title: Louisiana Creole people

text: In the wake of the "Cajun Renaissance" of the 1960s and 1970s, the (often racialized) Creole identity has traditionally received less attention than its Cajun counterpart. However, the late 2010s have seen a minor but notable resurgence of the Creole identity among linguistic activists of all races, including among white people whose parents or grandparents identify as "Cajun" or simply "French".


title: Louisiana Creole people

text: Contemporary French-language media in Louisiana, such as Télé-Louisiane or "Le Bourdon de la Louisiane", often use the term "Créole" in its original and most inclusive sense (i.e. without reference to race), and some English-language organizations like the "Historic New Orleans Collection" have published articles questioning the racialized Cajun-Creole dichotomy of the mid-twentieth century. Documentaries such as Nathan Rabalais' "Finding Cajun" examine the intersection and impact of Creole culture on what is commonly described as "Cajun", likewise questioning the validity of recent racialization.


title: Louisiana Creole people

text: Louisiana Creole cuisine is recognized as a unique style of cooking originating in New Orleans, starting in the early 1700s. It makes use of what is sometimes called the Holy trinity: onions, celery and green peppers. It has developed primarily from various European, African, and Native American historic culinary influences. A distinctly different style of Creole or Cajun cooking exists in Acadiana.


title: Louisiana Creole people

text: Gumbo ("Gombô" in Louisiana Creole, "Gombo" in Louisiana French) is a traditional Creole dish from New Orleans with French, Spanish, Native American, African, German, Italian, and Caribbean influences. It is a roux-based meat stew or soup, sometimes made with some combination of any of the following: seafood (usually shrimp, crabs, with oysters optional, or occasionally crawfish), sausage, chicken (hen or rooster), alligator, turtle, rabbit, duck, deer or wild boar. Gumbo is often seasoned with filé, which is dried and ground sassafras leaves. Both meat and seafood versions also include the "Holy Trinity" and are served like stew over rice. It developed from French colonists trying to make "bouillabaisse" with New World ingredients. Starting with aromatic seasonings, the French used onions and celery as in a traditional "mirepoix", but lacked carrots, so they substituted green bell peppers. Africans contributed okra, traditionally grown in regions of Africa, the Middle East and Spain. "Gombo" is the Louisiana French word for okra, which is derived from a shortened version of the Bantu words "kilogombó" or "kigambó," also "guingambó" or "quinbombó". "Gumbo" became the anglicized version of the word 'Gombo' after the English language became dominant in Louisiana. In Louisiana French dialects, the word "gombo" still refers to both the hybrid stew and the vegetable. The Choctaw contributed "filé"; the Spanish contributed peppers and tomatoes; and new spices were adopted from Caribbean dishes. The French later favored a "roux" for thickening. In the 19th century, the Italians added garlic. After arriving in numbers, German immigrants dominated New Orleans city bakeries, including those making traditional French bread. They introduced having buttered French bread as a side to eating gumbo, as well as a side of German-style potato salad.


title: Louisiana Creole people

text: Today, jambalaya is commonly made with seafood (usually shrimp) or chicken, or a combination of shrimp and chicken. Most versions contain smoked sausage, more commonly used instead of ham in modern versions. However, a version of jambalaya that uses ham with shrimp may be closer to the original Creole dish.


title: Louisiana Creole people

text: Jambalaya is prepared in two ways: "red" and "brown". Red is the tomato-based version native to New Orleans; it is also found in parts of Iberia and St. Martin parishes, and generally uses shrimp or chicken stock. The red-style Creole jambalaya is the original version. The "brown" version is associated with Cajun cooking and does not include tomatoes.


title: Louisiana Creole people

text: Red beans and rice is a dish of Louisiana and Caribbean influence, originating in New Orleans. It contains red beans, the "holy trinity" of onion, celery, and bell pepper, and often "andouille" smoked sausage, pickled pork, or smoked ham hocks. The beans are served over white rice. It is one of the famous dishes in Louisiana, and is associated with "washday Monday". It could be cooked all day over a low flame while the women of the house attended to washing the family's clothes.


title: Louisiana Creole people

text: "Zydeco" (a transliteration in English of 'zaricô' (snapbeans) from the song, "Les haricots sont pas salés"), was born in black Creole communities on the prairies of southwest Louisiana in the 1920s. It is often considered the Creole music of Louisiana. Zydeco, a derivative of Cajun music, purportedly hails from "Là-là," a genre of music now defunct, and old south Louisiana "jurés." As Louisiana French and Louisiana Creole was the "lingua franca" of the prairies of southwest Louisiana, zydeco was initially sung only in Louisiana French or Creole. Later, Louisiana Creoles, such as the 20th-century Chénier brothers, Andrus Espree (Beau Jocque), Rosie Lédet and others began incorporating a more bluesy sound and added a new linguistic element to zydeco music: English. Today, zydeco musicians sing in English, Louisiana Creole or Colonial Louisiana French.


title: Louisiana Creole people

text: Today's Zydeco often incorporates a blend of swamp pop, blues, and/or jazz as well as "Cajun Music" (originally called Old Louisiana French Music). An instrument unique to zydeco is a form of washboard called the "frottoir" or scrub board. This is a vest made of corrugated aluminum, and played by the musician working bottle openers, bottle caps or spoons up and down the length of the vest. Another instrument used in both Zydeco and Cajun music since the 1800s is the accordion. Zydeco music makes use of the piano or button accordion while Cajun music is played on the diatonic accordion, or Cajun accordion, often called a "squeeze box". Cajun musicians also use the fiddle and steel guitar more often than do those playing Zydeco.


title: Louisiana Creole people

text: Zydeco can be traced to the music of enslaved African people from the 19th century. It is represented in "Slave Songs of the United States," first published in 1867. The final seven songs in that work are printed with melody along with text in Louisiana Creole. These and many other songs were sung by slaves on plantations, especially in St. Charles Parish, and when they gathered on Sundays at Congo Square in New Orleans.


title: Louisiana Creole people

text: Among the Spanish Creole people highlights, between their varied traditional folklore, the Canarian Décimas, romances, ballads and pan-Hispanic songs date back many years, even to the Medieval Age. This folklore was carried by their ancestors from the Canary Islands to Louisiana in the 18th century. It also highlights their adaptation to the Isleño music to other music outside of the community (especially from the Mexican Corridos).


title: Louisiana Creole people

text: Louisiana Creole ("Kréyol La Lwizyàn") is a French Creole language spoken by the Louisiana Creole people and sometimes Cajuns and Anglo-residents of the state of Louisiana. The language consists of elements of French, Spanish, African and Native American roots.


title: Louisiana Creole people

text: Louisiana French (LF) is the regional variety of the French language spoken throughout contemporary Louisiana by individuals who today identify ethno-racially as Creole, Cajun or French, as well as some who identify as Spanish (particularly in New Iberia and Baton Rouge, where the Creole people are a mix of French and Spanish and speak the French language), African-American, white, Irish or of other origins. Individuals and groups of individuals through innovation, adaptation, and contact continually enrich the French language spoken in Louisiana, seasoning it with linguistic features that can sometimes only be found in Louisiana.


title: Louisiana Creole people

text: Tulane University's Department of French and Italian website prominently declares "In Louisiana, French is not a foreign language".


title: Louisiana Creole people

text: Figures from U.S. decennial censuses report that roughly 250,000 Louisianans claimed to use or speak French in their homes.


title: Louisiana Creole people

text: Among the 18 governors of Louisiana between 1803 and 1865, six were French Creoles and spoke French: Jacques Villeré, Pierre Derbigny, Armand Beauvais, Jacques Dupré, Andre B. Roman and Alexandre Mouton.


title: Louisiana Creole people

text: According to the historian Paul Lachance, "the addition of white immigrants to the white creole population enabled French-speakers to remain a majority of the white population <nowiki>[in New Orleans]</nowiki> until almost 1830. If a substantial proportion of Creoles of color and slaves had not also spoken French, however, the Gallic community would have become a minority of the total population as early as 1820." In the 1850s, white Francophones remained an intact and vibrant community; they maintained instruction in French in two of the city's four school districts. In 1862, the Union general Ben Butler abolished French instruction in New Orleans schools, and statewide measures in 1864 and 1868 further cemented the policy. By the end of the 19th century, French usage in the city had faded significantly. However, as late as 1902 "one-fourth of the population of the city spoke French in ordinary daily intercourse, while another two-fourths was able to understand the language perfectly," and as late as 1945, one still encountered elderly Creole women who spoke no English. The last major French-language newspaper in New Orleans, "L'Abeille de la Nouvelle-Orléans", ceased publication on December 27, 1923, after ninety-six years; according to some sources "Le Courrier de la Nouvelle Orleans" continued until 1955.


title: Louisiana Creole people

text: Today, it is generally in more rural areas that people continue to speak Louisiana French or Louisiana Creole. Also during the '40s and '50s many Creoles left Louisiana to find work in Texas, mostly in Houston and East Texas. The language and music is widely spoken there; the 5th ward of Houston was originally called Frenchtown due to that reason. There were also Zydeco clubs started in Houston, like the famed Silver Slipper owned by a Creole named Alfred Cormier that has hosted the likes of Clifton Chenier and Boozoo Chavis.


title: Louisiana Creole people

text: On the other hand, Spanish usage has fallen markedly over the years among the Spanish Creoles. Still, in the first half of twentieth century, most of the people of Saint Bernard and Galveztown spoke the Spanish language with the Canarian Spanish dialect (the ancestors of these Creoles were from the Canary Islands) of the 18th century, but the government of Louisiana imposed the use of English in these communities, especially in the schools (e.g. Saint Bernard) where if a teacher heard children speaking Spanish she would fine them and punish them. Now, only some people over the age of 80 can speak Spanish in these communities. Most of the youth of Saint Bernard can only speak English.


title: Louisiana Creole people

text: Mardi Gras (Fat Tuesday in English) in New Orleans, Louisiana, is a Carnival celebration well known throughout the world. It has colonial French roots.


title: Louisiana Creole people

text: The New Orleans Carnival season, with roots in preparing for the start of the Christian season of Lent, starts after Twelfth Night, on Epiphany (January 6). It is a season of parades, balls (some of them masquerade balls) and king cake parties. It has traditionally been part of the winter social season; at one time "coming out" parties for young women at débutante balls were timed for this season.


title: Louisiana Creole people

text: Celebrations are concentrated for about two weeks before and through Fat Tuesday ("Mardi Gras" in French), the day before Ash Wednesday. Usually there is one major parade each day (weather permitting); many days have several large parades. The largest and most elaborate parades take place the last five days of the season. In the final week of Carnival, many events large and small occur throughout New Orleans and surrounding communities.


title: Louisiana Creole people

text: The parades in New Orleans are organized by Carnival "krewes". Krewe float riders toss "throws" to the crowds; the most common throws are strings of plastic colorful beads, doubloons (aluminum or wooden dollar-sized coins usually impressed with a krewe logo), decorated plastic "throw cups", and small inexpensive toys. Major krewes follow the same parade schedule and route each year.


title: Louisiana Creole people

text: While many tourists center their Mardi Gras season activities on Bourbon Street and the French Quarter, none of the major Mardi Gras parades has entered the Quarter since 1972 because of its narrow streets and overhead obstructions. Instead, major parades originate in the Uptown and Mid-City districts and follow a route along St. Charles Avenue and Canal Street, on the upriver side of the French Quarter.


title: Louisiana Creole people

text: To New Orleanians, "Mardi Gras" specifically refers to the Tuesday before Lent, the highlight of the season. The term can also be used less specifically for the whole Carnival season, sometimes as "the Mardi Gras season". The terms "Fat Tuesday" or "Mardi Gras Day" always refer only to that specific day.


title: Louisiana Creole people

text: While the sophisticated Creole society of New Orleans has historically received much attention, the Cane River (Rivière aux Cannes) area developed its own strong Creole culture. Creole migrants from New Orleans and various ethnic groups including Africans, Spanish, Frenchmen, and Native Americans inhabited this region and mixed together in the 18th and early 19th centuries. The community is located in and around Isle Brevelle in lower Natchitoches Parish, Louisiana. There are many Creole communities within Natchitoches Parish, including Natchitoches, Cloutierville, Derry, Gorum and Natchez. Many of their historic plantations still exist. Some have been designated as National Historic Landmarks, and are noted within the Cane River National Heritage Area, as well as the Cane River Creole National Historical Park. Some plantations are sites on the Louisiana African American Heritage Trail.


title: Louisiana Creole people

text: Isle Brevelle, the area of land between Cane River and Bayou Brevelle, encompasses approximately of land, 16,000 acres of which are still owned by descendants of the original Creole families. The Cane River as well as Avoyelles and St. Landry Creole family surnames include but are not limited to: Antee, Anty, Arceneaux, Arnaud, Balthazar, Barre', Bayonne, Beaudoin, Bellow, Bernard, Biagas, Bossier, Boyér, Brossette, Buard, Byone, Carriere, Cassine, Catalon, Chevalier, Chretien, Christophe, Cloutier, Colson, Colston, Conde, Conant, Coutée, Cyriak, Cyriaque, Damas, DeBòis, DeCuir, Deculus, DeLouche, Delphin, De Sadier, De Soto, Dubreil, Dunn, Dupré. Esprit, Fredieu, Fuselier, Gallien, Goudeau, Gravés, Guillory, Hebert, Honoré, Hughes, LaCaze, LaCour, Lambre', Landry, Laurent, LéBon, Lefìls, Lemelle, LeRoux, Le Vasseur, Llorens, Mathés, Mathis, Métoyer, Mezière, Monette, Moran, Mullone, Pantallion, Papillion, Porche, PrudHomme, Rachal, Ray, Reynaud, Roque, Sarpy, Sers, Severin, Simien, St. Romain, St. Ville, Sylvie, Sylvan, Tournoir, Tyler, Vachon, Vallot, Vercher and Versher. (Most of the surnames are of French and sometimes Spanish origin).


title: Louisiana Creole people

text: Another historic area to Louisiana is Pointe Coupee, an area northwest of Baton Rouge. This area is known for the False River; the parish seat is New Roads, and villages including Morganza are located off the river. This parish is known to be uniquely Creole; today a large portion of the nearly 22,000 residents can trace Creole ancestry. The area was noted for its many plantations and cultural life during the French, Spanish, and American colonial periods.


title: Louisiana Creole people

text: The population here had become bilingual or even trilingual with French, Louisiana Creole, and English because of its plantation business before most of Louisiana. The Louisiana Creole language is widely associated with this parish; the local mainland French and Creole (i.e., locally born) plantation owners and their African slaves formed it as communication language, which became the primary language for many Pointe Coupee residents well into the 20th century. The local white and black populations as well as people of blended ethnicity spoke the language, because of its importance to the region; Italian immigrants in the 19th century often adopted the language.


title: Louisiana Creole people

text: Common Creole family names of the region include the following: Aguillard, Bergeron, Bonaventure, Boudreaux, Carmouche, Chenevert, Christophe, Darensbourg, Decuir, Domingue, Duperon, Eloi, Elloie, Ellois,Ellsworth, Fabre, Francois, Gaines, Gremillion, Guerin, Honoré, Jarreau, Joseph, Lacour, Morel, Olinde, Patin, Polard, Porche, Pourciau, Purnell, Ricard, St. Amant, St. Romain, Tounoir, Valéry and dozens more.


title: Louisiana Creole people

text: Brian J. Costello, an 11th generation Pointe Coupee Parish Creole, is the premiere historian, author and archivist on Pointe Coupee's Creole population, language, social and material culture. Most of his 19 solely-authored books, six co-authored books and numerous feature articles and participation in documentaries since 1987 have addressed these topics. He was immersed in the area's Louisiana Creole dialect in his childhood, through inter-familial and community immersion and is, therefore, one of the dialect's most fluent, and last, speakers.


title: Louisiana Creole people

text: Avoyelles Parish has a history rich in Creole ancestry. Marksville has a significant populace of French Creoles. The languages that are spoken are Louisiana French and English. This parish was established in 1750. The Creole community in Avoyelles parish is alive and well and has a unique blend of family, food and Creole culture. Creole family names of this region are: Auzenne, Barbin, Beridon, Beaudoin, Biagas, Bonton, Bordelon, Boutte, Broussard, Carriere, Chargois, DeBellevue, DeCuir, Deshotels, Dufour, DuCote, Esprit, Fontenot, Fuselier, Gaspard, Gauthier, Goudeau, Greenhouse, Gremillion,Guillory, Lamartiniere, Lemelle, Lemoine, LeRoux, Mayeux, Mouton, Moten, Muellon, Normand, Perrie, Rabalais, Ravarre, Saucier, Sylvan, Tounouir and Tyler. A French Creole Heritage day has been held annually in Avoyelles Parish on Bastille Day since 2012.


title: Louisiana Creole people

text: Evangeline Parish was formed out of the northwestern part of St. Landry Parish in 1910, and is therefore, a former part of the old Poste des Opelousas territory. Most of this region's population was a direct result of the North American Creole & Métis influx of 1763, the result of the end of the French & Indian War which saw former French colonial settlements from as far away as "Upper Louisiana" (Great Lakes region, Indiana, Illinois) to "Lower Louisiana's" (Illinois, Arkansas, Louisiana, Mississippi and Alabama), ceded to the Thirteen Colonies.


title: Louisiana Creole people

text: The majority of these French Creoles and Métis peoples chose to leave their former homes electing to head for the only 'French' exempted settlement area in Lower Louisiana, the "Territory of Orleans" or the modern State of Louisiana.


title: Louisiana Creole people

text: These Creoles and Métis families generally did not remain in New Orleans and opted for settlement in the northwestern "Creole parishes" of higher ground. This area reaches upwards to Pointe Coupee, St. Landry, Avoyelles and what became Evangeline Parish in 1910. Along with these diverse Métis & Creole families came West Indian slaves (Caribbean people).


title: Louisiana Creole people

text: Still later, Saint-Domingue/Haitian Creoles, Napoleonic soldiers, and 19th century French families would also settle this region.


title: Louisiana Creole people

text: One of Napoleon Bonaparte's adjutant majors is actually considered the founder of Ville Platte, the parish seat of Evangeline Parish. General Antoine Paul Joseph Louis Garrigues de Flaugeac and his fellow Napoleonic soldiers, Benoit DeBaillon, Louis Van Hille, and Wartelle's descendants also settled in St. Landry Parish and became important public, civic, and political figures. They were discovered on the levee in tattered uniforms by a wealthy Creole planter, "Grand Louis' Fontenot of St. Landry (and what is now, Evangeline Parish), a descendant of one Jean Louis Fonteneau, one of Governor Jean-Baptiste Le Moyne, Sieur de Bienville's French officers from Fort Toulouse, in what is now the State of Alabama.


title: Louisiana Creole people

text: Many Colonial French, Swiss German, Austrian, and Spanish Creole surnames still remain among prominent and common families alike in Evangeline Parish. Some later Irish and Italian names also appear. Surnames such as, Ardoin, Aguillard, Mouton, Bordelon, Boucher, Brignac, Brunet, Buller (Buhler), Catoire, Chapman, Coreil, Darbonne, David, DeBaillion, Deshotel, DeVille, DeVilliers, Duos, Dupre', Esprit, Estillette, Fontenot, Guillory, Gradney, LaFleur, Landreneau, LaTour, LeBas, LeBleu, Ledoux, Ledet, LeRoux, Manuel, Milano-Hebert, Miller, Morein, Moreau, Moten, Mounier, Ortego, Perrodin, Pierotti, Pitre (rare Acadian-Creole), Rozas, Saucier, Schexnayder, Sebastien, Sittig, Soileau, Vidrine, Vizinat and many more are reminiscent of the late French Colonial, early Spanish and later American period of this region's history.


title: Louisiana Creole people

text: As of 2013, the parish was once again recognized by the March 2013 Regular Session of the Louisiana Legislature as part of the Creole Parishes, with the passage of SR No. 30. Other parishes so recognized include Avoyelles, St. Landry Parish and Pointe Coupee Parishes. Natchitoches Parish also remains recognized as "Creole".


title: Louisiana Creole people

text: Evangeline Parish's French-speaking Senator, Eric LaFleur sponsored SR No. 30 which was written by Louisiana French Creole scholar, educator and author, John laFleur II. The parish's namesake of "Evangeline" is a reflection of the affection the parish's founder, Paulin Fontenot had for Henry Wadsworth's famous poem of the same name, and not an indication of the parish's ethnic origin. The adoption of "Cajun" by the residents of this parish reflects both the popular commerce as well as media conditioning, since this northwestern region of the French-speaking triangle was never part of the Acadian settlement region of the Spanish period.


title: Louisiana Creole people

text: The community now hosts an annual "Creole Families Bastille Day (weekend) Heritage & Honorarium Festival in which a celebration of Louisiana's multi-ethnic French Creoles is held, with Catholic mass, Bastille Day Champagne toasting of honorees who've worked in some way to preserve and promote the French Creole heritage and language traditions. Louisiana authors, Creole food, and cultural events featuring scholarly lectures and historical information along with fun for families with free admission, and vendor booths are also a feature of this very interesting festival which unites all French Creoles who share this common culture and heritage.


title: Louisiana Creole people

text: St. Landry Parish has a significant population of Creoles, especially in Opelousas and its surrounding areas. The traditions and Creole heritage are prevalent in Opelousas, Port Barre, Melville, Palmetto, Lawtell, Eunice, Swords, Mallet, Frilot Cove, Plaisance, Pitreville, and many other villages, towns and communities. The Roman Catholic Church and French/Creole language are dominant features of this rich culture. Zydeco musicians host festivals all through the year.


title: Category 6 cable

text: Category 6 cable (Cat 6) is a standardized twisted pair cable for Ethernet and other network physical layers that is backward compatible with the Category 5/5e and Category 3 cable standards.


title: Category 6 cable

text: Cat 6 must meet more stringent specifications for crosstalk and system noise than Cat 5 and Cat 5e. The cable standard specifies performance of up to 250 MHz, compared to 100 MHz for Cat 5 and Cat 5e.


title: Category 6 cable

text: Whereas Category 6 cable has a reduced maximum length of when used for 10GBASE-T, Category 6A cable is characterized to 500 MHz and has improved alien crosstalk characteristics, allowing 10GBASE-T to be run for the same maximum distance as previous Ethernet variants.


title: Category 6 cable

text: Cat 6, an unshielded twisted-pair (UTP) design, emerged as an advancement of the UTP Cat 5e, and was formalised in 2001. The design of Cat 6 required more stringent precision in manufacturing, and this enabled reduced noise and crosstalk, allowing improved performance. The Telecommunications Industry Association (TIA) published Cat 6 in June 2002.


title: Category 6 cable

text: Cat 6 cable can be identified by the printing on the side of the cable sheath. Cable types, connector types and cabling topologies are defined by ANSI/TIA-568.


title: Category 6 cable

text: Cat 6 patch cables are normally terminated in 8P8C modular connectors, using either T568A or T568B pin assignments; performance is comparable provided both ends of a cable are terminated identically.


title: Category 6 cable

text: If Cat 6-rated patch cables, jacks and connectors are not used with Cat 6 wiring, overall performance is degraded and may not meet Cat 6 performance specifications.


title: Category 6 cable

text: The Cat 6 specification requires conductors to be pure copper. The industry has seen a rise in non-compliant or counterfeit cables, especially of the copper-clad aluminium wire (CCA) variety. This has exposed the manufacturers or installers of such fake cable to legal liabilities.


title: Category 6 cable

text: The standard for Category 6A (augmented Category 6) is ANSI/TIA-568.2-D (replaces 568-C.2), defined by TIA for enhanced performance standards for twisted pair cable systems. It was defined in 2018. Cat 6A performance is defined for frequencies up to 500 MHz—twice that of Cat 6. Cat 6A also has an improved alien crosstalk specification as compared to Cat 6, which picks up high levels of alien noise at high frequencies.


title: Category 6 cable

text: The global cabling standard ISO/IEC 11801 has been extended by the addition of amendment 2. This amendment defines new specifications for Cat 6A components and Class E permanent links. These new global Cat 6A/Class E specifications require a new generation of connecting hardware offering far superior performance compared to the existing products that are based on the American TIA standard. The most important point is a performance difference between ISO/IEC and EIA/TIA component specifications for the NEXT transmission parameter. At a frequency of 500 MHz, an ISO/IEC Cat 6A connector performs 3 dB better than a Cat 6A connector that conforms with the EIA/TIA specification (3 dB equals 50% reduction of near-end crosstalk noise signal power; see half-power point).


title: Category 6 cable

text: Confusion therefore arises because of the naming conventions and performance benchmarks laid down by the International ISO/IEC and American TIA/EIA standards, which in turn are different from the regional European standard, EN 50173-1. In broad terms, the ISO standard for Cat 6A is the most stringent, followed by the European standard, and then the American (1 on 1 matching capability).


title: Category 6 cable

text: After the ratification of Cat 6, manufacturers began offering cables labeled as . The intent was to market "Cat 6e" as a pseudo official upgrade to the Category 6 standard naming it after the Category 5e standard. Officially Cat 6e is not a recognized ISO standard.


title: Category 6 cable

text: Category 7 is an ISO standard, but not a TIA standard; it is a shielded cable with newer connectors (GG45 or TERA) that are not backward-compatible with category 3 through 6A. Category 8 is the next network cabling offering to be backward compatible.


title: Category 6 cable

text: When used for 10/100/1000BASE-T, the maximum allowed length of a Cat 6 cable is . This consists of of solid "horizontal" cabling between the patch panel and the wall jack, plus of stranded patch cable between each jack and the attached device. For 10GBASE-T, an unshielded Cat 6 cable should not exceed 55 meters and a Cat 6A cable should not exceed 100 meters.


title: Category 6 cable

text: Category 6 and 6A cable must be properly installed and terminated to meet specifications. The cable must not be kinked or bent too tightly; the bend radius should be larger than four times the outer diameter of the cable. The wire pairs must not be untwisted and the outer jacket must not be stripped back more than .


title: Category 6 cable

text: Cable shielding may be required in order to avoid data corruption in high electromagnetic interference (EMI) environments. Shielding is typically maintained from one cable end to the other using a drain wire that runs through the cable alongside the twisted pairs. The shield's electrical connection to the chassis on each end is made through the jacks. The requirement for ground connections at both cable ends creates the possibility of creating a ground loop. This undesirable situation may compel currents to flow in the network cable shield and these currents may in turn induce detrimental noise in the signal being carried by the cable.


title: Lindisfarne

text: Lindisfarne, also called Holy Island, is a tidal island off the northeast coast of England, which constitutes the civil parish of Holy Island in Northumberland. Holy Island has a recorded history from the 6th century AD; it was an important centre of Celtic Christianity under Saints Aidan, Cuthbert, Eadfrith, and Eadberht of Lindisfarne. After the Viking invasions and the Norman conquest of England, a priory was re-established. A small castle was built on the island in 1550.


title: Lindisfarne

text: Both the Parker and Peterborough versions of the Anglo-Saxon Chronicle for 793 record the Old English name .


title: Lindisfarne

text: In the 9th-century the island appears under its Old Welsh name . The philologist Andrew Breeze, following up on a suggestion by Richard Coates, proposes that the name ultimately derives from Latin (English: Healing [Island]), owing perhaps to the island's reputation for medicinal herbs.


title: Lindisfarne

text: The name Holy Island was in use by the 11th century when it appears in Latin as . The reference was to Saints Aidan and Cuthbert.


title: Lindisfarne

text: In the present day, Holy Island is the name of the civil parish and native inhabitants are known as Islanders. The Ordnance Survey uses Holy Island for both the island and the village, with Lindisfarne listed either as an alternative name for the island or as a name of 'non-Roman antiquity'. "Locally the island is rarely referred to by its Anglo-Saxon name of Lindisfarne" (according to the local community website). More widely, the two names are used somewhat interchangeably. Lindisfarne is invariably used when referring to the pre-conquest monastic settlement, the priory ruins and the castle. The combined phrase The Holy Island of Lindisfarne has begun to be used more frequently in recent times, particularly when promoting the island as a tourist or pilgrim destination.


title: Lindisfarne

text: The name Lindisfarne has an uncertain origin. The "-farne" part of the name may be Old English "fearena", genitive plural of , meaning traveller. The first part, "Lindis-", may refer to people from the Kingdom of Lindsey in modern Lincolnshire, referring to either regular visitors or settlers. Another possibility is that Lindisfarne is Brittonic in origin, containing the element "Lind-" meaning stream or pool (Welsh ), with the nominal morpheme "-as(t)" and an unknown element identical to that in the Farne Islands. Further suggested is that the name may be a wholly Old Irish formation, from corresponding , plus meaning land, domain, territory. Such an Irish formation, however, could have been based on a pre-existing Brittonic name.


title: Lindisfarne

text: There is also a supposition that the nearby Farne Islands are fern-like in shape and the name may have come from there.


title: Lindisfarne

text: The island of Lindisfarne is located along the northeast coast of England, close to the border with Scotland. It measures from east to west and from north to south, and comprises approximately at high tide. The nearest point to the mainland is about . It is accessible at low tide by a modern causeway and an ancient pilgrims' path that both run over sand and mudflats and which are covered with water at high tide. Lindisfarne is surrounded by the Lindisfarne National Nature Reserve, which protects the island's sand dunes and the adjacent intertidal habitats. , the island had a population of 180.


title: Lindisfarne

text: A February 2020 report provided an update on the island. At the time, three pubs and a hotel were operating; the store had closed but the post office remained in operation. No professional or medical services were available and residents were driving to Berwick-upon-Tweed for groceries and other supplies. Points of interest for visitors included Lindisfarne Castle operated by the National Trust, the priory, the historic church, the nature reserve and the beaches. At certain times of year, numerous migratory birds can be seen.


title: Lindisfarne

text: Warning signs urge visitors walking to the island to keep to the marked path, to check tide times and weather carefully, and to seek local advice if in doubt. For drivers, tide tables are prominently displayed at both ends of the causeway and also where the Holy Island road leaves the A1 Great North Road at Beal. The causeway is generally open from about three hours after high tide until two hours before the next high tide, but the period of closure may be extended during stormy weather. Tide tables giving the safe crossing periods are published by Northumberland County Council.


title: Lindisfarne

text: Despite these warnings, about one vehicle each month is stranded on the causeway, requiring rescue by HM Coastguard and / or Seahouses RNLI lifeboat. A sea rescue costs approximately £1,900 (quoted in 2009, ), while an air rescue costs more than £4,000 (also quoted in 2009, ). Local people have opposed a causeway barrier, primarily on convenience grounds.


title: Lindisfarne

text: The north-east of England was largely not settled by Roman civilians apart from the Tyne valley and Hadrian's Wall. The area had been little affected during the centuries of nominal Roman occupation. The countryside had been subject to raids from both Scots and Picts and was "not one to attract early Germanic settlement". The Anglian King Ida (reigned from 547) started the sea-borne settlement of the coast, establishing an (meaning "royal settlement") at Bamburgh across the bay from Lindisfarne. The conquest was not straightforward, however. The recounts how, in the 6th century, Urien, prince of Rheged, with a coalition of North Brittonic kingdoms, besieged Angles led by Theodric of Bernicia on the island for three days and nights, until internal power struggles led to the Britons' defeat.


title: Lindisfarne

text: The monastery of Lindisfarne was founded around 634 by Irish monk Saint Aidan, who had been sent from Iona off the west coast of Scotland to Northumbria at the request of King Oswald. The priory was founded before the end of 634 and Aidan remained there until his death in 651. The priory remained the only seat of a bishopric in Northumbria for nearly thirty years. Finan (bishop 651–661) built a timber church "suitable for a bishop's seat". St Bede, however, was critical of the fact that the church was not built of stone but only of hewn oak thatched with reeds. A later bishop, Eadbert, removed the thatch and covered both walls and roof in lead. An abbot, who could be the bishop, was elected by the brethren and led the community. Bede comments on this:


title: Lindisfarne

text: Lindisfarne became the base for Christian evangelism in the North of England, and also sent a successful mission to Mercia. Monks from the Irish community of Iona settled on the island. Northumbria's patron saint, Saint Cuthbert, was a monk and later abbot of the monastery, and his miracles and life are recorded by the Venerable Bede. Cuthbert later became Bishop of Lindisfarne. An anonymous life of Cuthbert written at Lindisfarne is the oldest extant piece of English historical writing. From its reference to "Aldfrith, who now reigns peacefully", it is considered to date to between 685 and 704. Cuthbert was buried here, his remains later translated to Durham Cathedral (along with the relics of Saint Eadfrith of Lindisfarne). Eadberht of Lindisfarne, the next bishop (and later saint), was buried in the place from which Cuthbert's body was exhumed earlier the same year.


title: Lindisfarne

text: Cuthbert's body was carried with the monks, eventually settling in Chester-le-Street before a final move to Durham. The saint's shrine was the major pilgrimage centre for much of the region until its despoliation by Henry VIII's commissioners in 1539 or 1540. The grave was preserved, however, and when opened in 1827 yielded a number of artefacts dating back to Lindisfarne. The innermost of three coffins was of incised wood, the only decorated wood to survive from the period. It shows Jesus surrounded by the Four Evangelists. Within the coffin was a pectoral cross measuring across, made of gold and mounted with garnets and intricate designs; a comb, made of elephant ivory, was also found, an item that would have been exceedingly rare and expensive in Northern England, as well as an embossed, silver-covered travelling altar, all of which were contemporary with the original burial on the island. The most impressive find within the coffins was a gospel (known as the St Cuthbert Gospel or Stonyhurst Gospel from its association with Stonyhurst College): the manuscript, a relatively early and likely original one, was bound with embossed leather. When the body was placed in the shrine in 1104, other items were removed: a paten, scissors and a chalice of gold and onyx.


title: Lindisfarne

text: Following Finian's death, Colman became Bishop of Lindisfarne. Up to this point the Northumbrian (and latterly Mercian) churches had looked to Lindisfarne as the mother church. There were significant liturgical and theological differences with the fledgling Roman party based at Canterbury. According to Stenton: "There is no trace of any intercourse between these bishops [the Mercians] and the see of Canterbury". The Synod of Whitby in 663 changed this, as allegiance switched southwards to Canterbury and then to Rome. Colman departed his see for Iona, and Lindisfarne no longer held its previous importance.


title: Lindisfarne

text: In 735, the northern ecclesiastical province of England was established, with the archbishopric at York. There were only three bishops under York: Hexham, Lindisfarne and Whithorn, whereas Canterbury had the 12 envisaged by St Augustine. The Diocese of York roughly encompassed the counties of Yorkshire and Lancashire. Hexham covered County Durham and the southern part of Northumberland up to the River Coquet, and eastwards into the Pennines. Whithorn covered most of Dumfries and Galloway region west of Dumfries itself. The remainder, Cumbria, northern Northumbria, Lothian and much of the Kingdom of Strathclyde formed the diocese of Lindisfarne.


title: Lindisfarne

text: In 737, Saint Ceolwulf of Northumbria abdicated as King of Northumbria and entered the priory at Lindisfarne. He died in 764 and was buried alongside Cuthbert. In 830, his body was moved to Norham-upon-Tweed, and later his head was translated to Durham Cathedral.


title: Lindisfarne

text: At some point in the early 8th century the illuminated manuscript known as the Lindisfarne Gospels, an illustrated Latin copy of the Gospels of Matthew, Mark, Luke and John, was made, probably at Lindisfarne. The artist was possibly Eadfrith, who later became Bishop of Lindisfarne. It is also speculated that a team of illuminators and calligraphers (monks of Lindisfarne Priory) worked on the text, but if so, their identities are unknown. Some time in the second half of the 10th century, a monk named Aldred added an Anglo-Saxon (Old English) gloss to the Latin text, producing the earliest surviving Old English copies of the Gospels. Aldred attributed the original to Eadfrith (bishop 698–721). The Gospels were written with a good hand, but it is the illustrations, done in an insular style containing a fusion of Celtic, Germanic and Roman elements, that are considered to be of the most value. According to Aldred, Eadfrith's successor Æthelwald was responsible for pressing and binding the book, before it was covered with a fine metal case made by a hermit known as Billfrith. The Lindisfarne Gospels now reside in the British Library in London, a location which has caused some controversy amongst some Northumbrians. In 1971, professor Suzanne Kaufman of Rockford, Illinois presented a facsimile copy of the Gospels to the clergy of the island.


title: Lindisfarne

text: In 793, a Viking raid on Lindisfarne caused much consternation throughout the Christian west, and is now often taken as the beginning of the Viking Age. There had been some other Viking raids, but according to English Heritage this one was particularly significant, because "it attacked the sacred heart of the Northumbrian kingdom, desecrating 'the very place where the Christian religion began in our nation'". The D and E versions of the "Anglo-Saxon Chronicle" record:


title: Lindisfarne

text: ("In this year fierce, foreboding omens came over the land of the Northumbrians, and the wretched people shook; there were excessive whirlwinds, lightning, and fiery dragons were seen flying in the sky. These signs were followed by great famine, and a little after those, that same year on 6th ides of January, the ravaging of wretched heathen men destroyed God's church at Lindisfarne.")


title: Lindisfarne

text: The generally accepted date for the Viking raid on Lindisfarne is 8 June; Michael Swanton writes: ", presumably [is] an error for (8 June) which is the date given by the "Annals of Lindisfarne" (p. 505), when better sailing weather would favour coastal raids."


title: Lindisfarne

text: Alcuin, a Northumbrian scholar in Charlemagne's court at the time, wrote: "Never before has such terror appeared in Britain as we have now suffered from a pagan race ... The heathens poured out the blood of saints around the altar, and trampled on the bodies of saints in the temple of God, like dung in the streets."


title: Lindisfarne

text: During the attack many of the monks were killed, or captured and enslaved. As the English population became more settled, they seemed to have turned their back on the sea. Many monasteries were established on islands, peninsulas, river mouths and cliffs, as isolated communities were less susceptible to interference and the politics of the heartland. These preliminary raids, despite their brutal nature, were not followed up. The main body of the raiders passed north around Scotland. The 9th century invasions came not from Norway, but from the Danes from around the entrance to the Baltic. The first Danish raids into England were in the Isle of Sheppey, Kent during 835 and from there their influence spread north. During this period religious art continued to flourish on Lindisfarne, and the of Durham began in the priory. By 866, the Danes were in York, and in 873 the army was moving into Northumberland. With the collapse of the Northumbrian kingdom, the monks of Lindisfarne fled the island in 875 taking with them St Cuthbert's bones (which are now buried at the cathedral in Durham), who during his life had been prior and bishop of Lindisfarne; his body was buried on the island in the year 698.


title: Lindisfarne

text: Prior to the 9th century, Lindisfarne Priory had, in common with other such establishments, held large tracts of land which were managed directly or leased to farmers with a life interest only. Following the Danish occupation, land was increasingly owned by individuals, and could be bought, sold and inherited. Following the Battle of Corbridge in 914 Ragnald seized the land giving some to his followers Scula and Onlafbal.


title: Lindisfarne

text: William of St Calais, the first Norman Bishop of Durham, endowed his new Benedictine monastery at Durham with land and property in Northumberland, including Holy Island and much of the surrounding mainland. Durham Priory re-established a monastic house on the island in 1093, as a cell of Durham, administered from Norham. The standing remains date from this time (whereas the site of the original priory is now occupied by the parish church).


title: Lindisfarne

text: Monastic records from the 14th to the 16th century provide evidence of an already well-established fishing economy on the island. Both line fishing and net fishing were practised, inshore in shallow waters and in the deep water offshore, using a variety of vessels: contemporary accounts differentiate between small 'cobles' and larger 'boats', as well as singling out certain specialised vessels (such as a 'herynger', sold for £2 in 1404). As well as supplying food for the monastic community, the island's fisheries (together with those of nearby Farne) provided the mother house at Durham with fish, on a regular (sometimes weekly) basis. Fish caught included cod, haddock, herring, salmon, porpoise and mullet, among others. Shellfish of various types were also fished for, with lobster nets and oyster dredges being mentioned in the accounts. Fish surplus to the needs of the monastery was traded, but subject to a tithe. There is also evidence that the monks operated a lime kiln on the island.


title: Lindisfarne

text: In 1462, during the Wars of the Roses, Margaret of Anjou made an abortive attempt to seize the Northumbrian castles. Following a storm at sea 400 troops had to seek shelter on Holy Island, where they surrendered to the Yorkists.


title: Lindisfarne

text: The Benedictine monastery continued until its suppression in 1536 under Henry VIII, after which the buildings surrounding the church were used as a naval storehouse. In 1613 ownership of the island (and other land in the area formerly pertaining to Durham Priory) was transferred to the Crown.


title: Lindisfarne

text: An early scholarly description of the priory was compiled by Dr Henry George Charles Clarke (presumed son of Admiral Sir Erasmus Gower) in 1838 during his term as president of the Berwickshire Naturalists' Club. Dr Clarke surmised that this Norman priory was unique in that the centre aisle had a vault of stone. Of the six arches, Dr Clarke stated "as if the architect had not previously calculated the space to be occupied by his arcade. The effect here has been to produce a horse-shoe instead of a semicircular arch, from its being of the same height, but lesser span, than the others. This arch is very rare, even in Norman buildings". The Lindisfarne Priory (ruin) is a grade I listed building, List Entry Number 1042304. Other parts of the priory are a Scheduled ancient monument, List Entry Number 1011650. The latter are described as "the site of the pre-Conquest monastery of Lindisfarne and the Benedictine cell of Durham Cathedral that succeeded it in the 11th century".


title: Lindisfarne

text: Recent work by archeologists was continuing in 2019, for the fourth year. Artifacts recovered included a rare board game piece, copper-alloy rings and Anglo-Saxon coins from both Northumbria and Wessex. The discovery of a cemetery led to finding commemorative markers "unique to the 8th and 9th centuries". The group also found evidence of an early medieval building, "which seems to have been constructed on top of an even earlier industrial oven" which was used to make copper or glass.


title: Lindisfarne

text: The parish church stands on the site of the wooden church built by St. Aidan in 635 AD. When the abbey was rebuilt by the Normans, the site of the original priory church was redeveloped in stone as the parish church. As such it is now the oldest building on the island still with a roof on. Remains of the Saxon church exist as the chancel wall and arch. A Norman apse (subsequently replaced in the 13th century) led eastwards from the chancel. The nave was extended in the 12th century with a northern arcade, and in the following century with a southern arcade.


title: Lindisfarne

text: After the Reformation the church slipped into disrepair until the restoration of 1860. The church is built of coloured sandstone which has had the Victorian plaster removed from it. The north aisle is known as the "fishermen's aisle" and houses the altar of St. Peter. The south aisle used to hold the altar of St. Margaret of Scotland, but now houses the organ.


title: Lindisfarne

text: The church is a Grade I listed building number 1042304, listed as part of the whole priory. The church forms most of the earliest part of the site and is a scheduled ancient monument number 1011650.


title: Lindisfarne

text: For several years in the late 20th century ( 1980~1990), religious author and cleric David Adam ministered to thousands of pilgrims and other visitors as rector of Holy Island.


title: Lindisfarne

text: Lindisfarne Castle was built in 1550, around the time that Lindisfarne Priory went out of use, and stones from the priory were used as building material. It is very small by the usual standards, and was more of a fort. The castle sits on the highest point of the island, a whinstone hill called Beblowe.


title: Lindisfarne

text: After Henry VIII suppressed the priory, his troops used the remains as a naval store. In 1542 Henry VIII ordered the Earl of Rutland to fortify the site against possible Scottish invasion. Sir John Harington and the Master Mason of Berwick started to plan to build two earth bulwarks, although the Rutland advised the use of stone from the abbey. In September 1544 a Scottish fleet led by John Barton in the "Mary Willoughby" theatened the English coast. It was thought the Scottish ships might try to burn Lindisfarne, so orders were given to repair the old decayed bulwark or blockhouse at Holy Island.


title: Lindisfarne

text: By December 1547, Ralph Cleisbye, Captain of the fort, had guns including a wheel-mounted demi-culverin, two brass sakers, a falcon, and another fixed demi-culverin. However, Beblowe Crag itself was not fortified until 1549 and Sir Richard Lee saw only a decayed platform and turf rampart there in 1565. Elizabeth I then had work carried out on the fort, strengthening it and providing gun platforms for the new developments in artillery technology. When James VI and I came to power in England, he combined the Scottish and English thrones, and the need for the castle declined. At that time the castle was still garrisoned from Berwick and protected the small Lindisfarne Harbour.


title: Lindisfarne

text: During the Jacobite rising of 1715 the Earl of Mar (later commander of the Jacobite army) planned for a Franco-Spanish invasion of North-East England to link up with indigenous Jacobites and the Scottish army marching south. The Holy Island was regarded by Mar as the ideal place for a landing. The following day, however, he decided on a more southerly landing.


title: Lindisfarne

text: Lindisfarne was close to Bamburgh which at that time was owned by Thomas Forster who was a committed Jacobite. The Jacobites wanted to secure the castle on the Holy Island so as "to give signals to the ships from which they expected succours from abroad". The castle was sealed but only held by around 6 men. The brigantine "Mary" of the Tyne, ex France was anchored in the bay. The master, Lancelot Errington, went ashore on 10 October 1715 to ask Samuel Phillipson, the castle's Master Gunner who also served as the unit's barber, for a shave. The men knew each other and so this seemed entirely innocent. Errington established that only two soldiers (Phillipson and Farggison) and Phillipson's wife were actually in the castle, the rest of the garrison being off duty. Errington returned with his nephew later in the day claiming to have lost the key to his watch then pulled a pistol on Phillipson and ejected the three people. Forster was expected to send reinforcements to the castle but, for some unknown reason, never did.


title: Lindisfarne

text: The following day Colonel Laton with a hundred troops arrived from Berwick and was joined by fifty of the islanders in retaking the castle. The Erringtons fled, were caught and imprisoned in the tollbooth at Berwick but tunneled their way out and escaped back to Bamburgh. On the 14 October two French ships signaled to the castle, but on receiving no reply withdrew.


title: Lindisfarne

text: The castle was later refurbished in the Arts and Crafts style by Sir Edwin Lutyens for the editor of Country Life, Edward Hudson. Lutyens also designed the island's Celtic-cross war-memorial on the Heugh. Lutyens' upturned herring busses near the foreshore provided the inspiration for Spanish architect Enric Miralles' Scottish Parliament Building in Edinburgh.


title: Lindisfarne

text: One of the most celebrated gardeners of modern times, Gertrude Jekyll (1843–1932), laid out a tiny garden just north of the castle in 1911. The castle, garden and nearby lime kilns are in the care of the National Trust and open to visitors.


title: Lindisfarne

text: Trinity House operates two light beacons (which it lists as lighthouses) to guide vessels entering Holy Island Harbour. Until 1 November 1995 both were operated by Newcastle-upon-Tyne Trinity House (a separate corporation, which formerly had responsibility for navigation marks along the coast from Berwick-upon-Tweed to Whitby). On that day, responsibility for marking the approach to the harbour was assumed by the London-based Corporation.


title: Lindisfarne

text: Heugh Hill Light is a metal framework tower with a black triangular day mark, situated on Heugh Hill (a ridge on the south edge of Lindisfarne). Prior to its installation, a wooden beacon with a triangle topmark had stood on the centre of Heugh Hill for many decades. Nearby is a former coastguard station, recently refurbished and opened to the public as a viewing platform. An adjacent ruin is known as the Lantern Chapel; its origin is unknown, but the name may indicate an earlier navigation light on this site.


title: Lindisfarne

text: Guile Point East and Guile Point West are a pair of stone obelisks standing on a small tidal island on the other side of the channel. The obelisks are leading marks which, when aligned, indicate the safe channel over the bar. When Heugh Hill bears 310° (in line with the church belfry) the bar is cleared and there is a clear run into the harbour. The beacons were established in 1826 by Newcastle-upon-Tyne Trinity House (in whose ownership they remain). Since the early 1990s, a sector light has been fixed about one-third of the way up Guile Point East.


title: Lindisfarne

text: Not a lighthouse but simply a daymark for maritime navigation, a white brick pyramid, 35 feet high and built in 1810, stands at Emmanuel Head, the north-eastern point of Lindisfarne. It is said to be Britain's earliest purpose-built daymark.


title: Lindisfarne

text: A Dundee firm built lime kilns on Lindisfarne in the 1860s, and lime was burnt on the island until at least the end of the 19th century. The kilns are among the most complex in Northumberland. Horses carried limestone, along the Holy Island Waggonway, from a quarry on the north side of the island to the lime kilns, where it was burned with coal transported from Dundee on the east coast of Scotland. There are still some traces of the jetties by which the coal was imported and the lime exported close by at the foot of the crags. The remains of the waggonway between the quarries and the kilns makes for a pleasant and easy walk. At its peak over 100 men were employed. Crinoid columnals extracted from the quarried stone and threaded into necklaces or rosaries became known as St Cuthbert's beads. The large-scale quarrying in the 19th century had a devastating effect on the interesting limestone caves, but eight sea caves remain at Coves Haven.


title: Lindisfarne

text: Workings on the lime kilns stopped by the start of the 20th century. The lime kilns on Lindisfarne are among the few being actively preserved in Northumberland.


title: Lindisfarne

text: The island is within an Area of Outstanding Natural Beauty on the Northumberland Coast. The ruined monastery is in the care of English Heritage, which also runs a museum/visitor centre nearby. The neighbouring parish church is still in use.


title: Lindisfarne

text: Holy Island was considered part of the Islandshire unit along with several mainland parishes. This came under the jurisdiction of the County Palatine of Durham until the Counties (Detached Parts) Act 1844.


title: Lindisfarne

text: Lindisfarne was mainly a fishing community for many years, with farming and the production of lime also of some importance.


title: Lindisfarne

text: The Holy Island of Lindisfarne is well known for mead. In the medieval days when monks inhabited the island, it was thought that if the soul was in God's keeping, the body must be fortified with Lindisfarne mead. The monks have long vanished, and the mead's recipe remains a secret of the family which still produces it; Lindisfarne Mead is produced at St Aidan's Winery, and sold throughout the UK and elsewhere.


title: Lindisfarne

text: Even today it is possible to see old wooden boats turned upside down on the land, looking like sheds. It is possible that this type of settlement was used by seafaring Vikings that exploited their ships as protection while away from home.


title: Lindisfarne

text: The isle of Lindisfarne was featured on the television programme "Seven Natural Wonders" as one of the wonders of the north. The Lindisfarne Gospels have also featured on television among the top few Treasures of Britain. It also features in an ITV Tyne Tees programme "Diary of an Island" which started on 19 April 2007 and on a DVD of the same name.


title: Lindisfarne

text: In response to the perceived lack of affordable housing on the isle of Lindisfarne, in 1996 a group of islanders established a charitable foundation known as the Holy Island of Lindisfarne Community Development Trust. They built a visitor centre on the island using the profits from sales. In addition, eleven community houses were built and are rented out to community members who want to continue to live on the island. The trust is also responsible for management of the inner harbour. The Holy Island Partnership was formed in 2009 by members of the community as well as organisations and groups operating on the island.


title: Lindisfarne

text: Tourism grew steadily throughout the 20th century, and the isle of Lindisfarne is now a popular destination for visitors. Those tourists staying on the island while it is cut off by the tide experience the island in a much quieter state, as most day trippers leave before the tide rises. At low tide it is possible to walk across the sands following an ancient route known as the Pilgrims' Way (see the note about safety, above). This route is marked with posts and has refuge boxes for stranded walkers, just as the road has a refuge box for those who have left their crossing too late. The isle of Lindisfarne is surrounded by the Lindisfarne National Nature Reserve which attracts bird-watchers to the tidal island. The island's prominent position and varied habitat make it particularly attractive to tired avian migrants, and 330 bird species had been recorded on the island.


title: Godzilla (1998 film)

text: Godzilla is a 1998 American monster film directed and co-written by Roland Emmerich, serving as a reimagining of the "Godzilla" franchise, owned and created by Toho Co., Ltd. It is the 23rd film in the franchise and the first "Godzilla" film to be completely produced by a Hollywood studio. The film stars Matthew Broderick, Jean Reno, Maria Pitillo, Hank Azaria, Kevin Dunn, Michael Lerner, and Harry Shearer. The film was dedicated to Tomoyuki Tanaka, the co-creator and producer of various "Godzilla" films, who died in April 1997. In the film, authorities investigate and battle a giant monster who migrates to New York City to nest its young.


title: Godzilla (1998 film)

text: In October 1992, TriStar Pictures announced plans to produce a trilogy of "Godzilla" films. In May 1993, Ted Elliott and Terry Rossio were hired to write the script. In July 1994, Jan de Bont was announced as the director. De Bont left the project in December 1994 due to budget disputes and Emmerich was hired in May 1996 to direct and co-write a new script with producer Dean Devlin. Principal photography began in May 1997 and ended in September 1997.


title: Godzilla (1998 film)

text: "Godzilla" was theatrically released on May 20, 1998, to negative reviews and grossed $379 million worldwide against a production budget between $130–150 million and marketing costs of $80 million. Despite turning a profit, it was considered a box office disappointment. Planned sequels were cancelled and an was produced instead. TriStar let their remake/sequel rights expire on May 20, 2003. In 2004, Toho began trademarking new iterations of TriStar's Godzilla as "Zilla", with only the incarnations from the 1998 film and animated show retaining the Godzilla copyright/trademark.


title: Godzilla (1998 film)

text: An iguana nest is exposed to the fallout of a military nuclear test in French Polynesia. In the South Pacific Ocean, a Japanese cannery vessel is suddenly attacked by a giant creature, with only one fisherman surviving. Dr. Niko "Nick" Tatopoulos, an NRC scientist, is in the Chernobyl exclusion zone researching the effects of radiation on wildlife, but is interrupted by an official from the U.S. State Department. In Tahiti, a mysterious Frenchman questions the traumatized survivor over what he witnessed, who repeatedly replies "Gojira." Nick is sent to Panama and Jamaica to study a trail of wreckage leading to the recovered Japanese ship with massive claw marks on it. Nick identifies skin samples he discovered in the shipwreck as belonging to an unknown species. He dismisses the military's theory of the creature being a living dinosaur, instead deducing it is a mutant created by nuclear testing.


title: Godzilla (1998 film)

text: The creature travels to New York City, leaving a path of destruction in its wake. The city is evacuated before the U.S. military, on Nick's advice, lure the creature into revealing itself with a large pile of fish. Their attempt to kill it fails, however, and only causes further damage before it escapes. Nick collects a blood sample, and by performing a pregnancy test, discovers the creature reproduces asexually and so is collecting food for its offspring. Nick also meets up with his ex-girlfriend, Audrey Timmonds, a young aspiring news reporter. While she visits him, she uncovers a classified tape in his provisional military tent concerning the monster's origins and turns it over to the media. She hopes to have her report put on TV as to launch her career, but her boss, Charles Caiman, uses the tape in his report, declaring it his own discovery, and dubs the creature "Godzilla."


title: Godzilla (1998 film)

text: As a result, Nick is removed from the operation and he disowns Audrey, before being kidnapped by the mysterious Frenchman Philippe Roaché. Revealing himself as an agent of the French secret service, Philippe explains that he and his colleagues have been closely watching the events to cover up their country's role in the nuclear testing that created Godzilla. Suspecting a nest somewhere in the city, they cooperate with Nick to trace and destroy it. Meanwhile, Godzilla resurfaces and dives into the Hudson River to evade a second attempt by the military to kill it, where it is attacked by Navy submarines. After colliding with torpedoes, Godzilla sinks, believed to be dead by the authorities.


title: Godzilla (1998 film)

text: Nick and Philippe's team, followed by Audrey and her cameraman Victor "Animal" Palotti, find the nest inside Madison Square Garden, with over 200 eggs. The eggs begin to hatch and the strike team are attacked by the offspring. Nick, Animal, Audrey and Philippe take refuge in the Garden's broadcast booth and successfully send out a live news-report to alert the military. A prompt response involving an airstrike is initiated as the four escape moments before the Air Force bomb the arena.


title: Godzilla (1998 film)

text: Audrey and Nick reconcile, before the adult Godzilla, having survived, emerges from the Garden's ruins. Enraged by the deaths of its brood, it takes its rage out on the four, chasing them across Manhattan. After a taxi chase, they manage to trap Godzilla within the cables of the Brooklyn Bridge, allowing the returning Air Force to shoot it. Godzilla dies from its wounds, and the remaining citizens and authorities celebrate. Audrey tells Caiman that she quits working for him after what he has done, before leaving with Nick. Philippe, taking a tape Animal was recording and promising to return it after removing certain contents, thanks Nick for his help and parts ways. In the ruins of Madison Square Garden, a single surviving egg hatches and the hatchling roars.


title: Godzilla (1998 film)

text: American film producer and distributor Henry G. Saperstein (who had co-produced and distributed past "Godzilla" films for the American market through his studio UPA) received permission from Toho to pitch a new "Godzilla" film to Hollywood studios, stating, "For ten years I pressured Toho to make one in America. Finally they agreed." Saperstein initially met with Sony Pictures producers Cary Woods and Robert N. Fried for discussions regarding a live-action Mr. Magoo film but the discussions led to the availability of the rights to Godzilla.


title: Godzilla (1998 film)

text: Interested, Woods and Fried proposed the idea to Columbia Pictures, but were initially rejected. Woods stated, "We pitched the idea to Columbia and they passed outright. Their response was they felt it had the potential for camp". The two also tried to pitch the idea to TriStar Pictures but were also shot down, Fried stated, "TriStar did originally pass on the project. The people who were running the studio at that particular time may not have seen commercial potential there, may not have thought that it would make a great film."


title: Godzilla (1998 film)

text: Taking advice from his wife, Woods instead went over the executives' heads and proposed the idea to Peter Guber, the then-chairman of the board and CEO of Sony Pictures. Guber became enthusiastic about the idea, seeing Godzilla as an "international brand" and set the film up at TriStar. Woods recalled, "Peter got it; he saw the movie in his head. He was like, 'Godzilla, the fire-breathing monster?! Yesss!'" TriStar vice-chairman Ken Lemberger was sent to Tokyo to oversee the deal in obtaining the Godzilla rights from Toho in mid-1992. Sony's initial offer included a $300,000–400,000 advance payment with an annual licensing fee for the Godzilla character, as well as production bonuses, exclusive distribution and merchandising rights for Japan, a profit percentage from international ticket sales and merchandising, usage rights to some of the monsters from the first 15 "Godzilla" films, and allow Toho to continue producing domestic "Godzilla" films while TriStar developed their film. Sequentially, Toho sent Sony a document of rules on how to treat Godzilla. Robert Fried stated, "They even sent me a four-page, single-spaced memo describing the physical requirements the Godzilla in our film had to have. They're very protective."


title: Godzilla (1998 film)

text: In October 1992, TriStar formally announced their acquisition of the rights to "Godzilla" from Toho to produce a trilogy of "Godzilla" films, with the promise of "remaining true to the original series—cautioning against nuclear weapons and runaway technology." After TriStar's announcement, many of the original Godzilla filmmakers expressed support for the film; Haruo Nakajima (who portrayed Godzilla from 1954 to 1972) stated, "I'm pleased. I hope that a competition will spring up between Toho and TriStar," Koichi Kawakita (special effects director of the Heisei Godzilla films) stated, "I have great expectations. I'm looking forward to seeing it, not only because I direct special effects for Godzilla films but also because I am a movie fan," Teruyoshi Nakano (special effects director of the late Showa Godzilla films) stated, "I'm pleased that a new approach will be taken", and Ishirō Honda (director of various Showa Godzilla films) stated, "It will probably be much more interesting than the ones [currently] being produced in Japan."


title: Godzilla (1998 film)

text: In 1994, Jan de Bont became attached to direct and began pre-production on the film for a 1996 summer release. De Bont's Godzilla would have discarded the character's atomic origin and replaced it with one wherein Godzilla is an artificial creation constructed by Atlantians to defend humanity against a shape-shifting extraterrestrial monster called "The Gryphon". Stan Winston and his company were employed to do the effects for the film. Winston crafted sculptures of Godzilla and The Gryphon. De Bont later left the project in December 1994 after TriStar refused to approve his budget of $100–120 million. He would later go on to direct "Twister" and "".


title: Godzilla (1998 film)

text: In May 1993, Ted Elliott and Terry Rossio were hired to write the screenplay. Prior to their hiring, Elliott and Rossio were searching for their next project and were offered "Godzilla" by their advisor Cary Woods. The duo initially declined the offer several times, Elliott recalled, "We actually turned the project down about two or three times because we weren't sure we knew what to do with it." Woods eventually convinced them to discuss the project with TriStar. Elliott and Rossio wrote a three and half-page story outline that secured their employment. Rossio believes that they were offered the project due to their experience in writing "franchise-type titles." Robert Fried expressed support for Elliott and Rossio, praising them as "talented sci-fi buffs" and stating, "We’ve put a lot of time, thought and finance into the screenplay." Toho's character restrictions helped inspire Elliott and Rossio in finding the tone of the script, Elliott stated, "Toho insisted we not make light of the monster. That helped us find the right tone as well as the social and political implications."


title: Godzilla (1998 film)

text: The duo wanted to avoid a comic-like approach and instead take the material seriously with a "legitimate science fiction story" that would evoke feelings of "mystified or scared or awe-inspired" for audiences. Rossio wanted to create a balance in anthropomorphizing Godzilla, not wanting to stray from Godzilla's humanistic personality but not humanize him entirely. The duo approached Godzilla as something that audiences would fear yet root for. Elliott found the "key" to the story after a friend, who was also a Godzilla fan, expressed that he found Godzilla not to be a "good guy", but a territorial beast, Elliott stated, "And that, to me, meant that you could actually present Godzilla on the side of the angels but he could still be a monster."


title: Godzilla (1998 film)

text: The duo chose to add small details to make Godzilla seem "more realistic", such as the nictitating eyelid. The duo took inspiration from "Moby-Dick" for the story concept. As the story developed, they found that the Ahab archetype would be more interesting if it were a woman who lost her husband to Godzilla. Elliott described the story to be about obsession, redemption and "inappropriate grief response." The duo also wanted to deliver a story that satisfied fans by adapting Godzilla's characterization from the first few Toho films, Elliott stated, "In one movie it does what the first three Toho films did – it takes him from being a horrendous threat to being defender of the Earth." Elliott and Rossio submitted their first draft on November 10, 1993. Woods and Fried were satisfied with the script, with Fried praising it for being "respectful of the organic origins of Godzilla, in some ways a homage to US-Japanese relations."


title: Godzilla (1998 film)

text: After De Bont joined the project, Elliott and Rossio revised the script based on his notes. Amongst the changes made to the first draft were the 12-year gap condensed to a year; Jill accompanies Keith to the Arctic site; Keith first notices Godzilla's teeth buried in ice instead of his claws; The alien probe crashes in Traveller, Utah instead of Kentucky. Elliott and Rossio remained on the project after De Bont left and completed their final rewrites in spring 1995. Prior to hiring a new director, TriStar hired Don Macpherson to rewrite the Elliott/Rossio script. Prior to his hiring, Macpherson was working on "Possession" until he received a call from his agent with an offer to work on "Godzilla". Macpherson "immediately accepted" due to being a fan of the Toho "Godzilla" films.


title: Godzilla (1998 film)

text: Macpherson met with Marc Platt, the then-President of TriStar, to discuss the film. The studio was concerned with the film's proposed $120 million budget, later revised to $200 million. De Bont insisted that all of the film's effects be entirely digital, Macpherson noted, "The problem was that, in this version of the movie, it was all effects. Godzilla was in virtually every scene. So everything was an SFX scene." Macpherson was tasked with rewriting the script to match TriStar's "ideal" budget of $80 million. Prior to rewriting the script, he requested to meet with the production crew to pinpoint which scenes were deemed the most expensive. The production crew reported that the three main problems that were considered "difficult and costly" were Godzilla's size, Godzilla's interaction with water, and Godzilla's interaction with masonry.


title: Godzilla (1998 film)

text: Macpherson was shown storyboards, concept art, and designs from De Bont's version. However, he did not keep these ideas in mind, feeling that such elements would change depending on the budget. Instead, Macpherson used the Toho "Godzilla" design as a reference when rewriting the script. He noted that the project had transitioned into a film that turned directors away, stating, "they said they wanted strong, creative directors. But they wanted them as a kind of ‘badge’ of creative excitement and had no intention of allowing them their freedom."


title: Godzilla (1998 film)

text: While Macpherson called Elliott and Rossio's original script "terrific," he took issue with several of its ideas. He felt that the script discarded the "Japanese element of post-war nuclear politics" from the Toho films, leaving Godzilla as a threat to a single country rather than the world, Macpherson added, "That neglected the poetic aspect of fear and wonder from the original Toho movies, and the idea of a prior ’sin’ which had caused the mutation and revenge of Godzilla." He felt that the script lacked proper characters and "had too many extra sequences which didn't deliver." He also took issue that the script never developed Godzilla as a character and treated him similar to The Terminator, though he suspected De Bont was responsible for this portrayal.


title: Godzilla (1998 film)

text: Macpherson felt that the script's depiction of Godzilla was "relentless", noting, "very much a Godzilla POV, so you neither identified with Godzilla nor with the scientists trying to protect the world." He also took issue that the first half of the script was driven by destruction and by the script's mid-point, there was "monster fatigue" and no "encore," stating, "So I thought the audience would be fatigued and ready for something new – and the new thing wasn't delivered." Macpherson attempted to resolve that issue while retaining the highlights of Elliott and Rossio's script.


title: Godzilla (1998 film)

text: In November 2018, an unofficial digital graphic novel adaptation of Elliott and Rossio's unproduced "Godzilla" script was released online. Entitled "Godzilla '94", the graphic novel features artwork by Todd Tennant, who worked with Rossio on the project.


title: Godzilla (1998 film)

text: Prior to the release of "Independence Day", director Roland Emmerich and producer Dean Devlin signed on to the project in May 1996 under the condition they would be able to handle the film their way, Devlin stated, "I told Sony that I would do the film but on my own terms, with Godzilla as a fast-moving animal out of nature, rather than some strange kind of creature." Emmerich and Devlin were the first filmmakers approached by then-TriStar executive Chris Lee to do "Godzilla" but initially turned the offer down, Devlin stated, "Both of us thought it was a dopey idea the first time we talked. When Chris came back to us, we still thought it was a dopey idea."


title: Godzilla (1998 film)

text: Despite praising Elliott and Rossio's script, Emmerich discarded it, stating, "It had some really cool things in it, but it is something I never would have done. The last half was like watching two creatures go at it. I simply don't like that." Emmerich instead decided to develop new ideas from scratch, stating, "I didn't want to make the original "Godzilla", I wanted nothing to do with it. I wanted to make my own. We took part of [the original movie's] basic storyline, in that the creature becomes created by radiation and it becomes a big challenge. But that's all we took. Then we asked ourselves what we would do today with a monster movie and a story like that. We forgot everything about the original "Godzilla" right there."


title: Godzilla (1998 film)

text: Emmerich decided to completely reinvent Godzilla's design because he thought the original Toho design "didn't make sense". Emmerich also discarded the previous design approved by Jan de Bont, stating, "I saw the creature that they designed for [TriStar's first attempt]. Jan De Bont created a Godzilla that was very close to the original, but it was not right because today we wouldn't do it like that."


title: Godzilla (1998 film)

text: Patrick Tatopoulos was hired by Emmerich to design Godzilla. According to Tatopoulos, the only specific instructions Emmerich gave him was that it should be able to run incredibly fast. Godzilla, originally conceived as a robust, erect-standing, plantigrade reptilian sea monster, was reimagined by Tatopoulos as a lean, digitigrade bipedal iguana-like creature that stood with its back and tail parallel to the ground. Godzilla's color scheme was designed to reflect and blend in with the urban environment. At one point, it was planned to use motion capture from a human to create the movements of the computer-generated Godzilla, but it ended up looking too much like a human in a suit.


title: Godzilla (1998 film)

text: Tatopoulos thought the designs that Ricardo Delgado, Crash McCreery and Joey Orosco provided for Jan de Bont took the design in a wrong approach, stating, "What they did which was a mistake in my mind was, rather than going in a new direction they tried to alter and make the old one better. And when you do that, first of all I think it's very disrespectful. It's more disrespectful for me to alter something existing than to take a fresh new direction." Tatopoulos took inspiration from the design of Shere Khan used in Disney's version of "The Jungle Book" in terms of Godzilla's chin, stating, "One of the inspirations was a character I loved as a kid, the tiger in Jungle Book, Shere Khan. He had this great chin thing and I always loved it; he looked scary, evil but you respected him. I thought, let's try to give him a chin and I felt it still looked realistic but he had this different thing that you hadn't seen before."


title: Godzilla (1998 film)

text: Tatopoulos created four concept art pieces and a 2-foot tall maquette for a meeting with Toho. Tatopoulos and Emmerich attended the meeting to pitch their Godzilla to then Toho chairman Isao Matsuoka, "Godzilla" film producer Shogo Tomiyama, and Godzilla special effects director Koichi Kawakita. They unveiled Tatopoulos' artwork and maquette and the Toho trio remained silent for a few minutes, Emmerich recalled, "They were speechless, they stared at it, and there was silence for a couple minutes, and then they said, ‘Could you come back tomorrow?’ I thought for sure we didn't have the movie then." Tomiyama later recalled that "It was so different we realized we couldn't make small adjustments. That left the major question of whether to approve it or not." Even though Tomiyama was not allowed to remove the artwork and maquette from the studio premise, Tomiyama visited "Godzilla" producer and creator Tomoyuki Tanaka, whose failing health prevented him from attending the meeting, to explain Tatopoulos' design, stating, "I told him, ‘It's similar to Carl Lewis, with long legs, and it runs fast'." The following morning, Matsuoka approved the design, stating that Tatopoulos "kept the spirit of Godzilla."


title: Godzilla (1998 film)

text: Despite receiving approval from Toho, TriStar had yet to green-light the film. Emmerich and Devlin wrote the script on spec, with the condition that the screenplay would return to the filmmakers if the studio did not immediately approve it. Emmerich and Devlin wrote the first draft in five and a half weeks at Emmerich's vacation house in Puerto Vallarta, Mexico. Emmerich and Devlin decided to abandon the Atlantis origin established in Elliott and Rossio's script in favor of the radiation origin established in the Toho films, Devlin stated, "In some of the early drafts of the script by others, they had Godzilla being an alien planted here. What Japan had originally come up with regarding nuclear radiation – you can't abandon that. It's too important to what Godzilla is all about." Emmerich and Devlin also decided to treat their Godzilla more animal-like than monstrous, Tatopoulos stated, "We were creating an animal. We weren't creating a monster." Emmerich and Devlin also decided to give their Godzilla the ability to burrow underground, Devlin stated, "We discovered that certain kinds of lizards can burrow, so we decided to give him that capability." Chameleon-like skin change was also considered but abandoned later during production.


title: Godzilla (1998 film)

text: Emmerich and Devlin also abandoned Godzilla's iconic atomic breath in favor of a "power breath", where their Godzilla would simply blow objects away by exhaling a strong wind-like breath. However, news of the power breath leaked before the film's release, which outraged fans and forced Emmerich and Devlin to make last minute changes on scenes involving the power breath, effects supervisor Volker Engel stated, "Dean and Roland wanted this monster to retain a certain menace and credibility, but Godzilla's breath is something everyone expects to see at some point, so they came up with instances in which you would see something like the old breath, but with a kind of logic applied to it. We make the assumption that something in his breath, when it comes in contact with flame, causes combustive ignition. So you get this flame-thrower effect, which causes everything to ignite." As a way to make their Godzilla a threat to mankind, Emmerich and Devlin also gave their Godzilla the ability to lay hundreds of eggs (via parthenogenesis) and rapidly spawn offspring that could spawn offspring of their own and quickly overrun the planet. The first draft was submitted to Sony on December 19, 1996, then-President of Sony Pictures John Calley forwarded the script to Bob Levin of marketing to brainstorm marketing ideas.


title: Godzilla (1998 film)

text: TriStar green-lit the film soon after Emmerich and Devlin's completion of the first draft, bestowing complete creative freedom to write, produce, and direct on the filmmakers, while the studio managed financing, distribution and merchandising deals. The deal also enabled Emmerich and Devlin to receive 15% first-dollar gross on the film while the original producers Cary Woods and Robert Fried would be given executive producer credits. Instead of employing Digital Domain as Jan de Bont planned for his Godzilla, Emmerich and Devlin decided to use their own effects team such as Volker Engel as the film's visual effects supervisor, Joe Viskocil as miniature effects supervisor, Clay Pinney as mechanical effects supervisor, and William Fay as executive producer of the team.


title: Godzilla (1998 film)

text: Viewpoint DataLabs created a digital model of Godzilla, nicknamed "Fred", for scenes that required a digital rendition of the monster. For scenes that required practical effects, Tatopoulos' studio created a 6th-scale animatronic model of Godzilla's upper-body as well as a 24th-scale Godzilla suit donned by stuntman Kurt Carley. The filmmakers favored CG over practical effects and as a result, the final film features 400 digital shots, 185 of which feature Godzilla, and only two dozen practical effects used in the final film.


title: Godzilla (1998 film)

text: Principal photography began on May 1, 1997, and wrapped on September 26, 1997, filming took place in New York City, and moved to Los Angeles in June. Scenes in New York were filmed in 13 days; tropical scenes were filmed in the Hawaiian Islands. The United States Marine Corps participated in the filming of the movie. An F-18 Marine Reserve pilot, Col. Dwight Schmidt, actually piloted the plane that "fired" the missiles that killed Godzilla.


title: Godzilla (1998 film)

text: The soundtrack featuring alternative rock music was released on May 19, 1998, by Epic Records. It was a success on the music charts, peaking at number 2 on the "Billboard" 200 and was certified platinum on June 22, 1998. The original score was composed by David Arnold. The film's score was not released on CD until 9 years later, when it went on sale as a complete original film score in 2007 by La La Land Records. The album was supported by the single "Come with Me" performed by Sean Combs and Jimmy Page.


title: Godzilla (1998 film)

text: Bob Levin, chief of marketing for the film, was caught by surprise when Emmerich insisted not to use full body images or head shots of Godzilla during the marketing, Levin stated, "we got indications from them that they really didn't think that the full figure Godzilla should be at all exposed prior to the release of the film. While initially we reacted negatively to that, once we understood their thinking behind it, it became completely acceptable to us." 300 companies signed an agreement not to show the full image of Godzilla before the film's release. Prior to principal photography, Emmerich filmed a teaser trailer, budgeted at $600,000, that featured Godzilla's foot crushing the skeleton of a Tyrannosaurus Rex at a museum. The trailer was attached to screenings of "Men in Black" and received an overwhelmingly enthusiastic response from audiences. Afterwards, select theaters began advertising that the trailer would be featured before "Men in Black". A new trailer later premiered on November 7, 1997, with the release of "Starship Troopers".


title: Godzilla (1998 film)

text: Taco Bell contributed to the marketing of the film with $20 million in media support. The marketing campaign featured commercials of the Taco Bell chihuahua attempting to trap the monster in a box. Trendmasters manufactured the toys for the film, including the 11-inch tall "Living Godzilla" and the 21-inch tall "Ultimate Godzilla". However, poor merchandise sales for the film led to a cancellation of a toyline based on the animated series. Robert Fried had estimated that $80 million was spent on marketing worldwide.


title: Godzilla (1998 film)

text: On November 3, 1998, the film was released on VHS and DVD in the United States. Special features for the DVD include; photo galleries, visual effects and special FX supervisor commentaries, the music video of "Heroes" by The Wallflowers, Behind the Scenes of "Godzilla" with Charles Caiman, theatrical trailers, a featurette, director/producer and cast biographies, a photo gallery, music video, and Godzilla Takes New York (before and after shots). In 1999, Sony released a Widescreen edition VHS. The VHS earned from rentals during its first week in the United States, at the time making it the biggest video opening since "Titanic". The DVD sold over 400,000 units in the United States by the end of 1998. It was also reported that NBC would pay around for the television broadcast rights in the United States.


title: Godzilla (1998 film)

text: On December 13, 2005, the film was released on Universal Media Disc. On March 28, 2006, Sony released a special "monster" edition DVD that retained the previous DVD's special features, as well as an "All-Time Best of Godzilla Fight Scenes" featurette, 3 episodes from "", and a "never-before-seen" production art gallery. On November 10, 2009, the film was released on Blu-ray, which retained the special features from the second DVD release, sans the animated series episodes. On July 16, 2013, Sony released a "Mastered in 4K" Blu-ray edition. On May 14, 2019, the film was released on Ultra HD Blu-ray. This release retained the same special features from the initial Blu-ray release, as well as a new Dolby Atmos audio mix.


title: Godzilla (1998 film)

text: The Wall Street Journal reported that the film would need to gross $240 million domestically in order to be considered a success. "Godzilla" was released in the United States and Canada on May 20, 1998, in a record 3,310 theaters. Sony expected the film to gross $100 million during the film's opening weekend, which fell on Memorial Day weekend, expecting to set a new record for the holiday. Ultimately, it would only end up earning $12.5 million on opening day and grossing $44 million during its opening weekend. The film grossed $55,726,951 over the four day holiday weekend, and in its first six days, falling below industry expectations. Its six-day opening gross nevertheless came close to the Memorial Day weekend record previously set by "" in 1996, but fell below the record set by "" in 1997.


title: Godzilla (1998 film)

text: The film's revenue dropped by 59% in its second week of release, earning $18,020,444. For that particular weekend, the film remained in first place as the romantic drama "Hope Floats" overtook "Deep Impact" for second place with $14,210,464 in box office business. During its final week in North America, the film was in 19th place, grossing $202,157. For that weekend, "Lethal Weapon 4" made its debut, opening in first place with $34,048,124 in revenue. The film went on to top out domestically at $136,314,294 in total ticket sales through an eight-week theatrical run (equivalent to $230 million adjusted for ticket inflation in 2013).


title: Godzilla (1998 film)

text: Internationally, the film took in an additional in business, for a combined worldwide total of $379,014,294 (equivalent to adjusted for ticket inflation in 2013). For 1998 as a whole, the film was the ninth highest-grossing film domestically and the third highest-grossing film worldwide. Despite performing below expectations domestically, "Godzilla" was a profitable worldwide success, grossing nearly three times its budget. Sony stated that retail sales of consumer products generated $400 million; not only from the 1998 film but from the animated series and the Heisei Godzilla films that Sony acquired at the time.


title: Godzilla (1998 film)

text: "Godzilla" received generally negative reviews from critics. The film has an approval rating of based on professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of . Its critical consensus reads, "Without compelling characters or heart, "Godzilla" stomps on everything that made the original (or any monster movie worth its salt) a classic." Metacritic (which uses a weighted average) assigned "Godzilla" a score of 32 out of 100 based on 23 critics, indicating "generally unfavorable reviews". Audiences surveyed by CinemaScore gave the film a grade "B−" on scale of A to F. Criticism highlighted by film critics included the film's script, acting, and directing, while fans targeted the film's reinvention of Godzilla, which included its redesign and departure from the source material.


title: Godzilla (1998 film)

text: Roger Ebert from the "Chicago Sun-Times" gave the film one-and-a-half stars out of four, noting that "One must carefully repress intelligent thought while watching such a film. The movie makes no sense at all except as a careless pastiche of its betters (and, yes, the Japanese "Godzilla" movies are, in their way, better—if only because they embrace dreck instead of condescending to it). You have to absorb such a film, not consider it. But my brain rebelled, and insisted on applying logic where it was not welcome." Ebert also pointed out in his review that the characters Mayor Ebert and his assistant Gene were Devlin and Emmerich's jabs at his and Gene Siskel's negative reviews of "Stargate" and "Independence Day". Gene Siskel particularly singled out this aspect, writing "why place us in the movie if you aren't going to have us be eaten or squashed by the monster?" Siskel placed the film on his list of the worst films of 1998. James Berardinelli from ReelViews, called the film "one of the most idiotic blockbuster movies of all time, it's like spitting into the wind. Emmerich and Devlin are master illusionists, waving their wands and mesmerizing audiences with their smoke and mirrors. It's probably too much to hope that some day, movie-goers will wake up and realize that they've been had." Stephen Holden of "The New York Times" wrote that the film "is so clumsily structured it feels as if it's two different movies stuck together with an absurd stomping finale glued onto the end. The only question worth asking about this $120 million wad of popcorn is a commercial one. How much further will the dumbing down of the event movie have to go before the audience stops buying tickets?"


title: Godzilla (1998 film)

text: Michael O'Sullivan of "The Washington Post" queried, "The question is this: Are the awe-inspiring creature effects and roaring battle scenes impressive enough to make you forget the stupid story, inaccurate science and basic implausibility?" Thoughtfully disillusioned, he wrote, "The cut-rate cast seems to have been plucked from the pages of "TV Guide". There's Doug Savant from "Melrose Place" as O'Neal, a scaredy-cat military man who looks like Sgt. Rock and acts like Barney Fife. There's Maria Pitillo ("House Rules") as Nick's soporific love interest, Audrey; "The Simpsons" Hank Azaria and Harry Shearer as a wise-cracking news cameraman and superficial reporter; Vicki Lewis of "NewsRadio" as a lusty scientist. Shall I continue?" Owen Gleiberman writing for "Entertainment Weekly" thought "There's no resonance to the new "Godzilla", and no built-in cheese value, either. For a while, the filmmakers honor the sentimental paradox that seeped into the later "Godzilla" films: that this primitive destroyer, like "King Kong", doesn't actually mean any harm." He opined that the film contained "some clever and exciting sequences", but ultimately came to the conclusion that, "It says much about today's blockbuster filmmakers that they could spend so much money on "Godzilla" and still fail to do justice to something that was fairy-tale destructo schlock to begin with."


title: Godzilla (1998 film)

text: Director Emmerich later admitted regretting the film's production, particularly due to the rushed shooting schedule that was required for a Memorial Day weekend release and the studio's insistence on not test-screening the film. However, he defended the film as better than critics gave it credit for, as it was financially successful, and out of all the films he directed, it was the one which parents told him their children enjoyed the most. Emmerich also conceded that he never took the Toho films seriously, stating, "I was never a big Godzilla fan, they were just the weekend matinees you saw as a kid, like Hercules films and the really bad Italian westerns. You'd go with all your friends and just laugh."


title: Godzilla (1998 film)

text: In later years, producer Devlin stated that he "screwed up" his Godzilla, mainly blaming the script that he co-wrote with Emmerich as the source of the film's failure. Devlin additionally emphasized "two flaws" that he believed hurt the film, stating, "The first is we did not commit to anthropomorphizing Godzilla – meaning we did not decide if he was a heroic character, or a villainous character. We made the intellectual decision to have him be neither and just simply an animal trying to survive." Devlin said the decision was a "big mistake" and revealed the second flaw of the film was "...deciding to exposit the characters' background in the middle of the film rather than in the first act (where we always do). At the time we told the audience who these characters were, they had already made their minds up about them and we could not change that perception". Devlin concluded by stating, "These were 2 serious mistakes in the writing of the film, and I take full responsibility."


title: Godzilla (1998 film)

text: During a 2016 interview on "Gilbert Gottfried's Amazing Colossal Podcast!", star Matthew Broderick maintained that he liked the film. Apart from suggesting he may have been miscast, he admitted to failing to understand the film's poor reputation, given that it made "a lot of money" and was the result of a large group of people's hard work. He also described Roland Emmerich as "a very good friend." Rob Fried, who helped acquire the rights for TriStar, was angered how the studio handled the property, stating, "The Sony executive team that took over Godzilla was one of the worst cases of executive incompetence I have observed in my twenty year career. One of the golden assets of our time, which was hand-delivered to them, was managed as poorly and ineptly as anybody can manage an asset. They took a jewel and turned it into dust."