title: Disney Cruise Line

text: At the February 2016 Cruise Critic Cruisers' Choice Awards, three of Disney's ships won 11 category awards. The company ordered three ships of a new class of ship, Triton, in 2016 and 2017. At the company annual meeting on March 3, 2016, Walt Disney Company Chairman Bob Iger announced the first two new ships of the new line which are planned to be built larger than the previous two ships. The first ship joined the line in 2022, with the second expected in 2024. On July 15, 2017, Bob Chapek, President of Walt Disney Parks & Resorts, announced at the D23 Expo that a seventh unnamed ship will join the fleet.


title: Disney Cruise Line

text: In 2016, the cruise line was looking to buy Egg Island, Eleuthera, Bahamas as another destination for the additional cruise ships. However, opposition from nearby island residents and potential damage to the islands' reefs stopped plans from going forward.


title: Disney Cruise Line

text: In April 2017, it was announced that Karl Holz would retire as president of Disney Cruise Line on February 15, 2018 and Anthony Connelly assumed the role of president on October 1, 2017. The Canaveral Port Authority Board of Commissioners in January 2019 approved work for Disney's Terminal 8 and adjacent Terminal 10, which would handle more ships when the new class arrived.


title: Disney Cruise Line

text: With the October 6, 2017 cruise of "Disney Magic" from New York to the Bahamas, the cruise line held its first Marvel Day at Sea. In October 2018, the cruise line began showing "Disney at Sea with D23", a 30-minute entertainment news show that covers the many Disney subsidiaries with input from D23, starting with the ship.


title: Disney Cruise Line

text: Soon after a March 2018 conglomerate reorganized the Disney Parks, Experiences and Products segment division, Disney Cruise Line and New Vacation Operations were renamed Disney Signature Experiences along with a new president, Jeff Vahle.


title: Disney Cruise Line

text: Disney Cruise Line purchased in early March 2019 another Bahamas destination, the Lighthouse Point property on the island of Eleuthera from the Bahamian Government. The cruise line was looking for another Bahamas location since the announcement of the third ship expansion in 2016.


title: Disney Cruise Line

text: In February 2020, "Disney Wonder" moved its home port to New Orleans. From March 14 until July 2021, Disney Cruise Line ships suspended operations due to the COVID-19 pandemic. Sailings resumed in the form of "Staycation Cruises", closed loop cruises of 2 to 4 nights from the United Kingdom ports of Liverpool, Southampton, Newcastle, and Tilbury for London.


title: Disney Cruise Line

text: All of Disney Cruise Line's ships are officially registered with the Bahamas. "Disney Magic" began operation July 30, 1998. "Disney Wonder" began operation on August 1999 and were both built at Fincantieri ship yard, Italy. These approximately 84000-ton (the measurement of the two differ slightly) ships are long and wide. The ships each contain 875 staterooms and are not identical in their design, with a lot of variations in interior design, restaurants, and entertainment venues. Both contain areas designed exclusively for various age groups, including children, teenagers, and adults. Current itineraries go to Alaska, the Bahamas, the Caribbean, and Europe, depending on the ship.


title: Disney Cruise Line

text: The ships are the first in the industry to be designed and built from the keel up as family cruise liners, with the goal of accommodating and equally satisfying adults and children. Unlike most ships of their type, they do not include casinos. Disney ships also feature ship's horns, affectionately known as the "Mickey horn", which play the opening seven-note theme of "When You Wish Upon a Star" from Disney's "Pinocchio", in addition to the traditional horn. The "Disney Dream" and "Disney Fantasy" include other tunes on their horn not heard on the "Disney Magic" and the "Disney Wonder", such as "Do You Want to Build a Snowman?", "It's a Small World", and an elongated version of "When You Wish Upon a Star".


title: Disney Cruise Line

text: The "Disney Dream" and "Disney Fantasy" entered service in January 2011 and March 2012, respectively. These ships were built at Meyer Werft shipyard in Papenburg, Germany. These new 129,690-ton ships are long and wide. They are two decks taller than the "Disney Magic" and "Disney Wonder" and have 1,250 staterooms each. The "Disney Dream" was the first ship to have a water coaster.


title: Disney Cruise Line

text: In early 2019, the company placed an order for a new class of ship, named in public documents as the "Triton" class. In 2016, the line announced it would acquire two ships, as yet unnamed, are described as larger than "Disney Dream" and "Disney Fantasy" but with an equivalent number of staterooms. A third ship of the class was announced on July 15, 2017 at the D23 Expo. The delivery date was changed because of the COVID-19 pandemic.


title: Disney Cruise Line

text: In March 2018, Disney Cruise Line released the first rendering of its new generation of cruise ships. The 140,000-ton cruise liners will be LNG-powered and will accommodate at least 2,500 guests.


title: Disney Cruise Line

text: In September 2022, Disney Cruise Line announced the next ship in their fleet, the "Disney Treasure", at the D23 Expo. The ship will be inspired by the theme of adventure, with the Grand Hall inspired by the grandeur and mystery of a gilded palace which draws on inspiration from real-world Asia and Africa, as well as paying homage to Agrabah.


title: Disney Cruise Line

text: In November 2022, Disney announced it would acquire the partially completed "Global Dream" that was intended to enter service for the now defunct Dream Cruises. Disney acquired the ship for €40 million, a discount from the original value of €1.8 billion. The ship will have a capacity of 6,000, and will be powered by green methanol. Construction will carry out at MV Werften shipyard in Wismar, Germany, under the management of Meyer Werft, who has completed Disney's other ships. It is expected to enter service in late 2024 and will be based outside of the United States.


title: Disney Cruise Line

text: The Disney Cruise Line Terminal, or Port Canaveral's Cruise Terminal 8, is located in Port Canaveral in Cape Canaveral, Florida, United States. It is used to transport passengers on and off of the Disney Cruise Line ships. This port has seen the departure of the "Disney Magic", the "Disney Wonder", the "Disney Dream", the "Disney Fantasy", and the "Disney Wish".


title: Disney Cruise Line

text: The port, located in Port Canaveral, at cruise terminal A, is a large building, owned by Port Canaveral, and operated by the Walt Disney Company. At , this massive building includes the base for Disney Cruise Line check-in, security, and boarding. The terminal was designed loosely on the old Ocean Terminal in Southampton.


title: Disney Cruise Line

text: Disney Cruise Line has negotiated with the Port Canaveral port authority in early 2009, extending their contract until 2022. As part of this contract, the port authority expanded and upgraded the dock in order to accommodate the new ships (both of which will be home-ported there), the terminal will be enlarged to accommodate more passengers and luggage, and a parking garage was built. The "Disney Dream", the "Disney Wonder", the "Disney Magic", the "Disney Fantasy", and the "Disney Wish" have departed from Port Canaveral.


title: Disney Cruise Line

text: In June 2018, Port Canaveral officials approved pursuing a study about how to best upgrade Disney's Terminal 8 and other nearby terminals. With the Disney fleet expected to expand from four to seven ships, Port Canaveral Chief Executive Officer John Murray stated that, without expansion, "we'll have more activity than Terminal 8 can handle." The Canaveral Port Authority Board of Commissioners in January 2019 approved work for Disney's Terminal 8 and adjacent Terminal 10, which would handle more ships when the new class arrives. The upgrades would allow Disney to base three ships year round at the port.


title: Disney Cruise Line

text: In April 2022, it was approved by the Broward County Commission that Port Everglades' Cruise Terminal 4 would be transformed into a second homeport for Disney Cruise Line, alongside Disney's original homeport, Port Canaveral's Cruise Terminal 8. This will mark the first time that Disney Cruise Line sails from Port Everglades. This project is expected to be completed by Fall of 2023. "Disney Dream" will be the first ship to be located at Port Everglades.


title: Disney Cruise Line

text: Lighthouse Point, Bahamas, or simply Lighthouse Point, is a private peninsula in The Bahamas which serves as an exclusive port for the Disney Cruise Line ships. It is located in the south-eastern region of Bannerman Town, Eleuthera. In March 2019, The Walt Disney Company purchased the peninsula from the Bahamian government, giving the company control over the area.


title: Héctor Camacho

text: Héctor Luís Camacho Matías (May 24, 1962 – November 24, 2012), commonly known by his nickname "Macho" Camacho, was a Puerto Rican professional boxer and entertainer. Known for his quickness in the ring and flamboyant style, Camacho competed professionally from 1980 to 2010, and was a world champion in three weight classes. He held the WBC super featherweight title from 1983 to 1984, the WBC lightweight title from 1985 to 1987, and the WBO junior welterweight title twice between 1989 and 1992.


title: Héctor Camacho

text: In a storied amateur career, Camacho won three New York Golden Gloves tournaments, beginning with the Sub-Novice 112 lbs championship in 1978. During his professional career, Camacho had many notable fights against some of the biggest names in boxing, defeating Roberto Durán twice late in Duran's career, and knocking out Sugar Ray Leonard to send him into permanent retirement. He also fought Julio César Chávez, Félix Trinidad, and Oscar De La Hoya, among others.


title: Héctor Camacho

text: During his later years, Camacho expanded his popular role and appeared on a variety of Spanish-language reality television shows including Univision's' dancing show "Mira Quien Baila" and a weekly segment on the popular show "El Gordo y La Flaca", named "Macho News". However, he also had much-publicized troubles with drug abuse and criminal charges. In 2005, Camacho was arrested for burglary, a charge to which he would later plead guilty. In 2011 he was shot at three times by would-be carjackers in San Juan, but was uninjured. In late 2012, Camacho was awaiting trial in Florida on charges of physical abuse of one of his sons.


title: Héctor Camacho

text: On November 20, 2012, Camacho was shot and seriously wounded while sitting in a car outside a bar in his native Bayamón; the driver, a childhood friend, was killed in the shooting. Camacho died four days later; after he was declared clinically brain dead, his mother requested the doctors remove him from life support. After lying in repose for two days in Santurce, Camacho's remains were transported to New York for burial at the request of his mother.


title: Héctor Camacho

text: Camacho was born in Bayamón, Puerto Rico, to Héctor Luis Camacho Sr. and his wife María Matías. He was the second youngest of five children, which included a younger brother, Felix and sisters Raquel, Estrella, and Esperanza. When he was three, his parents separated, and his mother took the children with her to New York City. They lived in the James Weldon Johnson housing project in Spanish Harlem. Camacho attended local schools and ran into trouble as a teen, getting into street fights and landing in jail at fifteen. Pat Flannery, a language teacher in high school, helped the youth, teaching him to read and "acting like a father figure". When Camacho learned boxing and karate as a teenager, Flannery guided him to the Golden Gloves competitions. Demonstrating talent as a boxer, Camacho chose that sport as a career.


title: Héctor Camacho

text: As an amateur, Camacho won three New York Golden Gloves Championships. Camacho won the 1978 112 lb Sub-Novice Championship, 1979 118 lb Open Championship, and 1980 119 lb Open Championship. In 1979 Camacho defeated Paul DeVorce of the Yonkers Police Athletic League in the finals to win the title, and, in 1980, Camacho defeated Tyrone Jackson in the finals to win the Championship.


title: Héctor Camacho

text: Camacho completed his amateur career, having a hundred fights under his belt, with 96 wins, and 4 losses.


title: Héctor Camacho

text: Camacho's nickname of "Macho" has been explained in various ways. According to his father, he gave him the nickname because he was his youngest son. According to the "New York Times", his mentor Pat Flannery is the one who gave him the nickname during his teens. According to Camacho himself, the nickname came as a result of American co-workers at a factory who couldn't pronounce his last name.


title: Héctor Camacho

text: After a stellar amateur career, Camacho began a quick rise through the professional rankings, first in the featherweight and then in the junior-lightweight division. He was so confident that he claimed he could beat world featherweight champions Salvador Sánchez and Eusebio Pedroza. However, Sánchez died while Camacho was still coming up in the ranks. In the junior-lightweight division, he defeated the top contenders Irleis "Cubanito" Perez, Melvin Paul, John Montes, and Refugio Rojas.


title: Héctor Camacho

text: When the World Junior Lightweight champion, Bobby Chacón, refused to go to Puerto Rico to defend his title against Camacho, the World Boxing Council (WBC) declared the world championship vacant. Rafael Limón, who had been defeated and lost the championship to Chacon, fought Camacho for the vacant title. It was the first time Camacho was in a ring with a former world champion; he scored a knockdown on Limón late in the third round and twice more in the fifth round before the referee stopped it.


title: Héctor Camacho

text: Camacho also fought his first defense in San Juan, where he met Rafael Solis, a fellow Puerto Rican. He knocked out Solis with a right to the chin in round five, and retained the title.


title: Héctor Camacho

text: Moving up to lightweight, Camacho won the United States Boxing Association title against Roque Montoya with a twelve-round decision. His victory in the next fight, broadcast on Home Box Office (HBO), made him a two-time world champion. Camacho beat the Mexican defending world champion, José Luis Ramírez in Las Vegas to win the WBC world Lightweight championship. Camacho dropped Ramirez in round three and won the fight by a unanimous twelve-round decision.


title: Héctor Camacho

text: The two other reigning world champions in his division at that time, Livingstone Bramble and Jimmy Paul, were reluctant to unify the crown with Camacho. Instead, he beat Freddie Roach before his next fight of importance came along, ten months after beating Ramírez.


title: Héctor Camacho

text: He met former WBC lightweight champion Edwin Rosario on June 13, 1986, at Madison Square Garden in New York City, a bout also broadcast on HBO. The fight was notable for the shifts of dominance between the men. Camacho dominated rounds one to four, but had to hang on in rounds five, six and seven, when he felt Rosario's power. He came back to take rounds eight and nine, but Rosario came back to take the last three rounds. It was a close fight, but Camacho retained the title by a split decision of the judges.


title: Héctor Camacho

text: Camacho retained his title against Cornelius Boza-Edwards, a former world junior lightweight champion, in Miami in a unanimous decision, after dropping Edwards in the first round.


title: Héctor Camacho

text: He went up in weight and competed at the next level. After a few fights there, he met Ray "Boom Boom" Mancini, the former world lightweight champion who had a record of 29–3 with 23 knockouts, for the vacant WBO Light Welterweight title. Camacho was the fresher of the two and won a split twelve-round decision. He joined that exclusive group of world champion boxers who have become world champions in three weight divisions.


title: Héctor Camacho

text: Camacho next met Vinny Pazienza, whom he defeated on points. His next challenger was Tony Baltazar, from Phoenix. He defeated Baltazar by points in a fight televised by HBO. His undefeated streak came to an end, and he lost his world championship to Greg Haugen, the former world Lightweight champion. The referee had deducted one point from Camacho for refusing to touch gloves with Haugen at the start of the 12th round. After the fight, an unidentified substance was found in Haugen's urine, and a rematch was ordered. Camacho regained the title, beating Haugen in a close split decision.


title: Héctor Camacho

text: In 1992 in Las Vegas, Camacho met Julio César Chávez, a formidable Mexican champion who was undefeated 81–0. Camacho entered the ring in an outfit based on the Puerto Rican flag; the fight was televised by Showtime's Pay Per View. Camacho was later criticized by some in the boxing press for his retreating tactics during the fight; Chávez kept pushing the fight and harassed him with hard punches to the body. The bout ended with a victory for Chávez by unanimous decision.


title: Héctor Camacho

text: Since 1992 Camacho's notable fights included two victories (by points) over Roberto Durán, (one in Atlantic City, the other in Denver). In 1997, he knocked out Sugar Ray Leonard in five rounds. This loss sent the forty-one-year-old Leonard into permanent retirement, putting an end to his third comeback attempt six years after a loss to Terry Norris in 1991.


title: Héctor Camacho

text: Camacho fought for the World Welterweight Championship against Félix Trinidad (1994) and Oscar De La Hoya (1997), but he lost both matches by unanimous decisions.


title: Héctor Camacho

text: On December 5, 2003, Camacho faced Craig Houk. It was an odd fight, as Houk continuously turned his back on Camacho throughout the fight. Camacho had Houk in trouble in the first round before Houk caught an overzealous Camacho with a left hook and floored him, the third knockdown against him in his career. Camacho bounced back up and battered Houk for the remainder of the round. He knocked Houk near the end of the first and eventually won by knockout in round three. He won consecutive unanimous ten-round decisions over Clinton McNeil and Raúl Jorge Muñoz. After that, his boxing career went on hiatus, as he faced criminal charges. He pled guilty to burglary and acknowledged drug abuse, but was given probation.


title: Héctor Camacho

text: Camacho returned to boxing on July 18, 2008, competing against Perry Ballard for the World Boxing Empire's Middleweight Championship. The fight lasted seven rounds. Camacho won when Ballard's corner threw the towel. Before this fight, Camacho was trained by Angelo Dundee. His last two fights resulted in a draw and a loss, against Luis Ramón Campas and Saúl Duran, respectively. His last fight against Duran was on May 14, 2010.


title: Héctor Camacho

text: On January 6, 2005, Camacho was arrested by police in Gulfport, Mississippi on charges of trying to burgle an electronic goods store and carrying the drug ecstasy on him. In 2007, he pleaded guilty to being under the influence at the time of the burglary. He was sentenced to 7 years in prison, but a judge eventually suspended all but one year of the sentence and gave Camacho probation. He served two weeks in jail after violating that probation.


title: Héctor Camacho

text: On February 12, 2011, Camacho was attacked near the Luis Lloréns Torres housing project in San Juan. Camacho said he was taking a friend to a nearby bar when two men approached his vehicle (a 2005 BMW X5) and tried to carjack him. When he tried to drive away, they shot at him three times. He said that since "everybody loves me," he didn't think the men had realized who he was. He did not file a police report.


title: Héctor Camacho

text: On November 20, 2012, around 7 p.m. AST, Camacho was shot once in the jaw while sitting in a car, on Puerto Rico Highway 167, in Bayamón. Camacho, 50, was seated in the passenger seat of a friend's Ford Mustang when he was shot by unknown individuals from a passing SUV. The driver of the car, Adrian Mojica Moreno, Camacho's childhood friend, was killed in the attack. Camacho was taken to San Pablo Hospital in Bayamón, where he was reported to be in critical condition. Police said a chase took place and that the vehicle from which the shots were fired was found in the area of Jardines de Cataño. There were conflicting media reports, with an early claim that police arrested a suspect around 9 p.m. AST. Police investigating the incident said they found nine bags of cocaine in the car.


title: Héctor Camacho

text: The bullet pierced Camacho's left mandible and fractured his fifth and sixth cervical vertebrae, lodging in his right shoulder and forming a lesion on his carotid artery that restricted blood flow to his brain. At one point doctors announced Camacho was expected to survive but might be paralyzed, but after he suffered a cardiac arrest during the night, doctors said they could find only minimal brain activity. The morning after the shooting, Rafael Rodríguez Mercado, director of the Medical Sciences Campus, reported to "El Nuevo Día" that Camacho was brain stem dead. "His full recovery would be a miracle; medically there is nothing more that can be done," stated Rodríguez Mercado. This was confirmed the next morning by Ernesto Torres, director of the hospital.


title: Héctor Camacho

text: Camacho's mother Maria Matias announced on November 23 plans to have her son taken off life support once his three remaining sons arrived in Puerto Rico to be with him. Héctor Camacho was officially declared dead after a heart attack the following day. It was not possible for any of his organs to be donated to recipients because of the time that had passed between him being found clinically brain dead and when his heart stopped.


title: Héctor Camacho

text: He is survived by his parents, his sons, two grandsons, his brother Félix and his sisters Raquel, Estrella and Esperanza. His oldest son, Hector Camacho Jr., said violence had overtaken Puerto Rico. "Death, jail, drugs, killings," he said. "That's what the streets are now."


title: Héctor Camacho

text: Puerto Rico's former governor, Luis Fortuno, said "'Macho' will always be remembered for his spontaneity and charisma in and out of the ring." Puerto Rican governor-elect, Alejandro Garcia Padilla, said Camacho had "united the country"; "We celebrated his triumphs in the streets and we applauded him with noble sportsmanship when he didn't prevail." Asked how he wished his son to be remembered, his father said for his clowning around and that he was a happy person, that he had revolutionized boxing by how he was dressed upon entering the ring.


title: Héctor Camacho

text: After Camacho's death, his mother, María Matías, expressed the wish for her son to be buried in New York City, where he had grown up and started his fighting career. Camacho's son Héctor Camacho Jr. thought he should be buried in Puerto Rico, but agreed to his grandmother's and aunts' wishes.


title: Héctor Camacho

text: Before being taken to the mainland United States, Camacho's body lay in state at the Puerto Rico Department of Sports and Recreation in Santurce. During the two days Camacho's body was on viewing, hundreds of people visited the facilities to pay tribute to the fighter.


title: Héctor Camacho

text: Dozens of retired and active boxers from Puerto Rico and abroad were among those who participated in the funeral services. Among them were Félix "Tito" Trinidad, Wilfred Benítez, Wilfredo Gómez, John John Molina, Samuel Serrano, Román "Rocky" Martínez, Juan Manuel López, Nelson Dieppa, Alex "El Nene" Sánchez, Julian Solís, Manny Siaca, and the brothers McWilliams and McJoe Arroyo. Trinidad was outspoken in praise for his former rival, saying Camacho "put Puerto Rico's flag up high, with a lot of pride like many other champions have done. He was very loved. You can see how everybody has suffered the loss of this great human being, a great champion." Trinidad regretted the circumstances of the fatal shooting.


title: Héctor Camacho

text: Camacho's body was flown to New York City on November 29 and presented at Elcock Funeral Home in Queens. On Friday, his body was taken to Saint Cecilia's Church in Manhattan for a religious service. Camacho was buried on December 1 in Saint Raymond's Cemetery in the Bronx. Before the burial, a parade was held in Camacho's honor in East Harlem. Two white horses pulled a hearse carriage up First Avenue surrounded by fans, friends and family of the late boxer. Camacho's casket was draped in a Puerto Rican flag. After a visitation and mass at St. Cecilia's Church on East 106th Street on November 30 and December 1, Camacho was buried on the afternoon of December 1, 2012, in Saint Raymond's Cemetery, Bronx in the Throggs Neck section of the Bronx.


title: Héctor Camacho

text: Almost ten years later, on March 9, 2022, the Department of Justice of Puerto Rico arrested five suspects. William Rodríguez Rodríguez, Luis Ayala García, and Joshua Méndez Romero were serving federal sentences for unrelated crimes, and were flown in from Florida as part of what police called "Operation Knockout." The fourth suspect, Jesús Naranjo Adorno, was arrested in morning hours in the same city where Camacho was killed, and the fifth suspect, Juan Luis Figueroa Rivera, remains in prison in Puerto Rico for an unrelated case. Authorities also stated that two other suspects were killed in 2013 and 2015, in unrelated events.


title: Héctor Camacho

text: Several sports journalists, analysts, and experts from Puerto Rico and United States have praised Camacho's skills and influence in the boxing world. The journalist Rafael Bracero and Francisco Valcárcel, president of the World Boxing Organization, agreed that Camacho was among the "Top 5 Puerto Rican boxers" of all time, along with Félix "Tito" Trinidad, Wilfredo Gómez, and Wilfred Benítez. The boxing historian, Mario Rivera Martinó, praised Camacho, calling him a "complete fighter" in the Lightweight division. José Sulaimán stated that he "revolutionized boxing during his time".


title: Héctor Camacho

text: Ed Brophy, director of the International Boxing Hall of Fame, noted Camacho's talents in attracting an audience. He said, "Camacho brought a lot of excitement to boxing. He was bright, colorful, and always gave something to talk about with his walks to the ring, with his unique style of entering, and the costumes he wore." Brophy also praised Camacho's boxing skills, describing him as "an exciting fighter, and one of the greats. He faced the best, going up and down several divisions." Alfredo R. Martínez, senior editor of ESPN Deportes, also noted Camacho's flamboyant approach, saying that "if he wasn't the first, he was one of the firsts that entered the ring with extravagant costumes, feather crests, bright clothes, everything to the rhythm of some pop song".


title: Héctor Camacho

text: he transforms into a hungry, focused, and dedicated boxer, that works hours and hours polishing his speed, his wit, and the style that turned him into one of the greats of all time. That's the only way you can explain why all those great hitters he faced during the best moments of his career never knocked him down.


title: Héctor Camacho

text: Jaime Vega-Curry (deputy editor of ESPN Deportes), said Camacho was "a character that combined a contagious charisma, impressive boxing quality, a child's soul, a salesman's shrewdness, and a superlative confidence on himself and in the force of his 'Macho Time'"


title: Héctor Camacho

text: Brophy noted Camacho would be eligible for the International Boxing Hall of Fame in December 2015. He added that "Camacho is part of boxing history, and that's what the International Boxing Hall of Fame is about."


title: Héctor Camacho

text: Camacho, along with Lupe Pintor and Hilario Zapata, among others, was voted into the International Boxing Hall of Fame in December 2015 and was inducted in June 2016.


title: Héctor Camacho

text: Noted boxing biographer Christian Giudice wrote a book about Camacho's life titled "Macho Time: The Meteoric Rise and Tragic Fall of Hector Camacho", which was released on October 20, 2020 by Hamilcar Publications.


title: Héctor Camacho

text: Hector's fiancée, Shelly Salemassi, published a book of their real life story called The Lady and the Ten Time World Champ, Going The Distance With Hector Macho Camacho, which was released on December 1, 2021 by Page Publishing.


title: Héctor Camacho

text: Camacho had four sons, his oldest from an early relationship and three from his marriage. His eldest son, Héctor "Machito" Camacho Jr. (born 1978 in New York, when Camacho was 16), also became a professional boxer and has won a championship.


title: Héctor Camacho

text: Camacho married Amy Torres in 1991, and they had three sons: Justin (born December 1, 1989), Christian (born 1992), and Tyler Camacho (born 1998). (The "New York Times" reports the youngest son's name as "Taylor".) In 1998 she obtained a restraining order against Camacho, alleging he had threatened her and one of their sons. They divorced in 2001. In March 2011, his ex-wife Amy Camacho and at least one son were living in Orange County, Florida when an argument between the boxer and his ex-wife caused neighbors to become alarmed and call police. His youngest son, Tyler, is also a boxer, as was his brother, Felix Camacho.


title: Héctor Camacho

text: Together for 15 years, Hector was engaged to Shelly Salemassi. In 2003, The Press and Guide of Dearborn, Michigan printed an engagement notice between Camacho and Shelly Salemassi, along with a photograph of the couple. Although they never married, the "New York Post" reported she was the only one of his former significant others to fly to Camacho's New York funeral.


title: Héctor Camacho

text: During the peak of his career, Camacho became an icon in popular culture. He first appeared on Telemundo's "Super Sábados", where he joined a musical sketch, "Macho Time", named after his catchphrase. During the 1990s, Camacho appeared in episodes of "El Show del Mediodía", performing staged fights with Melwin Cedeño's character, Chevy, el Ponzoñú.


title: Héctor Camacho

text: In 1992, Camacho invited Cedeño to sing a version with him of "La Borinqueña" before a fight, together with Pedro Guzmán, a fellow comedian/musician. The trio's publicity stunt drew strong criticism at the time. Camacho also appeared in the sitcom, "The Wayans Bros.," portraying Manuel "Hot Pepper" López. He staged a fight against the main character, Marlon "Suckerpunch" Williams (Marlon Wayans).


title: Héctor Camacho

text: Due to his prominence, Camacho became the subject of cultural references in television, music and literature. Harry Mullan devoted a chapter to him, titled "It's Macho Time," in his "The Book of Boxing Quotations" (1988). In a 2003 episode of "King of the Hill," titled "Boxing Luanne", the titular character Hank Hill remarks "Oh, I get it. A little flash… Like Héctor "Macho" Camacho". after placing tassels in the boxing outfit of Luanne Platter. Rapper Lil Wayne referred to Camacho and the professional wrestler "Macho Man" Randy Savage in his 2008 single, "Mr. Carter".


title: Héctor Camacho

text: Following retirement, Camacho expanded his role as a television personality. In 2010, he took part in "¡Mira Quien Baila!", a reality show that is the American/Spanish-Speaking version of "Dancing with the Stars". He was the first to be eliminated from the competition. Camacho later joined the Univision entertainment news program "El Gordo y La Flaca" as a "Mira Quien Baila" critic and entertainment world newscaster. In March 2012, Camacho starred on a dating game show titled "It's Macho Time," where women competed to be his "girlfriend". Currently a written biography is being assembled by Emil "Rocco" Filerino, a lifelong friend and personal manager. Another biography, "Macho Time: The Meteoric Rise and Tragic Fall of Hector Camacho", by writer Christian Giudice, was published on October 20, 2020. In addition to those books, his son Hector Camacho, Jr. wrote a collaboration with author Dustin Warburton and illustrator Dan Monroe, a comic book named "Macho Dad" in which Camacho is portrayed as a son-carrying, Puerto Rican flag-wearing superhero. Macho Dad was released on September 1, 2014.


title: Héctor Camacho

text: Hector's fiancée, Shelly Salemassi, published a book of their real life story called "The Lady and the Ten Time World Champ, Going The Distance With Hector Macho Camacho", which was released on December 1, 2021 by Page Publishing ().


title: Dickey Betts

text: Forrest Richard Betts (born December 12, 1943) is an American guitarist, singer, songwriter, and composer best known as a founding member of The Allman Brothers Band.


title: Dickey Betts

text: Early in his career, he collaborated with Duane Allman, introducing melodic twin guitar harmony and counterpoint which "rewrote the rules for how two rock guitarists can work together, completely scrapping the traditional rhythm/lead roles to stand toe to toe". Following Allman's death in 1971, Betts assumed sole lead guitar duties during the peak of the group's commercial success in the mid-1970s. Betts was the writer and singer on the Allmans' hit single "Ramblin' Man". He also gained renown for composing instrumentals, with one appearing on most of the group's albums, including "In Memory of Elizabeth Reed" and "Jessica" (which was later used as the theme to "Top Gear").


title: Dickey Betts

text: The band went through a hiatus in the late 1970s, during which time Betts, like many of the other band members, pursued a solo career and side projects under such names as Great Southern and The Dickey Betts Band. The Allman Brothers reformed in 1979, with Dan Toler taking the second guitar role alongside Betts. In 1982, they broke up a second time, during which time Betts formed the group Betts, Hall, Leavell and Trucks, which lasted until 1984. A third reformation occurred in 1989, with Warren Haynes now joining Betts on guitar. Betts would be ousted from the band in 2000 over a conflict regarding Betts's continued drug and alcohol use; he would never play with them again and has not since appeared with any former band members for reunions or side projects. He remains (alongside Jaimoe) one of only two living founders of the Allman Brothers Band.


title: Dickey Betts

text: He was inducted with the band into the Rock and Roll Hall of Fame in 1995 and also won a best rock performance Grammy Award with the band for "Jessica" in 1996. Betts was ranked No. 58 on "Rolling Stone"<nowiki>'</nowiki>s 100 Greatest Guitarists of All Time list in 2003, and No. 61 on the list published in 2011.


title: Dickey Betts

text: Born in West Palm Beach on December 12, 1943 and raised in Bradenton, Florida, Betts grew up in a musical family listening to traditional bluegrass, country music and Western swing. He started playing ukulele at five and, as his hands got bigger, moved on to mandolin, banjo, and guitar. At sixteen and feeling the need for something "a little faster", he played in a series of rock bands on the Florida circuit, up the East Coast and into the Midwest before forming Second Coming with Berry Oakley in 1967. According to Rick Derringer, the "group called the Jokers" referenced in "Rock and Roll, Hoochie Koo" was one of Betts' early groups.


title: Dickey Betts

text: In 1969, Duane Allman had parlayed success as a session player into a contract with Southern soul impresario Phil Walden, who planned to back a power trio featuring Allman. The ensuing Allman Brothers Band eventually grew to six members, including Duane's brother Gregg, Betts, and Oakley.


title: Dickey Betts

text: After the death of Duane Allman in late 1971, Betts became the band's sole guitarist and also took on a greater singing and leadership role. Betts, over the course of one night's traveling, practiced slide guitar intensively in order to cover the majority of Duane's parts. He went on to write "Jessica" and the Allmans' biggest commercial hit, "Ramblin' Man". "Jessica" was inspired by his daughter of the same name.


title: Dickey Betts

text: Betts's first solo album, "Highway Call", was released in 1974, and featured fiddle player Vassar Clements. After the Allman Brothers fell apart in 1976, Betts released more albums, starting with "Dickey Betts & Great Southern" in 1977, which included the song "Bougainvillea", co-written with future Hollywood star Don Johnson. In 1978 he released an album, "Atlanta's Burning Down".


title: Dickey Betts

text: The Allman Brothers reformed in 1979 for the album "Enlightened Rogues" with two members of Great Southern replacing Allman Brothers members unwilling to participate in the reunion: guitar player Dan Toler (for pianist Chuck Leavell) and bassist David "Rook" Goldflies (for bassist Lamar Williams). Several albums would follow, with various personnel changes, until steadily declining record and concert ticket sales and tensions around management issues led the group to again disband in 1982.


title: Dickey Betts

text: Betts then formed Betts, Hall, Leavell and Trucks, where he was co-frontman along with former Wet Willie singer, saxophone, and harmonica player Jimmy Hall. Despite getting good notices, the group was unable to secure a recording contract and disbanded in 1984. Betts then returned to his solo career, performing live at smaller venues and releasing the album "Pattern Disruptive" in 1989. When a one-off reunion tour was proposed in support of the Allman Brothers' "Dreams" box set released in 1989 to commemorate the band's 20th anniversary, Betts's solo band again supplied the Allman Brothers' other guitarist, slide guitarist Warren Haynes. The one-off tour's success resulted in a permanent reunion which absorbed Betts's energies for the remainder of the 1990s. This band lineup went on to release three acclaimed studio albums between 1990 and 1994.


title: Dickey Betts

text: Betts was replaced on numerous Allman Brothers tour dates throughout the mid-to-late 1990s, for what were reported in the media as "personal reasons". While remaining active as a touring band, they failed to release an album of new studio material after 1994's "Where It All Begins" until 2003's "Hittin' the Note". Haynes and Allman Brothers bassist Allen Woody formed Gov't Mule with former Dickey Betts Band drummer Matt Abts as a side project in 1994, and left the Allman Brothers for Gov't Mule full-time in 1997. Betts' last show with the Allman Brothers was at the Music Midtown Festival in Atlanta, Georgia on May 7, 2000.


title: Dickey Betts

text: Things reached a breaking point when the remaining original Allman Brothers members – Gregg Allman, Butch Trucks and Jaimoe – suspended Betts (reportedly via fax) before the launch of the band's Summer Campaign Tour 2000. According to Betts, the band told him in the fax to get clean (presumably from alcohol and/or drugs). Betts was subsequently ordered out of the band after the dispute went to arbitration.


title: Dickey Betts

text: Betts was temporarily replaced for the 2000 tour by Jimmy Herring, formerly of the Aquarium Rescue Unit. When Betts filed suit against the other three original Allmans, the separation turned into a permanent divorce. Although separated personally and as musical bandmates for over 15 years, Betts and Gregg Allman did reconcile before Allman's death in 2017. Betts re-formed the Dickey Betts Band in 2000 and toured that summer. The band reassumed the name Dickey Betts & Great Southern and added Betts' son Duane (named after Duane Allman) on lead guitar. In 2005, Betts released the DVD "Live from the Rock and Roll Hall of Fame".


title: Dickey Betts

text: Betts married his fifth wife, Donna, in 1989. He has four children: Kimberly, Christy, Jessica and Duane. Christy is married to Frank Hannon of the band Tesla. Duane, named for Betts' former bandmate Duane Allman, is also a musician and has performed and recorded with his father.


title: Dickey Betts

text: In August 2018, Betts suffered a mild stroke and had to cancel upcoming tour dates with his Dickey Betts Band. He was in critical yet stable condition at a Florida hospital following an accident at his home in Osprey, Florida. An operation was planned for September 20, 2018. He successfully underwent surgery to relieve swelling on his brain. In a statement posted on his website, Betts and his family said the "outpouring of support from all over the world has been overwhelming and amazing. We are so appreciative."


title: Dickey Betts

text: Although he briefly resided in Georgia during the formative years of the Allman Brothers Band, he has lived in the Sarasota metropolitan area for most of his life.


title: A Theory of Justice

text: A Theory of Justice is a 1971 work of political philosophy and ethics by the philosopher John Rawls (1921-2002) in which the author attempts to provide a moral theory alternative to utilitarianism and that addresses the problem of distributive justice (the socially just distribution of goods in a society). The theory uses an updated form of Kantian philosophy and a variant form of conventional social contract theory. Rawls's theory of justice is fully a political theory of justice as opposed to other forms of justice discussed in other disciplines and contexts.


title: A Theory of Justice

text: The resultant theory was challenged and refined several times in the decades following its original publication in 1971. A significant reappraisal was published in the 1985 essay "Justice as Fairness" and the 2001 book "" in which Rawls further developed his two central principles for his discussion of justice. Together, they dictate that society should be structured so that the greatest possible amount of liberty is given to its members, limited only by the notion that the liberty of any one member shall not infringe upon that of any other member. Secondly, inequalities – either social or economic – are only to be allowed if the worst off will be better off than they might be under an equal distribution. Finally, if there is such a beneficial inequality, this inequality should not make it harder for those without resources to occupy positions of power – for instance, public office.


title: A Theory of Justice

text: In "A Theory of Justice," Rawls argues for a principled reconciliation of liberty and equality that is meant to apply to the basic structure of a well-ordered society. Central to this effort is an account of the circumstances of justice, inspired by David Hume, and a fair choice situation for parties facing such circumstances, similar to some of Immanuel Kant's views. Principles of justice are sought to guide the conduct of the parties. These parties are recognized to face moderate scarcity, and they are neither naturally altruistic nor purely egoistic. They have ends which they seek to advance, but prefer to advance them through cooperation with others on mutually acceptable terms. Rawls offers a model of a fair choice situation (the original position with its veil of ignorance) within which parties would hypothetically choose mutually acceptable principles of justice. Under such constraints, Rawls believes that parties would find his favoured principles of justice to be especially attractive, winning out over varied alternatives, including utilitarian and 'right-wing libertarian accounts.


title: A Theory of Justice

text: Rawls belongs to the social contract tradition, although he takes a different view from that of previous thinkers. Specifically, Rawls develops what he claims are principles of justice through the use of an artificial device he calls the "Original position"; in which, everyone decides principles of justice from behind a veil of ignorance. This "veil" is one that essentially blinds people to all facts about themselves so they cannot tailor principles to their own advantage:


title: A Theory of Justice

text: According to Rawls, ignorance of these details about oneself will lead to principles that are fair to all. If an individual does not know how he will end up in his own conceived society, he is likely not going to privilege any one class of people, but rather develop a scheme of justice that treats all fairly. In particular, Rawls claims that those in the "Original Position" would all adopt a maximin strategy which would maximize the prospects of the least well-off.


title: A Theory of Justice

text: Rawls bases his "Original Position" on a "thin theory of the good" which he says "explains the rationality underlying choice of principles in the Original Position". A full theory of the good follows after we derive principles from the original position. Rawls claims that the parties in the original position would adopt two such principles, which would then govern the assignment of rights and duties and regulate the distribution of social and economic advantages across society. The difference principle permits inequalities in the distribution of goods only if those inequalities benefit the worst-off members of society. Rawls believes that this principle would be a rational choice for the representatives in the original position for the following reason: Each member of society has an equal claim on their society's goods. Natural attributes should not affect this claim, so the basic right of any individual, before further considerations are taken into account, must be to an equal share in material wealth. What, then, could justify unequal distribution? Rawls argues that inequality is acceptable only if it is to the advantage of those who are worst-off.


title: A Theory of Justice

text: The agreement that stems from the original position is both "hypothetical" and "ahistorical". It is hypothetical in the sense that the principles to be derived are what the parties would, under certain legitimating conditions, agree to, not what they have agreed to. Rawls seeks to use an argument that the principles of justice are what "would" be agreed upon if people were in the hypothetical situation of the original position and that those principles have moral weight as a result of that. It is ahistorical in the sense that it is not supposed that the agreement has ever been, or indeed could ever have been, derived in the real world outside of carefully limited experimental exercises.


title: A Theory of Justice

text: Rawls modifies and develops the principles of justice throughout his book. In chapter forty-six, Rawls makes his final clarification on the two principles of justice:1. "Each person is to have an equal right to the most extensive total system of equal basic liberties compatible with a similar system of liberty for all".


title: A Theory of Justice

text: Rawls orders the principles of justice lexically, as follows: 1, 2b, 2a. The "greatest equal liberty principle" takes priority, followed by the "equal opportunity principle" and finally the "difference principle". The first principle must be satisfied before 2b, and 2b must be satisfied before 2a. As Rawls states: "A principle does not come into play until those previous to it are either fully met or do not apply." Therefore, the equal basic liberties protected in the first principle cannot be traded or sacrificed for greater social advantages (granted by 2(b)) or greater economic advantages (granted by 2a).


title: A Theory of Justice

text: The "greatest equal liberty principle" is mainly concerned with the distribution of rights and liberties. Rawls identifies the following equal basic liberties: "political liberty (the right to vote and hold public office) and freedom of speech and assembly; liberty of conscience and freedom of thought; freedom of the person, which includes freedom from psychological oppression and physical assault and dismemberment (integrity of the person); the right to hold personal property and freedom from arbitrary arrest and seizure as defined by the concept of the rule of law."


title: A Theory of Justice

text: It is a matter of some debate whether freedom of contract can be inferred to be included among these basic liberties: "liberties not on the list, for example, the right to own certain kinds of property and freedom of contract as understood by the doctrine of laissez-faire are not basic; and so they are not protected by the priority of the first principle.".


title: A Theory of Justice

text: Rawls' claim in (a) is that departures from equality of a list of what he calls primary goods—"things which a rational man wants whatever else he wants" are justified only to the extent that they improve the lot of those who are worst-off under that distribution in comparison with the previous, equal, distribution. His position is at least in some sense egalitarian, with a provision that inequalities are allowed when they benefit the least advantaged. An important consequence of Rawls' view is that inequalities can actually be just, as long as they are to the benefit of the least well off. His argument for this position rests heavily on the claim that morally arbitrary factors (for example, the family one is born into) should not determine one's life chances or opportunities. Rawls is also oriented to an intuition that a person does not morally deserve their inborn talents; thus that one is not entitled to all the benefits they could possibly receive from them; hence, at least one of the criteria which could provide an alternative to equality in assessing the justice of distributions is eliminated.


title: A Theory of Justice

text: Further, the just savings principle requires that some sort of material respect is left for future generations. Although Rawls is ambiguous about what this means, it can generally be understood as "a contribution to those coming later".


title: A Theory of Justice

text: The stipulation in 2b is lexically prior to that in 2a. This is because "equal opportunity" requires not merely that offices and positions are distributed on the basis of merit, but that all have reasonable opportunity to acquire the skills on the basis of which merit is assessed, even if one might not have the necessary material resources - due to a beneficial inequality stemming from the difference principle.


title: A Theory of Justice

text: It may be thought that this stipulation, and even the first principle of justice, may require greater equality than the difference principle, because large social and economic inequalities, even when they are to the advantage of the worst-off, will tend to seriously undermine the value of the political liberties and any measures towards fair equality of opportunity.


title: A Theory of Justice

text: In 1972, "A Theory of Justice" was reviewed in "The New York Times Book Review" by Marshall Cohen, who described the work as "magisterial," and suggested that Rawls' use of the techniques of analytic philosophy made the book the "most formidable" defense of the social contract tradition to date. He credited Rawls with showing that the widespread claim that "systematic moral and political philosophy are dead" is mistaken, and with providing a "bold and rigorous" account of "the principles to which our public life is committed." Though he suggested that it might take years before a satisfactory appraisal of the work could be made, he noted that Rawls' accomplishments had been compared by scholars to those of John Stuart Mill and Immanuel Kant. However, he criticized Rawls for "looseness in his understanding of some fundamental political concepts."


title: A Theory of Justice

text: "A Theory of Justice" received criticism from several philosophers. Robert Nozick criticized Rawls' account of distributive justice in his defense of libertarianism, "Anarchy, State, and Utopia" (1974). Allan Bloom, writing in "American Political Science Review" in 1975, noted that "A Theory of Justice" had "attracted more attention in the Anglo-Saxon world than any work of its kind in a generation", attributing its popularity to its being "the most ambitious political project undertaken by a member of the school currently dominant in academic philosophy" and to Rawls' "radical egalitarian interpretation of liberal democracy." Bloom criticized Rawls for failing to account for the existence of natural right in his theory of justice and wrote that Rawls absolutizes social union as the ultimate goal which would conventionalize everything into artifice. Robert Paul Wolff criticized Rawls from a Marxist perspective in "Understanding Rawls: A Critique and Reconstruction of A Theory of Justice" (1977), arguing Rawls offers an apology for the status quo insofar as he constructs justice from existing practice and forecloses the possibility that there may be problems of injustice embedded in capitalist social relations, private property or the market economy.


title: A Theory of Justice

text: Michael Sandel criticized Rawls in "Liberalism and the Limits of Justice" (1982), arguing that Rawls encourages people to think about justice while divorced from the values and aspirations that define who they are as persons and that allow people to determine what justice is. Susan Moller Okin wrote in "Justice, Gender, and the Family" (1989) that Rawls had provided "the most influential of all twentieth-century theories of justice", but criticized him for failing to account for the injustices and hierarchies embedded in familial relations. Economists Kenneth Arrow and John Harsanyi criticized the assumptions of the original position, and in particular, the use of maximin reasoning, with the implication that Rawls' selection of parameters for the original position was result-oriented, "i.e.", calculated to derive the two principles that Rawls desired to advance, and/or, as the "contractarian critique" holds, that the persons in the original position articulated by Rawls would not in fact select the principles that "A Theory of Justice" advocates. In reply Rawls emphasized the role of the original position as a "device of representation" for making sense of the idea of a fair choice situation for free and equal citizens, and that the relatively modest role that maximin plays in his argument: it is "a useful heuristic rule of thumb" given the curious features of choice behind the veil of ignorance.


title: A Theory of Justice

text: In his book "Black Rights / White Wrongs", philosopher Charles W. Mills critiques the underlying assumptions of Rawls’s work as inherently white, and thus subject to glaring blind spots. Mills sets “the white fantasy world of Rawlsianism” and its “ideal theory” against the actual history of racialized oppression in the modern era, and proposes that non-ideal theory is urgently needed to address racial inequality and possible remediations. “Here is a huge body of work," Mills writes on Rawls's output, "focused on questions of social justice – seemingly the natural place to look for guidance on normative issues related to race – which has nothing to say about racial justice, the distinctive injustice of the modern world.” Mills documents a “pattern of silence” in Rawls’s work, and, through the lens of Radical Black Kantianism, situates that within a broader tradition of white political philosophers either being explicitly racist, or ignoring race in discussions of justice.


title: A Theory of Justice

text: The economist Amartya Sen has raised concerns over Rawls' emphasis on primary social goods, arguing in "Inequality Reexamined" (1992) that we should attend not only to the distribution of primary goods, but also how effectively people are able to use those goods to pursue their ends. Norman Daniels has wondered why health care should not be treated as a primary good, and some of his subsequent work has addressed this question, arguing for a right to health care within a broadly Rawlsian framework. The philosopher G. A. Cohen, in "If You're An Egalitarian, How Come You're So Rich?" (2000) and "Rescuing Justice and Equality" (2008), criticizes Rawls' avowal of inequality under the difference principle, his application of the principle only to social institutions, and what he sees as Rawls's obsession with using primary goods as his currency of equality.


title: A Theory of Justice

text: Sen critiques and attempts to revitalize "A Theory of Justice" in "The Idea of Justice" (2009). He credits Rawls for revitalizing the interest in the ideas of what justice means and the stress put on fairness, objectivity, equality of opportunity, removal of poverty, and freedom. However, Sen, as part of his general critique of the contractarian tradition, states that ideas about a perfectly just world do not help redress actual existing inequality. Sen faults Rawls for overemphasizing institutions as guarantors of justice and not considering the effects of human behaviour on the institutions' ability to maintain a just society. Sen believes Rawls understates the difficulty in getting everyone in society to adhere to the norms of a just society. He also claims that Rawls' position that there be only one possible outcome of the reflective equilibrium behind the veil of ignorance is misguided. In contrast to Rawls, Sen believes that multiple conflicting, yet just, principles may arise and that this undermines the multistep processes that Rawls laid out as leading to a perfectly just society.


title: A Theory of Justice

text: "A Theory of Justice" inspired a 2013 musical, "", written and produced by Eylon Aslan-Levy, Ramin Sabi, Tommy Peto, and Toby Huelin.


title: Columbia (personification)

text: Columbia (; ) is the female national personification of the United States. It was also a historical name applied to the Americas and to the New World. The association has given rise to the names of many American places, objects, institutions and companies, including the District of Columbia; Columbia, South Carolina; Columbia University; "Hail, Columbia" and "Columbia Rediviva"; the Columbia River. Images of the Statue of Liberty ("Liberty Enlightening the World", erected in 1886) largely displaced personified Columbia as the female symbol of the United States by around 1920, although Lady Liberty was seen as an aspect of Columbia. However, Columbia's most prominent display today is being part of the logo of the Hollywood film studio Columbia Pictures.


title: Columbia (personification)

text: "Columbia" is a New Latin toponym, in use since the 1730s with reference to the Thirteen Colonies which formed the United States. It originated from the name of the Genoese explorer Christopher Columbus and from the Latin ending "-ia", common in the Latin names of countries (paralleling Britannia, Gallia, Zealandia, and others).


title: Columbia (personification)

text: The earliest type of personification of the Americas, seen in European art from the 16th century onwards, reflected the tropical regions in South and Central America from which the earliest European travellers reported back. Such images were most often used in sets of female personifications of the Four Continents. America was depicted as a woman who, like Africa, was only partly dressed, typically in bright feathers, which invariably formed her headdress. She often held a parrot, was seated on a caiman or alligator, with a cornucopia. Sometimes a severed head was a further attribute, or in prints scenes of cannibalism appeared in the background.


title: Columbia (personification)

text: Though versions of this depiction, tending as time went on to soften the rather savage image into an "Indian princess" type, and in churches emphasizing conversion to Christianity, served European artists well enough, by the 18th century they were becoming rejected by settlers in North America, who wanted figures representing themselves rather than the Native Americans they were often in conflict with.


title: Columbia (personification)

text: Massachusetts Chief Justice Samuel Sewall used the name Columbina (not Columbia) for the New World in 1697. The name Columbia for America first appeared in 1738 in the weekly publication of the debates of Parliament in Edward Cave's "The Gentleman's Magazine". Publication of Parliamentary debates was technically illegal, so the debates were issued under the thin disguise of "Reports of the Debates of the Senate of Lilliput" and fictitious names were used for most individuals and placenames found in the record. Most of these were transparent anagrams or similar distortions of the real names and some few were taken directly from Jonathan Swift's "Gulliver's Travels" while a few others were classical or neoclassical in style. Such were Ierne for Ireland, Iberia for Spain, Noveborac for New York (from Eboracum, the Roman name for York) and Columbia for America—at the time used in the sense of "European colonies in the New World".


title: Columbia (personification)

text: By the time of the Revolution, the name Columbia had lost the comic overtone of its Lilliputian origins and had become established as an alternative, or poetic name for America. While the name America is necessarily scanned with four syllables, according to 18th-century rules of English versification Columbia was normally scanned with three, which is often more metrically convenient. For instance, the name appears in a collection of complimentary poems written by Harvard graduates in 1761 on the occasion of the marriage and coronation of King George III.


title: Columbia (personification)

text: The name Columbia rapidly came to be applied to a variety of items reflecting American identity. A ship built in Massachusetts in 1773 received the name "Columbia Rediviva" and it later became famous as an exploring ship and lent its name to new Columbias.


title: Columbia (personification)

text: No serious consideration was given to using the name Columbia as an official name for the independent United States, but with independence, the name became popular and was given to many counties, townships, and towns as well as other institutions.


title: Columbia (personification)

text: In part, the more frequent usage of the name "Columbia" reflected a rising American neoclassicism, exemplified in the tendency to use Roman terms and symbols. The selection of the eagle as the national bird, the heraldric use of the eagle, the use of the term Senate to describe the upper house of Congress and the naming of Capitol Hill and the Capitol building were all conscious evocations of Roman precedents.


title: Columbia (personification)

text: The adjective Columbian has been used to mean "of or from the United States of America" such as in the 1893 World's Columbian Exposition held in Chicago, Illinois. It has occasionally been proposed as an alternative word for American.


title: Columbia (personification)

text: Columbian should not be confused with the adjective pre-Columbian, which refers to a time period before the arrival of Christopher Columbus in 1492. Columbia should also not be confused with the modern-day Republic of Colombia.


title: Columbia (personification)

text: As a quasi-mythical figure, Columbia first appears in the poetry of the African-American Phillis Wheatley in 1776, during the Revolutionary War:


title: Columbia (personification)

text: Especially in the 19th century, Columbia was visualized as a goddess-like female national personification of the United States and of liberty itself, comparable to the British Britannia, the Italian Italia Turrita and the French Marianne, often seen in political cartoons of the 19th and early 20th century. The personification was sometimes called Lady Columbia or Miss Columbia. Such an iconography usually personified America in the form of an Indian queen or Native American princess.


title: Columbia (personification)

text: The image of the personified Columbia was never fixed, but she was most often presented as a woman between youth and middle age, wearing classically-draped garments decorated with stars and stripes. A popular version gave her a red-and-white-striped dress and a blue blouse, shawl, or sash, spangled with white stars. Her headdress varied and sometimes it included feathers reminiscent of a Native American headdress while other times it was a laurel wreath, but most often, it was a cap of liberty.


title: Columbia (personification)

text: Early in World War I (1914–1918), the image of Columbia standing over a kneeling "Doughboy" was issued in lieu of the Purple Heart medal. She gave "to her son the accolade of the new chivalry of humanity" for injuries sustained in the World War.


title: Columbia (personification)

text: In World War I, the name Liberty Bond for savings bonds was heavily publicized, often with images from the Statue of Liberty ("Liberty Enlightening the World"). The personification of Columbia fell out of use and was largely replaced by the Statue of Liberty as a feminine symbol of the United States.


title: Columbia (personification)

text: The goddess of Liberty was also struck onto the face of half-dollar US coins known as Walking Liberty.


title: Columbia (personification)

text: After Columbia Pictures adopted Columbia as its logo in 1924, she has since appeared as bearing a torch similar to that of the Statue of Liberty, unlike 19th-century depictions of Columbia. The Columbia Pictures logo is the most famous and prominent display of Columbia to many current Americans.


title: The Platters

text: The Platters are an American vocal group formed in 1952. They are one of the most successful vocal groups of the early rock and roll era. Their distinctive sound bridges the pre-rock Tin Pan Alley tradition and the new burgeoning genre. The act has gone through multiple line-ups over the years, earning it the branding tag "Many Voices One Name", with the most successful incarnation comprising lead tenor Tony Williams, David Lynch, Paul Robi, founder and naming member Herb Reed, and Zola Taylor. The group had 40 charting singles on the " Billboard" Hot 100 between 1955 and 1967, including four number-one hits. In 1990, the Platters were inducted into the Rock and Roll Hall of Fame. The Platters continue to perform around the world with Herb Reed Enterprises (an LLC set up by Reed in response to numerous fake Platters groups) owning the rights and trademark to the name.


title: The Platters

text: The Platters formed in Los Angeles in 1952 and were initially managed by Federal Records A&R man Ralph Bass. The original group consisted of Herb Reed, Alex Hodge, Cornell Gunter and Joe Jefferson. Reed named the group while sitting around a kitchen table with Hodge and others. He was inspired by the "turntable" of an old phonograph machine and the "platter" that spun the vinyl records.


title: The Platters

text: In June 1953, Gunter left to join The Flairs and was replaced by lead vocalist Tony Williams. The band then released two singles with Federal Records, under the management of Bass, but found little success. Bass then asked his friend, music entrepreneur, and songwriter Buck Ram, to coach the group in the hope of getting a hit record. Ram made some changes to the lineup, most notably the addition of female vocalist Zola Taylor and, in autumn 1954, the replacement of Alex Hodge by Paul Robi. Under Ram's guidance, The Platters recorded eight songs for Federal in the R&B/gospel style, scoring a few minor regional hits on the West Coast, and backed Williams' sister, Linda Hayes. One song recorded during their Federal tenure, "Only You (And You Alone)", originally written by Ram for the Ink Spots, was deemed unreleasable by the label, though copies of this early version do exist.


title: The Platters

text: Despite their lack of chart success, The Platters were a profitable touring group, successful enough that the Penguins, coming off their #8 single "Earth Angel", asked Ram to manage them as well. With the Penguins in hand, Ram was able to parlay Mercury Records' interest into a 2-for-1 deal. To sign the Penguins, Ram insisted, Mercury also had to take The Platters. The Penguins would never have a hit for the label.


title: The Platters

text: Convinced by Jean Bennett and Tony Williams that "Only You" had potential, Ram had The Platters re-record the song during their first session for Mercury. Released in the summer of 1955, it became the group's first Top Ten hit on the pop charts and topped the R&B charts for seven weeks. The follow-up, "The Great Pretender", with lyrics written in the washroom of the Flamingo Hotel in Las Vegas by Buck Ram, exceeded the success of their debut and became The Platters' first national #1 hit. "The Great Pretender" was also the act's biggest R&B hit, with an 11-week run atop that chart. In 1956, The Platters appeared in the first major motion picture based around rock and roll, "Rock Around the Clock," and performed both "Only You" and "The Great Pretender".


title: The Platters

text: The Platters' unique vocal style had touched a chord in the music-buying public. A string of hit singles followed, including three more national #1 hits and more modest chart successes such as "I'm Sorry" (#11) and "He's Mine" (#23) in 1957, "Enchanted" (#12) in 1959, and "(You've Got) The Magic Touch" (#4) in 1956. The Platters soon hit upon the successful formula of updating older standards, such as "My Prayer", "Twilight Time", "Harbor Lights", "To Each His Own", "If I Didn't Care", and Jerome Kern's "Smoke Gets in Your Eyes". This latter release caused a small controversy after Kern's widow expressed concern that her late husband's composition would be turned into a "rock and roll" record. It topped both the American and British charts in The Platters-style arrangement.


title: The Platters

text: The Platters differed from most other groups of the era because Ram had the group incorporated in 1956. Each member of the group received a 20% share in the stock, full royalties, and their Social Security was paid. As group members left one by one, Ram and his business partner, Jean Bennett, bought their stock, which they claimed gave them ownership of the "Platters" name. A court later ruled, however, that "FPI was a sham used by Mr. Ram to obtain ownership in the name the 'Platters', and FPI's issuance of stock to the group members was 'illegal and void because it violated California corporate securities law."


title: The Platters

text: The group was inducted into the Rock and Roll Hall of Fame in 1990 and into the Vocal Group Hall of Fame in its inaugural year of 1998. The Platters were the first rock and roll era group to have a Top Ten album in the United States. They were also the only act to have three songs included on the "American Graffiti" soundtrack that fueled an oldies revival already underway in the early to mid-1970s: "Smoke Gets in Your Eyes", "The Great Pretender", and "Only You (and You Alone)". The group had four top 100 compilation albums in the Australian top 100 between 1975 and 1986.


title: The Platters

text: The line-up in 1952 included lead vocalist Cornell Gunter, Herb Reed, Alex Hodge, Joe Jefferson, and David Lynch. Soon, Gunter was replaced by tenor Tony Williams.


title: The Platters

text: The band's second manager Ram decided to build the group around Williams's distinctive and versatile voice and his ability to bring life to Ram's songs. Within a year, Alex Hodge and Jefferson were also out and replaced by Paul Robi and a woman, Zola Taylor. The details of baritone Hodge's departure are muddy; author Peter A. Grendysa, says Ram fired Alex Hodge in October 1954 after having been accused of possession of marijuana. Bookers and the record company were told that Hodge was let go for bouncing a 15-dollar check. The resulting line-up, the one remembered for some of the group's timeless hits, lasted until 1960.


title: The Platters

text: As a group, The Platters began to have difficulties with the public after 1959, when the four male members were arrested in Cincinnati on drug and prostitution charges. Although no one was convicted, their professional reputation was seriously damaged and US radio stations started removing their records from playlists, forcing the group to rely more heavily on European bookings.


title: The Platters

text: In 1960, lead vocalist Williams left to pursue a solo career and was replaced by tenor Sonny Turner. Mercury refused to issue further Platters releases without Williams on lead vocals, provoking a lawsuit between the label and manager Ram. As a result, the label spent two years releasing old Williams-era material until the group's contract lapsed.


title: The Platters

text: The group's line-up splintered further: in 1964 Taylor left and was consecutively replaced by Beverly Hansen Harris, Barbara Randolph and, in 1965, by Sandra Dawn. 1965 also saw the departure of Robi, who was replaced by Nate Nelson, former lead voice of the Flamingos.


title: The Platters

text: This splintering of the group's line-up led to wrangling over The Platters' name, with injunctions, non-compete clauses, and multiple versions of the act touring at the same time. Williams, Robi, and Taylor led their own Platters' groups and for a short while, Taylor, Robi, and Lynch joined forces as "The Original Platters" with Williams-clone Johnny Barnes as their lead singer.


title: The Platters

text: To distinguish his group from the offshoots started by former members, Ram added his name to that of the group. The "Buck Ram Platters", built to showcase his songs, were signed to Musicor Records and enjoyed a short chart renaissance in 1966–67, with the comeback singles "I Love You 1000 Times", "With This Ring", and the Motown-influenced "Washed Ashore". Sonny Turner sang the lead on these three records, with Reed, Lynch, Nelson, and Dawn completing the group. Nelson left the group in 1967. Dawn, who left in 1969, was replaced by Regina Koco, who stayed with the group until 1983.


title: The Platters

text: Also, in 1969, Reed, the final member of the original Platters, resigned from the group. For a period of time, Reed performed under the name Herb Reed and The Platters. Nelson also worked with this group until suffering a fatal heart attack in 1984.


title: The Platters

text: After Reed's departure, Ram illegally continued to promote his own Platters group. Turner left in 1970 and was replaced by Monroe Powell, who remained a constant member from 1970 to 1995, amid many other line-up changes. Tony Williams formed his version of The Platters in 1971 and announced a worldwide tour. In 1995, a dispute between Powell and manager Jean Bennett (who had purchased Personality Productions, the booking/management arm of the Platters' business, from Ram in 1966) led to the two parting ways. At the time, the group's line-up was in limbo, leaving one person, Kenn Johnson, as the only other group member. Powell and Johnson continued touring as "The Platters", with Bennett hiring five new singers to be the "Buck Ram Platters".


title: The Platters

text: Despite Ram and Bennett's assertions, it was later determined that Five Platters Inc., and Jean Bennett never had legitimate rights to The Platters name.


title: The Platters

text: A profusion of legal challenges ensued among the many groups of Platters. Those looking to hear the classic lineup of songs had their pick of approved, disputed, and substituted Platters, including Sonny Turner's, Zola Taylor's, Ritchie Jones' (member 1984–85), Milton Bullock's (member 1967–70), Paul Robi's (managed by his widow), Jean Bennett's "Buck Ram Platters", Monroe Powell's, Herb Reed's, and several other groups with no current ties to the original group. Many had once contained former members who were now retired or deceased.


title: The Platters

text: Powell, who had been touring under the Platters' name, was sued by Bennett for breach of contract. Bennett and Powell later reached an agreement that Powell would be able to tour, but only as "The Platters featuring Monroe Powell". In 1994, Jean Bennett fraudulently licensed the name for a show at the Sahara Casino in Las Vegas; that show ran for 15 years.


title: The Platters

text: Shortly before Robi succumbed to pancreatic cancer on February 1, 1989, he won a long court battle against Ram's estate and was awarded compensation and the right to use the Platters' name. Those rights were stripped from Robi's widow in 1997, and the exclusive right to tour as "The Platters" was awarded to Reed. A series of rulings in 1999, 2002, and 2004 gave Bennett the common law right to the name. The 2002 case legally rescinded Reed's exclusive trademark rights, and the trademark was returned to the Five Platters, Inc. and Bennett.


title: The Platters

text: In January 2006, Las Vegas based G.E.M. Group, Inc. presented Bennett with a contract to buy the assets of "the singing group The Platters." G.E.M. then took Personality Productions, Inc. (Bennett's separate management company) corporate records and files and attempted to take the company's phone numbers. There was an immediate disagreement between Bennett and G.E.M., which filed a lawsuit to attain certain corporate assets, Bennett's personal property and the assets of the 1950s Platters. The case was dismissed for lack of action on G.E.M.s part. In June 2006, G.E.M. entered into an agreement with Sonny Turner, who'd been the lead singer of the Platters from 1960 to 1970. Turner had not been able to bill himself as "The Platters" since 1972 due to a legal injunction. However, Turner later sued G.E.M.


title: The Platters

text: In 2007, Reed discussed the abundance of touring Platters groups: "I have to laugh because when you ask me how I feel about it, I'm irate, I'm infuriated. ... I've lost 25 weeks of work a year."


title: The Platters

text: Herb Reed died in June 2012 at 83. Reed was the only group member to appear on every original Platters recording. Sonny Turner, who replaced Tony Williams in late 1959, performed as Sonny Turner, former lead singer of The Platters. Sonny brought The Platters back to the charts in 1966 with the hits, "I Love You 1000 Times", "With This Ring", and "Washed Ashore".. He died on January 13, 2022.


title: The Platters

text: In 2011, Herb Reed and his companies obtained judgments declaring that his rights to the name were superior to all others, including Five Platters Inc. and Jean Bennett. In March 2014, Herb Reed's companies were granted a judgment finding they had superior rights to the name "The Platters" over Larry Marshak and his companies, who claimed to have received rights through FPI and/or Tony Williams In April 2014, Reed's company obtained a judgment against the World Famous Platters requiring them to identify themselves as a "Tribute to the Platters" or a "Salute to the Platters".


title: The Platters

text: In June 2014, Herb Reed's companies obtained a judgment against former singer Monroe Powell for trademark infringement. The Nevada district court granted Reed summary judgment, awarding him over $59,000 in damages (from US and international tour performances) and permanent injunctive relief, preventing Powell from using the "Platters" name without using the words "tribute" or "salute".


title: The Platters

text: In 2016, Herb Reed Enterprises LLC was awarded a trademark from the United States Patent and Trademark Office for the exclusive use of the Platters name. Reed's legacy is maintained by Frederick Balboni, Reed's manager, veteran broadcast journalist and music promoter, and the owner of Massachusetts-based Balboni Communications Group.


title: The Platters

text: Various line-ups using The Platters' name have toured concurrently since the 1970s. The following are some of the groups that at one time or another illegally called themselves The Platters:


title: Daiquiri

text: The daiquiri (; ) is a cocktail whose main ingredients are rum, citrus juice (typically lime juice), and sugar or other sweetener.


title: Daiquiri

text: The daiquiri is one of the six basic drinks listed in David A. Embury's classic "The Fine Art of Mixing Drinks", which also lists some variations.


title: Daiquiri

text: "Daiquirí" is also the name of a beach and an iron mine near Santiago de Cuba, and is a word of Taíno origin. The drink was supposedly invented by an American mining engineer named Jennings Cox, who was in Cuba (then at the tail-end of the Spanish Captaincy-General government) at the time of the Spanish–American War. It is also possible that William A. Chanler, a US congressman who purchased the Santiago iron mines in 1902, introduced the daiquiri to clubs in New York in that year.


title: Daiquiri

text: Originally the drink was served in a tall glass packed with cracked ice. A teaspoon of sugar was poured over the ice, and the juice of one or two limes was squeezed over the sugar. Two or three ounces of white rum completed the mixture. The glass was then frosted with a long-handled spoon. Later the daiquiri evolved to be mixed in a shaker with the same ingredients but with shaved ice. After a thorough shaking, it was poured into a chilled coupe glass.


title: Daiquiri

text: Consumption of the drink remained localized until 1909, when Rear Admiral Lucius W. Johnson, a U.S. Navy medical officer, tried Cox's drink. Johnson subsequently introduced it to the Army and Navy Club in Washington, D.C., and drinkers of the daiquiri increased over the space of a few decades. It was one of the favorite drinks of the writer Ernest Hemingway and U.S. President John F. Kennedy.


title: Daiquiri

text: The drink became popular in the 1940s. World War II rationing made whiskey and vodka hard to come by, yet rum was easily obtainable owing to U.S. President Franklin D. Roosevelt's Good Neighbor policy, which opened up trade and travel relations with Latin America, Cuba, and the Caribbean. The Good Neighbor policy, also known as the Pan-American program, helped make Latin America fashionable. Consequently, rum-based drinks (once frowned upon as the choice of sailors and down-and-outs) also became fashionable, and the daiquiri saw tremendous popularity in the US.


title: Daiquiri

text: The basic recipe for a daiquiri is also similar to the grog British sailors drank aboard ships from the 1780s as a means of preventing scurvy. By 1795 the Royal Navy daily grog ration contained rum, water, ¾ ounce of lemon or lime juice, and 2 ounces of sugar. This was a common drink across the Caribbean, and as soon as ice became available this was included instead of the water.


title: Daiquiri

text: A wide variety of alcoholic mixed drinks made with finely pulverized ice are often called frozen daiquirí. These drinks can also be combined and poured from a blender, eliminating the need for manual pulverisation and producing a texture similar to a smoothie. On larger scales, such drinks are often commercially made in larger machines and come in various flavors with various alcohol or liquors. Another way to create a frozen daiquiri (mostly fruit-flavored variants) is by using frozen limeade, providing the required texture, sweetness and sourness all at once.


title: Retirement age

text: In some contexts, the retirement age is the age at which a person is expected or required to cease work. It is usually the age at which such a person may be entitled to receive superannuation or other government benefits, like a state pension. Policymakers usually consider the demography, fiscal cost of aging, health, life expectancy, nature of the profession, supply of labor force, etc. while taking the retirement age into account. The increase in life expectancy is used in some jurisdictions as an argument to increase the age of retirement in the 21st century.


title: Retirement age

text: Many of the countries listed in the table below, are in the process of reforming the retirement ages (see the notes in the table for details). The ages in the table shows when an individual retires if they retire/have retired in the year given in the table. The trend in some countries is that in the future, the age will increase gradually (where available, explanations are given in the section on notes), therefore one's year of birth determines when one has the age of retirement (e.g., in Romania, women born in January 1955 had the retirement age in January 2015 at age 60; those born in January 1958 had the retirement age in January 2019 at age 61; those born in January 1961 will retire in January 2023 at age 62; those born in January 1967 will retire in January 2030 at age 63).


title: Retirement age

text: The average of statutory retirement age in the 34 countries of the Organisation for Economic Co-operation and Development (OECD) in 2014 was: males 65 years and females 63.5 years, but the tendency all over the world is to increase the retirement age. This is also reflected by the findings that just over half the Asian investors surveyed region-wide said they agreed with raising the retirement age, with a quarter disagreeing and the remainder undecided.


title: Retirement age

text: Reforms tend to be phased in slowly when the retirement age (or pension age) is increased with grandfathering, ensuring a gradual change. In contrast, when the age of retirement is decreased, changes are often brought about rapidly.


title: Retirement age

text: One of such examples of grandfathering is the transitional pension rules, which were applied for staff aged 54 years or older, and to some extent, for all staff in place, when in 2014, the retirement age of European civil servants was increased to 66 years of age.


title: Retirement age

text: Men retire either later than women or at the same time. This is being addressed in some countries, where the retirement ages are being equalized.


A Nightmare on Elm Street 2: Freddy's Revenge (stylized on-screen as A Nightmare on Elm Street Part 2: Freddy's Revenge) is a 1985 American supernatural slasher film directed by Jack Sholder and written by David Chaskin. It stars Mark Patton, Kim Myers, Robert Englund as Freddy Krueger, and Robert Rusler. It is the second installment in the "A Nightmare on Elm Street" franchise. The film follows Jesse Walsh, a teenager who begins having recurring nightmares about Freddy Krueger after moving into the former home of Nancy Thompson from the first film.


title: A Nightmare on Elm Street 2: Freddy's Revenge

text: "Freddy's Revenge" was released on November 1, 1985, and grossed $30 million at the domestic box office on a budget of $3 million. It received mixed reviews from critics upon release, with many comparing it unfavorably to its predecessor. However, it has enjoyed later success as a cult classic, with critics having reassessed the film's homoerotic themes and subject material. It was distributed by New Line Cinema. The film was followed by "".


text: Five years after Freddy Krueger's apparent defeat, the Walshes have moved into Nancy Thompson's former home. Their teenage son, Jesse, has a nightmare about being stalked by Krueger driving a school bus. He wakes up and attributes the dream to the unusual heat in the room. Jesse goes to school with his friend Lisa, whom he is interested in romantically, but is too shy to flirt with her. After getting into a fight with a boy named Grady during gym class, Coach Schneider has them stay after class and they become friends. Lisa comes to visit Jesse after school and they discover Nancy Thompson's diary detailing her nightmares, which are strikingly similar to Jesse's. Small fires happen around the house, which culminates in the spontaneous combustion of their pet birds. Jesse's father accuses him of sabotage.


text: The following night, Jesse has a nightmare where he encounters Freddy, who tells him to kill for him. The dreams grow more intense and Jesse unsuccessfully attempts different measures to keep himself awake. He eventually begins wandering the streets at night. One night, he is caught by Schneider ordering a drink in a gay bar and is made to run laps at school as punishment. After sending Jesse to the showers, Schneider is attacked by an unseen force that drags him to the showers. Jesse vanishes into the steam and Freddy emerges, killing Schneider by slashing his back. Afterwards, Jesse is horrified to see the glove on his hand. He is escorted home by police after being found wandering the streets naked, and his parents begin to suspect that Jesse may be on drugs or mentally disturbed. Lisa takes Jesse to an abandoned factory where Freddy Krueger worked, but they find nothing there.


text: The following night, Jesse goes to Lisa's pool party and kisses her in the cabana, but his body begins to change and he leaves in a panic. He goes to Grady's house, confesses to killing Schneider, and instructs Grady to watch him as he sleeps and to stop him if he tries to leave. When Grady eventually falls asleep, Freddy emerges from Jesse's body and kills Grady. Freddy then changes back to Jesse, who finds himself looking at Freddy's laughing reflection in Grady's mirror. He flees before Grady's parents enter the room. Returning to Lisa's house, Jesse tells her what is going on. Lisa realizes that Jesse's terror is giving Freddy his strength, but he cannot stop fearing him and transforms again. Freddy locks Lisa's parents in their bedroom and attacks her, but realizes he cannot harm her due to Jesse's influence. Freddy goes outside where he begins to slaughter the partygoers. Lisa's father emerges with a shotgun, but Lisa stops him from shooting Freddy, who escapes in a ball of flame.


text: Lisa drives to the factory, facing sudden nightmares and having to control her fear before confronting Freddy. She pleads with Jesse to fight Freddy, but Freddy's hold is too strong. When Lisa confesses her love for Jesse and kisses Freddy, Jesse begins to fight back. Freddy combusts and turns to ash, from which Jesse emerges.


text: Later, as Jesse, Lisa, and Lisa's friend Kerry are taking the bus to school. Jesse begins to notice similarities to his original nightmare and panics. After Lisa calms Jesse down, Kerry says that it is all over just before Freddy's clawed arm bursts through her chest. Freddy laughs as the bus drives into the field, just as in Jesse's first nightmare.


text: Pre-production for "A Nightmare on Elm Street 2" began in April 1985. Screenwriter Leslie Bohem pitched the producers with his idea of using pregnancy and possession as a plot device for the second film: "My concept was a homage to "Rosemary's Baby". I came up with a plot that had a new family move into the house, a teenage boy, his pregnant mother and a stepfather the boy didn't get along with. It was a real bloody, scary idea, much more physical and realistic because the dream reality stuff was less central to these movies then. My story was more of a possession scenario with Freddy getting inside the mother's womb, controlling the fetus. But New Line passed on it because [executive] Sara Risher was pregnant at the time, and I understand the idea upset her. So they went with David Chaskin's concept instead."


text: Though both films ended up using the spirit possession concept, the pregnancy idea would eventually be used in the sequel "", which Bohem would write the script for.


text: Robert Shaye offered Wes Craven the chance to direct again, but he turned down the offer since he had many problems with the script, such as the "possessed parakeet" that seemed very ridiculous to him, and of Freddy merging with the main character and manifesting in real life at the pool party to kill scores of teenagers of which many are bigger than him, which Craven thought would diminish Freddy's scare factor as Robert Englund is not very tall in stature.


text: Jack Sholder, who had previously written and directed "Alone in the Dark" for New Line was offered to direct. In a 2020 interview he explained that he had "no interest in making horror films" and that his initial feeling was to turn Robert Shaye down. After realizing that "A Nightmare on Elm Street Part 2: Freddy's Revenge" could put him on the map as a director, he said yes.


text: The intro scene with Jesse's nightmare of Freddy driving the bus was carried over from the previous film; Craven was vehemently against Freddy appearing in person as the driver of the car in the epilogue scene, as he felt the storyline for Nancy, Tina, Rod and Glen should be self-contained in the first film. The compromise between him and Shaye was therefore to use the idea of Freddy driving the vehicle for the sequel, but not for any characters from Craven's film. The character of Lisa Webber was named Lisa Poletti in the script. On Wes Craven's suggestions, Chaskin put more emphasis on Lisa in the film than he originally intended; he explains that Craven "suggested that we shift the focus from Jesse the male lead. In the script the focus was on Jesse for 90% of the film, then suddenly it shifted to Lisa, his girlfriend. I pretty much added some focus on Lisa, and now it's like 50-50."


text: New Line Cinema originally thought to save money by simply using an unnamed extra in a rubber mask to play Freddy - as had been the case for masked, mute, impersonal killers like Jason Voorhees and Michael Myers - but reconsidered when they realized that the man had the gait and posture of "a dimestore monster" or "Frankenstein's monster" as opposed to Robert Englund's classically trained physical acting. The extra as Freddy still remained in one scene left in the film, during coach Schneider's death scene in the shower, though obscured by excessive water steam. Realizing their mistake, the producers quickly brought back Englund for the rest of the film and series. Robert Shaye, head of New Line Cinema, wanted to play the role of Ron Grady's father but was denied by director Jack Sholder who gave him the non-speaking role of the bartender at the S&M bar that Jesse visits. Shaye would later recall in "" that his leather outfit was purchased from LA Store The Pleasure Chest.


text: Principal photography commenced in June 1985. Director Jack Sholder said in an interview he "had very little time to prepare" and that the movie contained "a lot of special effects, none of which I knew how to do". The film's special effects were headed by Kevin Yagher, who handled Freddy's design, and Mark Shostrom, who was responsible for the transformation effects wherein Freddy comes out of Jesse's body. David B. Miller, who created the makeup for the original film, was busy working on "Cocoon" and "My Science Project". In a later interview, Yagher expressed disappointment and confusion regarding the ending of the film.


text: The film's score was composed by Christopher Young. The song "Have You Ever Seen a Dream Walking" performed by Bing Crosby plays over the film's end credits. The songs "Touch Me (All Night Long)" by Fonda Rae, "Whisper to a Scream" by Bobby Orlando, "On the Air Tonight" by Willy Finlayson, "Moving in the Night" by Skagerack, and "Terror in My Heart" by the Reds are also featured in the film.


text: The film opened on 522 screens in the New York, Washington D.C., Detroit and Texas areas. Varying figures have been reported for its opening weekend. "Daily Variety" reported it opening with $3,865,475 placing it second for the weekend behind "Death Wish 3". An advert in the following day's "Weekly Variety" claimed it had grossed $3,220,348 placing it third behind "To Live and Die in L.A." and contemporary websites such as Box Office Mojo report it grossing exactly $1 million less than the initial "Daily Variety" figure, with only $2.9 million, coming in fourth place. Whichever figure is used, the per screen total was higher than the other films in the top 10. The following weekend, it grossed $1,819,203 for a 10-day total of $5,569,334 (which New Line also reported in an advertisement), which indicates that the initial figure reported by "Daily Variety" was overstated. In the US, the film eventually made $30 million on a budget of $3 million.


text: Critical reaction of the film was mixed upon release, with some criticism in comparison to its predecessor. Janet Maslin of "The New York Times" praised the film, saying that it has "clever special effects, a good leading performance and a villain so chatty he practically makes this a human-interest story". The review also gave the lead performances positive reviews, noting, "Mr. Patton and Miss Myers make likable teen-age heroes, and Mr. Englund actually turns Freddy into a welcome presence. Clu Gulager and Hope Lange have some good moments as Jesse's parents, and Marshall Bell scowls ferociously as the coach who calls his charges "dirtballs" and who is eventually attacked by a demonic towel." "Variety" gave the film a positive review saying, "Episodic treatment is punched up by an imaginative series of special effects. The standout is a grisly chest-burster setpiece." In a negative review, "People" called the film a "tedious, humorless mess".


text: On review aggregator Rotten Tomatoes the film has an approval rating of 42% based on 31 reviews. The site's consensus is: "An intriguing subtext of repressed sexuality gives "Freddy's Revenge" some texture, but the "Nightmare" loses its edge in a sequel that lacks convincing performances or memorable scares." On Metacritic the film has a score of 43% based on reviews from 6 critics.


text: Film commentators have often remarked on the film's perceived homoerotic theme, claiming its subtext suggests Jesse is a repressed homosexual. They note, in particular, the scenes where he encounters his gym teacher at a fetish club, and his flight to a male friend's house after he attempts to make out with his girlfriend at her pool party. Further, actor Mark Patton, who plays Jesse, played a role so often written as female in the subgenre (such as in the first film) that it has become known as the "final girl". At the time of its release, one publication referred to it as "the gayest horror film ever". In the 21st century, it has become a cult film for gay audiences. On "", David Chaskin refers to a 2009 list on Cracked.com which lists "The 5 Most Unintentionally Gay Horror Movies", with "Freddy's Revenge" as number one, and states that "There is nothing logical that can explain the level of homoeroticism in this movie".


text: The book "Welcome to Our Nightmares: Behind the Scene with Today's Horror Actors" elaborates on the film's homoerotic subtext, stating that: "The film suggested an undertone of homosexuality, starting with the protagonist's gender-neutral name. Jesse's rarely fully clothed. He and a tormentor have a sweaty wrestling match. His coach, clad in leather, basically hits on him in a gay bar, then gets killed by Freddy, including a bare-ass spanking. Freddy emerges from Jesse's stomach in the same forced-birth technique that made the "Alien" films legendary."