron Healey as Howard
Michael Rider as Foreman
Jean Sincere as Ruby
Terry Beaver as Policeman
Greg Norberg as Policeman
Tim Russ as Policeman

Release
The film was promoted by the taglines "It traps you in your house   then pulls the plug," "In every second of every day, it improves our lives  And in a flash, it can end them," and also "the ultimate shocker "

Production
The film was produced by Aspen Film Society, a film production company founded by Steve Martin and William E  McEuen Paul Golding got the idea for Pulse from two unrelated events with the first being when the screenwriter Caleb Deschanel spent the night in his house and told him that at night he’d been listening to “the sounds of the house…  the house was alive and it was taking care of me“, and the second was when he heard about a computer that reprogrammed itself  Golding wrote the screenplay under the working titles of House, Tract and Currents in 1981 but couldn’t get it made until Columbia eventually took it on seven years later  David Morse and Tommy Lee Jones both auditioned for the role of Bill but lost to Cliff De Young  Production was completed a day early and $1 million dollars under its $6 million dollar budget, and as a result were able to afford Oxford Scientific Films to do many of the special effects 

Release
David V  Picker, the head of Paramount Pictures at the time, was impressed by the film and intended to position it as a wide release, but changes in studio management curtailed this and it was only released theatrically in Texas and Oklahoma, while it went straight to video elsewhere  The movie did however become a success on video 

Reception
Pulse has a 64% approval rating at the online review aggregator Rotten Tomatoes based on 14 reviews 

Music
The musical score for Pulse was composed by Jay Ferguson, who also composed "Pictures of You" from the soundtrack to The Terminator, and the film score to A Nightmare on Elm Street 5: The Dream Child 
Passage 12:
Nothin' My Love Can't Fix
"Nothin' My Love Can't Fix" is a song by American actor and singer Joey Lawrence, released as the first single from his self-titled debut album on February 15, 1993, by MCA Records subsidiary Impact Records  Written by Lawrence, Alexandra Forbes and Eric Beall and produced by Forbes, Beall, Steve Barri and Tony Peluso, "Nothin' My Love Can't Fix" is Lawrence's most successful single, peaking at number 19 on the US Billboard Hot 100 and number 10 on the Billboard Mainstream Top 40  It also reached number 13 in the United Kingdom, number 22 in Ireland, number 50 in Canada and number 68 in Australia 

Background
"Nothin' My Love Can't Fix" was written by Joey Lawrence, Alexandra Forbes, and Eric Beall  The song was written when Lawrence was approximately fifteen years old 

Composition
According to the sheet music published at Musicnotes com by Alfred Publishing, the song is written in the key of F major and is set in time signature of common time with a tempo of 108 beats per minute  Lawrence's vocal range spans three octaves, from F3 to F♯6 

Chart performance
In the United States, "Nothin' My Love Can't Fix" debuted at number 68 on the Billboard Hot 100 for the issue dated March 6, 1993  The song spent 20 weeks on the chart, reaching its peak position of number 19 for the issue dated May 8, 1993  On the 1993 year-end chart, the song achieved a position of number 92 

Music video
The video premiered on February 15, 1993, during an episode of Blossom  Prior to its broadcast, the video was promoted through advertisements on MTV and NBC  The music video received heavy airplay on many outlets, including MTV, and Lawrence was invited to perform on MTV Spring Break, The Arsenio Hall Show, and Top of the Pops 

Track listings and formats
Personnel
Personnel are adapted from the Joey Lawrence album liner notes 
Joey Lawrence – vocals, writing
Steve Barri – production
Alexandra Forbes – production, writing
Eric Beall – production, writing
Tony Peluso – production, vocal recording, mixing
Steve Skinner – keyboards, drum programming
Fred Tenny – recording
Axel Niehaus – assistant recording engineer
Fred Kelly – assistant mixing engineer
Julie Barri – production assistance
Steve Hall – mastering

Charts
Release history
In popular culture
"Nothin' My Love Can't Fix" was used as the end-title theme for the 1993 film Cop and a Half 
Passage 13:
Can't Live with You, Can't Live Without You
"Can't Live with You, Can't Live Without You" is a duet between Billy Newton-Davis and Celine Dion, released as a single in July 1989 in Canada  The song was featured on Newton-Davis' album Spellbound  "Can't Live with You, Can't Live Without You" was later included on Dion's Japanese maxi-single "Unison" (1991)  It was written by Dan Hill who also wrote for Dion "Seduces Me" on her 1996 album Falling into You 

Background
The "Can't Live with You, Can't Live Without You" music video received a MuchMusic Video Award for Best MOR Video in 1990 The song was Dion's second commercial English single after her 1985 "Listen to the Magic Man"  It reached number 41 on the Canadian Singles Chart and number 12 on the Adult Contemporary Chart  In Quebec, it peaked at number 19 Dion performed this song during her Unison Tour 

Track listings and formats
Canadian 7" single"Can't Live with You, Can't Live Without You" – 4:16
"Stop Me (Before I Dream Again)" – 3:40

Charts
Release history
Passage 14:
I Still Can't Get Over Loving You
"I Still Can't Get Over Loving You" is a 1983 song written and performed by Ray Parker Jr  It was the lead single from his Woman Out of Control album of the same year, and it reached #12 on the Billboard Hot 100 in early 1984  It was Parker's fifth top 20 hit, the sixth being 1984's "Ghostbusters" 

Background
The song is an up-tempo ballad with electronic instruments 
While initially the song speaks of lost love and an ended relationship, the lyrics gradually take a considerably more sinister tone, ultimately implying that the man either is stalking his former girlfriend, or potentially preparing to do harm to her  A turning point in the tone occurs when Parker borrows a line from  The Police's "Every Breath You Take", "Every breath you take, I'll be watching you " It is summarily followed by closing lines which indicate that the relationship has taken a dark turn:  "There's no way that this thing is through, no; Not yet, I ain't through lovin' you; I'm gettin' mad, girl, don't you ever try to leave, no, no; It'll be the last thing you'll ever do "

Charts
Weekly charts
Year-end charts
Passage 15:
You Can't Beat Love
You Can't Beat Love is a 1937 American comedy film directed by Christy Cabanne and written by Maxwell Shane and David Silverstein  The film stars Preston Foster, Joan Fontaine, Herbert Mundin, William Brisbane and Alan Bruce  The film was released on June 25, 1937 

Plot
Jimmy Hughes (Preston Foster) is a fun-loving carouser who can't resist a dare  He is awakened by his gentleman's gentleman Jasper (Herbert Mundin) after a drunken evening in which he misappropriated a milk truck, and instructs Jasper to see that the damages (thirty dollars' worth of lost milk) are paid and the truck is returned  Accompanied by Jasper, Jimmy then fulfills a bet by putting in a day of hard work digging ditches in formal wear, good-naturedly tangling with other crew members in the process  He donates his winnings to a children's charity 
When a campaign truck stops by the site to dispense free cake and solicit support for Mayor Olson's re-election, Jimmy engages in a heckling match with a campaign worker who proves to be the mayor's daughter, Trudy Olson (Joan Fontaine)  Trudy angrily suggests that he throw his hat in the ring, and in a bluff, he declares that he will 
When the newspapers run with the story, Jimmy is caught by surprise and the mayor's campaign is concerned  Trudy visits Jimmy at his home with a cake to patch things up, and as he pledges to clear up the misunderstanding, the two become mutually attracted  Trudy accompanies Jimmy to the newspaper office the next day to help him announce his withdrawal, but she mistakenly dares him to run for real, obliging him to do so 
Jimmy pledges a clean campaign, but still ruffles Trudy at times as he continues to pursue her  Things begin to go well between them again as Jimmy helps Trudy save a child who has stolen ice from an ice truck from punishment, and they steal a fun ride on the back of the truck together 
The corrupt police chief, who works for the mayor, secretly attempts to frame Jimmy by luring him to a phony love nest with a hired woman (Barbara Pepper) and a waiting photographer, but catches Jimmy's friend instead  In retaliation, Jimmy recruits the woman's jealous boyfriend, a gangster, to involve the police chief in a citywide gambling ring 
As the mayor comes under criticism for the resulting scandal, Trudy visits Jimmy's campaign office and overhears him colluding with the gamblers  At a debate on election eve, she accuses him of being behind the ring  Jimmy produces a check designating all gambling proceeds to a children's charity, and plays a recording for the crowd of the police chief agreeing to participate in the criminal profits  He also has a recording of the mayor angrily confronting the police chief, proving the mayor's innocence  Jimmy then endorses the mayor for re-election as the guilty parties are arrested  The press asks for a photo of Jimmy kissing Trudy, and she dares him 

Cast
Preston Foster as James Ellsworth 'Jimmy' Hughes
Joan Fontaine as Trudy Olson
Herbert Mundin as Jasper 'Meadows' Hives
William Brisbane as Clem Bruner
Alan Bruce as Scoop Gallagher
Paul Hurst as Foreman Butch Mehaffey
Bradley Page as Dwight Parsons
Berton Churchill as Police Chief Brennan
Frank M  Thomas as Mayor Olson
Harold Huber as Pretty Boy Jones
Paul Guilfoyle as Louie the Weasel
Barbara Pepper as May 'Bubbles' Smith
Passage 16:
Can't Go for That
"Can't Go for That" is a song by Canadian recording artist Tamia  It was written by Missy Elliott, Brycyn Evans and Roosevelt "Bink" Harrell for her second studio album A Nu Day (2000), featuring main production from the latter with Elliottt and Evans serving as co-producers  Musically, the song includes an interpolation of "I Can't Go For That (No Can Do)" as performed by Hall & Oates 
"Can't Go for That" was released as the album's lead single in 2000 and peaked at number 84 on the US Billboard Hot 100 and 23 on Billboard's Hot R&B/Hip-Hop Singles & Tracks chart  The single was remixed by Jonathan Peters  There is another remix version as the album bonus track which features 213 members Nate Dogg, Snoop Dogg and Warren G 

Music video
A music video for "Can't Go for That" was directed by Chris Hafner in the week of July 1, 2000  It was filmed in Los Angeles 

Track listings
Notes

^[a]  denotes co-producer
^[b]  denotes additional producer

Credits and personnel
Credits adapted from the liner notes of A Nu Day 
Co-producer – Brycyn Evans, Missy Elliott
Assistant engineer – Edith Luis
Mixing, recording – Bill Importico
Producer – Bink!

Charts
Weekly charts
Passage 17:
Can't Nobody
"Can't Nobody" is a song performed by American recording artist Kelly Rowland  It was written and produced by Rich Harrison for Rowland's solo debut album Simply Deep (2002)  The song is built around a sample of "Let's Get Small" (1982) by American R&B band Trouble Funk  Due to the inclusion of the sample, band members Robert "Syke Dyke" Reed and Tony Fisher are also credited as songwriters  Musically, the uptempo track has been described as an "airy hip hop funk" song, that has Rowland describing an infatuation as she tries to convince the object of desire of her charms and advantages 
The song was released as the second single from Simply Deep on January 21, 2003, following lead "Stole" and Rowland's duet single "Dilemma" with Nelly from his album Nellyville (2002)  While it widely failed to match the success of its predecessors, "Can't Nobody" reached the top-five in the United Kingdom and became a top-twenty hit in Australia, Denmark, Ireland, the Netherlands, and Scotland  In the US, the song entered Billboard's Mainstream Top 40  An accompanying music video was directed by Benny Boom and shot in Los Angeles, California in January 2003  In further promotion of the song, Rowland performed the song on television shows such as Top of the Pops and made it part of the setlist of her Simply Deeper Tour (2003) 

Background
After the release of her former group Destiny's Child's 2001 album Survivor, Rowland launched a solo career when American rapper Nelly asked her to appear as a featured artist on his song "Dilemma"  The record originally appeared on his album Nellyville (2002) and was released as its third single  An instant success, it became a worldwide number-one hit that year and prompted Rowland's label Columbia Records to advance the release date of her solo album from 2003 to late 2002 to capitalize on the success of "Dilemma"  Rowland was forced to complete the album within a month   "Can't Nobody" was written by producer and songwriter Rich Harrison  Known for his work on fellow Columbia Records signee Amerie's debut album All I Have (2002), the song marked his first collaboration with a Destiny's Child member  In contrast to his own production style and major parts of Simply Deep, which featured mid-tempo tracks and wide influences by pop and rock music, the track includes a beat driven but poppy and radio-friendly instrumental, involving elements from "Let's Get Small", a song written by Robert Reed and Tony Fisher and performed by Trouble Funk 

Critical reception
"Can't Nobody" received generally mixed reviews from music critics  AllMusic editor Jon O'Brien named the song one of the album's highlights along with "Stole", "Dilemma" and "Everytime You Walk Out That Door" and complimented the production on "Can't Nobody" due to its "clattering percussion"  Chuck Taylor from Billboard found that "while the single has its charms, its skittish production and overly busy chorus tend to grate after a few spins, limiting its chances to go to the long haul " Sal Cinquemani of Slant compared the song to Rowland's previous single "Dilemma" and wrote: "'Can’t Nobody' features a catchy, retro hook and slick production, but Rowland’s voice isn’t as powerful as Whitney Houston’s or even Beyoncé Knowles's " Vibe journalist Craig Seymour named "Can’t Nobody" one of the better tracks on Simply Deep, calling it "a morsel of airy hip hop funk [   ] But while the tune offers her a good rump-wiggling groove, it can't quite fill the need for an authentic identity "

Commercial performance
The song was first issued as the album's second single in the United States on January 21, 2003  However, "Can't Nobody" received little commercial response in Rowland's native, where it was less successful than previous single "Stole", debuting and peaking at number ninety-seven on the US Billboard Hot 100 and number seventy-two on Billboard's Hot R&B/Hip-Hop Songs, respectively  It also entered the US Mainstream Top 40, reaching number forty  The single fared better overseas, where it became Rowland's third consecutive top five hit on the UK Singles Chart, peaking at number five, as well as her ninth best-selling solo single as of November 2011  The song also entered the top ten of the Scottish Singles Chart, reaching number nine, and peaked within the top twenty in Denmark, Ireland, and the Netherlands  In Australia, "Can't Nobody" peaked at number thirteen and was eventually certified gold by the Australian Recording Industry Association (ARIA), indicating sales in excess of 35,000 copies 

Music video
Rowland reteamed with "Dilemma" director Benny Boom to craft a music video for "Can't Nobody" which was shot in Los Angeles, California at the weekend of January 4, 2003  Filming locations include the Orpheum Theatre on Broadway and the Chinatown neighborhood, both set in the Downtown Los Angeles district  Joe Oz served as first assistant director, while production was helmed by Veronica Zelle for now defunct Gorilla Flix Productions  Main camera was operated by Paul Cameron  Upon its release, the music video for "Can't Nobody" was included on the European maxi-single as an enhanced video element  It was later also included on the Japanese edition of Destiny's Child's Destiny's Child World Tour concert DVD, released in 2003, as well as the 2004 Wal-Mart exclusive limited Destiny's Child's Fan Pack DVD which was released a week before the release of Destiny Fulfilled (2004) In the video, Rowland is waiting outside of the Orpheum Theatre nightclub for her boyfriend, who is surprising her with tickets for a fictional Simply Deep musical  She arrives after her boyfriend leaves and after buying a ticket for the musical and waiting for him to meet her, she is disturbed upon seeing a hologram of the two of them waiting in line together  Frustrated, Rowland walks around the Chinatown neighborhood seeing couples all around her until she comes across the Grand Star Jazz Club  She enters the club and begins enjoying herself while dancing until she sees her boyfriend nearby  She confronts him over his absence at the theatre, and he reveals he was going to surprise her with tickets to the musical  Rowland is relieved and after the two laugh over the misunderstanding, they both proceed to dance together in the club  The video ends with the two leaving the club to go watch the musical at the theatre  In a report surrounding the production of the short film, MTV News noted that the video was "a take-off of the Christian Slater flick True Romance "

Track listings
Credits and personnel
Credits adapted from the liner notes of Simply Deep 

Charts
Certifications
Release history
Context 2: Passage 1:
Stuart Mitchell
Stuart Mitchell (21 December 1965 – August 2018) was a Scottish pianist and composer who was born in Edinburgh and who is best known for his Seven Wonders Suite (2001)  The Seven Wonders Suite has been recorded by The Prague Symphony Orchestra conducted by Mario Klemens  A performance of part of the suite was performed in The Dvorak Hall in Prague in 2005  This major symphonic work has placed Mitchell in The Classic FM Hall of Fame since 2005, and is regularly requested by their listeners Stuart Mitchell was the son of pianist and composer Thomas J  Mitchell  In 2005, the Mitchells received media coverage from Reuters, ITN, BBC, and CNN/Fox News when they claimed to have deciphered a musical code carved into the ceiling design of Rosslyn Chapel In 2008, Mitchell released the first in his series of works called DNA Variations, music translated from Ancestral DNA sequences of various species and Fly – Orchestral Suite in 2016 was based upon the mitochondrial DNA music of birds and winged beings 
The Seven Wonders Suite was awarded the number 181 for the most popular classical music work in the Classic FM Hall of Fame 2017  And in the 2023 chart the suite had gone up to 82, the highest it has been Mitchell died of lung cancer in August 2018, aged 52 

Works
Cello Sonata in A – 1995
The Design of a Tear – 1998
Seven Wonders Suite for Orchestra (2003)
The Rosslyn Motet (2005)
Songs of the Chartres Labyrinth (2005)
DNA Variations Volume's I, II and III (2004–2009)
Transit of Venus – 2010
The Celestial Song of the Stars – 2010
Fanfare to Tutankhamen – 2009
Piano Concerto No 1 – 2008
Beethoven's DNA Music – 2010
The Eve Project (2011)
The Musical Life of Plants (2011)
The Emerald Tablets – Orchestral Choral Suite – 2008
Symphony No1 in B Flat Major – 2012
The Human Genome Music Project (2012)
Grounded – Motion Picture Soundtrack (2013)
Elvis Presley – DNA Music Translation/Rolling Stone Magazine
String Quartet – E minor – 2013
Faith Eternal for Choir & Orchestral – 2013
Power of the Earth – Grounded 2 Motion Picture – 2013
Symphony in the Key of H - 2013
Homage to the Great Composers – 2012
The Musical Life of Plants – Aromamusic – 2012
The Silent Sky – with Neil Warden – 2015
Fly – Orchestral Suite (2016)
Passage 2:
FreeRADIUS
FreeRADIUS is a modular, high performance free RADIUS suite developed and distributed under the GNU General Public License, version 2, and is free for download and use  The FreeRADIUS Suite includes a RADIUS server, a BSD-licensed RADIUS client library, a PAM library, an Apache module, and numerous additional RADIUS related utilities and development libraries In most cases, the word "FreeRADIUS" refers to the free open-source RADIUS server from this suite 
FreeRADIUS is the most popular open source RADIUS server and the most widely deployed RADIUS server in the world  It supports all common authentication protocols, and the server comes with a PHP-based web user administration tool called dialupadmin  It is the basis for many commercial RADIUS products and services, such as embedded systems, RADIUS appliances that support Network Access Control, and WiMAX  It supplies the AAA needs of many Fortune-500 companies, telcos, and Tier 1 ISPs  It is also widely used in the academic community, including eduroam  The server is fast, feature-rich, modular, and scalable 

History
FreeRADIUS was started in August 1999 by Alan DeKok and Miquel van Smoorenburg  Miquel had previously written the Cistron RADIUS server, which had gained widespread usage once the Livingston server was no longer being maintained  FreeRADIUS was started to create a new RADIUS server, using a modular design that would encourage more active community involvement 
As of November, 2014, the FreeRADIUS Project has three Core Team members: Alan DeKok (Project Leader), Arran Cudbard-Bell (Principal Architect), and Matthew Newton The latest major release is FreeRADIUS 3  FreeRADIUS 3 includes support for RADIUS over TLS, including RadSec, a completely rewritten rlm_ldap module, and hundreds of other minor consistency and usability enhancements  The latest mature version is maintained for stability rather than features 
The previous major release v2 2 x has entered the final phase of its lifecycle, and will now receive security fixes only A survey in 2006 showed that its user base totals 100 million people 

Features
Modules included with the server core support LDAP, MySQL, PostgreSQL, Oracle, and many other databases  It supports all popular EAP authentication types, including PEAP and EAP-TTLS  More than 100 vendor dictionaries are included, ensuring compatibility with a wide range of NAS devices 
Version 2 0 0 added support for virtual hosting, IPv6, VMPS, and a new policy language that simplifies many complex configurations 

Administration tools
daloRADIUS: a web based management application aimed at managing hotspots and ISP deployments  With easy user management interface, pretty graphical reporting, accounting, also billing engine and integrates with GoogleMaps for geo-locating 
phpRADmin: a tool written in PHP intended to handle the administration and provisioning of FreeRADIUS over the Web with MySQL as backend 
Dialup Admin: a powerful web interface written in PHP comes with FreeRADIUS to administer radius users  Dialup Admin supports users either in SQL (MySQL or PostgreSQL are supported) or in LDAP  No longer under active development 
ezRadius: web-based management app  The main aim is to provide radius server or hotspot administrator a simple web-based management application  FreeRADIUS must be configured to use MySQL as backend 
RADIUSdesk:RADIUSdesk has been developed since 2012 as tool to manage wireless Internet and has been under active development ever since 

See also
Diameter protocol: the proposed replacement for RADIUS

Notes
External links
Official website
FreeRADIUS wiki
Passage 3:
Standard 52-card deck
The standard 52-card deck of French-suited playing cards is the most common pack of playing cards used today  In English-speaking countries it is the only traditional pack used for playing cards; in many countries of the world, however, it is used alongside other traditional, often older, standard packs with different suit systems such as those with German-, Italian-, Spanish- or Swiss suits  The most common pattern of French-suited cards worldwide and the only one commonly available in English-speaking countries is the English pattern pack  The second most common is the Belgian-Genoese pattern, designed in France, but whose use spread to Spain, Italy, the Ottoman Empire, the Balkans and much of North Africa and the Middle East  In addition to those, there are other major international and regional patterns including standard 52-card packs, for example, in Italy that use Italian-suited cards  In other regions, such as Spain and Switzerland, the traditional standard pack comprises 36, 40 or 48 cards 

Composition
A standard 52-card French-suited deck comprises 13 ranks in each of the four suits: clubs (♣), diamonds (♦), hearts (♥) and spades (♠)  Each suit includes three court cards (face cards), King, Queen and Jack, with reversible (i e  double-headed) images  Each suit also includes ten numeral cards or pip cards, from one (Ace) to ten  The card with one pip is known as an Ace  Each pip card displays the number of pips (symbols of the suit) corresponding to its number, as well as the appropriate numeral (except "A" for the Ace) in at least two corners 
In addition, commercial decks often include from one to six Jokers; most commonly two or three since the mid-20th century  The Jokers are often distinguishable from one another, either in design or colour, as some card games require these extra cards  The Jokers can also be used as replacements for lost or damaged cards 

Design
The most popular standard pattern of the French deck is the English pattern (pictured above), sometimes referred to as the International pattern or Anglo-American pattern  The second most common is the Belgian-Genoese pattern, which was designed in France for export and spread to Spain, Italy, the Ottoman Empire, the Balkans and much of North Africa and the Middle East  There are also numerous others such as the Berlin pattern, Nordic pattern, Dondorf Rhineland pattern (pictured right) and the variants of the European pattern 
Modern playing cards carry index labels on opposite corners or in all four corners to facilitate identifying the cards when they overlap and so that they appear identical for players on opposite sides  For the Ace and court cards, this label is the initial letter or letters of the name of that card  In English-speaking countries they are lettered A, K, Q and J for Ace, King, Queen and Jack  In other countries the letters may vary, although the English versions are also sometimes used  Germany uses A, K, D and B (Ass, König, Dame and Bube); Russia uses the Cyrillic letters Т, К, Д and В (Tuz, Korol, Dama and Valet); Sweden uses E, K, D and Kn (Ess, Kung, Dam and Knekt) and France uses 1, R, D, V (As, Roi, Dame, and Valet) 
All early playing cards were single headed (also called single ended)  During the 19th century, card manufacturers began designing double-headed cards so that the cards could be readily identified whichever way up they were  In the case of court cards, this entailed cutting off the lower half of the image and replacing it with an inverted copy of the top half usually, but not always, with a horizontal or sloping dividing line between the two halves  Today, while single headed patterns of German-suited and Latin-suited cards still exist, modern French-suited cards are invariably double headed 
Although French-suited, 52-card packs are the most common playing cards used internationally, there are many countries or regions where the traditional pack size is only 36 (Russia, Bavaria) or 32 (north and central Germany, Austria) or where regional cards with smaller packs are preferred for many games  For example, 40- or 48-card Italian-suited packs are common in Italy; 40- and 48-card Spanish-suited packs on the Iberian peninsula; and 36-card German-suited packs are very common in Bavaria and Austria  In addition, tarot cards are required for games such as French Tarot (78 cards), which is widely played in France, and the Tarock family of games (42 or 54 cards) played in countries like Austria and Hungary 

History
The English pattern pack originated in Britain which was importing French playing cards from Rouen and Antwerp by 1480  The earliest cards of the English pattern date to around 1516  But Britain only started manufacturing its own cards towards the end of the 16th century, when card production began in London  These were based on the Rouen pattern, but unlike the traditional French cards, they dropped the names on the court cards  The English pattern evolved, in the process losing "some of its Rouen flavour and elegance and became more and more stylised  The figures took more space in the cards and many details were distorted "All early cards of this type were single-headed, but around 1860, the double-headed cards, universally used on modern decks, appeared  Corner indices were added around 1880  During the 19th century, the English pattern spread all over the world and is now used almost everywhere, even in countries where traditional patterns and other suits are popular  In America, the English pattern was copied onto wider cards The fanciful design and manufacturer's logo commonly displayed on the ace of spades began under the reign of James I of England, who passed a law requiring an insignia on that card as proof of payment of a tax on local manufacture of cards  Until August 4, 1960, decks of playing cards printed and sold in the United Kingdom were liable for taxable duty and the ace of spades carried an indication of the name of the printer and the fact that taxation had been paid on the cards  The packs were also sealed with a government duty wrapper 

Card size
Historically the size of playing cards was down to the printer, but during the 19th century sizes became standardised, initially to a size of 3½ x 2½ inches  Today these are often referred to as "wide" cards or "poker-sized" cards  Wider playing cards had advantages: it was harder to cheat and, if packs were unavailable, dog-eared cards could be trimmed smaller  Narrower cards, known as "whist-sized" or "bridge-sized" cards, probably first appeared in Europe and enabled players to handle the larger numbers of cards required for games like bridge However, there is no formal requirement for precise adherence and minor variations are produced by various manufacturers in different countries  In Germany, for example, standard Poker and Rummy packs by ASS Altenburger and Ravensburger measure 92 × 59 mm  Austria's Piatnik sells packs marketed for Bridge, Poker and Whist measuring 89 × 58 mm; while Britain's Waddingtons produce generic packs sized at 88 × 58 mm 
Other sizes are also available, such as a medium size (usually 67 × 42 mm or 2 6 × 1 7 in) and a miniature size (typically 45 × 32 mm or 1 8 × 1 3 in)  These are often intended for playing patience or solitaire games  Larger 'jumbo' cards are produced for card tricks and those with poor eyesight 
The thickness and weight of modern playing cards are subject to numerous variables related to their purpose of use and associated material design for durability, stiffness, texture and appearance 

Markings
Some decks include additional design elements  Casino blackjack decks may include markings intended for a machine to check the ranks of cards, or shifts in rank location to allow a manual check via an inlaid mirror  Many casino decks and solitaire decks have four indices instead of just two  Some modern decks have bar code markings on the edge of the face to enable them to be sorted by machine (for playing duplicate bridge, especially simultaneous events where the same hands may be played at many different venues)  Some decks have large indices for clarity  These are sometimes sold as 'seniors' cards for older people with limited eyesight, but may also be used in games like stud poker, where being able to read cards from a distance is a benefit and hand sizes are small 

Four-colour packs
The standard French-suited pack uses black for the spades and clubs, and red for the hearts and diamonds  However, some packs use four colours for the suits in order to make it easier to tell them apart  There are several schemes: a common one is the English Poker format with black spades (♠), red hearts (♥), blue diamonds (♦) and green clubs (♣)  Another common system is based on the German suits and uses green spades (♠) and yellow diamonds (♦) with red hearts (♥) and black clubs (♣) 

Nomenclature
When giving the full written name of a specific card, the rank is given first followed by the suit, e g , "ace of spades" or "Ace of Spades"  Shorthand notation may reflect this by listing the rank first, "A♠"; this is common usage when discussing poker; but it is equally common in more general sources to find the suit listed first, as in "♠K" for a single card or "♠AKQ" for multiple cards  This is common practice when writing about bridge as it helps differentiate between the card(s) and the contract (e g  "4♥", a contract of four hearts)  Tens may be either abbreviated to T or written as 10 

Terminology
Common collective and individual terms for playing cards that are relevant, but not exclusive to, the 52-card pack are:

Face card or court card – a jack, queen or king 
Honour card – a card that attracts a special bonus or payment for being held or captured in play  In bridge, honours are the aces, the court cards and tens (A, K, Q, J, 10); in whist and related games, the aces and courts (A, K, Q, J) 
Wild card –  card that may be designated by the owner to represent any other card 
Numerals or pip cards are the cards numbered from 2 to 10 
"1" cards are usually known as aces 
"2" cards are also known as deuces 
"3" cards are also known as treys 

Nicknames
Certain cards have acquired nicknames over time  The following common nicknames for cards of the English pattern pack only  Other patterns are different and may have other nicknames in the countries where they are used:

One-eyed Jacks – the jack of spades and the jack of hearts are depicted in profile, while the others are shown in full or oblique face 
One-eyed Royals – are the king of diamonds as well as the one-eyed jacks  The rest of the courts are shown in full or oblique face 
Suicide Kings – The king of hearts is typically shown with a sword behind his head, making him appear to be stabbing himself  Similarly, the one-eyed king of diamonds is typically shown with an axe behind his head with the blade facing toward him  These depictions, and their blood-red colour, inspired this nickname 
The king of diamonds is traditionally armed with an axe, while the other three kings are armed with swords; thus, the king of diamonds is sometimes referred to as "the man with the axe"  This is the basis of the trump "one-eyed jacks and the man with the axe"  Poker may be played with wild cards, often "Aces, Jacks, and the King with the Axe" 
The ace of spades, unique in its large, ornate spade, is sometimes said to be the death card or the picture card, and in some games is used as a trump card 
The queen of spades usually holds a sceptre and is sometimes known as "the bedpost queen", though more often she is called the "black lady"  She is the only queen facing left 
In many decks, the queen of clubs holds a flower  She is thus known as the "flower queen", though this design element is among the most variable; the Bicycle Poker deck depicts all queens with a flower styled according to their suit 

Computer representations
SVG
Unicode
As of Unicode 7 0, playing cards are now represented  Note that the following chart ("Cards", Range: 1F0A0–1F0FF) includes cards from the Tarot Nouveau deck, as well as the standard 52-card deck 

See also
500 decks coming with extra ranks
French playing cards
German playing cards
Italian playing cards
Spanish playing cards
Stripped decks come with fewer ranks 
Tarot Nouveau, the most common French-suited tarot game deck

Notes
Passage 4:
Bowling Green Ballpark
Bowling Green Ballpark is a 4,559-seat stadium in Downtown Bowling Green, Kentucky  It is primarily used for baseball and is home to the Bowling Green Hot Rods of the High-A East of Minor League Baseball  This state-of-the-art stadium opened with Citizens First Opening Night on April 17, 2009 to a standing room only crowd of 6,886  The Bowling Green Hot Rods defeated the Kannapolis Intimidators 8–4 in this much anticipated opening game that brought professional baseball to Bowling Green for the first time in 67 years  Many ceremonial "first" pitches were thrown, and the starting lineup of the Hot Rods were driven onto the field by locally owned vintage Hot Rods  The offices for the Bowling Green Hot Rods and several other touches were finally completed after the 2009 season 
The ballpark is also used occasionally by the Western Kentucky Hilltoppers baseball team to host high profiles games, such as the 2017 and 2019 game against the Kentucky Wildcats baseball 

Ballpark Features
Bowling Green Ballpark was designed by architectural firm DLR Group  The right-centerfield wall in Bowling Green Ballpark is unique in that it is concave in right-center because of the shape of a pre-existing road behind the field  The scoreboard in right-centerfield measures 35-feet tall and 56-feet wide, with the ability to show scoring, live video, advertisements, player statistics, and more  Embedded in the left field wall is a 6-foot, 3inch tall by 68-foot wide LED display board, behind which is a picnic area  There are two grass lawn seating areas- one in left-center and one at the right field line  The kids play area boasts an inflatable car customized with the Hot Rods' logo, a carousel, and a playground, and a behind the batter's eye in centerfield, a splash-pad  The Reinhart Club is a bar located on suite level directly behind home plate  Also on the suite level are 10 suites, the Hall of Fame suite, and a party deck—The Coca-Cola Deck 

Events
From May 23–27, 2012, the venue hosted the 2012 Sun Belt Conference baseball tournament, which was won by Louisiana–Monroe Multiple concerts have also taken place at Bowling Green Ballpark, including Florida Georgia Line and Nelly, Jake Owen, Ted Nugent, Uncle Kracker, and more 
Passage 5:
Jareb Dauplaise
Jareb Dauplaise (born March 18, 1979) is an American actor  He played Wayne in The Suite Life of Zack & Cody  He has also appeared in a commercial for the restaurant El Pollo Loco  Dauplaise stars in the film The Prankster, playing Blotto Dauplaise stars in a web series called Blue Movies and he had a role in the MTV original series The Hard Times of RJ Berger, as the main character's best friend, Miles Jenner 

Filmography
Passage 6:
Suite: Judy Blue Eyes
"Suite: Judy Blue Eyes" is a song written by Stephen Stills and performed by Crosby, Stills & Nash (CSN)  It appeared on the group's self-titled debut album in 1969 and was released as a single, reaching number 21 on the Billboard Hot 100 pop singles chart  In Canada, "Suite: Judy Blue Eyes" peaked at number 11  The song imitates the form of a classical music suite as an ordered set of musical pieces 

Background
The title "Suite: Judy Blue Eyes" (a play on words for "Sweet Judy Blue Eyes") refers to Stephen Stills' former girlfriend, singer/songwriter Judy Collins, and the lyrics to most of the suite's sections consist of his thoughts about her and their imminent breakup  During a July 15, 2007 interview for the National Public Radio program All Things Considered, Stills revealed that Collins was present in the studio when the demo tapes were recorded and had advised him, "Don't stay in here [in the studio] all night now " Stills also commented that the breakup with Collins "was imminent      We were just a little too big for one house " Stills said that he liked parts of this demo version of "Suite: Judy Blue Eyes" better than the released version; the song and other demos of early Crosby, Stills and Nash songs were released commercially on the album Just Roll Tape Collins and Stills had met in 1967 and dated for two years  In 1969, she was appearing in the New York Shakespeare Festival musical production of Peer Gynt and had fallen in love with her co-star Stacy Keach, eventually leaving Stills for him  Stills was devastated by the possible breakup and wrote the song as a response to his sadness  In a 2000 interview, Collins gave her impressions of when she first heard the song:

[Stephen] came to where I was singing one night on the West Coast and brought his guitar to the hotel and he sang me "Suite: Judy Blue Eyes," the whole song  And of course it has lines in it that referred to my therapy  And so he wove that all together in this magnificent creation  So the legacy of our relationship is certainly in that song 
Collins elaborated in a 2017 interview:

 Afterwards, we both cried – and then I said: "Oh, Stephen, it’s such a beautiful song  But it’s not winning me back " I’ve always understood that people have to write about their lives  Most of all, I felt the song was flattering and heartbreaking – for both of us  Neither one of us walked away from that relationship relieved  We were feeling like, "Whoa, what happened?”

Composition
The recording features an acoustic guitar tuned to EEEEBE ("Bruce Palmer Modal Tuning") vs  the standard EADGBE tuning  This style of tuning would later be used for the Déjà Vu songs "4+20" and "Carry On" 
"Suite: Judy Blue Eyes" has four distinct sections  The shortened version released as a single cut the second and fourth verses from the first section, the third and fourth verses from the second section, and the final verse and preceding break from the third section, and shortened the guitar break between the second and the third sections  The final section is the only part that stayed fully intact 
The first section has four verses, featuring a chorus of "I am yours, you are mine, you are what you are " The lead vocal is performed by Stills, with Crosby and Nash providing harmonies 
The second section is performed in half-time relative to the first section, and features four verses of three-part harmony from the band, with Stills performing a brief vocal solo between the second and third 
This is followed by Stills' acoustic guitar solo, beginning the next section 
The third section features poetic lyrics ("chestnut brown canary, ruby-throated sparrow")  Each of the three phrases is initially sung by Stills, with Nash then joining, and finally Crosby  Connecting the phrases are instrumental breaks performed by Stills on acoustic guitar  There is a conga‑type sound at the end of the song that was attained by beating the back of his Martin guitar The final section is sung in Spanish, with "doo-doo-doo-doo-doo" backing vocals until the song concludes  Stills has said that he intentionally made the final stanzas unexpected and difficult, even using a foreign language for the lyrics, "just to make sure nobody would understand it" 

Live performances
The final section of the song is included on the CSNY live album 4 Way Street  It fades in on the opening of side one of the album  CSN also performed "Suite: Judy Blue Eyes" as their opening song at the Woodstock and Live Aid festivals, and their performance at the former is featured in the film Woodstock (1970) 

Critical reception
Writing for The New York Times in 1969, Robert Christgau suggested that while "Stills has become such a sophisticated guitarist that many of his lines lack any straight-on rhythmic compulsion", his "Suite: Judy Blue Eyes" is "a structural triumph which could never have been brought off by a more Dionysiac spirit ""Suite: Judy Blue Eyes" was named the 51st greatest song ever in a 2000 list by VH1  In 2004, Rolling Stone magazine ranked it number 418 in the 500 Greatest Songs of All Time  It was also included in the Rock and Roll Hall of Fame's "500 Songs That Shaped Rock & Roll" "I love the intricacies of the harmonies and Stills's guitar work," remarked Slipknot front-man Corey Taylor  "This is a favourite "

Legacy
The final section has been parodied numerous times, notably in Frank Zappa's compositions "Billy the Mountain" and "Magdalena" on The Mothers of Invention's album Just Another Band From L A  "Weird Al" Yankovic performs a takeoff of it ("Mission Statement") on his 2014 album Mandatory Fun; instead of Spanish, the lyrics are corporate buzzwords strung together in such a way as to be ultimately nonsensical  It is also sampled in the 2010 Cypress Hill song "Armada Latina" 

Personnel
David Crosby – harmony vocals
Stephen Stills – lead and harmony vocals, electric and acoustic guitars, bass, Hammond B-3 organ, percussion
Graham Nash – harmony vocals
Dallas Taylor – drums and percussion

Charts
Passage 7:
Nothing Suits Me Like a Suit
"Nothing Suits Me Like a Suit" is a song performed by Neil Patrick Harris and the cast of the comedy series How I Met Your Mother from the 100th episode "Girls Versus Suits"  Carter Bays and Craig Thomas were nominated for the Primetime Emmy Award for Outstanding Original Music and Lyrics for writing the song 

Background
The song premiered on the 100th episode of How I Met Your Mother, "Girls Versus Suits" (season 5, episode 12) in a dream sequence where Harris' character, Barney Stinson, contemplates whether to keep his collection of suits or continue seeing the attractive bartender with whom he was about to hook up  The episode premiered on January 11, 2010, with the single being released the following day  Stacy Keibler guest-starred in this episode  The musical number featured 65 dancers and a 50-piece orchestra and was choreographed by Zach Woodlee (Glee) 

Chart performance
The song peaked at #50 on the UK Singles Chart  In Canada, the song peaked at 76 on the Canadian Hot 100 

Charts
Personnel
Lead vocals – Neil Patrick Harris as Barney Stinson
Additional vocals – Jason Segel as Marshall Eriksen, Josh Radnor as Ted Mosby, Alyson Hannigan as Lily Aldrin, and Cobie Smulders as Robin Scherbatsky
Passage 8:
Batman: Under the Red Hood
Batman: Under the Red Hood is a 2010 American animated superhero action thriller direct-to-video film produced by Warner Bros  Animation and released by Warner Home Video  It is the eighth film of the DC Universe Animated Original Movies  The writer, Judd Winick, also wrote the "Under the Hood" run in the monthly Batman comic the film is based on  The film was released on July 27, 2010, and received highly positive reviews from critics, who praised its plot, animation, and focus on storytelling  It is generally considered to be one of the best in the DC Universe Animated Original Movies line  The film was also a commercial success, grossing over $12 million in home video sales 
The two-disc special edition and Blu-ray also includes an animated short featuring Jonah Hex  An interactive short spiritual sequel/film adaptation, Batman: Death in the Family, was released on October 13, 2020,  ten years after Red Hood 

Plot
Ra's al Ghul realizes his mistake in hiring the Joker to use him as a distraction while he destroyed Europe's financial districts after learning that he has captured Jason Todd, the second Robin, Batman's partner  In Sarajevo, Bosnia, Joker brutally assaults Jason, in an abandoned warehouse with a crowbar  Jason is locked in the warehouse with a bomb, which explodes and kills him before Batman arrives 
Five years later in Gotham City, a mysterious vigilante called Red Hood assembles a meeting of the city's most prominent drug dealers  He announces a takeover of their drug trade, taking only 40% of the profit while offering them protection from both Black Mask and Batman - under punishment of death to anyone caught dealing drugs to children 
Batman stops an attempted theft of a shipment belonging to Black Mask, which is the advanced android Amazo  Batman destroys Amazo with the help of Jason's predecessor Dick Grayson a k a  Nightwing and discovers the thieves are working for Red Hood who then kills them  He chases Red Hood to Ace Chemicals, where an explosion destroys the facility  Batman and Nightwing interrogate Joker at Arkham Asylum about Red Hood, but he denies involvement 

Black Mask puts a hit on Red Hood for Amazo's destruction  Batman and Nightwing prevent Red Hood from hijacking Black Mask's next weapon shipment  They chase Red Hood to a train station, where he escapes after detonating a bomb, which injures Nightwing  Batman and Nightwing realize Red Hood is trained and has knowledge of Batman's tactics and gear  A review of audio footage of the chase reveals Red Hood knows Batman's secret identity 
Batman recalls Jason performing the same maneuvers as Robin and that Jason grew more violent and bloodthirsty as he aged, with Batman having to stop him many times from nearly killing criminals  The Fearsome Hand of 4 lure out Red Hood and nearly overpower him until Batman helps incapacitate three of them and Red Hood kills the fourth, horrifying Batman  Red Hood explains he is doing what Batman will not: killing criminals who are not afraid 
Batman analyzes a blood sample of Red Hood drawn from the battle and it matches Jason's  After discovering Jason's corpse is fake, Batman confronts Ra's al Ghul and demands to know the truth  Ra's explains that he felt responsible for Jason's death and, as a peace offering, he swapped Jason's body for a fake and revived him in the Lazarus Pit  Following his resurrection, Jason was driven insane and escaped 
After surviving an assassination attempt by Red Hood, Black Mask sets Joker free, tasking him with killing Red Hood  However, Joker instead abducts Black Mask and the drug dealers and plans to set them on fire; Red Hood appears and reveals his real target all along has been the Joker  Batman saves the hostages and Red Hood takes Joker  Red Hood brutally beats Joker in revenge for his own murder and confronts Batman 
During the fight, Red Hood removes his helmet, confirming he is Jason  Their fight makes its way to the dilapidated building where Jason is keeping the Joker and ends with Jason holding Batman at gunpoint  Though he has forgiven Batman for not saving him, Jason is upset and angry that Joker is still alive after killing him  Batman admits he has thought constantly about torturing and killing the Joker but will not, fearing he will not stop if he kills even once 
Jason tosses Batman a gun and gives him an ultimatum – he will execute the Joker unless Batman shoots him  Batman refuses and drops the gun, causing Jason to shoot at him  Batman throws a batarang, which jams Jason's pistol  When Jason pulls the trigger again, the gun is destroyed and his right hand gets mangled  Defeated, Jason sets off a time bomb and Batman subdues Joker before attempting to save Jason 
The bomb explodes; Batman and Joker survive but Jason is gone  Joker is returned to Arkham and Black Mask is arrested for his involvement in the Joker's escape  At the Batcave, Alfred offers to remove the glass case display of Jason's Robin costume after everything that has happened, but Bruce refuses, claiming it doesn't change anything 
A final flashback shows Jason's first day as Robin, which he cheerfully declares is the best day of his life 

Cast
Crew
Andrea Romano – Voice Director

Music
The score for Batman: Under the Red Hood was composed by Christopher Drake, who had previously scored several animated films set in the DC Universe  It was inspired by the soundtracks of Batman: Mask of the Phantasm which features a traditional orchestral score and The Dark Knight which features a computer generated, electronic score  Drake said that since Under the Red Hood has a darker tone than previous DC Universe animated films, he chose not to use the music as epic and melodramatic instead opting for a more intimate, minimal and restrained tone  He added that this is the first DC film he has scored that didn't rely on using a large choir to make the fight scenes sound bigger  Drake scored the film as a reference to modern minimalist electronic scores because the film's director Brandon Vietti felt that Under the Red Hood needed to go in a different, more modern direction to separate it from previous DC animation scores  At that point, Drake introduced more electronic and ambient elements, like synthesized and processed electronic guitar, while retaining orchestral elements Batman: Under The Red Hood – Soundtrack to The Animated Original Movie was released by WaterTower Music on July 27, 2010 and features 18 tracks composed for the film 

Commercial performance
The film grossed over $12 million in domestic home video sales, making it one of the highest grossing DC animated films 

Critical reception
Batman: Under the Red Hood received positive reviews from critics who praised the film's direction, animation, emotional weight of the story, and voice acting particularly for Jensen Ackles  On Rotten Tomatoes, the film has an approval rating of 100% based on reviews from seven critics, with an average rating of a 7 3/10  
Demeter's review for The World's Finest stated: "I have to say this really was a damn good film"  James Harvey's review on the same website was even more positive, calling it "a mature and faithful take on the Batman lore"  IGN gave the movie an 8 out of 10, calling it "An interesting peek inside the psyche of Batman and the fine line between good and evil"  It was the highest rated direct-to-video Batman film until the release of The Dark Knight Returns 

Continuation
A follow-up film titled Batman: Death in the Family was released on October 13, 2020, a decade after Under the Red Hood with Greenwood, Martella, and DiMaggio reprising their roles  Zehra Fazal plays Talia al Ghul and Gary Cole plays both Two-Face and Commissioner Gordon  It is an interactive narrative where the viewer chooses what happens in the story 
Passage 9:
The Suite Life Sets Sail
"The Suite Life Sets Sail" is the pilot episode of the Disney Channel teen sitcom The Suite Life on Deck, a sequel/spin-off to the Disney Channel sitcom The Suite Life of Zack & Cody  Debby Ryan joins the cast as Bailey Pickett, who becomes a close friend of Zack's, the girlfriend of Cody, and the roommate of London, as well as Ashley Tisdale leaving the main cast due to her character Maddie Fitzpatrick having to attend college 
After an original sequel named Arwin! was not picked up by Disney Channel, the creators decided to change the concept  The series premiere in the United States drew 5 7 million viewers, and it became the most watched pilot in Canada and on Family Channel   This also outpaced veteran series Hannah Montana and Wizards of Waverly Place with the ratings 

Plot
Hotel heiress London Tipton (Brenda Song) and twins Zack (Dylan Sprouse) and Cody Martin (Cole Sprouse) are to attend a new semester in Seven Seas High School on the SS Tipton, a cruise ship owned by Wilfred Tipton (voiced by Bob Joles and played by Adam Tait in The Suite Life of Zack & Cody; played by John Michael Higgins in the special The Suite Life on Deck episode "Twister")  (which was seen in one episode of the predecessor)  Meanwhile, Mr  Moseby (Phill Lewis) tricks London into thinking that she is on vacation (which is not true), and a girl named Bailey Pickett sneaks into the bathrooms to disguise herself as a male, doing so since there are no more cabins left for women  London bribes her roommate Padma (Tiya Sircar) into leaving, so she can have the room to herself, and soon finds out she has to attend school 
Cody ends up sharing a room with Woody Fink (Matthew Timmons), who is very messy, while Zack eventually is with Bailey (Debby Ryan) (currently disguised as male, trying to hide her identity)  The twins decide to exchange roommates, but Zack in the end refuses after finding out she is a girl  However, her gender is eventually revealed to the people on the ship, and is happy to find out that the cabin from London is free for one more person, but this is the last straw for London, and she flees to Parrot Island via helicopter, leaving the plot for the following episode 

Starring
Guest starring
Erin Cardillo as Emma Tutweiller: Zack, Cody, London, Bailey and Woody's teacher for the semester on board 
Tiya Sircar as Padma: London's previous roommate whom she tricked into leaving 
Matthew Timmons as Woody Fink: Cody's roommate and a frequent guest star on the show 
Kim Rhodes as Carey Martin: Zack and Cody's mom who only has a cameo in this episode and appears in later episodes 

Reception
The series premiere attracted more than a million people on its opening day 
Passage 10:
Buckingham Palace
Buckingham Palace (UK: ) is a London royal residence and the administrative headquarters of the monarch of the United Kingdom  Located in the City of Westminster, the palace is often at the centre of state occasions and royal hospitality  It has been a focal point for the British people at times of national rejoicing and mourning 
Originally known as Buckingham House, the building at the core of today's palace was a large townhouse built for the Duke of Buckingham in 1703 on a site that had been in private ownership for at least 150 years  It was acquired by King George III in 1761 as a private residence for Queen Charlotte and became known as The Queen's House  During the 19th century it was enlarged by architects John Nash and Edward Blore, who constructed three wings around a central courtyard  Buckingham Palace became the London residence of the British monarch on the accession of Queen Victoria in 1837 
The last major structural additions were made in the late 19th and early 20th centuries, including the East Front, which contains the well-known balcony on which the royal family traditionally appears to greet crowds  A German bomb destroyed the palace chapel during the Second World War; the Queen's Gallery was built on the site and opened to the public in 1962 to exhibit works of art from the Royal Collection 
The original early-19th-century interior designs, many of which survive, include widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long  King Edward VII oversaw a partial redecoration in a Belle Époque cream and gold colour scheme  Many smaller reception rooms are furnished in the Chinese regency style with furniture and fittings brought from the Royal Pavilion at Brighton and from Carlton House  The palace has 775 rooms, and the garden is the largest private garden in London  The state rooms, used for official and state entertaining, are open to the public each year for most of August and September and on some days in winter and spring 

History
Pre-1624
In the Middle Ages, the site of the future palace formed part of the Manor of Ebury (also called Eia)  The marshy ground was watered by the river Tyburn, which still flows below the courtyard and south wing of the palace  Where the river was fordable (at Cow Ford), the village of Eye Cross grew  Ownership of the site changed hands many times; owners included Edward the Confessor and Edith of Wessex in late Saxon times, and, after the Norman Conquest, William the Conqueror  William gave the site to Geoffrey de Mandeville, who bequeathed it to the monks of Westminster Abbey In 1531, Henry VIII acquired the Hospital of St James, which became St James's Palace, from Eton College, and in 1536 he took the Manor of Ebury from Westminster Abbey  These transfers brought the site of Buckingham Palace back into royal hands for the first time since William the Conqueror had given it away almost 500 years earlier  Various owners leased it from royal landlords, and the freehold was the subject of frenzied speculation during the 17th century  By then, the old village of Eye Cross had long since fallen into decay, and the area was mostly wasteland  Needing money, James VI and I sold off part of the Crown freehold but retained part of the site on which he established a four-acre (1 6 ha) mulberry garden for the production of silk  (This is at the north-west corner of today's palace ) Clement Walker in Anarchia Anglicana (1649) refers to "new-erected sodoms and spintries at the Mulberry Garden at S  James's"; this suggests it may have been a place of debauchery  Eventually, in the late 17th century, the freehold was inherited from the property tycoon Sir Hugh Audley by the great heiress Mary Davies 

First houses on the site (1624–1761)
Possibly the first house erected within the site was that of Sir William Blake, around 1624  The next owner was Lord Goring, who from 1633 extended Blake's house, which came to be known as Goring House, and developed much of today's garden, then known as Goring Great Garden  He did not, however, obtain the freehold interest in the mulberry garden  Unbeknown to Goring, in 1640 the document "failed to pass the Great Seal before Charles I fled London, which it needed to do for legal execution"  It was this critical omission that would help the British royal family regain the freehold under George III  When the improvident Goring defaulted on his rents, Henry Bennet, 1st Earl of Arlington was able to purchase the lease of Goring House and he was occupying it when it burned down in 1674, following which he constructed Arlington House on the site – the location of the southern wing of today's palace – the next year  In 1698, John Sheffield acquired the lease  He later became the first Duke of Buckingham and Normanby  Buckingham House was built for Sheffield in 1703 to the design of William Winde  The style chosen was of a large, three-floored central block with two smaller flanking service wings  It was eventually sold by Buckingham's illegitimate son, Sir Charles Sheffield, in 1761 to George III for £21,000  Sheffield's leasehold on the mulberry garden site, the freehold of which was still owned by the royal family, was due to expire in 1774 

From Queen's House to palace (1761–1837)
Under the new royal ownership, the building was originally intended as a private retreat for Queen Charlotte, and was accordingly known as The Queen's House  Remodelling of the structure began in 1762  In 1775, an Act of Parliament settled the property on Queen Charlotte, in exchange for her rights to nearby Somerset House, and 14 of her 15 children were born there  Some furnishings were transferred from Carlton House and others had been bought in France after the French Revolution of 1789  While St James's Palace remained the official and ceremonial royal residence, the name "Buckingham-palace" was used from at least 1791  After his accession to the throne in 1820, George IV continued the renovation intending to create a small, comfortable home  However, in 1826, while the work was in progress, the King decided to modify the house into a palace with the help of his architect John Nash  The external façade was designed, keeping in mind the French neoclassical influence preferred by George IV  The cost of the renovations grew dramatically, and by 1829 the extravagance of Nash's designs resulted in his removal as the architect  On the death of George IV in 1830, his younger brother William IV hired Edward Blore to finish the work  William never moved into the palace  After the Palace of Westminster was destroyed by fire in 1834, he offered to convert Buckingham Palace into a new Houses of Parliament, but his offer was declined 

Queen Victoria (1837–1901)
Buckingham Palace became the principal royal residence in 1837, on the accession of Queen Victoria, who was the first monarch to reside there; her predecessor William IV had died before its completion  While the state rooms were a riot of gilt and colour, the necessities of the new palace were somewhat less luxurious  It was reported the chimneys smoked so much that the fires had to be allowed to die down, and consequently the palace was often cold  Ventilation was so bad that the interior smelled, and when it was decided to install gas lamps, there was a serious worry about the build-up of gas on the lower floors  It was also said that the staff were lax and lazy and the palace was dirty  Following the Queen's marriage in 1840, her husband, Prince Albert, concerned himself with a reorganisation of the household offices and staff, and with addressing the design faults of the palace  By the end of 1840, all the problems had been rectified  However, the builders were to return within a decade By 1847, the couple had found the palace too small for court life and their growing family and a new wing, designed by Edward Blore, was built by Thomas Cubitt, enclosing the central quadrangle  The large East Front, facing The Mall, is today the "public face" of Buckingham Palace and contains the balcony from which the royal family acknowledge the crowds on momentous occasions and after the annual Trooping the Colour  The ballroom wing and a further suite of state rooms were also built in this period, designed by Nash's student Sir James Pennethorne  Before Prince Albert's death, the palace was frequently the scene of musical entertainments, and the most celebrated contemporary musicians entertained at Buckingham Palace  The composer Felix Mendelssohn is known to have played there on three occasions  Johann Strauss II and his orchestra played there when in England  Under Victoria, Buckingham Palace was frequently the scene of lavish costume balls, in addition to the usual royal ceremonies, investitures and presentations Widowed in 1861, the grief-stricken Queen withdrew from public life and left Buckingham Palace to live at Windsor Castle, Balmoral Castle and Osborne House  For many years the palace was seldom used, even neglected  In 1864, a note was found pinned to the fence of Buckingham Palace, saying: "These commanding premises to be let or sold, in consequence of the late occupant's declining business " Eventually, public opinion persuaded the Queen to return to London, though even then she preferred to live elsewhere whenever possible  Court functions were still held at Windsor Castle, presided over by the sombre Queen habitually dressed in mourning black, while Buckingham Palace remained shuttered for most of the year 

Early 20th century (1901–1945)
In 1901, the new king, Edward VII, began redecorating the palace  The King and his wife, Queen Alexandra, had always been at the forefront of London high society, and their friends, known as "the Marlborough House Set", were considered to be the most eminent and fashionable of the age  Buckingham Palace—the Ballroom, Grand Entrance, Marble Hall, Grand Staircase, vestibules and galleries were redecorated in the Belle Époque cream and gold colour scheme they retain today—once again became a setting for entertaining on a majestic scale but leaving some to feel Edward's heavy redecorations were at odds with Nash's original work The last major building work took place during the reign of George V when, in 1913, Sir Aston Webb redesigned Blore's 1850 East Front to resemble in part Giacomo Leoni's Lyme Park in Cheshire  This new refaced principal façade (of Portland stone) was designed to be the backdrop to the Victoria Memorial, a large memorial statue of Queen Victoria created by sculptor Sir Thomas Brock, erected outside the main gates on a surround constructed by architect Sir Aston Webb  George V, who had succeeded Edward VII in 1910, had a more serious personality than his father; greater emphasis was now placed on official entertainment and royal duties than on lavish parties  He arranged a series of command performances featuring jazz musicians such as the Original Dixieland Jazz Band (1919; the first jazz performance for a head of state), Sidney Bechet and Louis Armstrong (1932), which earned the palace a nomination in 2009 for a (Kind of) Blue Plaque by the Brecon Jazz Festival as one of the venues making the greatest contribution to jazz music in the United Kingdom During the First World War, which lasted from 1914 until 1918, the palace escaped unscathed  Its more valuable contents were evacuated to Windsor, but the royal family remained in residence  The King imposed rationing at the palace, much to the dismay of his guests and household  To the King's later regret, David Lloyd George persuaded him to go further and ostentatiously lock the wine cellars and refrain from alcohol, to set a good example to the supposedly inebriated working class  The workers continued to imbibe, and the King was left unhappy at his enforced abstinence George V's wife, Queen Mary, was a connoisseur of the arts and took a keen interest in the Royal Collection of furniture and art, both restoring and adding to it  Queen Mary also had many new fixtures and fittings installed, such as the pair of marble Empire-style chimneypieces by Benjamin Vulliamy, dating from 1810, which the Queen had installed in the ground floor Bow Room, the huge low room at the centre of the garden façade  Queen Mary was also responsible for the decoration of the Blue Drawing Room  This room, 69 feet (21 metres) long, previously known as the South Drawing Room, has a ceiling designed by Nash, coffered with huge gilt console brackets  In 1938, the northwest pavilion, designed by Nash as a conservatory, was converted into a swimming pool 

Second World War
During the Second World War, which broke out in 1939, the palace was bombed nine times  The most serious and publicised incident destroyed the palace chapel in 1940  This event was shown in cinemas throughout the United Kingdom to show the common suffering of the rich and poor  One bomb fell in the palace quadrangle while George VI and Queen Elizabeth (the future Queen Mother) were in the palace, and many windows were blown in and the chapel destroyed  Wartime coverage of such incidents was severely restricted, however  The King and Queen were filmed inspecting their bombed home; it was at this time the Queen famously declared: "I'm glad we have been bombed  Now I can look the East End in the face"  The royal family were seen as sharing their subjects' hardship, as The Sunday Graphic reported:

By the Editor: The King and Queen have endured the ordeal which has come to their subjects  For the second time a German bomber has tried to bring death and destruction to the home of Their Majesties     When this war is over the common danger which King George and Queen Elizabeth have shared with their people will be a cherished memory and an inspiration through the years 
On 15 September 1940, known as Battle of Britain Day, an RAF pilot, Ray Holmes of No  504 Squadron RAF rammed a German Dornier Do 17 bomber he believed was going to bomb the Palace  Holmes had run out of ammunition and made the quick decision to ram it  Holmes bailed out and the aircraft crashed into the forecourt of London Victoria station  The bomber's engine was later exhibited at the Imperial War Museum in London  The British pilot became a King's Messenger after the war and died at the age of 90 in 2005  On VE Day—8 May 1945—the palace was the centre of British celebrations  The King, the Queen, Princess Elizabeth (the future queen) and Princess Margaret appeared on the balcony, with the palace's blacked-out windows behind them, to cheers from a vast crowd in The Mall  The damaged Palace was carefully restored after the war by John Mowlem & Co 

Mid 20th century to present day
Many of the palace's contents are part of the Royal Collection, held in trust by King Charles III; they can, on occasion, be viewed by the public at the Queen's Gallery, near the Royal Mews  The purpose-built gallery opened in 1962 and displays a changing selection of items from the collection  It occupies the site of the chapel that was destroyed in the Second World War  The palace was designated a Grade I listed building in 1970  Its state rooms have been open to the public during August and September and on some dates throughout the year since 1993  The money raised in entry fees was originally put towards the rebuilding of Windsor Castle after the 1992 fire devastated many of its staterooms  In the year to 31 March 2017, 580,000 people visited the palace, and 154,000 visited the gallery  In 2004, the palace attempted to claim money from the community energy fund to heat Buckingham Palace, but the claim was rejected due to fear of public backlash The palace used to racially segregate staff  In 1968, Charles Tryon, 2nd Baron Tryon, acting as treasurer to Queen Elizabeth II, sought to exempt Buckingham Palace from full application of the Race Relations Act 1968  He stated that the palace did not hire people of colour for clerical jobs, only as domestic servants  He arranged with Civil servants for an exemption that meant that complaints of racism against the royal household would be sent directly to the Home Secretary and kept out of the legal system The palace, like Windsor Castle, is owned by the reigning monarch in right of the Crown  Occupied royal palaces are not part of the Crown Estate, nor are they the monarch's personal property, unlike Sandringham House and Balmoral Castle  The Government of the United Kingdom is responsible for maintaining the palace in exchange for the profits made by the Crown Estate  In 2015, the State Dining Room was closed for a year and a half because its ceiling had become potentially dangerous  A 10-year schedule of maintenance work, including new plumbing, wiring, boilers and radiators, and the installation of solar panels on the roof, has been estimated to cost £369 million and was approved by the prime minister in November 2016  It will be funded by a temporary increase in the Sovereign Grant paid from the income of the Crown Estate and is intended to extend the building's working life by at least 50 years  In 2017, the House of Commons backed funding for the project by 464 votes to 56 Buckingham Palace is a symbol and home of the British monarchy, an art gallery and a tourist attraction  Behind the gilded railings and gates that were completed by the Bromsgrove Guild in 1911, lies Webb's famous façade, which was described in a book published by the Royal Collection Trust as looking "like everybody's idea of a palace"  It has not only been a weekday home of Elizabeth II and Prince Philip but is also the London residence of the Duke of York and the Duke and Duchess of Edinburgh  The palace also houses their offices, as well as those of the Princess Royal and Princess Alexandra, and is the workplace of more than 800 people  Charles III lives at Clarence House while restoration work continues, although he conducts official business at Buckingham Palace, including weekly meetings with the Prime Minister  Every year, some 50,000 invited guests are entertained at garden parties, receptions, audiences and banquets  Three garden parties are held in the summer, usually in July  The forecourt of Buckingham Palace is used for the Changing of the Guard, a major ceremony and tourist attraction (daily from April to July; every other day in other months) 

Interior
The front of the palace measures 355 feet (108 m) across, by 390 feet (120 m) deep, by 80 feet (24 m) high and contains over 830,000 square feet (77,000 m2) of floorspace  There are 775 rooms, including 188 staff bedrooms, 92 offices, 78 bathrooms, 52 principal bedrooms and 19 state rooms  It also has a post office, cinema, swimming pool, doctor's surgery, and jeweller's workshop  The Royal family occupy a small suite of private rooms in the north wing 

Principal rooms
The principal rooms are contained on the first-floor piano nobile behind the west-facing garden façade at the rear of the palace  The centre of this ornate suite of state rooms is the Music Room, its large bow the dominant feature of the façade  Flanking the Music Room are the Blue and the White Drawing Rooms  At the centre of the suite, serving as a corridor to link the state rooms, is the Picture Gallery, which is top-lit and 55 yards (50 m) long  The Gallery is hung with numerous works including some by Rembrandt, van Dyck, Rubens and Vermeer; other rooms leading from the Picture Gallery are the Throne Room and the Green Drawing Room  The Green Drawing Room serves as a huge anteroom to the Throne Room, and is part of the ceremonial route to the throne from the Guard Room at the top of the Grand Staircase  The Guard Room contains white marble statues of Queen Victoria and Prince Albert, in Roman costume, set in a tribune lined with tapestries  These very formal rooms are used only for ceremonial and official entertaining but are open to the public every summer 

Semi-state apartments
Directly underneath the state apartments are the less grand semi-state apartments  Opening from the Marble Hall, these rooms are used for less formal entertaining, such as luncheon parties and private audiences  At the centre of this floor is the Bow Room, through which thousands of guests pass annually to the monarch's garden parties  When paying a state visit to Britain, foreign heads of state are usually entertained by the monarch at Buckingham Palace  They are allocated an extensive suite of rooms known as the Belgian Suite, situated at the foot of the Minister's Staircase, on the ground floor of the west-facing Garden Wing  Some of the rooms are named and decorated for particular visitors, such as the 1844 Room, decorated in that year for the state visit of Nicholas I of Russia, and the 1855 Room, in honour of the visit of Napoleon III of France  The former is a sitting room that also serves as an audience room and is often used for personal investitures  Narrow corridors link the rooms of the suite; one of them is given extra height and perspective by saucer domes designed by Nash in the style of Soane  A second corridor in the suite has Gothic-influenced cross-over vaulting  The suite was named after Leopold I of Belgium, uncle of Queen Victoria and Prince Albert  In 1936, the suite briefly became the private apartments of the palace when Edward VIII occupied them  The original early-19th-century interior designs, many of which still survive, included widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long  Edward VII oversaw a partial redecoration in a Belle Époque cream and gold colour scheme 

East wing
Between 1847 and 1850, when Blore was building the new east wing, the Brighton Pavilion was once again plundered of its fittings  As a result, many of the rooms in the new wing have a distinctly oriental atmosphere  The red and blue Chinese Luncheon Room is made up of parts of the Brighton Banqueting and Music Rooms with a large oriental chimneypiece designed by Robert Jones and sculpted by Richard Westmacott  It was formerly in the Music Room at the Brighton Pavilion  The ornate clock, known as the Kylin Clock, was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by Benjamin Vulliamy circa 1820  The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimneypiece which is a European vision of how the Chinese chimney piece may appear  It has nodding mandarins in niches and fearsome winged dragons, designed by Robert Jones At the centre of this wing is the famous balcony with the Centre Room behind its glass doors  This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer Sir Charles Allom, created a more "binding" Chinese theme in the late 1920s, although the lacquer doors were brought from Brighton in 1873  Running the length of the piano nobile of the east wing is the Great Gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle  It has mirrored doors and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton  The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room in between 

Court ceremonies
Investitures, which include the conferring of knighthoods by dubbing with a sword, and other awards take place in the palace's Ballroom, built in 1854  At 120 feet (36 6 m) long, 60 feet (18 m) wide and 45 feet (13 5 m) high, it is the largest room in the palace  It has replaced the throne room in importance and use  During investitures, the King stands on the throne dais beneath a giant, domed velvet canopy, known as a shamiana or a baldachin, that was used at the Delhi Durbar in 1911  A military band plays in the musicians' gallery as award recipients approach the King and receive their honours, watched by their families and friends 

State banquets also take place in the Ballroom; these formal dinners are held on the first evening of a state visit by a foreign head of state  On these occasions, for up to 170 guests in formal "white tie and decorations", including tiaras, the dining table is laid with the Grand Service, a collection of silver-gilt plate made in 1811 for the Prince of Wales, later George IV  The largest and most formal reception at Buckingham Palace takes place every November when the King entertains members of the diplomatic corps  On this grand occasion, all the state rooms are in use, as the royal family proceed through them, beginning at the great north doors of the Picture Gallery  As Nash had envisaged, all the large, double-mirrored doors stand open, reflecting the numerous crystal chandeliers and sconces, creating a deliberate optical illusion of space and light Smaller ceremonies such as the reception of new ambassadors take place in the "1844 Room"  Here too, the King holds small lunch parties, and often meetings of the Privy Council  Larger lunch parties often take place in the curved and domed Music Room or the State Dining Room  Since the bombing of the palace chapel in World War II, royal christenings have sometimes taken place in the Music Room  Queen Elizabeth II's first three children were all baptised there  On all formal occasions, the ceremonies are attended by the Yeomen of the Guard, in their historic uniforms, and other officers of the court such as the Lord Chamberlain 

Former ceremonial
Court dress
Formerly, men not wearing military uniform wore knee breeches of 18th-century design  Women's evening dress included trains and tiaras or feathers in their hair (often both)  The dress code governing formal court uniform and dress has progressively relaxed  After the First World War, when Queen Mary wished to follow fashion by raising her skirts a few inches from the ground, she requested a lady-in-waiting to shorten her own skirt first to gauge the King's reaction  King George V disapproved, so the Queen kept her hemline unfashionably low  Following his accession in 1936, King George VI and Queen Elizabeth allowed the hemline of daytime skirts to rise  Today, there is no official dress code  Most men invited to Buckingham Palace in the daytime choose to wear service uniform or lounge suits; a minority wear morning coats, and in the evening, depending on the formality of the occasion, black tie or white tie 

Court presentation of débutantes
Débutantes were aristocratic young ladies making their first entrée into society through a presentation to the monarch at court  These occasions, known as "coming out", took place at the palace from the reign of Edward VII  The débutantes entered—wearing full court dress, with three ostrich feathers in their hair—curtsied, performed a backwards walk and a further curtsey, while manoeuvring a dress train of prescribed length  The ceremony, known as an evening court, corresponded to the "court drawing rooms" of Victoria's reign  After World War II, the ceremony was replaced by less formal afternoon receptions, omitting the requirement of court evening dress  In 1958, Queen Elizabeth II abolished the presentation parties for débutantes, replacing them with Garden Parties, for up to 8,000 invitees in the Garden  They are the largest functions of the year 

Garden and surroundings
At the rear of the palace is the large and park-like garden, which together with its lake is the largest private garden in London  There, Queen Elizabeth II hosted her annual garden parties each summer and also held large functions to celebrate royal milestones, such as jubilees  It covers 17 ha (42 acres) and includes a helicopter landing area, a lake and a tennis court Adjacent to the palace is the Royal Mews, also designed by Nash, where the royal carriages, including the Gold State Coach, are housed  This rococo gilt coach, designed by Sir William Chambers in 1760, has painted panels by G  B  Cipriani  It was first used for the State Opening of Parliament by George III in 1762 and has been used by the monarch for every coronation since William IV  It was last used for the Coronation of King Charles III and Queen Camilla  Also housed in the mews are the coach horses used at royal ceremonial processions as well as many of the cars used by the royal family 
The Mall, a ceremonial approach route to the palace, was designed by Sir Aston Webb and completed in 1911 as part of a grand memorial to Queen Victoria  It extends from Admiralty Arch, across St James's Park to the Victoria Memorial  This route is used by the cavalcades and motorcades of visiting heads of state, and by the royal family on state occasions—such as the annual Trooping the Colour 

Security breaches
The boy Jones was an intruder who gained entry to the palace on three occasions between 1838 and 1841  At least 12 people have managed to gain unauthorised entry into the palace or its grounds since 1914, including Michael Fagan, who broke into the palace twice in 1982 and entered Queen Elizabeth II's bedroom on the second occasion  At the time, news media reported that he had a long conversation with her while she waited for security officers to arrive, but in a 2012 interview with The Independent, Fagan said she ran out of the room, and no conversation took place  It was only in 2007 that trespassing on the palace grounds became a specific criminal offence 

See also
Flags at Buckingham Palace
List of British royal residences
King's Guard

Notes
Passage 11:
Cody Martin
Cody Martin may refer to:

Zack and Cody Martin, fictional characters from the TV series The Suite Life of Zack & Cody
Cody Martin (baseball) (born 1989), American baseball pitcher
Cody Martin (basketball) (born 1995), American basketball player
Passage 12:
Demi's Birthday Suit
Demi's Birthday Suit, or The Suit, was a trompe-l'œil body painting by Joanne Gair photographed by Annie Leibovitz that was featured on the cover of the Vanity Fair August 1992 issue to commemorate and exploit the success of Leibovitz's More Demi Moore cover photo of Demi Moore one year earlier  As an example of modern body painting artwork, it raised the profile of Gair in pop culture as an artist in that genre The work is considered to be groundbreaking by some, although there is controversy surrounding its originality  The converse of this image serves as the dust jacket art to Gair's second bodypainting book, Body Painting  The photo shoot also let Moore show off the results of her fitness regimen 

Artistic perspective
Gene Newman considers the body painting of Moore to be the introduction of modern body painting to the world  Although willing to credit Moore and Gair with the rebirth of bodypainting in a San Francisco Chronicle story, the "makeup artist, wig maker and stylist" Jim Ponder had difficulty calling interest in bodypainting a trend because it traces back to the "beginnings of man " Joanne Gair has described the painting as a stylized reference to Botticelli, since the sinuous pose is reminiscent of the central figures in both Primavera and The Birth of Venus  The Amazon com product description for Gair's book calls her participation in this photoshoot as her "defining moment " Soon after the release of the magazine Gair became such a pop culture icon that she was considered for an Absolut Vodka Absolut Gair ad campaign according to a story in The New York Times  The work is considered to be an example from the most sophisticated end of the bodypainting spectrum which extends all the way to Henna tattoos Some sources have claimed that the work is a derivative of preceding works  Playboy published a photo with similar bodypainting, with a necktie, suit jacket and similar pose, in its March 1968 issue, as part of a feature on bodypainting 

Details
Gair had worked with Leibovitz and Moore on More Demi Moore  Departing Vanity Fair editor Tina Brown felt "The only thing to do for the anniversary cover was to reprise it " According to a Houston Chronicle story that quotes both Moore and Brown, about 100 million people had seen the earlier cover, and this cover capitalized on the anniversary They decided to attempt a body painting during the week-long shoot at the Chateau Marmont in Los Angeles, California in 1992  Gair was provided with a pinstriped three-piece suit by Richard Tyler as a model to paint onto Moore  Since in those days she did not generally work with assistants, the day started at 6:30 A M  and Demi Moore slept that night in the painted-on suit in case they needed to resume the next day  It took 15 hours to apply the suit because it was difficult for Gair to build the proper paint density  Moore's body heat melted the paint  For the 1992 cover, which required a full-day sitting for Gair and her team of make-up artists, Leibovitz could not decide where to shoot, and "reserved two mobile homes, four hotel rooms and five houses"  Stylist Lori Goldstein assisted with the application Having started rigorous workouts in the final trimester of her pregnancy the year before to prepare for her role in A Few Good Men, Moore was physically fit for the photoshoot  Thus she appeared in additional nude photos within the magazine's cover story  Moore viewed the photos as a chance to show off the results of her workouts: "I said I would get better with each baby and I have " The weeklong effort also involved shots taken in Kauai, Hawaii that are included in Gair's second book, Body Painting  Moore felt she looked better on the cover at age 29 than she had in a bikini nine years earlier in Blame It on Rio 

More Demi Moore

Demi Moore had appeared on the cover of Vanity Fair exactly one year earlier in the August 1991 edition in Leibovitz's photograph, More Demi Moore  As a groundbreaking work, the photograph of her pregnant pose was an iconic one for Moore, Leibovitz and women in general who now view public representation of pregnancy as socially acceptable  It had a cultural impact by causing numerous celebrities to pose for photographs in advanced pregnancy, which has made pregnancy photos fashionable and created a profitable business for photographers such as Jennifer Loomis  The American Society of Magazine Editors regards it as one of the best U S  magazine covers ever, and it is one of Leibovitz' best-known works  Additionally, the photo served as a litmus test when Internet decency standards were first being legislated and adjudicated 
Context 3: Passage 1:
List of Super Bowl halftime shows
Halftime shows are a tradition during American football games at all levels of competition  Entertainment during the Super Bowl, the annual championship game of the National Football League (NFL), represents a fundamental link to pop culture, which helps broaden the television audience and nationwide interest 
Prior to the early 1990s, the halftime show featured university marching bands (the Grambling State University Marching Band has performed at the most Super Bowl halftime shows, featuring in six shows including at least one per decade from the 1960s to 1990), drill teams, and other performance ensembles such as Up with People  In the 90s, the halftime show began to feature major hit musicians, beginning with Super Bowl XXV (1991) with New Kids on the Block  In an effort to boost the prominence of the halftime show to increase viewer interest, Super Bowl XXVII (1993) featured a headlining performance by Michael Jackson 

Background
During most of the Super Bowl's first decade, the halftime show featured a college marching band  The show's second decade featured a more varied show, often featuring drill teams and other performance ensembles; the group Up with People produced and starred in four of the performances  The middle of the third decade, in an effort to counter other networks' efforts to counterprogram the game, saw the introduction of popular music acts such as New Kids on the Block, Gloria Estefan, Michael Jackson, Clint Black, Patti LaBelle, and Tony Bennett  Starting with Super Bowl XXXII, commercial sponsors presented the halftime show; within five years, the tradition of having a theme—begun with Super Bowl III—ended, replaced by major music productions by arena rock bands and other high-profile acts  In the six years immediately following an incident at Super Bowl XXXVIII where Justin Timberlake exposed one of Janet Jackson's breasts in an alleged "wardrobe malfunction", all of the halftime shows consisted of a performance by one artist or group, with the musicians in that era primarily being rock artists from the 1960s, 1970s and 1980s   These shows were considered "family friendly" and the time in which they took place has been described as "the age of reactionary halftime shows"  Since Super Bowl XLV, the halftime show has returned to featuring popular contemporary musicians, with the typical format featuring a single headline artist collaborating with a small number of guest acts 
The NFL does not pay the halftime show performers an appearance fee, though it covers all expenses for the performers and their entourage of band members management, technical crew, security personnel, family, and friends  Super Bowl XXVII halftime show with Michael Jackson provided an exception, as the NFL and Frito-Lay agreed to make a donation and provide commercial time for Jackson's Heal the World Foundation  According to Nielsen SoundScan data, the halftime performers regularly experience significant spikes in weekly album sales and paid digital downloads due to the exposure  For Super Bowl XLIX, it was reported by the Wall Street Journal that league officials asked representatives of potential acts if they would be willing to provide financial compensation to the NFL in exchange for their appearance, in the form of either an up-front fee, or a cut of revenue from concert performances made after the Super Bowl  While these reports were denied by an NFL spokeswoman, the request had, according to the Journal, received a "chilly" response from those involved 

History
The following is a list of the performers, producers, themes, and sponsors for each Super Bowl game's show  This list does not include national anthem performers, which are listed in the article List of national anthem performers at the Super Bowl  Names in bold are headline performers 

1960s
1970s
1980s
1990s
2000s
2010s
2020s
Details on specific shows
Super Bowl XL
For the Rolling Stones, the stage was in the form of the group's iconic tongue logo (John Pasche's design first used in 1971 on their Sticky Fingers album)  It was the largest stage ever assembled for a Super Bowl halftime show, with 28 separate pieces assembled in five minutes by a 600-member volunteer stage crew  The group performed three songs: "Start Me Up", "Rough Justice", and "(I Can't Get No) Satisfaction"  The show was viewed by 89 9 million people, more than the audiences for the Oscars, Grammys and Emmy Awards combined  In the wake of the Super Bowl XXXVIII halftime show controversy with Janet Jackson and Justin Timberlake, ABC and the NFL imposed a five-second delay and censored lyrics considered too sexually explicit in the first two songs by briefly turning off Mick Jagger's microphone—censoring to which the group had previously agreed 
However, the choice of the Rolling Stones sparked controversy in the Detroit community because the band did not represent the traditional Detroit "Motown Sound", and no artists from the area were included 

Achievements
The Super Bowl XXVII halftime show starring Michael Jackson is the most watched Super Bowl halftime show, with a TV audience of 133 4 million viewers 
The Super Bowl LIV halftime show starring Shakira and Jennifer Lopez is the most viewed Super Bowl halftime show on YouTube, with 270 million Views 
Based on online metrics, TicketSource revealed that the Super Bowl LIV halftime show starring Shakira and Jennifer Lopez is the "World's most popular" halftime show 
The Super Bowl LVI halftime show starring Dr  Dre, Snoop Dogg, Eminem, Mary J  Blige and Kendrick Lamar is the first Super Bowl halftime show to win the Primetime Emmy Award for Outstanding Variety Special (Live) 

See also
List of AFL Grand Final pre-match performances
List of Grey Cup halftime shows
List of national anthem performers at the Super Bowl

Notes
Passage 2:
6,000 Enemies
6,000 Enemies is a 1939 American drama film directed by George B  Seitz and starring Walter Pidgeon as a successful District Attorney who is framed on charge of bribery   Although innocent, he is sent to prison where he fights to clear his name  The film also stars Rita Johnson 

Plot summary
Steve Donegan is an elected district attorney and launches an anti-organized crime campaign  Joe Silenus, a crime boss, plots to frame Donegan for accepting a bribe  Donegan is sentenced to prison, where he re-encounters all the men he convicted during his anti-crime crusade  Martin receives orders to eliminate Donegan  Anne Barry, the embezzlement convict, saves his life by alerting the guards to her screams 
Steve’s brother pursues Silenus, disguised as a chauffeur in order to prove his innocence  ‘Socks’ Martin knocks Steve Donegan down six times, but he keeps getting up and fighting  Two revolvers are smuggled into the prison inside a fruit basket meant for the warden  ‘Socks suggests that Steve join him in the prison break  When Phil arrives at the prison to see Steve, he is shot in the drive by just outside the gates  The prisoners riot as a result of the shots, and the rumored prison break begins 

Cast
Walter Pidgeon as Steve Donegan
Rita Johnson as Anne Barry
Paul Kelly as Dr  Malcolm Scott
Nat Pendleton as 'Socks' Martin
Harold Huber as Joe Silenus
Grant Mitchell as Warden Alvin Parkhurst
John Arledge as Phil Donegan
J M  Kerrigan as Dan Barrett
Adrian Morris as 'Bull' Snyder
Guinn 'Big Boy' Williams as Maxie (as Guinn Williams)
Arthur Aylesworth as 'Bluebeard' Dawson
Raymond Hatton as Prisoner 'Wibbie' Yern
Lionel Royce as Prisoner 'Dutch' Myers
Tom Neal as Prisoner Ransom
Willie Fung as Wang

Box office
According to MGM records, the film earned $233,000 in the US and Canada and $125,000 elsewhere, resulting in a profit of $22,000  It also featured the short "The Bear That Couldn't Sleep", which was the first Barney Bear short 
Passage 3:
NFL (video game)
NFL is a 1989 football video game, developed by Atlus and published by LJN exclusively for the Nintendo Entertainment System 

Gameplay modes
This game was the first since NFL Football - released in 1979 for the Intellivision - to get an official National Football League license  Intending to loosely represent the 1988-89 season of the National Football League, the game uses the teams and play formations of that particular era while avoiding usage of the players' names, due to a lack of an NFLPA license, which was given to Tecmo's Tecmo Bowl The player could play one of four options, either Interconference, AFC and NFC game or the Super Bowl (specifically Super Bowl XXIII)  Along with the option to choose a package to play during the game, players can directly control the entire team at once  This game was one of the first NFL video games on a gaming system  The game employs a Top-Down system for the actual gameplay and allows players to assign handicaps to a human opponent that is not as skilled as they are 

Reception
Allgame gave the game a 2 5 out of 5 rating in their overview 
Passage 4:
Nintendo Entertainment System
The Nintendo Entertainment System, commonly known as the NES, is an 8-bit third-generation home video game console produced by Nintendo  It was first released in Japan in 1983 as the Family Computer, commonly referred to as the Famicom or FC  The NES, a redesigned version, was released in American test markets on October 18, 1985, before becoming widely available in North America and other countries 
After developing a series of successful arcade games in the early 1980s, Nintendo planned to create a home video game console  Rejecting more complex proposals, the Nintendo president Hiroshi Yamauchi called for a simple, cheap console that ran games stored on cartridges  The controller design was reused from Nintendo's portable Game & Watch games  Nintendo released several add-ons, such as a light gun for shooting games like Duck Hunt 
The NES was one of the best-selling consoles of its time and helped revitalize the US gaming industry following the video game crash of 1983  It introduced a now-standard business model of licensing third-party developers to produce and distribute games  The NES featured a number of groundbreaking games, such as the 1985 platform game Super Mario Bros  and the 1986 action-adventure games The Legend of Zelda and Metroid, which became long-running franchises  It was succeeded in 1990 by the Super Nintendo Entertainment System  In 2011, IGN named the NES the greatest video game console of all time 

History
Development
Following a series of arcade game successes in the early 1980s, Nintendo made plans to create a cartridge-based console called the Family Computer, or Famicom  Masayuki Uemura designed the system  The console's hardware was largely based on arcade video games, particularly the hardware for Namco's Galaxian (1979) and Nintendo's Radar Scope (1980) and Donkey Kong (1981), with the goal of matching their powerful sprite and scrolling capabilities in a home system  Original plans called for an advanced 16-bit system which would function as a full-fledged computer with a keyboard and floppy disk drive, but Nintendo president Hiroshi Yamauchi rejected this and instead decided to go for a cheaper, more conventional cartridge-based game console as he believed that features such as keyboards and disks were intimidating to non-technophiles  A test model was constructed in October 1982 to verify the functionality of the hardware, after which work began on programming tools  Because 65xx CPUs had not been manufactured or sold in Japan up to that time, no cross-development software was available and it had to be produced from scratch  Early Famicom games were written on a system that ran on an NEC PC-8001 computer and LEDs on a grid were used with a digitizer to design graphics as no software design tools for this purpose existed at that time The code name for the project was "GameCom", but Masayuki Uemura's wife proposed the name "Famicom", arguing that "In Japan, 'pasokon' is used to mean a personal computer, but it is neither a home nor personal computer  Perhaps we could say it is a family computer " Meanwhile, Hiroshi Yamauchi decided that the console should use a red and white theme after seeing a billboard for DX Antenna (a Japanese antenna manufacturer) which used those colors The Famicom was also influenced by the ColecoVision, Coleco's competition against the Atari 2600 in the United States; the ColecoVision's top-seller was a port of Nintendo's Donkey Kong  The project's chief manager Takao Sawano brought a ColecoVision home to his family, impressed by its smooth graphics, which contrasts with the flicker and slowdown commonly seen on Atari 2600 games  Uemura said the ColecoVision set the bar for the Famicom  They wanted to surpass it and match the more powerful Donkey Kong arcade hardware; they took a Donkey Kong arcade cabinet to chip manufacturer Ricoh for analysis, which led to Ricoh producing the Picture Processing Unit (PPU) chip for the NES Original plans called for the Famicom's cartridges to be the size of a cassette tape, but ultimately they ended up being twice as big  Careful design attention was paid to the cartridge connectors because loose and faulty connections often plagued arcade machines  As it necessitated 60 connection lines for the memory and expansion, Nintendo decided to produce its own connectors The controllers are hard-wired to the console with no connectors for cost reasons  The controller designs were reused from the Game & Watch machines, although the Famicom design team originally wanted to use arcade-style joysticks, even dismantling some from American game consoles to see how they worked  There were concerns regarding the durability of the joystick design and that children might step on joysticks on the floor  Katsuya Nakawaka attached a Game & Watch D-pad to the Famicom prototype and found that it was easy to use and caused no discomfort  Ultimately though, they installed a 15-pin expansion port on the front of the console so that an optional arcade-style joystick could be used Gunpei Yokoi suggested an eject lever to the cartridge slot which is not necessary, but he believed that children could be entertained by pressing it  Uemura adopted his idea  Uemura added a microphone to the second controller with the idea that it could be used to make players voices sound through the TV speaker 

Japanese release
The console was released on July 15, 1983, as the Home Cassette-type Video Game: Family Computer, for ¥14,800 (equivalent to ¥18,400 in 2019) with three ports of Nintendo's successful arcade games Donkey Kong, Donkey Kong Jr , and Popeye  The Famicom was slow to gather success; a bad chip set caused the early revisions to crash  Following a product recall and a reissue with a new motherboard, the Famicom's popularity soared, becoming the bestselling game console in Japan by the end of 1984 : 279, 285 Nintendo launched the system with only first-party games, but after being approached by Namco and Hudson Soft in 1984, agreed to produce third-party games for a 30% fee for console licensing and production costs  This rate continued in the industry for consoles and digital storefronts through the 21st Century 

North American release
Nintendo also had its sights set on the North American market, entering into negotiations with Atari, Inc  to release the Famicom under Atari's name as the Nintendo Advanced Video Gaming System  The deal was set to be finalized and signed at the Summer Consumer Electronics Show in June 1983  However, Atari discovered at that show that its competitor Coleco was illegally demonstrating its Coleco Adam computer with Nintendo's Donkey Kong game  This violation of Atari's exclusive license with Nintendo to publish the game for its own computer systems delayed the implementation of Nintendo's game console marketing contract with Atari  Atari's CEO Ray Kassar was fired the next month, so the deal went nowhere, and Nintendo decided to market its system on its own : 283–285 

Subsequent plans for the Nintendo Advanced Video System likewise never materialized: a North American repackaged Famicom console featuring a keyboard, cassette data recorder, wireless joystick controller and a special BASIC cartridge : 287  By the beginning of 1985, more than 2 5 million Famicom units had been sold in Japan, and Nintendo soon announced plans to release it in North America as the Advanced Video Entertainment System (AVS) that year  The American video game press was skeptical that the console could have any success in the region, as the industry was still recovering from the video game crash of 1983  The March 1985 issue of Electronic Games magazine stated that "the videogame market in America has virtually disappeared" and that "this could be a miscalculation on Nintendo's part" The Famicom hardware first made its North American debut in the arcades, in the form of the Nintendo VS  System in 1984; the system's success in arcades paved the way for the official release of the NES console  With US retailers refusing to stock game consoles, Yamauchi realized there was still a market for video games in the arcades, so he decided to introduce the Famicom to North America through the arcade industry  The VS  System became a major success in North American arcades, becoming the highest-grossing arcade machine of 1985 in the United States  By the time the NES launched, nearly 100,000 VS  Systems had been sold to American arcades  The success of the VS  System gave Nintendo the confidence to release the Famicom in North America as a video game console, for which there was growing interest due to Nintendo's positive reputation in the arcades  It also gave Nintendo the opportunity to test new games as VS  Paks in the arcades, to determine which games to release for the NES launch At June 1985's Consumer Electronics Show (CES), Nintendo unveiled the American version of its Famicom, with a new case redesigned by Lance Barr and featuring a "zero insertion force" cartridge slot  The change from a top-loader in the Famicom to a front-loader was to make the new console more like a video cassette recorder, which had grown in popularity by 1985, and differentiate the unit from past video game consoles  Additionally, Uemura explained that Nintendo developers had feared that the console's electronics might face electrostatic hazards in dry American states such as Arizona and Texas, and a front-loading design would be safer if children handled the console carelessly This was deployed as the Nintendo Entertainment System (NES)  Nintendo seeded these first systems to limited American test markets starting in New York City on October 18, 1985, and followed up in Los Angeles in February 1986; the American nationwide release came on September 27, 1986  Nintendo released 17 launch games: 10-Yard Fight, Baseball, Clu Clu Land, Duck Hunt, Excitebike, Golf, Gyromite, Hogan's Alley, Ice Climber, Kung Fu, Pinball, Soccer, Stack-Up, Super Mario Bros , Tennis, Wild Gunman, and Wrecking Crew 
For expedient production, some varieties of these launch games contain Famicom chips with an adapter inside the cartridge so they play on North American consoles, which is why the title screens of Gyromite and Stack-Up show the titles of the Famicom games Robot Gyro and Robot Block, respectively 
The system's launch represented not only a new product, but also a reframing of the severely damaged home video game market in North America  The 1983 video game crash had occurred in large part due to a lack of consumer and retailer confidence in video games, which had been partially due to confusion and misrepresentation in video game marketing  Prior to the NES, the packaging of many video games presented bombastic artwork which did not represent a game's actual graphics  Furthermore, a single game such as Pac-Man appeared across consoles with substantial variations in graphics, sound, and general quality  In contrast, Nintendo's marketing strategy aimed to regain consumer and retailer confidence by delivering a singular platform whose graphics could be represented truthfully and whose qualities were clearly defined To differentiate Nintendo's new home platform from the perception of a troubled and shallow video game market still reeling from the 1983 crash, the company freshened its product nomenclature and established a strict product approval and licensing policy  The overall platform is referred to as "Entertainment System" instead of a "video game system", is centered upon a machine called a "Control Deck" instead of a "console", and features software cartridges called "Game Paks" instead of "video games"  This allowed Nintendo to gain more traction in selling the system in toy stores  To deter production of games which had not been licensed by Nintendo, and to prevent copying, the 10NES lockout chip system act as a lock-and-key coupling of each Game Pak and Control Deck  The packaging of the launch lineup of NES games bear pictures of close representations of actual onscreen graphics  To reduce consumer confusion, symbols on the games' packaging clearly indicate the genre of the game  A seal of quality is on all licensed game and accessory packaging  The initial seal states, "This seal is your assurance that Nintendo has approved and guaranteed the quality of this product"  This text was later changed to "Official Nintendo Seal of Quality" Unlike with the Famicom, Nintendo of America marketed the console primarily to children, instituting a strict policy of censoring profanity, sexual, religious, or political content  The most famous example is Lucasfilm's attempts to port the comedy-horror game Maniac Mansion to the NES, which Nintendo insisted be considerably watered down 
The optional Robotic Operating Buddy, or R O B , was part of a marketing plan to portray the NES's technology as being novel and sophisticated when compared to previous game consoles, and to portray its position as being within reach of the better established toy market  Though at first, the American public exhibited limited excitement for the console itself, peripherals such as the light gun and R O B  attracted extensive attention 

Other markets
In Europe and Oceania, the NES was released in two separate marketing regions  The first consisted of mainland Europe (excluding Italy) where distribution was handled by a number of different companies, with Nintendo responsible for manufacturing  The NES saw an early launch in Europe in 1986 although most of the European countries received the console in 1987  The release in Scandinavia was on September 1, 1986, where it was released by Bergsala  In the Netherlands, it was distributed by Bandai BV  In France it was released in October 1987, while in Spain between late 1987 and 1988 through distributor Spaco  Also in 1987, Mattel handled distribution for the second region, consisting of the United Kingdom, Ireland, Italy, Australia and New Zealand  Mattel handled distribution for Nintendo in Canada as well; however, it was unrelated to the aforementioned European / Australian releases In Brazil, the console was released late in 1993 by Playtronic, even after the SNES  But the Brazilian market had been dominated by unlicensed NES clones – both locally made, and smuggled from Taiwan  One of the most successful local clones was the Phantom System, manufactured by Gradiente, which licensed Nintendo products in the country for the following decade  The sales of officially licensed products were low, due to the cloning, the quite late official launch, and the high prices of Nintendo's licensed products Outside of Japan, regions in greater Asia received an "Asian Version" of the front-loader NES despite the prevalence of imported Famicom systems  Due to import restrictions, NES consoles in India and South Korea were rebranded and distributed by local licensees  The Indian version is called the Samurai Electronic TV Game System and the Korean version is called the Hyundai Comboy  The console sold very poorly in India 

Later redesigns and bundles
For its complete North American release, the Nintendo Entertainment System was progressively released over the ensuing years in several different bundles, beginning with the Deluxe Set, the Basic Set, the Action Set and the Power Set  The Deluxe Set, retailing at US$179 99 (equivalent to $529 in 2022), included R O B , a light gun called the NES Zapper, two controllers, and two Game Paks: Gyromite and Duck Hunt  The Control Deck, first released in 1987, retailed at US$89 99 with no game, and US$99 99 bundled with the Super Mario Bros  cartridge  The Action Set, released April 14, 1988, for US$109 99, came with the Control Deck, two game controllers, an NES Zapper, and a dual Game Pak containing both Super Mario Bros  and Duck Hunt 
In 1989, the Power Set included the console, two game controllers, an NES Zapper, a Power Pad, and a triple Game Pak containing Super Mario Bros, Duck Hunt, and World Class Track Meet  In 1990, a Sports Set bundle was released, including the console, an NES Satellite infrared wireless multitap adapter, four game controllers, and a dual Game Pak containing Super Spike V'Ball and Nintendo World Cup  Two more bundle packages were later released using the original model NES console



ground_truth: Matthew Lawrence

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

Question: Who does the Nothing Suits Me Like a Suit artist play in Batman Under the Red Hood?

The following are given passages.
Context 3:  The Challenge Set of 1992 included the console, two controllers, and a Super Mario Bros  3 Game Pak for a retail price of US$89 99  The Basic Set retailed at US$89 99; it included only the console and two controllers, and no pack-in game  Instead, it contained a book called the Official Nintendo Player's Guide, which contained detailed information for every NES game made up to that point 
Finally, the console was redesigned for the Australian, North American and Japanese markets  As part of the final Nintendo-released bundle package, the product included the New-Style NES, or NES-101, and one redesigned "dogbone" game controller  In Australia, this version of the system was also available with a cartridge compiling Super Mario Bros, Tetris and Nintendo World Cup  Released in October 1993 in North America and 1994 in Australia, this final bundle retailed for US$49 99 and A$69 99 (A$79 99 with the pack-in game) respectively, and remained in production until the discontinuation of the NES in 1995 

Discontinuation
On August 14, 1995, Nintendo discontinued the Nintendo Entertainment System in both North America and Europe  In North America, replacements for the original front-loading NES were available for $25 in exchange for a broken system until at least December 1996, under Nintendo's Power Swap program  The Game Boy and Super NES were also covered in this program, for $25 and $35 respectively On May 30, 2003, Nintendo announced the discontinuation of the Famicom in September alongside the Super Famicom and the disk rewriting services for the Famicom Disk System  The last Famicom, serial number HN11033309, was manufactured on September 25; it was kept by Nintendo and subsequently loaned to the organizers of Level X, a video game exhibition held from December 4, 2003, to February 8, 2004, at the Tokyo Metropolitan Museum of Photography, for a Famicom retrospective in commemoration of the console's 20th anniversary  Nintendo offered repair service for the Famicom in Japan until 2007, when it was discontinued due to a shortage of available parts 

Hardware
Configurations
Although all versions of the Famicom/NES include essentially similar hardware, they vary in physical characteristics  The original Famicom's design is predominantly white plastic, with dark red trim; it featured a top-loading cartridge slot, grooves on both sides of the deck in which the hardwired game controllers could be placed when not in use, and a 15-pin expansion port located on the unit's front panel for accessories  In contrast, the design of the original NES features a more subdued gray, black, and red color scheme; it includes a front-loading cartridge slot covered by a small, hinged door that can be opened to insert or remove a cartridge and closed at other times, and an expansion port on the bottom of the unit  The cartridge connector pinout was changed between the Famicom and NES In late 1993, Nintendo introduced a redesigned version of the Famicom/NES (officially named the New Famicom in Japan and the New-Style NES in the U S ) to complement the Super Famicom/NES and prolong interest in the console while implementing cost reduction measures  For the redesigned NES, Nintendo opted to use a top-loading cartridge slot in to avoid reliability issues with the original console; the redesign also omitted AV output  Conversely, the redesigned Famicom offered such output while introducing detachable game controllers, though the microphone functionality was omitted as a result  The redesigned Famicom and NES models are cosmetically similar aside from the presence of a cartridge "bump" on the NES model, which the Famicom model lacks to accommodate its shorter cartridges as well as the RAM Adapter for the Famicom Disk System Sharp Corporation produced three licensed variants of the Famicom in Japan, all of which prominently displayed the shortened moniker rather than the official "Family Computer" name  One variant was a television set with an integrated Famicom; originally released in 1983 as the My Computer TV in 14-inch (36 cm) and 19-inch (48 cm) models, it was later released in the United States in 1989 as a 19-inch model named the Video Game Television  Another variant was the Twin Famicom, a console released in 1986 that combined a Famicom with a Famicom Disk System  Sharp then produced the Famicom Titler in 1989; intended for video capture and production, it featured internal RGB video generation and video output via S-Video while including inputs for adding subtitles and voice-overs 

Hardware clones
A thriving market of unlicensed NES hardware clones emerged during the climax of the console's popularity  Initially, such clones were popular in markets where Nintendo issued a legitimate version of the console long time after unlicensed hardware  In particular, the Dendy (Russian: Де́нди), an unlicensed hardware clone produced in Taiwan and sold in the former Soviet Union, emerged as the most popular video game console of its time in that setting and it enjoyed a degree of fame roughly equivalent to that experienced by the NES/Famicom in North America and Japan  A range of Famicom clones was marketed in Argentina during the late 1980s and early 1990s under the name of "Family Game", resembling the original hardware design  Thailand got Family FR brand famiclones, the Micro Genius (Simplified Chinese: 小天才) was marketed in Southeast Asia as an alternative to the Famicom; and in Central Europe, especially Poland, the Pegasus was available  Since 1989, there were many Brazilian clones of NES, and the very popular Phantom System (with hardware superior to the original console) caught the attention of Nintendo itself 

The unlicensed clone market has flourished following Nintendo's discontinuation of the NES  Some of the more exotic of these resulting systems surpass the functionality of the original hardware, such as a portable system with a color LCD (PocketFami)  Others have been produced for certain specialized markets, such as a rather primitive personal computer with a keyboard and basic word processing software  These unauthorized clones have been helped by the invention of the so-called NES-on-a-chip As was the case with unlicensed games, Nintendo has typically gone to the courts to prohibit the manufacture and sale of unlicensed cloned hardware  Many of the clone vendors have included built-in copies of licensed Nintendo software, which constitutes copyright infringement in most countries 

Design flaws
Nintendo's design styling for US release was made deliberately different from that of other game consoles  Nintendo wanted to distinguish its product from those of competitors and to avoid the generally poor reputation that game consoles had acquired following the video game crash of 1983  One result of this philosophy is to disguise the cartridge slot design as a front-loading zero-insertion force (ZIF) cartridge socket, designed to resemble the front-loading mechanism of a VCR  The socket works well when both the connector and the cartridges are clean and the pins on the connector are new  However, the socket is not truly zero-insertion force  When a user inserts the cartridge into the NES, the force of pressing the cartridge into place bends the contact pins slightly and presses the cartridge's ROM board back into the cartridge  Frequent insertion and removal of cartridges wears out the pins, and the ZIF design proved more prone to interference by dirt and dust than an industry-standard card edge connector The design problems were exacerbated by Nintendo's choice of materials  The console slot nickel connector springs wear due to design and the game cartridge's brass plated nickel connectors are also prone to tarnishing and oxidation  Nintendo sought to fix these problems by redesigning the next generation Super Nintendo Entertainment System (SNES) as a top loader similar to the Famicom  Many players try to alleviate issues in the game caused by this corrosion by blowing into the cartridges, then reinserting them, which actually speeds up the tarnishing due to moisture  One way to slow down the tarnishing process and extend the life of the cartridges is to use isopropyl alcohol and swabs, as well as non-conductive metal polish such as Brasso or Sheila Shine Users have attempted to solve these problems by blowing air onto the cartridge connectors, inserting the cartridge just far enough to get the ZIF to lower, licking the edge connector, slapping the side of the system after inserting a cartridge, shifting the cartridge from side to side after insertion, pushing the ZIF up and down repeatedly, holding the ZIF down lower than it should have been, and cleaning the connectors with alcohol  Many frequently used methods to fix this problem actually risk damaging gaming cartridges or the system  In 1989, Nintendo released an official NES Cleaning Kit to help users clean malfunctioning cartridges and consoles 
In response to these hardware flaws, "Nintendo Authorized Repair Centers" sprang up across the U S  According to Nintendo, the authorization program was designed to ensure that the machines were properly repaired  Nintendo would ship the necessary replacement parts only to shops that had enrolled in the authorization program 
With the release of the top-loading NES-101 (New-Style NES) in 1993 toward the end of the NES's lifespan, Nintendo resolved the problems by switching to a standard card edge connector and eliminating the lockout chip  All of the Famicom systems use standard card edge connectors, as do Nintendo's two subsequent game consoles, the Super Nintendo Entertainment System and the Nintendo 64 

Lockout
The Famicom as released in Japan contains no lockout hardware, which led to unlicensed cartridges (both legitimate and bootleg) becoming extremely common throughout Japan and East Asia  Nintendo tried to promote its "Seal of Quality" in these regions to identify licensed games to combat bootlegs, but bootleg Famicom games continued to be produced even after Nintendo moved production onto the Super Famicom, effectively extending the lifetime of the Famicom The original NES released for Western countries in 1985 contains the 10NES lockout chip, which prevents it from running cartridges unapproved by Nintendo  The inclusion of the 10NES was a direct influence from the 1983 video game crash in North America, partially caused by a market flooded with uncontrolled publishing of games of poor quality for the home consoles  Nintendo did not want to see that happen with the NES and used the lockout chip to restrict games to only those they licensed and approved for the system  This means of protection worked in combination with the Nintendo "Seal of Quality", which a developer had to acquire before they would be able to have access to the required 10NES information prior to publication of their game Initially, the 10NES chip proved a significant barrier to unlicensed developers seeking to develop and sell games for the console  However, hobbyists in later years discovered that disassembling the NES and cutting the fourth pin of the lockout chip would change the chip's mode of operation from "lock" to "key", removing all effects and greatly improving the console's ability to play legal games, as well as bootlegs and converted imports 
Original NES consoles sold in different regions have different lockout chips, thereby enforcing regional lockout (regardless of TV signal compatibility)  Such regions include North America; most of continental Europe (PAL-B); Asia; and the British Isles, Italy, and Australasia (PAL-A) Problems with the 10NES lockout chip frequently result in one of the console's most common issues: the blinking red power light, in which the system appears to turn itself on and off repeatedly because the 10NES would reset the console once per second  The lockout chip required constant communication with the chip in the game to work : 247  Dirty, aging, and bent connectors often disrupt the communication, resulting in the blink effect  In other cases, the console turns on but only displays a solid white, gray, or green screen 

Technical specifications
The console's main central processing unit (CPU) was produced by Ricoh, which manufactured different versions between NTSC and PAL regions; NTSC consoles use a 2A03 clocked at 1 79 MHz, while PAL consoles use a 2A07 clocked at 1 66 MHz  Both CPUs are second source variants of the MOS Technology 6502, an 8-bit microprocessor prevalent in contemporary home computers and consoles; Nintendo ostensibly disabled the 6502's binary-coded decimal mode on them to avoid patent infringement against or licensing fees towards MOS Technology, which was owned by then-rival Commodore International  The CPU has access to 2 KB of onboard work RAM The console's graphics are handled by a Ricoh 2C02, a processor known as the Picture Processing Unit (PPU) that is clocked at 5 37 MHz  A derivative of the Texas Instruments TMS9918—a video display controller used in the ColecoVision—the PPU features 2 KB of video RAM, 256 bytes of on-die "object attribute memory" (OAM) to store sprite display information on up to 64 sprites, and 28 bytes of RAM to store information on the YIQ-based color palette; the console can display up to 25 colors simultaneously out of 54 usable colors The console's standard display resolution is 256 × 240 pixels, though video output options vary between models  The original Famicom features only radio frequency (RF) modulator output, while the NES additionally includes support for composite video via RCA connectors  The redesigned Famicom omits the RF modulator entirely, only outputting composite video via a proprietary "multi-out" connector first introduced on the Super Famicom/NES; conversely, the redesigned NES features RF modulator output only, though a version of the model including the "multi-out" connector was produced in rare quantities The console produces sound via an audio processing unit (APU) integrated into the processor  It supports a total of five sound channels: two pulse wave channels, one triangle wave channel, one white noise channel, and one DPCM channel for sample playback  Audio playback speed is dependent on the CPU clock rate, which is set by a crystal oscillator 

Accessories
Controllers
The game controller for both the NES and the Famicom has an oblong brick-like design with a simple four button layout: two round buttons labeled "A" and "B", a "START" button, and a "SELECT" button  Additionally, the controllers use the cross-shaped D-pad, designed by Nintendo employee Gunpei Yokoi for Nintendo Game & Watch systems, to replace the bulkier joysticks on controllers of earlier gaming consoles : 279 The original model Famicom features two game controllers, both of which are hardwired to the back of the console  The second controller lacks the START and SELECT button, featuring a small microphone instead; however, few games use this feature  The earliest produced Famicom units have square A and B buttons; issues with them getting stuck when pressed down led Nintendo to change their shape to a circular design in subsequent units following the console's recall Instead of the Famicom's hardwired controllers, the NES has two proprietary seven-pin ports on the front of the console to support detachable controllers and third-party peripherals  The controllers bundled with the NES are identical and include the START and SELECT buttons, lacking the microphone on the original Famicom's second controller  The cables for NES controllers are also generally three times longer than their Famicom counterparts A number of special controllers are intended for use with specific games, though are not commonly used  Such peripherals include the NES Zapper (a light gun), R O B  (a toy robot),: 297  and the Power Pad (a dance pad) : 226  The original Famicom has a deepened DA-15 expansion port on the front of the unit to accommodate them Two official advanced controllers were produced for the NES: the NES Advantage, an arcade controller produced by Asciiware and licensed by Nintendo of America; and the NES Max, a controller with grip handles that featured a "cycloid" sliding-disc D-pad in place of the traditional one  Both controllers have a "Turbo" feature, which simulates multiple rapid button presses, for the A and B buttons; the NES Max has manually pressed Turbo buttons, while the NES Advantage offers toggle buttons for Turbo functionality along with knobs that adjust the firing rate of each button  The latter also includes a "Slow" button that rapidly pauses games, though this function is not intended for games that invoke a pause menu or screen The standard game controller was redesigned upon the introduction of the redesigned console  Though the original button layout was retained, the shape of the redesigned controller—nicknamed the "dog bone" controller—resembles that of the Super Famicom/NES  In addition, the redesigned Famicom adopted NES-style detachable controller ports The original NES controller has become one of the most recognizable symbols of the console  Nintendo has mimicked the look of the controller in several other products, from promotional merchandise to limited edition versions of the Game Boy Advance 

Japanese accessories
Few of the numerous peripheral devices and software packages for the Famicom were released outside Japan 
The Famicom 3D System, an active shutter 3D headset headset peripheral released in 1987, enabled the ability to play stereoscopic video games  It was a commercial failure and never released outside Japan; users described the headset as bulky and uncomfortable  Seven games are compatible with the glasses, with three of them developed by Square; two titles received worldwide releases as Rad Racer and The 3-D Battles of WorldRunner Family BASIC is an implementation of BASIC for the Famicom, packaged with a keyboard  Similar in concept to the Atari 2600 BASIC cartridge, it allows the user to write programs, especially games, which can be saved on an included cassette recorder  Nintendo of America rejected releasing Famicom BASIC in the US in favor of its primary marketing demographic of children : 162 The Famicom Modem connected a Famicom to a now defunct proprietary network in Japan which provided content such as financial services  A dial-up modem was never released for the NES after a partnership with Fidelity Investments 

Famicom Disk System
By 1986, the cost and size limitations of ROM chips used in the Famicom's ROM cartridges were apparent, with no new advancements present to address them  With this in mind, Nintendo looked at the personal computer (PC) market, where the floppy disk was gaining wide adoption as a computer data storage medium  Partnering with Mitsumi to develop a floppy disk add-on for the Famicom based on the latter's Quick Disk format, Nintendo officially released it as the Family Computer Disk System in Japan on February 21, 1986, at a retail price of ¥15,000 The advantages of the format (called "Disk Card") were apparent on launch: it offered more than triple the data storage capacity of the then-largest cartridge (used for Super Mario Bros ) and introduced game save capability while offering lower production costs compared to cartridges, which resulted in lower retail prices for consumers  The add-on also offered upgraded sound capability by adding a wavetable synthesis channel while including more space that developers could use for the Famicom's audio sample channel  Taking advantage of the disk's re-writability, Nintendo set up "Disk Writer" interactive kiosks at retail stores throughout Japan; at each kiosk, consumers could rewrite their disks with new games; new blank disks to write onto were also offered inside it : 75  Nintendo also set up "Disk Fax" kiosks for players to submit their high scores on special blue disks for contests and rankings, predating the online leaderboard by several years Although Nintendo committed to exclusively releasing games on the Disk System after its release, numerous external issues plagued its long-term viability  Just four months after launch, Capcom released a Famicom port of Makaimura (known as Ghosts 'n Goblins in the U S ) on a cartridge with more data storage capacity than what was possible on Disk Cards, nullifying one of the Disk System's major advantages by using discrete logic chips to perform bank switching  Nintendo also demanded half of the copyright ownership for each game it selected for release on the Disk System, resulting in developers electing to remain on cartridge instead as the latter gained functionality previously considered unique to the former  Developers additionally loathed the Disk Writer kiosks due to their lower profit margin, while retailers complained of their presence taking up valuable space as interest in the format waned : 78 Usage of a floppy disk-based medium brought about further complications; Disk Cards were more fragile than cartridges and were prone to data corruption from magnetic exposure  Their unreliability was exacerbated by their lack of a shutter, which Nintendo substituted with a wax sleeve and clear keep case to reduce costs; blue disks and later Disk Cards included shutters  The rubber belt-based disk drives were also unreliable, with cryptic error codes complicating troubleshooting; even when fully functional, players accustomed to cartridges were annoyed with the introduction of loading times and disk flipping  Furthermore, the rewritable nature of the format resulted in rampant software piracy, with Nintendo's attempts at anti-piracy measures quickly defeated Despite selling close to two million units for all of 1986, Nintendo only managed to increase the total to 4 4 million units by 1990, falling well short of internal projections : 76  By then, the Disk System was rendered obsolete due to advancements in ROM cartridge production: memory mapping chips for expanded data storage capacity, battery-backed SRAM for game saving, and declining overall production costs  While Nintendo alluded to a Western release for the Disk System, going so far as to successfully file a U S  patent for it and having the Famicom's cartridge pins used by its RAM Adapter for enhanced audio rerouted to the NES's little-used bottom expansion port, such a release never materialized due to its reception in Japan  Most of its games were re-released with workarounds on cartridge for both the Famicom and NES, albeit without the enhanced audio  Although the last game for the Disk System was released in December 1992, Nintendo continued to offer repair and rewrite services for it until September 2003 

NES Test Station
The NES Test Station diagnostics machine was introduced in 1988  It is an NES-based unit designed for testing NES hardware, components, and games  It was only provided for use in World of Nintendo boutiques as part of the Nintendo World Class Service program  Visitors were to bring items to test with the station, and could be assisted by a store technician or employee 
The NES Test Station's front has a Game Pak slot and connectors for testing various components (AC adapter, RF switch, Audio/Video cable, NES Control Deck, accessories and games), with a centrally-located selector knob to choose which component to test  The unit itself weighs approximately 11 7 pounds without a TV  It connects to a television via a combined A/V and RF Switch cable  By actuating the green button, a user can toggle between an A/V Cable or RF Switch connection  The television it is connected to (typically 11" to 14") is meant to be placed atop it In 1991, Nintendo provided an add-on called the "Super NES Counter Tester" that tests Super NES components and games  The Super NES Counter Tester is a standard Control Deck on a metal fixture with the connection from the back of the unit re-routed to the front  These connections may be made directly to the test station or to the TV, depending on what is to be tested 

Games
Game Pak
The NES uses a 72-pin design, as compared with 60 pins on the Famicom  To reduce costs and inventory, some early games released in North America are simply Famicom cartridges attached to an adapter to fit inside the NES hardware  Early NES cartridges are held together with five small slotted screws  Games released after 1987 were redesigned slightly to incorporate two plastic clips molded into the plastic itself, removing the need for the top two screws The back of the cartridge bears a label with handling instructions  Production and software revision codes were imprinted as stamps on the back label to correspond with the software version and producer  All licensed NTSC and PAL cartridges are a standard shade of gray plastic, with the exception of The Legend of Zelda and Zelda II: The Adventure of Link, which were manufactured in gold-plastic carts  Unlicensed carts were produced in black, robin egg blue, and gold, and are all slightly different shapes than standard NES cartridges  Nintendo also produced yellow-plastic carts for internal use at Nintendo Service Centers, although these "test carts" were never made available for purchase  All licensed US cartridges were made by Nintendo, Konami, and Acclaim  For promotion of DuckTales: Remastered, Capcom sent 150 limited-edition gold NES cartridges with the original game, featuring the Remastered art as the sticker, to different gaming news agencies  The instruction label on the back includes the opening lyric from the show's theme song, "Life is like a hurricane" Famicom cartridges are shaped slightly differently  Unlike NES games, official Famicom cartridges were produced in many colors of plastic  Adapters, similar in design to the popular accessory Game Genie, are available that allow Famicom games to be played on an NES  In Japan, several companies manufactured the cartridges for the Famicom : 61  This allowed these companies to develop customized chips designed for specific purposes, such as superior sound and graphics 

Third-party licensing
Nintendo's near monopoly on the home video game market left it with a dominant influence over the industry  Unlike Atari, which never actively pursued third-party developers (and even went to court in an attempt to force Activision to cease production of Atari 2600 games), Nintendo had anticipated and encouraged the involvement of third-party software developers, though strictly on Nintendo's terms  Some of the Nintendo platform-control measures were adopted in a less stringent way by later console manufacturers such as Sega, Sony, and Microsoft 
To this end, a 10NES authentication chip is in every console and in every licensed cartridge  If the console's chip can not detect a counterpart chip inside the cartridge, the game does not load : 247  Nintendo portrayed these measures as intended to protect the public against poor-quality games, and placed a golden seal of approval on all licensed games released for the system 
Nintendo found success with Japanese arcade manufacturers such as Konami, Capcom, Taito and Namco, which signed on as third-party developers  However, they found resistance with US game developers including Atari Games, Activision, Electronic Arts and Epyx refusing Nintendo's one-sided terms  Acclaim Entertainment, a fledgling game publisher founded by former Activision employees, was the first major third-party licensee in the United States to sign on with Nintendo in late 1987  Atari Games (through Tengen) and Activision signed on soon after 
Nintendo was not as restrictive as Sega, which did not permit third-party publishing until Mediagenic in late summer 1988  Nintendo's intention was to reserve a large part of NES game revenue for itself



ground_truth: Nightwing / Dick Grayson

Nightwing

Dick Grayson

Batman

Robin

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

Question: What is the abbreviated name of the exclusive platform of the video game named for the league with a halftime event just before the publishers clearing house sweepstakes drawing.

The following are given passages.
Context 3:  Nintendo required that it be the sole manufacturer of all cartridges, and that the publisher had to pay in full before the cartridges for that game be produced  Cartridges could not be returned to Nintendo, so publishers assumed all the risk  As a result, some publishers lost more money due to distress sales of remaining inventory at the end of the NES era than they ever earned in profits from sales of the games  Because Nintendo controlled the production of all cartridges, it was able to enforce strict rules on its third-party developers, who were required to sign a contract that would obligate them to develop exclusively for the system, order at least 10,000 cartridges, and only make five games per year : 214–215  The global 1988 shortage of DRAM and ROM chips reportedly caused Nintendo to only permit an average of 25% of publishers' requests for cartridges, with some receiving much higher amounts and others almost none  GameSpy noted that Nintendo's "iron-clad terms" made the company many enemies during the 1980s  Some developers tried to circumvent the five game limit by creating additional company brands like Konami's Ultra Games label; others tried circumventing the 10NES chip 

Nintendo was accused of antitrust violations because of the strict licensing requirements  The United States Department of Justice and several states began probing Nintendo's business practices, leading to the involvement of Congress and the Federal Trade Commission (FTC)  The FTC conducted an extensive investigation which included interviewing hundreds of retailers  During the FTC probe, Nintendo changed the terms of its publisher licensing agreements to eliminate the two-year rule and other restrictive terms  Nintendo and the FTC settled the case in April 1991, with Nintendo required to send vouchers giving a $5 discount off to a new game, to every person that had purchased an NES game between June 1988 and December 1990  GameSpy remarked that Nintendo's punishment was particularly weak giving the case's findings, although it has been speculated that the FTC did not want to damage the video game industry in the United States With the NES near the end of its life, many third-party publishers such as Electronic Arts supported upstart competing consoles with less strict licensing terms such as the Sega Genesis and then the PlayStation, which eroded and then took over Nintendo's dominance in the home console market, respectively  Consoles from Nintendo's rivals in the post-SNES era had always enjoyed much stronger third-party support than Nintendo, which relied more heavily on first-party games 

Unlicensed games
Companies that refused to pay the licensing fee or were rejected by Nintendo found ways to circumvent the console's authentication system  Most of these companies created circuits that use a voltage spike to temporarily disable the 10NES chip : 286  A few unlicensed games released in Europe and Australia are in the form of a dongle to connect to a licensed game, to use the licensed game's 10NES chip for authentication  To combat unlicensed games, Nintendo of America threatened retailers who sold them with losing their supply of licensed games, and multiple revisions were made to the NES PCBs to prevent unlicensed games from working 
Atari Games took a different approach with its line of NES products, Tengen  The company attempted to reverse engineer the lockout chip to develop its own "Rabbit" chip  Tengen also obtained a description of the lockout chip from the United States Patent and Trademark Office by falsely claiming that it was required to defend against present infringement claims  Nintendo successfully sued Tengen for copyright infringement  Tengen's antitrust claims against Nintendo were never decided Color Dreams made Christian video games under the subsidiary name Wisdom Tree  Historian Steven Kent wrote, "Wisdom Tree presented Nintendo with a prickly situation  The general public did not seem to pay close attention to the court battle with Atari Games, and industry analysts were impressed with Nintendo's legal acumen; but going after a tiny company that published innocuous religious games was another story ": 400

Game rentals
As the Nintendo Entertainment System grew in popularity and entered millions of American homes, some small video rental shops began buying their own copies of NES games, and renting them out to customers for around the same price as a video cassette rental for a few days  Nintendo received no profit from the practice beyond the initial cost of their game, and unlike movie rentals, a newly released game could hit store shelves and be available for rent on the same day  Nintendo took steps to stop game rentals, but did not take any formal legal action until Blockbuster Video began to make game rentals a large-scale service  Nintendo claimed that allowing customers to rent games would significantly hurt sales and drive up the cost of games  Nintendo lost the lawsuit, but did win on a claim of copyright infringement  Blockbuster was banned from including photocopies of original, copyrighted instruction booklets with its rented games  In compliance with the ruling, Blockbuster produced original short instructions—usually in the form of a small booklet, card, or label stuck on the back of the rental box—that explained the game's basic premise and controls  Video rental shops continued the practice of renting video games 

Reception
By 1988, industry observers stated that the NES's popularity had grown so quickly that the market for Nintendo cartridges was larger than that for all home computer software : 347  Compute! reported in 1989 that Nintendo had sold seven million NES systems in 1988 alone, almost as many as the number of Commodore 64s sold in its first five years  "Computer game makers [are] scared stiff", the magazine said, stating that Nintendo's popularity caused most competitors to have poor sales during the previous Christmas and resulted in serious financial problems for some 

In June 1989, Nintendo of America's vice president of marketing Peter Main, said that the Famicom was present in 37% of Japan's households  By 1990, 30% of American households owned the NES, compared to 23% for all personal computers  By 1990, the NES had outsold all previously released consoles worldwide  The slogan for this brand was "It can't be beaten" : 345  The Nintendo Entertainment System was not available in the Soviet Union 
In the early 1990s, gamers predicted that competition from technologically superior systems such as the 16-bit Sega Genesis would mean the immediate end of the NES's dominance  Instead, during the first year of Nintendo's successor console the Super Famicom (named Super Nintendo Entertainment System outside Japan), the Famicom remained the second highest-selling video game console in Japan, outselling the newer and more powerful NEC PC Engine and Sega Mega Drive by a wide margin  The console remained popular in Japan and North America until late 1993, when the demand for new NES software abruptly plummeted  The final licensed Famicom game released in Japan is Takahashi Meijin no Bōken Jima IV (Adventure Island IV), in North America is Wario's Woods, and in Europe is The Lion King in 1995  In the wake of ever decreasing sales and the lack of new games, Nintendo of America officially discontinued the NES by 1995  Nintendo produced new Famicom units in Japan until September 25, 2003, and continued to repair Famicom consoles until October 31, 2007, attributing the discontinuation of support to insufficient supplies of parts The NES was initially not as successful in Europe during the late 1980s, when it was outsold by the Master System in the United Kingdom  By 1990, the Master System was the highest-selling console in Europe, though the NES was beginning to have a fast-growing user base in the United Kingdom  During the early 1990s, NES sales caught up with and narrowly overtook the Master System overall in Western Europe, though the Master System maintained its lead in several markets such as the United Kingdom, Belgium and Spain 

Legacy
The NES was released two years after the video game crash of 1983, when many retailers and adult consumers regarded electronic games as a passing fad,: 280  so many believed at first that the NES would soon fade  Before the NES and Famicom, Nintendo was known as a moderately successful Japanese toy and playing card manufacturer, but the consoles' popularity helped the company grow into an internationally recognized name almost synonymous with video games as Atari had been, and set the stage for Japanese dominance of the video game industry  With the NES, Nintendo also changed the relationship between console manufacturers and third-party software developers by restricting developers from publishing and distributing software without licensed approval  This led to higher-quality games, which helped change the attitude of a public that had grown weary from poorly produced games for earlier systems : 306–307 The NES hardware design is also very influential  Nintendo chose the name "Nintendo Entertainment System" for the US market and redesigned the system so it would not give the appearance of a child's toy  The front-loading cartridge input allowed it to be used more easily in a TV stand with other entertainment devices, such as a videocassette recorder The system's hardware limitations led to design principles that still influence the development of modern video games  Many prominent game franchises originated on the NES, including Nintendo's own Super Mario Bros ,|: 57  The Legend of Zelda: 353  and Metroid,: 357  Capcom's Mega Man franchise, Konami's Castlevania: 358  franchise, Square's Final Fantasy,|: 95  and Enix's Dragon Quest|: 222  franchises 
NES imagery, especially its controller, has become a popular motif for a variety of products, including Nintendo's Game Boy Advance  Clothing, accessories, and food items adorned with NES-themed imagery are still produced and sold in stores 

Emulation
The NES can be emulated on many other systems  The first emulator was the Japanese-only Pasofami  It was soon followed by iNES, which is available in English and is cross-platform, in 1996  It was described as being the first NES emulation software that could be used by a non-expert  The first version of NESticle, an unofficial MS-DOS-based emulator, was released on April 3, 1997  Nintendo offers licensed emulation of some NES games via its Virtual Console service for the Wii, Nintendo 3DS, and Wii U, and via its Nintendo Switch Online service 

Re-release
On July 14, 2016, Nintendo announced the November 2016 launch of a miniature replica of the NES, named the Nintendo Entertainment System: NES Classic Edition in the United States and Nintendo Classic Mini: Nintendo Entertainment System in Europe and Australia  The emulation-based console includes 30 permanently bundled games from the vintage NES library, including the Super Mario Bros  series and The Legend of Zelda series  The system has HDMI display output and a new replica controller, which can also connect to the Wii Remote for use with Virtual Console games  It was discontinued in North America on April 13, 2017, and worldwide on April 15, 2017  However, Nintendo announced in September 2017 that the NES Classic Mini would return to production on June 29, 2018, only to be discontinued again permanently by December of that year 

See also
History of Nintendo
Nintendo hard
Nintendo World Championships

Notes
Transliterations
Passage 5:
The Journal of Men's Studies
The Journal of Men's Studies (abbreviated JMS) is a peer-reviewed journal established in 1992 as the first  published by Men's Studies Press  As of 2015 the journal is published by SAGE Publications 

See also
Gender studies
Men's studies
Women's studies

External links
Official website
Passage 6:
Publishers Clearing House
Publishers Clearing House (PCH) is a direct marketing company that markets merchandise and magazine subscriptions with sweepstakes and prize-based games 
It was founded in 1953 by Harold Mertz to replace door-to-door magazine subscription sales by a single vendor offering multiple subscriptions by mail  It introduced its sweepstakes in 1967  In the early 1990s, the company was the subject of concerns and legal actions regarding whether consumers were misled about their odds of winning the sweepstakes and whether purchases increased their chances  By 2010, the company had reached settlements with all 50 states 
The company acquired search company Blingo in 2006, online gaming company Funtank in 2010, mobile marketing company Liquid Wireless in 2012, and internet news aggregator Topix in 2019 

History
Early history
Publishers Clearing House was founded in 1953 in Port Washington, New York by Harold Mertz, a former manager of a door-to-door sales team for magazine subscriptions  The company started in Mertz's basement with help from his first wife LuEsther and daughter Joyce  Its first mailings were of 10,000 envelopes from Mertz's home in Long Island, New York, and offered 20 magazine subscriptions  A hundred orders were received  Within a few years the company moved out of Mertz's basement into an office building and started hiring staff  When PCH moved its headquarters in 1969, its prior location was donated to the city and renamed the Harold E  Mertz Community Center  The company revenue had grown to US$50 million by 1981, and $100 million by 1988 In 1967 PCH ran its first sweepstakes as a way to increase subscription sales, based on the sweepstakes held by Reader's Digest  The first prizes ranged from $1 to $10 and entrants had a 1 in 10 chance of winning  After the sweepstakes increased response rates to mailings, prizes of $5,000 and eventually $250,000 were offered  PCH began advertising the sweepstakes on TV in 1974  It was the only major multi-magazine subscription business until 1977  Former client Time Inc  and several other publishers formed American Family Publishers (AFP) to compete with PCH after the company refused repeated requests by Time for a larger share of sales revenue from magazine subscriptions AFP and PCH competed for exclusive rights to magazines and for the better promotion and prize ideas  When AFP increased their jackpot to $1 million, and then to $10 million in 1985, PCH raised its prizes to match  $7 million in prizes were distributed by 1979, $40 million by 1991, and $137 million by 2000  In 1989, two members of its advertising team, Dave Sayer and Todd Sloane, started the Prize Patrol, a publicized event where winners are surprised with a check at their home  The idea was inspired by the 1950s television series The Millionaire  The two companies were often mistaken for each other, with Star Search host Ed McMahon and The $25,000 Pyramid host Dick Clark, the spokespeople for AFP, mistaken for representatives of the better-known PCH In 1992 thousands of discarded sweepstakes entries from contestants who had not bought magazine subscriptions were found in the company's trash, reinforcing beliefs that the company favored those who made purchases in selecting a sweepstakes winner  PCH said this was done by a disgruntled employee at their mail processing vendor  A class action lawsuit ensued, which PCH settled by giving discarded entrants a second chance to win 

Government regulation
In the 1990s PCH and its primary competitor, AFP, experienced a series of legal troubles due to concerns that their mailings misled consumers about their odds of winning and implied that magazine purchases increased their chances  This led to the Deceptive Mail Prevention and Enforcement Act of 2000, which regulates direct mail businesses  At the senate hearings regarding this Act, PCH said most consumers were not confused about their chances of winning or that purchases did not increase their chances  The company said that fewer than five percent of participants spend more than $300  Government officials from California said 5,000 local consumers paid more than $2,500 each in magazine purchases under the false belief that they were increasing their odds of winning the sweepstakes Industry sources estimated PCH's response rates decreased by 7 to 12 percent a its sales volume by 22 to 30 percent in response to the bad publicity from the lawsuits  In 2000, PCH laid off a quarter of its 800-person work force 

Lawsuits and settlements
In 1994 PCH sent mailings telling recipients they were all "finalists", which led to a lawsuit involving the attorneys general of 14 US states  Later that year, PCH denied wrongdoing, but agreed to pay a settlement of $490,000 and to change their practices  Under the agreement, PCH said it would define terms like "finalist" and disclose the chances of winning In 1997, a contestant of competitor AFP flew to Tampa, Florida thinking he had won, though he had not  The resulting publicity caused more lawsuits for both companies  PCH reached a $30 million national settlement in 1999  In 2000, another $18 million settlement was reached with 24 states, after the company sent mass mailings which said "You are a winner!" and used mock personalized checks  PCH agreed to avoid similar mailings in the future, and add a "sweepstakes fact box" to mailings State attorneys spoke out against the national settlement from 2000 and additional lawsuits were filed by individual states  Another $34 million settlement was reached in 2001 in a lawsuit involving 25 states, bringing the total settlements since 1999 to $82 million  As part of the settlement, PCH was required to avoid terms including "Guaranteed Winner," add disclaimers to mailings saying that the recipient had not yet won and that purchasing merchandise would not increase their chances of being a winner  PCH reached settlements with all fifty states and agreed to work with a "compliance counsel " PCH apologized in the settlement and said it would contact customers who had spent more than $1,000 on merchandise the prior year PCH also reached an agreement with Iowa in 2007  In 2010 the company paid $3 5 million to the attorneys general of 32 states and the District of Columbia to settle possible contempt charges that it had violated the terms of the 2001 agreement  The company denied wrongdoing, but agreed to work with both an ombudsman and a compliance counsel who would review its mailings quarterly In April 2014, an investigation by the Senate Special Committee on Aging concluded that PCH had "pushed the limits" of prior agreements and that additional legislation may be needed In late 2021 PCH was hit with another lawsuit  "Publishers Clearing House sells and rents mailing lists containing subscribers’ personal information to a variety of third parties, including data miners and list brokers, multiple new class action lawsuits allege  Five plaintiffs have filed separate class action lawsuits against Publishers Clearing House (PCH), with each claiming the publishing company monetizes its subscribers’ private information—including their names and addresses—without consent 

Online development
PCH began selling merchandise in 1985 with two products  After a Hershey's Chocolate Cookbook and a diet cookbook sold more than other products, the company began expanding into jewelry, media, collectibles, household products, and others  The company also shifted its focus online  It began selling magazine subscriptions and merchandise on PCH com in 1996  In 2006, it acquired Blingo Inc , an ad-supported metasearch engine that was later re-branded as PCH Search and Win  PCH ran contests on Twitter, Facebook, and Myspace  iPhone apps for slot games and trivia were developed  The company created online play-and-win sites like PCH Games (formerly Candystand) and PCHQuiz4Cash, with air-hockey and video poker games In December 2010, PCH acquired Funtank and its online gaming site Candystand com  In 2011, PCH promoted a "$5,000 every week for life" sweepstakes in TV ads and the front page of AOL com  The following year the company acquired a mobile marketing company, Liquid Wireless  The company utilized, then stopped then started again utilizing coregistration (through other websites) to expand its customer base In 2008, a PCH spokesperson said the digital properties were intended to attract younger consumers  By 2013, the internet had become PCH's primary channel of interaction with consumers  The New York Times described the digital transition as "part of an overall effort to collect information on Web users, show them advertisements and use the registration information for PCH’s mailing lists "In 2020, PCH acquired digital publisher Wide Open Media Group, publisher of websites Wide Open Spaces, Wide Open Country, and FanBuzz 

Products
PCH is a direct-marketing company that sells merchandise and magazine subscriptions and operates several prize-based websites  While best known for the sweepstakes and Prize Patrol it uses to promote its magazine subscriptions, the majority of the company's revenue is from merchandise  The company has been selling books, media, jewelry, and other consumer items since the 1980s  PCH operates eight websites, including PCH Search and Win, PCH Lotto, PCH Games, PCH Save and Win, and Candystand The company also sells magazine subscriptions at a discount and advertises subscriptions along with its sweepstakes  It's estimated that companies like PCH keep 75 to 90 percent of the fees from the original subscription, while publishers use the increased distribution to improve circulation numbers and revenue from renewals  PCH popularized the idea of using sweepstakes to sell magazine subscriptions in the direct-marketing market and became known by detractors as a producer of junk mail for advertising through mass-mailings  Documents filed with the New York State Department in 1993 said that year the company mailed 220 million envelopes  Frequent buyers can receive 30 to 40 mailings a year 

Sweepstakes
Although PCH advertises its sweepstakes along with magazine subscriptions, no purchase is necessary to enter or win  In 1995, PCH began the tradition of announcing winners of its $10 million prize just after the Super Bowl  As of 2012, $225 million in prizes have been distributed  Some of its larger prizes are for $5,000 a week for life, or $10 million  Prizes can also range from $1 Amazon gift cards to $2,500, $1 million or $3 million  The larger cash prizes are paid in installments, typically with a balloon payment at 30 years, reducing the present value of prizes to much less than their nominal values 

Odds of winning
According to the official rules, as of June 2020, the odds of winning "$5,000 a Week for Life" in Giveaway 16000 are 1 in 6 2 billion 

Prize Patrol
The Prize Patrol surprises sweepstakes winners at their homes, work, or other locations with cash prizes capturing the event on video  Since their introduction in 1989, these reality TV-style videos of prize-winners surprised at their doorstep with checks for $1,000 to $10 million have been used in widely broadcast television commercials, and, more recently, in the company's online acquisition efforts, websites and social media communications  In 2013, a $5 million television campaign modified the traditional prize patrol commercial by digitally altering video from classic sitcoms like The Brady Bunch and Gilligan's Island to show the prize patrol visiting characters in the show  Major winners are never contacted in advance; any letters, telephone calls, and social media messages claiming that a person may have already won a major prize, or claiming that they need to pay a fee to collect the prize, are always scams The Prize Patrol has made in-person appearances or delivered prizes on TV programs including The Oprah Winfrey Show, The Price Is Right, and Let's Make a Deal  Their surprise winning moments have been spoofed by Jay Leno, Conan O'Brien, and the cast of Saturday Night Live; woven into the plots of movies such as Let's Go to Prison, The Sentinel, and Knight and Day; and Early Edition  They have been the subject of cartoons 

Spokesperson
In the summer of 2020 Marie Osmond became a spokesperson for Publishers Clearing House with television and online advertisements as well as direct-to-home mailings 
In January 2021, Steve Harvey made his debut in television commercials as a spokesperson for PCH 

Charitable Giving
Over 40% of net profits are donated to charity 

See also
List of New York companies
Passage 7:
Legal Help Desk
Legal Help Desk (abbreviated as Legal HD) is a legal-consulting public affairs show that aired on CNN Philippines since November 26, 2012  It is hosted by Atty  Karen Jimeno 

See also
Nine Media Corporation
Solar Entertainment Corporation
Solar News Channel
Solar News and Current Affairs
Solar Daybreak
Solar Newsday
Solar Network News
Solar Nightly News
Solar Headlines
Passage 8:
Groove Games
Groove Games was a Canadian developer and publisher of video game  Established in 2001, Groove Games had published more than 20 retail game titles on the PC, Xbox, and PlayStation 2 platforms 
In December 2006, Groove Media Inc  launched an online software platform, SkillGround  It allowed visitors to download retail-quality games for free and play against competitors of similar skill levels for fun, or for cash  SkillGround hosted multiple genres including: first-person shooter, racing, sports and fighting 

Released games



ground_truth: NES

Family Computer

Famicom

Nintendo Entertainment System