title: The Basement Tapes

text: For a comprehensive list of the 1967 Basement Tapes session recordings, see List of Basement Tapes songs. See also List of Basement Tapes songs (1975).


title: The Basement Tapes

text: Note: The cassette version includes LP sides 1 and 2 on side 1, and LP sides 4 and 3 (in that order) on side 2.


title: The Basement Tapes

text: The art director/design consultant credited on the 1975 album was Bob Cato. The cover photograph for the 1975 album was taken by designer and photographer Reid Miles in the basement of a Los Angeles YMCA. It poses Dylan and the Band alongside characters suggested by the songs: a woman in a Mrs. Henry T-shirt, an Eskimo, a circus strongman and a dwarf who has been identified as Angelo Rossitto. Robertson wears a blue Mao-style suit, and Manuel wears an RAF flight lieutenant uniform. Michael Gray has identified musicians David Blue and Neil Young in the photograph. The identification of Young has been disputed by Bill Scheele who has written that Young was not present. Bill Scheele and his brother John Scheele worked with the Band from 1969 until 1976 and were present in the cover photo. Some photos by John Scheele of the 1975 Hollywood YMCA photo shoot were included in the book accompanying the 2014 release ""


title: The Basement Tapes

text: Columbia Records released "The Basement Tapes" on June 26, 1975. The album peaked at number seven on the "Billboard" Top LPs & Tape chart, and reached number eight in the UK. It was acclaimed by critics. John Rockwell of "The New York Times" hailed it as "one of the greatest albums in the history of American popular music." "Rolling Stone"s Paul Nelson called its contents "the hardest, toughest, sweetest, saddest, funniest, wisest songs I know". The review in "The Washington Post" declared, "He may perplex, irritate, and disappoint, but Dylan has to rank as the single greatest artist modern American pop music has produced." "The Basement Tapes" topped the "Voice"s Pazz & Jop Critics Poll. Robert Christgau, the poll's creator and supervisor, said the recordings sounded richer and stranger in 1975 than when they were made and concluded, "We don't have to bow our heads in shame because this is the best album of 1975. It would have been the best album of 1967, too."


title: The Basement Tapes

text: Criticism of the 1975 official release of "The Basement Tapes" has centered on two issues: the recordings by the Band on their own, and the selection of the Dylan songs. In his book about the basement sessions, Greil Marcus describes the album's contents as "sixteen basement recordings plus eight Band demos". Critic Michael Gray writes of the album, "The interspersed tracks by the Band alone merely disrupt the unity of Dylan material, much more of which should have been included. Key songs missing here include 'I Shall Be Released' and 'The Mighty Quinn. Heylin similarly argues that compiler Robbie Robertson did Dylan fans "a major disservice" by omitting those two songs as well as "I'm Not There" and "Sign On The Cross". He writes, "The album as released hardly gave a real idea of what they had been doing in Woodstock. Not even the two traditional songs pulled to the master reels—'Young But Daily Growin' and 'The Banks Of The Royal Canal'—made the final twenty-four cuts." Sasha Frere-Jones of "The New Yorker", on the other hand, said of the 1975 release that, in comparison to the complete recordings released in 2011, "Robertson, with some exceptions, knew which the good songs were" and was right to clean up the recordings.


title: The Basement Tapes

text: The authenticity of the 1975 album was questioned by a reviewer of the remastered version of the Band's "Music from Big Pink", issued in 2000. Dave Hopkins noted that "Katie's Been Gone", which appears as a bonus track on the "Big Pink" reissue, is the same recording that appeared on "The Basement Tapes", but now "in stereo and with improved sound quality beyond what the remastering process alone would provide". Hopkins declared, "The cat's out of the bag: 'Katie' and the other Band-only tracks on "The Basement Tapes" must have been intentionally muddied in the studio in 1975 so that they would fit better alongside the Dylan material recorded in the basement with a home reel-to-reel." Heylin also takes exception to Robertson's passing off the Band's songs as originating from the basement sessions. By including eight Band recordings to Dylan's sixteen, he says, "Robertson sought to imply that the alliance between Dylan and the Band was far more equal than it was: 'Hey, we were writing all these songs, doing our own thing, oh and Bob would sometimes come around and we'd swap a few tunes. Heylin asserts that "though revealing in their own right, the Band tracks only pollute the official set and reduce its stature."


title: The Basement Tapes

text: Barney Hoskyns describes "Heylin's objections [as] the academic ones of a touchy Dylanologist: "The Basement Tapes" still contained some of the greatest music either Dylan or the Band ever recorded." Sid Griffin similarly defends the inclusion of the Band's songs: Ain't No More Cane' may be included under false pretenses, but it is stirring stuff... And while a Dylan fan might understandably grumble that he wanted to hear another Bob song, a fan equally versed and interested more generally in late 20th-century American music would only smile and thank the Good Lord for the gift of this song." Of the Band's version of "Don't Ya Tell Henry", he writes, "True, the argument could be made that Robertson was way outside his brief in including this on the two-LP set, as this wasn't from Woodstock or '67, and has no Dylan on it... But it is a song from The Basement Tapes era and it swings like a randy sailor on shore leave in a bisexual bar. So give Robbie a break."


title: The Basement Tapes

text: By 1975, Dylan showed scant interest in the discographical minutiae of the recordings. Interviewed on the radio by Mary Travers, he recalled, "We were all up there sorta drying out... making music and watching time go by. So, in the meantime, we made this record. Actually, it wasn't a record, it was just songs which we'd come to this basement and recorded. Out in the woods..." Heylin has commented that Dylan seemed to "dismiss the work as unfinished therapy".


title: The Basement Tapes

text: Although "The Basement Tapes" reached the public in an unorthodox manner, officially released eight years after the songs were recorded, critics have assigned them an important place in Dylan's development. Michael Gray writes, "The core Dylan songs from these sessions actually do form a clear link between... two utterly different albums. They evince the same highly serious, precarious quest for a personal and universal salvation which marked out the "John Wesley Harding" collection—yet they are soaked in the same blocked confusion and turmoil as "Blonde on Blonde". 'Tears of Rage', for example, is an exact halfway house between, say, 'One of Us Must Know (Sooner or Later)' and 'I Dreamed I Saw St. Augustine.


title: The Basement Tapes

text: Singer-songwriter David Gray commented that the great achievement of "The Basement Tapes" is that Dylan found a way out of the anguish and verbal complexity that had characterized his mid-sixties albums such as "Blonde on Blonde": "It's the sound of Dylan letting his guard down. 'Clothes Line Saga' and all those ridiculous songs, he's obviously just making it all up, they were having such a great time. The sound of the Band is so antiquated like something out of the Gold Rush and Dylan fits in because he's this storyteller with an ancient heart. At the time everything he did was so scrutinized, yet somehow he liberated himself from all that and enjoyed making music again. You hear an unselfconscious quality on this record which you don't ever hear again." "He mocks his own inertia and impotence", writes critic Mike Marqusee, "but with a much gentler touch than in "Blonde on Blonde". In place of that album's strangled urgency, Dylan adopts a laconic humor, a deadpan tone that speaks of resignation and self-preservation in the face of absurdity and betrayal."


title: The Basement Tapes

text: Robert Shelton has argued that "The Basement Tapes" revolves around two sets of themes. One group of songs is "tinctured with the search for salvation": "I Shall Be Released" (on the demo, but not on the album), "Too Much of Nothing", "Nothing Was Delivered", "This Wheel's On Fire", "Tears of Rage" and "Goin' To Acapulco". Nothing' and 'nowhere' perplex and nag" in these songs, he writes. "The 'nothing' echoes the artist's dilemma: death versus life, vacuum versus harvest, isolation versus people, silence versus sound, the void versus the life-impulse." A second group, comprising "songs of joy, signaling some form of deliverance", includes most of the remaining songs in the collection.


title: The Basement Tapes

text: In his sleeve notes for the 1975 release of "The Basement Tapes", Greil Marcus wrote, "What was taking place as Dylan and the Band fiddled with the tunes, was less a style than a spirit—a spirit that had to do with a delight in friendship and invention." He compared the songs to fabled works of American music: "The Basement Tapes are a testing and a discovery of roots and memory... they are no more likely to fade than Elvis Presley's 'Mystery Train' or Robert Johnson's 'Love In Vain."


title: The Basement Tapes

text: In 1997, after listening to more than 100 basement recordings issued on various bootlegs, Marcus extended these insights into a book-length study, "Invisible Republic" (reissued in 2001 under the title "The Old, Weird America"). In it, he quotes Robertson's memory of the recording: "[Dylan] would pull these songs out of nowhere. We didn't know if he wrote them or if he remembered them. When he sang them, you couldn't tell." Marcus calls the songs "palavers with a community of ghosts... These ghosts were not abstractions. As native sons and daughters they were a community. And they were once gathered in a single place: on the "Anthology of American Folk Music"". A collection of blues and country music recorded in the 1920s and 1930s, the "Anthology"—compiled by Harry Smith and originally released by Folkways Records in 1952—was a major influence on the folk music revival of the 1950s and the 1960s. Marcus suggests that Dylan's "Basement Tapes" shared with Smith's "Anthology" a sense of alchemy, "and in the alchemy is an undiscovered country".


title: The Basement Tapes

text: While removed from the public's gaze, Dylan and the Band made music very different from the recordings of other major artists. Andy Gill writes, "Musically, the songs were completely at odds with what was going on in the rest of the pop world, which during the long, hot summer of 1967 was celebrating the birth of the hippie movement with a gaudy explosion of 'psychedelic' music—mostly facile paeans to universal love draped in interminable guitar solos." Patrick Humphries itemizes the ways in which Dylan's songs dissented from the dominant ethos of rock culture: "While the rock world vented its spleen on parents and leaders, Dylan was singing privately about parental fidelity. While George Harrison was testifying that life went on within and without you, Dylan was taking his potatoes down to be mashed. While Mick Jagger was 2,000 light years from home, Dylan was strapping himself to a tree with roots."


title: The Basement Tapes

text: This aspect of the basement recordings became obvious when Dylan chose to record his next album, "John Wesley Harding", in Nashville in late 1967. The songs on that record, according to Howard Sounes, revealed the influence of Dylan's daily reading of both the Bible and the Hank Williams songbook. And its sound came as a shock to other rock musicians. As producer Bob Johnston recalled, "Every artist in the world was in the studio trying to make the biggest-sounding record they possibly could. So what does [Dylan] do? He comes to Nashville and tells me he wants to record with a bass, drum and guitar." Dylan summed up the gap: "At that time psychedelic rock was overtaking the universe and we were singing these homespun ballads."


title: The Basement Tapes

text: When the Band began work on their debut album, "Music from Big Pink", in a New York studio in January 1968, they employed a recording technique similar to the one they had become familiar with during The Basement Tapes sessions. As Robertson described it, "We used the same kind of mike on everything. A bit of an anti-studio approach. And we realized what was comfortable to us was turning wherever we were into a studio. Like the Big Pink technique." That technique influenced groups including the Beatles, writes Griffin, who calls their Twickenham "Get Back" sessions in early 1969 an effort to record "in the honest, live, no frills, no overdubs, down home way that the Hawks/Band did for The Basement Tapes".


title: The Basement Tapes

text: "Listening to "The Basement Tapes" now, it seems to be the beginning of what is called Americana or alt.country," wrote Billy Bragg. "The thing about alt.country which makes it 'alt' is that it is not polished. It is not rehearsed or slick. Neither are "The Basement Tapes". Remember that "The Basement Tapes" holds a certain cultural weight which is timeless—and the best Americana does that as well." The songs' influence has been detected by critics in many subsequent acts. Stuart Bailie wrote, "If rock'n'roll is the sound of a party in session, The Basement Tapes were the morning after: bleary, and a bit rueful but dashed with emotional potency. Countless acts—Mercury Rev, Cowboy Junkies, Wilco, the Waterboys—have since tried to get back to that place."


title: The Basement Tapes

text: For Elvis Costello, "The Basement Tapes" "sound like they were made in a cardboard box. I think [Dylan] was trying to write songs that sounded like he'd just found them under a stone. As if they sound like real folk songs—because if you go back into the folk tradition, you will find songs as dark and as deep as these."


title: The Basement Tapes

text: In 2003, "Rolling Stone" magazine ranked "The Basement Tapes" number 291 on its list of the 500 greatest albums of all time, number 292 in a 2012 revised list, and number 335 in the magazine's 2020 list. In a special issue devoted to Dylan's work, "Q" magazine awarded the record five stars, its highest rating, commenting that "Dylan's work is by turns haunting, hilarious and puzzling—and all of it taps into centuries of American song".


title: The Basement Tapes

text: Hip hop group Public Enemy referenced the album in their 2007 Dylan tribute song "Long and Whining Road": "From basement tapes, beyond them dollars and cents / Changing of the guards spent, now where the hell the majors went?"


title: The Basement Tapes

text: Between 1985 and 2013, Columbia issued five additional 1967 recordings by Dylan from Big Pink: take 2 of "Quinn the Eskimo (The Mighty Quinn)" on "Biograph" in 1985, "I Shall Be Released" and "Santa-Fe" on "The Bootleg Series Volumes 1–3 (Rare & Unreleased) 1961–1991" in 1991, "I'm Not There (1956)" on the "I'm Not There" soundtrack in 2007, and "Minstrel Boy" on "The Bootleg Series Vol. 10 – Another Self Portrait (1969–1971)" in 2013. In the early 1970s, Dylan released new recordings of five compositions from The Basement Tape era: live performances of "Minstrel Boy" and "Quinn the Eskimo" from the Isle of Wight Festival on August 31, 1969, appeared on "Self Portrait", and October 1971 recordings with Happy Traum of "You Ain't Goin' Nowhere", "I Shall Be Released" and "Down in the Flood" appeared on "Bob Dylan's Greatest Hits Vol. II".


title: The Basement Tapes

text: In 2005, the Band compilation "A Musical History" was released, which includes the 1967 Woodstock Band recordings "Words and Numbers", "You Don't Come Through", "Caledonia Mission", "Ferdinand the Imposter" and "Will the Circle Be Unbroken". In 1968, the Band re-recorded "This Wheel's on Fire", "Tears of Rage", "I Shall Be Released" and "Caledonia Mission" in studios in New York and Los Angeles for "Music From Big Pink". Versions of other Band Basement Tape compositions, recorded in various locations between 1967 and possibly 1975, appear on "Across the Great Divide" and "A Musical History", and as bonus tracks on the 2000 reissues of "Music From Big Pink" and "Cahoots". Live versions by the Band of various Basement Tapes songs have also been issued: "I Shall Be Released" on "Before the Flood"; "Caledonia Mission" and "This Wheel's On Fire" on "Rock of Ages", with "I Shall Be Released", "Down in the Flood" and "Don't Ya Tell Henry" appearing on the album's 2001 reissue; "I Shall Be Released" on "The Last Waltz" and "This Wheel's On Fire" on the 2002 box set release of the album; "I Shall Be Released" and "Don't Ya Tell Henry" on "Live at Watkins Glen"; and "Ain't No Cane on the Brazos" recorded live at the Woodstock Festival in August 1969, on "Across the Great Divide".


title: The Basement Tapes

text: On March 31, 2009, Legacy Records issued a remastered version of the original 1975 "Basement Tapes" double album, which critics praised for its improved sound quality. According to reviewer Scott Hreha, there was "something about the remastering that makes it feel more like an official album—the earlier CD version’s weak fidelity unfairly emphasized the 'basement' nature of the recordings, where it now possesses a clarity that belies its humble and informal origins."


title: The Basement Tapes

text: In the early 1990s, a virtually complete collection of all of Dylan's 1967 recordings in Woodstock was released on a bootleg five-CD set, "The Genuine Basement Tapes". The collection, which contains over 100 songs and alternate takes, was later remastered and issued as the four-CD bootleg "A Tree With Roots". On November 4, 2014, Columbia/Legacy issued "", an official 6-CD box set containing 139 tracks which comprises nearly all of Dylan's basement recordings, including 30 never-bootlegged tracks. A companion 2-CD set containing highlights from the recordings, "The Basement Tapes Raw", was also released.


title: Ferdinand VI of Spain

text: Ferdinand VI (; 23 September 1713 – 10 August 1759), called the Learned ("el Prudente") and the Just ("el Justo"), was King of Spain from 9 July 1746 until his death. He was the third ruler of the Spanish Bourbon dynasty. He was the son of the previous monarch, Philip V, and his first wife Maria Luisa of Savoy.


title: Ferdinand VI of Spain

text: Ferdinand VI's reign proved peaceful, as he avoided involving of Spain in any European conflicts. Moderate changes to Spain were initiated under the king, including reforms of taxation, advance commerce, and the Spanish navy, as well as a ban on freemasonry. However, the last years of Ferdinand's reign were marked by mental instability, much like his direct predecessor Phillip V. Upon his death, Ferdinand was succeeded by his half-brother, Charles III.


title: Ferdinand VI of Spain

text: Born at the Royal Alcázar of Madrid, Ferdinand endured a lonely childhood. His stepmother, the domineering Elisabeth Farnese, had no affection except for her own children, and looked upon Ferdinand as an obstacle to their fortunes. The hypochondria of his father left Elisabeth mistress of the palace.


title: Ferdinand VI of Spain

text: Ferdinand was by temperament melancholic, shy and distrustful of his own abilities. When complimented on his shooting, he replied, "It would be hard if there were not something I could do." Shooting and music were his only pleasures, and he was the generous patron of the famous singer Farinelli, whose voice soothed his melancholy.


title: Ferdinand VI of Spain

text: Ferdinand was married in 1729 to Infanta Barbara of Portugal, daughter of John V of Portugal and Maria Anna of Austria.


title: Ferdinand VI of Spain

text: When Ferdinand came to the throne in 1746, Spain found itself in the War of the Austrian Succession, which ended with little benefit for Spain. He started his reign by eliminating the influence of his stepmother and her group of Italian courtiers. As king he followed a steady policy of neutrality in the conflict between France and Britain and refused to be tempted by the offers of either into declaring war on the other.


title: Ferdinand VI of Spain

text: Prominent figures during his reign were Marquis of Ensenada, a Francophile; and José de Carvajal y Lancáster, a supporter of the alliance with Great Britain. The fight between both ended in 1754 with the death of Carvajal and the fall of Ensenada, after which Ricardo Wall became the most powerful advisor to the monarch.


title: Ferdinand VI of Spain

text: The most important tasks during the reign of Ferdinand VI were carried out by the Marquis of Ensenada, the Secretary of the Treasury, Navy and Indies. He suggested that the state help modernize the country. To him, this was necessary to maintain a position of exterior strength so that France and Great Britain would consider Spain as an ally without supposing Spain's renunciation of its claim to Gibraltar.


title: Ferdinand VI of Spain

text: A new model of the Treasury was suggested by Ensenada in 1749. He proposed substitution of the traditional taxes with a special tax, the cadastre, that weighed the economic capacity of each contributor based on their property holdings. He also proposed a reduction of subsidies by the state to the Cortes and the army. The opposition by the nobility caused the abandonment of the project.


title: Ferdinand VI of Spain

text: In 1752, the bank Giro Real was created. It favored the transfer of public and private funds outside of Spain keeping all of the foreign exchanges in the hands of the Royal Treasury, enriching the State. It is considered the predecessor to the Bank of San Carlos, introduced during the reign of Charles III. Commerce was stimulated in the Americas, in an attempt to end the monopoly in the Indies and eliminate the injustices of colonial commerce. Ferdinand leaned toward registered ships rather than fleets of ships. The new system consisted of the substitution of the fleets and galleons so that a Spanish ship, previously authorized, could conduct trade freely in the Americas. This increased the revenues and decreased the fraud. Even so, this system provoked many protests among merchants in the private sector.


title: Ferdinand VI of Spain

text: According to Ensenada, a powerful navy was fundamental to power of an overseas empire and aspirations of being respected by France and Great Britain. He increased the navy's budget and expanded the capacity of the shipyards of Cádiz, Ferrol, Cartagena and Havana which marked a commitment to extending the naval policies already underway in his predecessor's reign.


title: Ferdinand VI of Spain

text: Church relations were really tense from start of the reign of Philip V because of the recognition of Charles of Austria as the king of Spain by the pope. A regalist policy was maintained that pursued as much political as fiscal objectives and whose decisive achievement was the Concord of 1753. From this the right of universal patronage was obtained from Pope Benedict XIV, giving important economic benefits to the Crown and a great control over the clergy.


title: Ferdinand VI of Spain

text: King Ferdinand helped create the Royal Academy of the Fine Arts of San Fernando in 1752. The noted composer Domenico Scarlatti, music teacher to Queen Barbara, wrote many of his 555 harpsichord sonatas at Ferdinand's court.


title: Ferdinand VI of Spain

text: In 1751, Ferdinand VI banned freemasonry in Spain, following papal condemnation in 1738. During the reign of his successor, Charles III, freemasonry would make its return to Spain in a number of small lodges.


title: Ferdinand VI of Spain

text: During the War of the Austrian Succession and the Seven Years' War, Spain reinforced its military might.


title: Ferdinand VI of Spain

text: The main conflict was its confrontation with Portugal over the colony of Sacramento, from which British contraband was transferred down the Río de la Plata. In 1750 José de Carvajal helped Spain and Portugal strike a deal. Portugal agreed to renounce the colony and its claim to free navigation down the Río de la Plata. In return, Spain ceded to Portugal two regions on the Brazilian border, one in the Amazon and the other to the south, in which were seven of the thirty Jesuit Guaraní towns. The Spanish had to expel the missionaries, generating a conflict with the Guaraní people that lasted eleven years.


title: Ferdinand VI of Spain

text: The conflict over the towns provoked a crisis in the Spanish Court. Ensenada, favorable to the Jesuits, and Father Rávago, confessor of the King and members of the Society of Jesus, were fired, accused of hindering the agreements with Portugal.


title: Ferdinand VI of Spain

text: During his last year of reign, Ferdinand VI was rapidly losing his mental capacity and he was held in the Villaviciosa de Odón castle until his death on 10 August 1759. That period of time between August 1758 and August 1759 is known in Spanish historiography as the year without a king, due to the absence of the royal figure as ruler. The cause of the disease is still debated.


title: Ferdinand VI of Spain

text: Some authors suggest that the king suffered a depressive episode. The death of his wife Barbara, who had been devoted to him, and who carefully abstained from political intrigue, broke his heart. Between the date of her death in August 1758 and his own on 10 August 1759, he fell into a state of prostration in which he would not even dress, but wandered unshaven, unwashed and in a nightgown about his park. Other opinion is that Ferdinand VI suffered a rapidly progressive clinical syndrome where behavioral disorganization with apathy and impulsivity, loss of judgment, and epileptic seizures of right frontal lobe semiology were predominant. This semiology is highly suggestive of a right frontal lobe syndrome.


title: Ferdinand VI of Spain

text: Historian Stanley G. Payne regards him positively, writing that "The great virtue of Fernando VI as ruler was that he kept Spain at peace and avoided further entanglement in European struggles". However, he also notes that "The last five years of Fernando VI, who ultimately lapsed into madness like his father, were a time of vacuity and inaction."


title: Ferdinand VI of Spain

text: A fictionalized version of Ferdinand VI appears in the 2011 adventure film "". In the film, after learning about the discovery of the Fountain of Youth, Ferdinand (portrayed by Sebastian Armesto) sends his most trusted agent, known only as "The Spaniard", to find and destroy the Fountain, because he saw it as the abomination in the eyes of God. Also, his residence, for unknown reasons, is situated in Cádiz, not in Madrid, the capital of Spain.


title: Super Size Me 2: Holy Chicken!

text: Super Size Me 2: Holy Chicken! is a 2017 American documentary film directed by Morgan Spurlock. A sequel to the 2004 film "Super Size Me", it explores the ways in which the fast food industry has rebranded itself as healthier since his original film through the process of Spurlock working to open his own fast-food restaurant, thus exposing some of the ways in which rebranding is more perception than reality.


title: Super Size Me 2: Holy Chicken!

text: The film opens with a series of news reels detailing the grand opening of a new fast food restaurant owned by Morgan Spurlock, best known for his documentary "Super Size Me" detailing the negative effects of eating exclusively at the fast food chain McDonalds for a month. Spurlock goes on to explain that six months prior to this grand opening, he had received an invite from the marketing agency for Carl's Jr. and Hardee’s proposing a commercial script where he goes to expose them as a bad fast food brand, only to discover they were "actually doing a lot of great things". Skeptical that fast food has improved in the 12 years since his original documentary, when many of the health issues faced then are still prominent, Spurlock wants to learn more. Rather than go on another fast food binge, he decides to "become part of the problem" by opening his own fast food chain in order to find the truth.


title: Super Size Me 2: Holy Chicken!

text: After consulting with CCD Innovation on a business model, Spurlock discovers that the "Big Chicken" industry has made it hard to purchase live chickens to raise on a chicken farm. He learns that the five major chicken producers are Tyson Foods, Pilgrim's Pride, Sanderson Farms, Koch Foods, and Perdue Farms.


title: Super Size Me 2: Holy Chicken!

text: Spurlock discusses the National Chicken Council with a farmer. Near the end of the movie, he opens his own chicken sandwich restaurant in Columbus, Ohio. He labels his restaurant "Holy Chicken."


title: Super Size Me 2: Holy Chicken!

text: At the 2017 Toronto International Film Festival, where it premiered on September 8, 2017, the film was second runner-up for the . Following its premiere, YouTube announced they had purchased distribution rights to the film to stream on YouTube Red for $3.5 million. In December 2017, YouTube Red temporarily dropped the film after Spurlock admitted to previous instances of sexual misconduct and harassment. The production company Warrior Poets also announced that the film was being pulled from the 2018 Sundance Film Festival. Samuel Goldwyn Films released the film in theaters on September 6, 2019, and released it on VOD a week later. It was also restored on YouTube, along with its predecessor, as part of the new YouTube Movies service under the "Free To Watch" category.


title: Super Size Me 2: Holy Chicken!

text: On Rotten Tomatoes, the film has an approval rating of 74%, based on 34 reviews, with an average rating of 7.17/10. The website's consensus reads, ""Super Size Me 2: Holy Chicken!" may not be as filling as its predecessor, but it still manages to offer a moderately enriching overview of unsavory industry practices." On Metacritic, the film has a score of 61 out of 100, based on 13 critics, indicating "generally favorable reviews".


title: E. G. Marshall

text: E. G. Marshall (born Everett Eugene Grunz; June 18, 1914 – August 24, 1998) was an American actor, best known for his television roles as the lawyer Lawrence Preston on "The Defenders" in the 1960s and as neurosurgeon David Craig on "" in the 1970s. One of the first group selected for the new Actors Studio, by 1948 he had performed in major plays on Broadway.


title: E. G. Marshall

text: Among his film roles Marshall is perhaps best known as the unflappable and analytical Juror 4 in Sidney Lumet's courtroom drama "12 Angry Men" (1957). He played the President of the United States in "Superman II" (1980), and Nazi collaborator Henri Denault on the CBS prime-time drama "Falcon Crest" in 1982. Marshall was also known as the host of the radio drama series, "CBS Radio Mystery Theater" (1974–82).


title: E. G. Marshall

text: Marshall was born Everett Eugene Grunz in Owatonna, Minnesota, the son of Hazel Irene (née Cobb) and Charles G. Grunz. His paternal grandparents were German immigrants. During his life, he chose not to reveal what "E. G." stood for, saying that it stood for "Everybody's Guess." The U.S. Social Security Claims Index states that he was listed with the Social Security Administration in Jun 1937 as Everett Eugene Grunz, and in December 1975 as E.G. Marshall.


title: E. G. Marshall

text: Marshall claimed in interviews in later life to have attended both Carleton College and the University of Minnesota, but there is no evidence that he ever attended either institution, or had attended college at all.


title: E. G. Marshall

text: He took the surname "Marshall" for his acting career. Although most familiar for his later television and movie roles, which gained wide audiences, Marshall also had a distinguished Broadway career. In 1948, having already performed in the original New York productions of "The Skin of Our Teeth" and "The Iceman Cometh", Marshall joined Marlon Brando, Montgomery Clift, Julie Harris, Kim Stanley, and 45 others to make up the first group of actors granted membership in the newly formed Actors Studio. In subsequent years, he landed the leading roles in "The Crucible" and "Waiting for Godot".


title: E. G. Marshall

text: In 1973, he returned to the live stage to play the title role in a well-received production of "Macbeth" at the Virginia Museum Theatre in Richmond, Virginia, under the direction of Keith Fowler. The production was highly praised by the "New York Times". From January 1974 until February 1982, Marshall was an occasional participant and the original host of the popular nightly radio drama, "The CBS Radio Mystery Theater".


title: E. G. Marshall

text: Marshall was selected as a Fellow of the American Bar Association and an officer of the American Judicature Society, a national organization of judges, lawyers, and lay persons devoted to promoting the effective administration of justice.


title: E. G. Marshall

text: Marshall was married twice, in 1931 to Helen Wolf (divorced 1953) and then to Judith Coy. He had a total of five children: Jed, Sarah, Jill, Degen, and Sam.


title: E. G. Marshall

text: As a member of the Committee for National Health Insurance, Marshall was a long-time advocate of government-provided health care in the United States. During the 1968 United States presidential campaign, he filmed and narrated a political advertisement endorsing Democratic candidate Hubert Humphrey.


title: E. G. Marshall

text: Marshall died of lung cancer in Bedford, New York, on August 24, 1998, at age 84. He was buried at Middle Patent Rural Cemetery, in the hamlet of Banksville, within the Town of North Castle, New York.


title: Eucalyptus globulus

text: Eucalyptus globulus, commonly known as southern blue gum or blue gum, is a species of tall, evergreen tree endemic to southeastern Australia. This "Eucalyptus" species has mostly smooth bark, juvenile leaves that are whitish and waxy on the lower surface, glossy green, lance-shaped adult leaves, glaucous, ribbed flower buds arranged singly or in groups of three or seven in leaf axils, white flowers and woody fruit.


title: Eucalyptus globulus

text: There are four subspecies, each with a different distribution across Australia, occurring in New South Wales, Victoria and Tasmania. The subspecies are the Victorian blue gum, Tasmanian blue gum, Maiden's gum, and Victorian eurabbie.


title: Eucalyptus globulus

text: "Eucalyptus globulus" is a tree that typically grows to a height of but may sometimes only be a stunted shrub, or alternatively under ideal conditions can grow as tall as , and forms a lignotuber. The bark is usually smooth, white to cream-coloured but there are sometimes slabs of persistent, unshed bark at the base. Young plants, often several metres tall, and coppice regrowth have stems that are more or less square in cross-section with a prominent wing on each corner. Juvenile leaves are mostly arranged in opposite pairs, sessile, glaucous elliptic to egg-shaped, up to long and wide. Adult leaves are arranged alternately, the same glossy to dark green on both sides, lance-shaped or curved, long and wide on a petiole long. The flower buds are arranged singly or in groups of three or seven in leaf axils, sometimes sessile or on a short thick peduncle. The individual buds are also usually sessile, sometimes on a pedicel up to long. Mature buds are top-shaped to conical, glaucous or green, with a flattened hemispherical, warty operculum with a central knob. Flowering time varies with subspecies and distribution but the flowers are always white. The fruit is a woody conical or hemispherical capsule with the valves close to rim level.


title: Eucalyptus globulus

text: "Eucalyptus globulus" was first formally described in 1800 by the French botanist Jacques Labillardière in his book, "Relation du Voyage à la Recherche de la Pérouse". Labillardière collected specimens at Recherche Bay during the d'Entrecasteaux expedition in 1792.


title: Eucalyptus globulus

text: The d'Entrecasteaux expedition made immediate use of the species when they discovered it, the timber being used to improve their oared boats. The Tasmanian blue gum was proclaimed as the floral emblem of Tasmania on 27 November 1962. The species name is from the Latin "globulus", a little ball or small sphere, referring to the shape of the fruit.


title: Eucalyptus globulus

text: In 1974, James Barrie Kirkpatrick described four subspecies and the names have been accepted by the Australian Plant Census. Each subspecies has a characteristic arrangement of its flower buds:


title: Eucalyptus globulus

text: Blue gum grows in forests in New South Wales, Victoria and Tasmania, including some of the Bass Strait Islands. Subspecies "bicostata" occurs in montane and tableland areas between the Carrai Plateau in northern New South Wales and the Pyrenees in Victoria. Subspecies "globulus" is mainly found in lowland parts of Tasmania, but is also found on some Bass Strait islands including King Island, and in the extreme south-west of Victoria. Subspecies "maidenii" occurs on near-coastal ranges of south-eastern New South Wales and eastern Victoria. Subspecies "pseudoglobulus" is mostly distributed in eastern Gippsland but there are isolated populations further inland and in the Nadgee Nature Reserve in south-eastern New South Wales.


title: Eucalyptus globulus

text: There are naturalised non-native occurrences in Spain and Portugal, and other parts of southern Europe incl. Cyprus, southern Africa, New Zealand, western United States (California), Hawaii, Macaronesia,


title: Eucalyptus globulus

text: They typically grow from tall. There are historical claims of even taller trees with Robert Edwards Carter Stearns claiming that when he was alive, they were capable of growing to 400 feet. While this claim is often regarded as being exaggerated, the environmentalist Jared Diamond argues in favor of this claim, stating that such trees were likely cut down during the colonization of Australia by the English. Tasmanian D. W. Lewin claimed that the tallest was .


title: Eucalyptus globulus

text: Blue gum is one of the most extensively planted eucalypts. Its rapid growth and adaptability to a range of conditions is responsible for its popularity. It is especially well-suited to countries with a Mediterranean-type climate, but also grows well in high altitudes in the tropics.


title: Eucalyptus globulus

text: In about 1860 Francis Cook planted the tree on Monserrate Palace, his property at Sintra in Portugal and within twenty years it had attained the height of 100 m and a circumference of 5 m. By 1878 the tree ″had spread from one end of Portugal to the other″. In 1878 the tree was also planted, partly on Cook's recommendation, in Galway, Ireland to reclaim ″useless bog land″.


title: Eucalyptus globulus

text: "E. globulus" begun to be planted as plantations in Los Lagos and Los Ríos regions of Chile in the 1990s. However at these latitudes around the 40th parallel south the tree is at the southern border of the climatic conditions where it can grow, hence good growth in this part of southern Chile requires good site selection such as sunny north-facing slopes. Some of these plantations grow on red clay soil.


title: Eucalyptus globulus

text: Blue gum timber is yellow-brown, fairly heavy, with an interlocked grain, and is difficult to season. It has poor lumber qualities due to growth stress problems, but can be used in construction, fence posts and poles.


title: Eucalyptus globulus

text: The leaves are steam distilled to extract eucalyptus oil. "E. globulus" is the primary source of global eucalyptus oil production, with China being the largest commercial producer. The oil has therapeutic, perfumery, flavoring, antimicrobial and biopesticide properties. Oil yield ranges from 1.0-2.4% (fresh weight), with cineole being the major isolate. "E. globulus" oil has established itself internationally because it is virtually phellandrene free, a necessary characteristic for internal pharmaceutical use. In 1870, Cloez identified and ascribed the name "eucalyptol" — now more often called cineole — to the dominant portion of "E. globulus" oil.


title: Eucalyptus globulus

text: "E. globulus" bark contains quinic, dihydroxyphenylacetic and caffeic acids, bis(hexahydroxydiphenoyl (HHDP))-glucose, galloyl-bis(HHDP)-glucose, galloyl-HHDP-glucose, isorhamentin-hexoside, quercetin-hexoside, methylellagic acid (EA)-pentose conjugate, myricetin-rhamnoside, isorhamnetin-rhamnoside, mearnsetin, phloridzin, mearnsetin-hexoside, luteolin and a proanthocyanidin B-type dimer, digalloylglucose and catechin. The hydrolyzable tannins tellimagrandin I, eucalbanin C, 2-O-digalloyl-1,3,4-tri-O-galloyl-β-D-glucose, 6-O-digalloyl-1,2,3-tri-O-galloyl-β-D-glucose, as well as gallic acid and (+)-catechin can also be isolated.


title: Eucalyptus globulus

text: Tricetin is a rare flavone aglycone found in the pollen of members of the Myrtaceae, subfamily Leptospermoideae, such as "E. globulus".


title: Zero-width space

text: The zero-width space , abbreviated ZWSP, is a non-printing character used in computerized typesetting to indicate word boundaries to text-processing systems in scripts that do not use explicit spacing, or after characters (such as the slash) that are not followed by a visible space but after which there may nevertheless be a line break. It is also used with languages without visible space between words, for example, Japanese. Normally, it is not a visible separation, but it may expand in passages that are fully justified.


title: Zero-width space

text: In HTML pages, the zero-width space can be used to mark a potential line break "without" hyphenation, as can the HTML element codice_1; for hyphenated line breaks, a soft hyphen is used. The zero-width space was not supported in some older web browsers.


title: Zero-width space

text: To show the effect of the zero-width space, the following words have been separated with zero-width spaces:


title: Zero-width space

text: On browsers supporting zero-width spaces, resizing the window will re-break the first text only at word boundaries, while the second text will not be broken at all.


title: Zero-width space

text: ICANN rules prohibit domain names from including non-displayed characters such as zero-width space, and most browsers prohibit their use within domain names because they can be used to create a homograph attack, where a malicious URL is visually indistinguishable from a legitimate one.


title: Zero-width space

text: The zero-width space character is encoded in Unicode as , and input in HTML as , or . Contrary to what their names suggest, the character entities codice_2, codice_3, codice_4, and codice_5 also refer to the zero-width space.


title: Zero-width space

text: The TeX representation is ; the LaTeX representation is codice_6; and the groff representation is codice_7.


title: Zero-width space

text: Its semantics and HTML implementation are similar to the soft hyphen, except that soft hyphens display a hyphen character at the point where the line is broken.


title: Celesta

text: The celesta or celeste , also called a bell-piano, is a struck idiophone operated by a keyboard. It looks similar to an upright piano (four- or five-octave), albeit with smaller keys and a much smaller cabinet, or a large wooden music box (three-octave). The keys connect to hammers that strike a graduated set of metal (usually steel) plates or bars suspended over wooden resonators. Four- or five-octave models usually have a damper pedal that sustains or damps the sound. The three-octave instruments do not have a pedal because of their small "table-top" design. One of the best-known works that uses the celesta is Pyotr Ilyich Tchaikovskys "Dance of the Sugar Plum Fairy" from "The Nutcracker".


title: Celesta

text: The sound of the celesta is similar to that of the glockenspiel, but with a much softer and more subtle timbre. This quality gave the instrument its name, "celeste", meaning "heavenly" in French. The celesta is often used to enhance a melody line played by another instrument or section. The delicate, bell-like sound is not loud enough to be used in full ensemble sections; as well, the celesta is rarely given standalone solos.


title: Celesta

text: The celesta is a transposing instrument; it sounds one octave higher than the written pitch. Instruments of different sizes exist with ranges of three to five and a half octaves. Its four-octave sounding range is generally considered to be C to C. The fundamental frequency of 4186 Hz makes this one of the highest pitches in common use. The original French instrument had a five-octave range, but because the lowest octave was considered somewhat unsatisfactory, it was omitted from later models. The standard French four-octave instrument is now gradually being replaced in symphony orchestras by a larger, five-octave German model. Although it is a member of the percussion family, in orchestral terms it is more properly considered a member of the keyboard section and usually played by a keyboardist. The celesta part is normally written on two braced staves, called a grand staff.


title: Celesta

text: The celesta was invented in 1886 by the Parisian harmonium builder . His father, Charles Victor Mustel, had developed the forerunner of the celesta, the typophone, in 1860. This instrument produced sound by striking tuning forks instead of the metal plates that would be used in the celesta. The dulcitone functioned identically to the typophone and was developed concurrently in Scotland; it is unclear whether their creators were aware of one another's instrument. The typophone/dulcitone's uses were limited by its low volume, too quiet to be heard in a full orchestra.


title: Celesta

text: Pyotr Ilyich Tchaikovsky is usually cited as the first major composer to use this instrument in a work for full symphony orchestra. He first used it in his symphonic poem "The Voyevoda", Op. posth. 78, premiered in November 1891. The following year, he used the celesta in passages in his ballet "The Nutcracker" (Op. 71, 1892), most notably in the "Dance of the Sugar Plum Fairy", which also appears in the derived "Nutcracker Suite", Op. 71a. However, Ernest Chausson preceded Tchaikovsky by employing the celesta in December 1888 in his incidental music, written for a small orchestra, for "La tempête" (a French translation by Maurice Bouchor of William Shakespeare's "The Tempest").


title: Celesta

text: The celesta is also notably used in Gustav Mahler's Symphony No. 6, particularly in the 1st, 2nd and 4th movements, in his Symphony No. 8 and "Das Lied von der Erde". Karol Szymanowski featured it in his Symphony No. 3. Gustav Holst employed the instrument in his 1918 orchestral work "The Planets", particularly in the final movement, "Neptune, the Mystic". It also features prominently in Béla Bartók's 1936 "Music for Strings, Percussion and Celesta". Ottorino Respighi included it in a number of his works, particularly the "Roman triptych" of tone poems. George Gershwin included a celesta solo in the score to "An American in Paris". Ferde Grofe also wrote an extended cadenza for the instrument in the third movement of his "Grand Canyon Suite". Dmitri Shostakovich included parts for celesta in seven out of his fifteen symphonies, with a notable use in the fourth symphony's coda.


title: Celesta

text: Twentieth-century American composer Morton Feldman used the celesta in many of his large-scale chamber pieces such as "Crippled Symmetry" and "For Philip Guston", and it figured in much of his orchestral music and other pieces. In some works, such as "Five Pianos" one of the players doubles on celesta.


title: Celesta

text: The celesta is used in Carl Orff's cantata "Carmina Burana" (1936), and in some 20th-century operas such as the Silver Rose scene in "Der Rosenkavalier" (1911).


title: Celesta

text: Since Earl Hines took it up in 1928, other jazz pianists have occasionally used the celesta as an alternative instrument. In the 1930s, Fats Waller sometimes played celesta with his right hand and piano simultaneously with his left hand. Other notable jazz pianists who occasionally played the celesta include Memphis Slim, Meade "Lux" Lewis, Willie "The Lion" Smith, Art Tatum, Duke Ellington, Thelonious Monk, Buddy Greco, Oscar Peterson, McCoy Tyner, Sun Ra, Keith Jarrett, and Herbie Hancock. A celesta provides the introduction to "Someday You'll Be Sorry", a song Louis Armstrong recorded for RCA, and is featured prominently throughout the piece. A celesta is used by the pianist Russ Freeman on tracks from Chet Baker Sings (such as "My Ideal" and "I Get Along Without You Very Well (Except Sometimes)"). A number of recordings Frank Sinatra made for Columbia in the 1940s feature the instrument (for instance "I'll Never Smile Again"), as do many of his albums recorded for Capitol in the 1950s ("In the Wee Small Hours", "Close to You" and "Songs for Swingin' Lovers").


title: Celesta

text: Icelandic band Sigur Rós included celesta on their album "Takk...", as did lead singer Jónsi on "Go Quiet", the acoustic version of his solo album "Go". Steven Wilson also uses it on various tracks in his solo works.


title: Celesta

text: Bruce Springsteen and the E Street Band used a celesta heavily in their early days, with Danny Federici often playing a Jenco Celestette in the band's live performances throughout the 1970s and 80s.


title: Celesta

text: The band A-ha used, among other instruments, a Jenco celesta during their performances, recorded and released in 2017.


title: Celesta

text: The celesta has been common in cinema for decades. In addition to supplementing numerous soundtrack orchestrations for films of the 1930s, 1940s and 1950s, the celesta has occasionally been spotlighted to invoke a whimsical air. For example, in "Pinocchio" (1940), a small motif on the celesta is used whenever the Blue Fairy appears out of thin air or performs magic. Celesta also provides the signature opening of "Pure Imagination", a song (sung by Gene Wilder) from the 1971 film "Willy Wonka & the Chocolate Factory". Composer John Williams's scores for the first three Harry Potter films feature the instrument, particularly in the first two films' frequent statements of "Hedwig's Theme".


title: Celesta

text: Another notable use of the celesta was in the music on the children's television series "Mister Rogers' Neighborhood". It was most famously heard in the intro to the theme song of the programme, "Won't You Be My Neighbor", which began with a dreamy sequence on the instrument. The song was sung by Fred Rogers and played by Johnny Costa. It was also used from time to time in other music sequences throughout the programme, such as the one heard as the Neighborhood Trolley moved in and out of the Neighborhood of Make Believe.


title: Celesta

text: A celesta is used in the full orchestral version of the theme song from the TV series" The West Wing", composed by W. G. Snuffy Walden.


title: Celesta

text: Schiedmayer and Yamaha are the only companies currently making celestas. Other known manufacturers that made celestas in the past include:


title: Celesta

text: If an ensemble or orchestra lacks a celesta, a piano, synthesizer, or sampler and electronic keyboards are often used as a substitute.


title: Farooq Ahmed Dar

text: Farooq Ahmed Dar known by his nom de guerre Bitta Karate, is a Kashmiri-separatist militant, who currently serves as the chairman of the Jammu Kashmir Liberation Front (R) in the Kashmir Valley of Jammu and Kashmir, India.


title: Farooq Ahmed Dar

text: Dar has admitted on camera to the killing of multiple Kashmiri Hindu Pandits during the 1990 Kashmir insurgency leading up to the exodus of Kashmiri Pandits. He however later claimed that he hadn't killed any Pandits and that the statement was made under duress. He was imprisoned from 1990 until 2006 under terrorism-related charges before being released on bail. He was arrested again in 2019 for financing terrorism.


title: Farooq Ahmed Dar

text: Dar was born on 1st January, 1973 in the Guru Bazar neighbourhood of the city of Srinagar in the Kashmir Valley of Jammu and Kashmir, India into a Kashmiri Muslim family of the Dar clan. While "Bitta" was his pet name, he was given the suffix "Karate" because of his mastery in martial arts. Dar used to work for his family business until he left his home to become a militant in his early 20s. He became infamous during the militancy of the 1990s.


title: Farooq Ahmed Dar

text: In 1988, Farooq Ahmed Dar was taken across the LoC to Pakistan-administered Kashmir by the then JKLF chief commander Ashfaq Majeed Wani for armed training. Dar was blindfolded and then taken to Pakistan-administered Kashmir along with other "trainees" where they received 32-day armed training.


title: Farooq Ahmed Dar

text: Farooq Ahmad Dar operated as a militant of the Jammu Kashmir Liberation Front and participated in the militant activities.


title: Farooq Ahmed Dar

text: He has admitted on camera to have killed over 20 Kashmiri Pandits. His first victim was a young businessman, Satish Kumar Tickoo, whom Dar knew and often took a lift from. Tickoo was called out of his house and shot to be killed on 2 February 1990.


title: Farooq Ahmed Dar

text: He apparently used to get orders (for execution) from Ashfaq Majeed Wani or other superiors in the JKLF.


title: Farooq Ahmed Dar

text: According to Kashmiri Muslim sources in downtown Kashmir, Dar would walk armed on the streets of Srinagar in search of Kashmiri Pandits and on spotting, he would take out his pistol and shoot at them. He used pistols to kill civilians and AK-47 to attack and fire at Indian Security Forces. He admitted to killing at least 20 people in 1990 during the insurgency. According to the convener of Panun Kashmir, he had admitted to killing 42 Kashmiri Pandits. Dar later claimed that he hadn't killed any Pandits and that the statement was made under duress.


title: Farooq Ahmed Dar

text: Farooq Ahmed Dar, along with two of his associates, was arrested by Border Security Force on 22 June 1990 from Srinagar. He was arrested and detained under the Public Safety Act and had 19 cases against him. He remained under detention for 16 years and was released on indefinite bail in October 2006. Dar was detained in various prisons across India. He served time in Kot Bhalwal Jail in Jammu, District Jail in Kathua, Central Jail in Jodhpur, Central Jail in Agra etc.


title: Farooq Ahmed Dar

text: On 23 October 2006, a court enforcing Terrorist and Disruptive Activities (Prevention) Act (TADA court) in Jammu granted bail to Dar and he was handed over to his family on 25 October 2006. He was initially granted bail for four months against a bail bond and personal surety of each. Dar was released after spending 16 years in jail. His detention under the Public Safety Act was quashed by the Supreme Court of India before his release from jail. His release was condemned by several Kashmiri Pandit organizations. Dar got a warm reception from his supporters in Kashmir. Large number of supporters assembled at his house where flower petals and confetti was showered on him. Then, Dar was taken out in a procession to an Eidgah where prayers were offered.


title: Farooq Ahmed Dar

text: Upon release from detention, Dar joined the Jammu Kashmir Liberation Front (R) where he worked his way up to become its chairman.


title: Farooq Ahmed Dar

text: The National Investigation Agency (NIA) arrested him again in 2019 on charges of terror funding. NIA has charged Dar, Sayeed Salahudeen, and others of "conspiring to wage war against the government" and fomenting trouble in the Kashmir Valley. His co-accused is the Hizbul Mujahideen's head Sayeed Salahudeen.


title: Kaadan

text: Kaadan () in Tamil, Aranya () in Telugu, and Haathi Mere Saathi in Hindi (), is a 2021 Indian action adventure film written and directed by Prabhu Solomon. Produced by Eros International, the film stars Rana Daggubati, Vishnu Vishal (Tamil and Telugu), Pulkit Samrat (Hindi), Shriya Pilgaonkar, and Zoya Hussain. It was filmed simultaneously in Tamil, Telugu, and Hindi languages, each with slightly different cast members.


title: Kaadan

text: "Kaadan" and "Aranya" were released on 26 March 2021, delayed from the initial release of 2 April 2020 due to the COVID-19 pandemic. The theatrical release of "Haathi Mere Saathi" was put on hold which subsequently opted for a direct-to-video release on Zee Cinema and Eros Now on 18 September 2021. The film was promoted as a comic strip by famous children's magazine, Tinkle as Little Bandev.


title: Kaadan

text: Kaadan (Tamil)/Aranya (Telugu)/Bandev (Hindi) is a true-blue animal film signifying a deep and strong bond between humans and animals.


title: Kaadan

text: The film was announced on 13 December 2017. Prabhu Solomon wanted to bring the issue of elephant abuse to the light. Unnikrishnan, an elephant who played a role in "Kumki 2", also plays a pivotal role in the film. Hindi actress Zoya Hussain was signed to play a role. Rana Daggubati shed 15 kilograms for this film by eating vegetarian food for six weeks. The makers initially announced Kalki Koechlin to play a role in the film, however, she was replaced by Shriya Pilgaonkar. Vishnu Vishal was signed to play a role in the Tamil and Telugu versions while Pulkit Samrat will reprise his role in the Hindi version.


title: Kaadan

text: Initially scheduled for release on 2 April 2020, the film release was then indefinitely postponed due to the COVID-19 pandemic, before being rescheduled to be released on 15 January 2021 to coincide with Pongal festival. In January 2021, the film has been announced to release on 26 March 2021.


title: Kaadan

text: In March 2021, owing to the COVID-19 situation, the release of Hindi version "Haathi Mere Saathi" has been postponed. Tamil and Telugu versions, however, are released as scheduled. The Hindi version is set to have a direct-to-video release on the television channel Zee Cinema followed by the streaming platform Eros Now on 18 September 2021. The satellite rights of the film were sold to Zee Tamil for Tamil Version and Telugu version was sold to Zee Telugu


title: Kaadan

text: The music for the film has been composed by Shantanu Moitra and lyrics written by Swanand Kirkire (Hindi version) and Vanamali (Tamil and Telugu versions).


title: Kaadan

text: "The Times of India" critic Suhas Yelupantla rated the film 3.5 stars of 5 and calling it an "engaging ride." He added that, "The first few minutes of the film are among the best. The visual effects, backed by the background score is spot on. The portrayal of the elephants is even better."


title: Kaadan

text: Sangeetha Devi Dundoo of "The Hindu" felt that the film could have been better, and added "Rana singularly tries to hold things together, trying to save the elephants as well as the film." Hemanth Kumar, in his review for the "Firstpost", also echoed the same, stating that: "Rana Daggubati's film on ecosystem conservation, is educational but exceptionally insipid." "The Indian Express" journalist Manoj Kumar rated the film 2/5 and called it "sub-standard." He added that "Aranya" was redeemed by its cinematography, Resul Pookutty's sound design, and Daggubati's acting."


title: Kaadan

text: A reviewer from "Sify" called it a "noble attempt." They termed "Rana and his earnest performance as Kaadan" and "AR Ashok Kumar's splendid cinematography" as the film's main highlights. Haricharan Pudipeddi of "Hindustan Times" opined that the film was predictable and added: "its grandeur merely used as a gimmick to project the film on epic scale." Pudipeddi appreciated Daggubati's performance, calling it "one of his best till date." M. Sugandh in his "The Times of India" review wrote: "Prabu Solomon is more interested in telling us a story. It is only in the climax that the filmmaker starts to sermonise, which feels unnecessary given that we get the movie's 'message' even without the need for any underscoring."


title: Kaadan

text: NDTV Saibal Chatarjee rated the film 2/5 and opined that the film rode on Daggubati's shoulders. He added that Solomon delivered the message on increasing deforestation in a gratuitously high-pitched manner, completely devoid of nuance. Writing for the "Rediff.com", Sukanya Verma gave a negative review and said: "Between bad writing, hysterical acting and a shoddy blend of CGI and the real deal, "Haathi Mere Saathi" completely neglects the message of saving our elephants."


title: Vocoder

text: A vocoder (, a portmanteau of "voice" and "encoder") is a category of speech coding that analyzes and synthesizes the human voice signal for audio data compression, multiplexing, voice encryption or voice transformation.


title: Vocoder

text: The vocoder was invented in 1938 by Homer Dudley at Bell Labs as a means of synthesizing human speech. This work was developed into the channel vocoder which was used as a voice codec for telecommunications for speech coding to conserve bandwidth in transmission.


title: Vocoder

text: By encrypting the control signals, voice transmission can be secured against interception. Its primary use in this fashion is for secure radio communication. The advantage of this method of encryption is that none of the original signal is sent, only envelopes of the bandpass filters. The receiving unit needs to be set up in the same filter configuration to re-synthesize a version of the original signal spectrum.


title: Vocoder

text: The vocoder has also been used extensively as an electronic musical instrument. The decoder portion of the vocoder, called a voder, can be used independently for speech synthesis.


title: Vocoder

text: The human voice consists of sounds generated by the opening and closing of the glottis by the vocal cords, which produces a periodic waveform with many harmonics. This basic sound is then filtered by the nose and throat (a complicated resonant piping system) to produce differences in harmonic content (formants) in a controlled way, creating the wide variety of sounds used in speech. There is another set of sounds, known as the unvoiced and plosive sounds, which are created or modified by the mouth in different fashions.


title: Vocoder

text: The vocoder examines speech by measuring how its spectral characteristics change over time. This results in a series of signals representing these frequencies at any particular time as the user speaks. In simple terms, the signal is split into a number of frequency bands (the larger this number, the more accurate the analysis) and the level of signal present at each frequency band gives the instantaneous representation of the spectral energy content. To recreate speech, the vocoder simply reverses the process, processing a broadband noise source by passing it through a stage that filters the frequency content based on the originally recorded series of numbers.


title: Vocoder

text: Specifically, in the encoder, the input is passed through a multiband filter, then the output of each band is measured using an envelope follower, and the signals from the envelope followers are transmitted to the decoder. The decoder applies these as control signals to corresponding amplifiers of the output filter channels.


title: Vocoder

text: Information about the instantaneous frequency of the original voice signal (as distinct from its spectral characteristic) is discarded; it was not important to preserve this for the vocoder's original use as an encryption aid. It is this dehumanizing aspect of the vocoding process that has made it useful in creating special voice effects in popular music and audio entertainment.


title: Vocoder

text: Instead of a point-by-point recreation of the waveform, the vocoder process sends only the parameters of the vocal model over the communication link. Since the parameters change slowly compared to the original speech waveform, the bandwidth required to transmit speech can be reduced. This allows more speech channels to utilize a given communication channel, such as a radio channel or a submarine cable.


title: Vocoder

text: Analog vocoders typically analyze an incoming signal by splitting the signal into multiple tuned frequency bands or ranges. To reconstruct the signal, a carrier signal is sent through a series of these tuned bandpass filters. In the example of a typical robot voice the carrier is noise or a sawtooth waveform. There are usually between 8 and 20 bands.


title: Vocoder

text: The amplitude of the modulator for each of the individual analysis bands generates a voltage that is used to control amplifiers for each of the corresponding carrier bands. The result is that frequency components of the modulating signal are mapped onto the carrier signal as discrete amplitude changes in each of the frequency bands.


title: Vocoder

text: Often there is an unvoiced band or sibilance channel. This is for frequencies that are outside the analysis bands for typical speech but are still important in speech. Examples are words that start with the letters "s", "f", "ch" or any other sibilant sound. Using this band produces recognizable speech, although somewhat mechanical sounding. Vocoders often include a second system for generating unvoiced sounds, using a noise generator instead of the fundamental frequency. This is mixed with the carrier output to increase clarity.


title: Vocoder

text: In the channel vocoder algorithm, among the two components of an analytic signal, considering only the amplitude component and simply ignoring the phase component tends to result in an unclear voice; on methods for rectifying this, see phase vocoder.


title: Vocoder

text: The development of a vocoder was started in 1928 by Bell Labs engineer Homer Dudley, who was granted patents for it on March 21, 1939, and Nov 16, 1937.


title: Vocoder

text: To demonstrate the speech synthesis ability of its decoder section, the voder (voice operating demonstrator) was introduced to the public at the AT&T building at the 1939–1940 New York World's Fair. The voder consisted of an electronic oscillator a sound source of pitched tone and noise generator for hiss, a 10-band resonator filters with variable-gain amplifiers as a vocal tract, and the manual controllers including a set of pressure-sensitive keys for filter control, and a foot pedal for pitch control of tone. The filters controlled by keys convert the tone and the hiss into vowels, consonants, and inflections. This was a complex machine to operate, but a skilled operator could produce recognizable speech.


title: Vocoder

text: Dudley's vocoder was used in the SIGSALY system, which was built by Bell Labs engineers in 1943. SIGSALY was used for encrypted voice communications during World War II. The KO-6 voice coder was released in 1949 in limited quantities; it was a close approximation to the SIGSALY at 1200 bit/s. In 1953, KY-9 THESEUS 1650 bit/s voice coder used solid-state logic to reduce the weight to from SIGSALY's , and in 1961 the HY-2 voice coder, a 16-channel 2400 bit/s system, weighed and was the last implementation of a channel vocoder in a secure speech system.


title: Vocoder

text: Later work in this field has since used digital speech coding. The most widely used speech coding technique is linear predictive coding (LPC). Another speech coding technique, adaptive differential pulse-code modulation (ADPCM), was developed by P. Cummiskey, Nikil S. Jayant and James L. Flanagan at Bell Labs in 1973.


title: Vocoder

text: Even with the need to record several frequencies, and additional unvoiced sounds, the compression of vocoder systems is impressive. Standard speech-recording systems capture frequencies from about 500 Hz to 3,400 Hz, where most of the frequencies used in speech lie, typically using a sampling rate of 8 kHz (slightly greater than the Nyquist rate). The sampling resolution is typically 12 or more bits per sample resolution (16 is standard), for a final data rate in the range of 96–128 kbit/s, but a good vocoder can provide a reasonably good simulation of voice with as little as 2.4 kbit/s of data.


title: Vocoder

text: "Toll quality" voice coders, such as ITU G.729, are used in many telephone networks. G.729 in particular has a final data rate of 8 kbit/s with superb voice quality. G.723 achieves slightly worse quality at data rates of 5.3 kbit/s and 6.4 kbit/s. Many voice vocoder systems use lower data rates, but below 5 kbit/s voice quality begins to drop rapidly.


title: Vocoder

text: Vocoders are also currently used in developing psychophysics, linguistics, computational neuroscience and cochlear implant research.


title: Vocoder

text: Modern vocoders that are used in communication equipment and in voice storage devices today are based on the following algorithms:


title: Vocoder

text: Since the late 1970s, most non-musical vocoders have been implemented using linear prediction, whereby the target signal's spectral envelope (formant) is estimated by an all-pole IIR filter. In linear prediction coding, the all-pole filter replaces the bandpass filter bank of its predecessor and is used at the encoder to "whiten" the signal (i.e., flatten the spectrum) and again at the decoder to re-apply the spectral shape of the target speech signal.


title: Vocoder

text: One advantage of this type of filtering is that the location of the linear predictor's spectral peaks is entirely determined by the target signal, and can be as precise as allowed by the time period to be filtered. This is in contrast with vocoders realized using fixed-width filter banks, where spectral peaks can generally only be determined to be within the scope of a given frequency band. LP filtering also has disadvantages in that signals with a large number of constituent frequencies may exceed the number of frequencies that can be represented by the linear prediction filter. This restriction is the primary reason that LP coding is almost always used in tandem with other methods in high-compression voice coders.


title: Vocoder

text: Waveform-interpolative (WI) vocoder was developed in AT&T Bell Laboratories around 1995 by W.B. Kleijn, and subsequently, a low- complexity version was developed by AT&T for the DoD secure vocoder competition. Notable enhancements to the WI coder were made at the University of California, Santa Barbara. AT&T holds the core patents related to WI, and other institutes hold additional patents.


title: Vocoder

text: For musical applications, a source of musical sounds is used as the carrier, instead of extracting the fundamental frequency. For instance, one could use the sound of a synthesizer as the input to the filter bank, a technique that became popular in the 1970s.


title: Vocoder

text: Werner Meyer-Eppler, a German scientist with a special interest in electronic voice synthesis, published a thesis in 1948 on electronic music and speech synthesis from the viewpoint of sound synthesis. Later he was instrumental in the founding of the Studio for Electronic Music of WDR in Cologne, in 1951.


title: Vocoder

text: One of the first attempts to use a vocoder in creating music was the "Siemens Synthesizer" at the Siemens Studio for Electronic Music, developed between 1956 and 1959.


title: Vocoder

text: In 1968, Robert Moog developed one of the first solid-state musical vocoders for the electronic music studio of the University at Buffalo.


title: Vocoder

text: In 1968, Bruce Haack built a prototype vocoder, named "Farad" after Michael Faraday. It was first featured on "The Electronic Record For Children" released in 1969 and then on his rock album "The Electric Lucifer" released in 1970.


title: Vocoder

text: In 1970, Wendy Carlos and Robert Moog built another musical vocoder, a ten-band device inspired by the vocoder designs of Homer Dudley. It was originally called a spectrum encoder-decoder and later referred to simply as a vocoder. The carrier signal came from a Moog modular synthesizer, and the modulator from a microphone input. The output of the ten-band vocoder was fairly intelligible but relied on specially articulated speech. Some vocoders use a high-pass filter to let some sibilance through from the microphone; this ruins the device for its original speech-coding application, but it makes the talking synthesizer effect much more intelligible.


title: Vocoder

text: In 1972, Isao Tomita's first electronic music album "Electric Samurai: Switched on Rock" was an early attempt at applying speech synthesis technique in electronic rock and pop music. The album featured electronic renditions of contemporary rock and pop songs, while utilizing synthesized voices in place of human voices. In 1974, he utilized synthesized voices in his popular classical music album "Snowflakes are Dancing", which became a worldwide success and helped to popularize electronic music.


title: Vocoder

text: In 1973, the british band Emerson, Lake and Palmer used a vocoder on their album "Brain Salad Surgery", for the song "Karn Evil 9: 3rd Impression".


title: Vocoder

text: The 1975 song "The Raven" from the album "Tales of Mystery and Imagination" by The Alan Parsons Project features Alan Parsons performing vocals through an EMI vocoder. According to the album's liner notes, "The Raven" was the first rock song to feature a digital vocoder.


title: Vocoder

text: Pink Floyd also used a vocoder on three of their albums, first on their 1977 "Animals" for the songs "Sheep" and "Pigs (Three Different Ones)", then on "A Momentary Lapse of Reason" on "A New Machine Part 1" and "A New Machine Part 2" (1987), and finally on 1994's "The Division Bell", on "Keep Talking".


title: Vocoder

text: The Electric Light Orchestra was among the first to use the vocoder in a commercial context, with their 1977 album "Out of the Blue". The band extensively uses it on the album, including on the hits "Sweet Talkin' Woman" and "Mr. Blue Sky". On following albums, the band made sporadic use of it, notably on their hits "The Diary of Horace Wimp" and "Confusion" from their 1979 album "Discovery", the tracks "Prologue", "Yours Truly, 2095", and "Epilogue" on their 1981 album "Time", and "Calling America" from their 1986 album "Balance of Power".


title: Vocoder

text: In the late 1970s, French duo Space Art used a vocoder during the recording of their second album, "Trip in the Centre Head".


title: Vocoder

text: Phil Collins used a vocoder to provide a vocal effect for his 1981 international hit single "In the Air Tonight".


title: Vocoder

text: Vocoders have appeared on pop recordings from time to time, most often simply as a special effect rather than a featured aspect of the work. However, many experimental electronic artists of the new-age music genre often utilize vocoder in a more comprehensive manner in specific works, such as Jean-Michel Jarre (on "Zoolook", 1984) and Mike Oldfield (on "QE2", 1980 and "Five Miles Out", 1982).


title: Vocoder

text: Vocoder module and use by M. Oldfield can be clearly seen on his "Live At Montreux 1981" DVD (Track "Sheba").


title: Vocoder

text: There are also some artists who have made vocoders an essential part of their music, overall or during an extended phase. Examples include the German synthpop group Kraftwerk, the Japanese new wave group Polysics, Stevie Wonder ("Send One Your Love", "A Seed's a Star") and jazz/fusion keyboardist Herbie Hancock during his late 1970s period. In 1982 Neil Young used a Sennheiser Vocoder VSM201 on six of the nine tracks on "Trans". The chorus and bridge of Michael Jackson's "P.Y.T. (Pretty Young Thing)". features a vocoder ("Pretty young thing/You make me sing"), courtesy of session musician Michael Boddicker.


title: Vocoder

text: Coldplay have used a vocoder in some of their songs. For example, in "Major Minus" and "Hurts Like Heaven", both from the album "Mylo Xyloto" (2011), Chris Martin's vocals are mostly vocoder-processed. "Midnight", from "Ghost Stories" (2014), also features Martin singing through a vocoder. The hidden track "X Marks the Spot" from "A Head Full of Dreams" was also recorded through a vocoder.


title: Vocoder

text: Noisecore band Atari Teenage Riot have used vocoders in variety of their songs and live performances such as "Live at the Brixton Academy" (2002) alongside other digital audio technology both old and new.


title: Vocoder

text: Among the most consistent users of the vocoder in emulating the human voice are Daft Punk, who have used this instrument from their first album "Homework" (1997) to their latest work "Random Access Memories" (2013) and consider the convergence of technological and human voice "the identity of their musical project". For instance, the lyrics of "Around the World" (1997) are integrally vocoder-processed, "Get Lucky" (2013) features a mix of natural and processed human voices, and "Instant Crush" (2013) features Julian Casablancas singing into a vocoder.


title: Vocoder

text: Producer Zedd, American country singer Maren Morris and American musical duo Grey made a song titled "The Middle" which featured a vocoder and reached the top ten of the charts in 2018.


title: Vocoder

text: Robot voices became a recurring element in popular music during the 20th century. Apart from vocoders, several other methods of producing variations on this effect include: the Sonovox, Talk box, and Auto-Tune, linear prediction vocoders, speech synthesis, ring modulation and comb filter.


title: Vocoder

text: Vocoders are used in television production, filmmaking and games, usually for robots or talking computers. The robot voices of the Cylons in "Battlestar Galactica" were created with an EMS Vocoder 2000. The 1980 version of the "Doctor Who" theme, as arranged and recorded by Peter Howell, has a section of the main melody generated by a Roland SVC-350 vocoder. A similar Roland VP-330 vocoder was used to create the voice of Soundwave, a character from the Transformers series.


title: GMR Group

text: GMR Group is an Indian multinational conglomerate headquartered in New Delhi. The group was founded in 1978 by Grandhi Mallikarjuna Rao (G M Rao) and comprises several companies including GMR Infrastructure, GMR Energy, GMR Airports, GMR Enterprises. Employing the public-private partnership model, the Group has implemented several infrastructure projects in India. The Group also has a global presence with infrastructure operating assets and projects in several countries including Nepal, Indonesia, Singapore, Philippines and Greece.


title: GMR Group

text: GMR Group owns, develops, operates and manages airports, major energy utilities, highways and urban infrastructure facilities. With a net asset base of nearly US $6 billion, GMR Group is one of the largest infrastructure development companies in India.


title: GMR Group

text: GMR Group chairman Grandhi Mallikarjuna Rao, a first-generation entrepreneur hailing from Rajam in Srikakulam District in Andhra Pradesh, pledged $340 million, which is equivalent to his personal share in the infrastructure conglomerate, to improve education among the under-served sections of the society.


title: GMR Group

text: The company started with Agri-based industries like Jute, Sugar, Breweries and slowly moved in the Infrastructure space over the past decade. Now the GMR group interests lie in areas of Airports, Energy, Highways and Urban Infrastructure.


title: GMR Group

text: GMR Infrastructure Limited is the infrastructure holding company formed to fund the capital requirements of various infrastructure projects across the sectors. It undertakes the development of the infrastructure projects through its various subsidiaries.


title: GMR Group

text: GMR Group’s airport portfolio comprises India's busiest Delhi International Airport and Hyderabad International Airport in India and Mactan Cebu International Airport in The Philippines. The portfolio has further expanded by bagging the rights for developing the new Greenfield Airport in Goa, India in 2016 and New Heraklion International Airport in Greece in 2017. Besides this, the Group has recently been awarded the concession for the development, operations and management of Bhogapuram Airport in Andhra Pradesh. In the year 2020, the group has signed the concession agreement to commission, operationalize and maintain the Civilian Enclave at the Bidar Airport in Karnataka. GMR Group is developing airport cities on the commercial lands available around its airports in Delhi, Hyderabad and Goa.


title: GMR Group

text: GMR has announced it will develop and transform Nagpur Airport into a world-class aviation hub in multiple phases. It will focus on replicating its successful upgrade efforts in Delhi Airport in India and Cebu-Mactan in Philippines. The plan includes the expansion of terminal handling capacity, development of a second runway and a new Air Traffic Control Tower (ATC) to boost capacity to levels that could potentially serve the needs for the next 2-3 decades of growth.


title: GMR Group

text: In April 2021, GMR Group announced the launch of GMR Hyderabad Airport City, which is proposed to be the largest aerotropolis in India spread across around Rajiv Gandhi International Airport, and is being billed as an "integrated ecosystem covering Office Space, Retail, Leisure, Entertainment, Hospitality, Education, Healthcare, Aerospace & Logistics". In September 2021, GMR Group said that it will invest 519.52 crore towards metro connectivity at the airport.


title: GMR Group

text: GMR Services Business vertical offers specialized services in the field of airport development and operations, which includes aviation consultation, engineering and maintenance, operations management, security solutions, and staff training.


title: GMR Group

text: GMR Aviation Academy (GMRAA) was established at the Rajiv Gandhi International Airport,Shamshabad, Hyderabad in 2009.


title: GMR Group

text: GMR Aviation was formed in 2006 to offer aircraft charter services and consultancy for business aviation. Apart from owning and managing its own fleet, GMR Aviation also manages aircraft of other business groups.


title: GMR Group

text: RAXA Techno Security Solutions, provides security solutions and is one of the first security organizations in the country to be certified with ISO 18788:2015.The academy provides techno security solutions and services like cyber security, automation & system integration, events management, executive protection, drone based service, etc.


title: GMR Group

text: GMR Engineering and Management Services (GEMS), is a provider of engineering and management services and has been in operation for the last 15 years.


title: GMR Group

text: GMR Group is a player in the Indian power sector with an installed capacity of 3200 MV. The group has 15 power generation projects across Hydro, Thermal and Renewable energy of which 11 are operational and 4 are under various stages of development.


title: GMR Group

text: In the Urban structure business, the GMR group is currently developing an 850- hectare large format ‘Special Investment Regions’ (SIR) at Krishnagiri, near Hosur in Tamil Nadu.


title: GMR Group

text: GMR’s Transportation business has surface transport projects including roads, railways, metros and airstrips/runways in both DBFOT (under GMR Highways) and EPC (under GIL – EPC) segments. In roads and highways, GMR is a leading developer with 6 operating assets adding to the total length of over 2,400 lane km. In railways, GMR has a total order book of 4,000 Crores with projects from reputed clients like Dedicated Freight Corridor Corporation of India (DFCCIL) and Rail Vikas Nigam Limited (RVNL).


title: GMR Group

text: GMR has forayed into sports by promoting the Indian Premier League (IPL) cricket team – Delhi Capitals and Pro Kabaddi League - UP Yodha.


title: GMR Group

text: The Delhi Capitals was established in 2008 as Delhi Daredevils (DD). The franchise is jointly owned by the GMR Group and JSW Group.


title: GMR Group

text: UP Yoddha (UPY) is a Kabaddi team based in Lucknow, Uttar Pradesh that plays in the Pro Kabaddi League.


title: GMR Group

text: GMR Varalakshmi Foundation (GMRVF), the Corporate Social Responsibility wing of the Group, develops innovative and locale-specific initiatives in the areas of Education; Health, Hygiene & Sanitation; Empowerment & Livelihoods; and Community development programmes.


title: Ravenous (1999 film)

text: Ravenous is a 1999 horror Western cannibal film starring Guy Pearce, Robert Carlyle, Jeffrey Jones and David Arquette. The film, which is set in 1840s California, was directed by Antonia Bird and filmed in Europe. It was not a box office success and failed to recoup much of its $12 million budget. However, despite initial reception being mixed when first released, it has since garnered a reputation as a cult film.


title: Ravenous (1999 film)

text: "Ravenous" had a troubled history. Issues over budget and shooting schedules were still ongoing when filming was about to start in Slovakia. After the original director Milcho Manchevski walked off the set three weeks into production, he was replaced by Bird at the suggestion of actor Robert Carlyle. Michael Nyman and Damon Albarn composed the film's score, which generated a significant amount of interest for its quirky and inventive use of loops, instruments and musical structure.


title: Ravenous (1999 film)

text: Screenwriter Ted Griffin wrote a script that combined elements from the Donner Party and that of the real life "The Colorado Cannibal", Alferd Packer, who survived by eating five companions after becoming snowbound in the San Juan Mountains in the 1870s. However, the film's plot also serves as an overt criticism of Manifest destiny through its use of cannibalism. By turning the act into an insatiable hunger, the voracious need to eat human flesh is equated to the all-consuming pursuit of power and wealth that was inherent to the expansionist attitudes of those seeking to settle the American frontier in the 19th century.


title: Ravenous (1999 film)

text: During the Mexican–American War, Second Lieutenant John Boyd, who is fighting in the United States Army, finds his courage failing him in battle and plays dead as his unit is massacred. His body, along with the other dead, is put in a cart and hauled behind Mexican lines. However, in a moment of bravery, Boyd seizes the chance to capture the Mexican command post. His heroism earns him a captain's promotion, but when General Slauson learns of the cowardice through which victory was achieved, he posts Boyd into exile at Fort Spencer, a remote military outpost high in the Sierra Nevada commanded by the weary but genial Colonel Hart, and staffed by a motley array of misfits: the pious Private Toffler, the drug-addicted Private Cleaves, the drunken Major Knox and the ferocious Private Reich, in addition to the Native American scout George and his sister Martha.


title: Ravenous (1999 film)

text: Shortly after Boyd joins the garrison, a frostbitten stranger named Colqhoun arrives telling a hellish tale about how his wagon train became lost in the mountain because a Colonel Ives had promised the party a shorter route to the Pacific Ocean. Instead he led them on a more circuitous route resulting in the party getting trapped by snow for three months. Wracked by starvation, Colqhoun and his fellow travellers were reduced to cannibalism, while he alleges that Ives resorted to murder. A rescue party is assembled to retrieve any survivors and capture Ives. George warns those who are leaving about the Wendigo myth: anyone who consumes the flesh of their enemies takes their strength but becomes a demon cursed by an insatiable hunger for more human flesh.


title: Ravenous (1999 film)

text: When the soldiers reach Ives' cave, Boyd and Reich investigate. They discover the bloody remains of five skeletons, and realise that Colqhoun is Ives and he murdered everyone. Colqhoun's plan is now to kill and eat the soldiers. Colqhoun quickly kills George, Toffler and Colonel Hart, and, after a brief struggle, Reich. Boyd escapes the massacre by jumping off a cliff but breaks his leg. He hides in a pit next to the body of Reich whom he eventually eats to stay alive.


title: Ravenous (1999 film)

text: When a delirious and severely traumatized Boyd finally limps back to the fort, he returns to find it has been reinforced by General Slauson and a detachment of cavalry. Cleaves and Martha (who were on a supply mission and had not met Colqhoun) do not believe his wild tale, while the hung-over Knox cannot recall and refuses to back Boyd up. A second expedition to the cave finds no bodies or any trace of Colqhoun. A temporary commander is assigned to the fort but to Boyd's horror, it is Colqhoun, who is now calling himself Colonel Ives again. The men still refuse to believe Boyd because Colqhoun bears no sign of the wounds inflicted on him during the fight at the cave.


title: Ravenous (1999 film)

text: Secretly, Colqhoun tells Boyd that he used to suffer from tuberculosis but when a Native scout told him the Wendigo myth, then he "just had to try" by murdering him and eating his flesh, a process that cured his disease. Colqhoun now plans to use the fort as a base to cannibalize passing travellers because, like the notion of Manifest Destiny, the migrants had a calling just like himself. Boyd is soon suspected of murder after Cleaves is mysteriously killed. While chained up, he watches helplessly as Knox is murdered by Colqhoun's unexpected ally: Colonel Hart, back from the dead after the massacre. Colqhoun had saved Hart by feeding him his own men in order to gain his assistance. But like Colqhoun, he is now hopelessly addicted to human flesh. Colqhoun mortally wounds Boyd, forcing him to make a choice: eat or die.


title: Ravenous (1999 film)

text: Eventually, Boyd gives in and eats a stew made from Knox. However, rather than join the two men in their conspiracy to convert General Slauson, Boyd convinces Hart to free him so he can kill Colqhoun. Hart does so, but also asks to be killed because he no longer wants to live as a cannibal. Boyd agrees to this. Boyd and Colqhoun fight, inflicting grievous wounds on each other, as their recuperative powers sustain them. Eventually, Boyd forces Colqhoun into a large bear trap that pins them both together. Colqhoun taunts Boyd by telling him that he will eat him, but soon dies. General Slauson returns, and while his aide looks around the dilapidated fort, the general tastes the meat stew left simmering on the fire. Martha sees the deceased Colqhoun and the dying Boyd together, closes the door, and walks away. Boyd does not eat Colqhoun and dies.


title: Ravenous (1999 film)

text: The film was shot on location in the Tatra Mountains, Slovakia and Durango, Mexico. One week before production, original director Milcho Manchevski was said to have submitted new storyboards, which would have required additional two weeks of shooting. The production company, Fox 2000, eventually agreed to an additional week, with complaints that Manchevski had refused production meetings with the producers. Meanwhile, Manchevski complained Fox 2000 executive Laura Ziskin micromanaged the production by vetoing his chosen technicians and casting against his wishes.


title: Ravenous (1999 film)

text: Shooting was delayed on the first day as Manchevski and the production were still negotiating over the production budget and shooting schedule. As filming commenced, Manchevski says Ziskin sent him notes on the rushes "every day", complaining about the amount of dirt on the costumes and the number of closeups. Screenwriter Ted Griffin was at hand for "constant rewrites" during the shooting.


title: Ravenous (1999 film)

text: After three weeks of shooting, Ziskin arrived to the set with director Raja Gosnell in tow to dismiss Manchevski and place Gosnell in as a replacement. While Manchevski left the production, the cast has been said to have rejected Gosnell. Robert Carlyle then recommended Antonia Bird, his frequent collaborator and business partner, to take over.


title: Ravenous (1999 film)

text: Following ten days of negotiations, Bird arrived in Prague to helm the production. She, too, would criticize the circumstances under which the filming was to take place, describing the allocated studio space as "horrible" and the scheduling of the shoot "manipulative". She also went on to say her predecessor, Manchevski, should not be blamed for the problematic production.


title: Ravenous (1999 film)

text: Bird suggests the final theatrical cut had elements introduced without her approval, as she expressed disdain over the voiceover narration and was interested in recutting the film for the European market.


title: Ravenous (1999 film)

text: "Ravenous" opened on March 19, 1999, in the United States in 1,040 cinemas, accumulating $1,040,727 over its opening weekend. It finished eighteenth for the weekend. The film went on to gross $2,062,405 in North America, far less than its reported $12 million budget.


title: Ravenous (1999 film)

text: On Rotten Tomatoes, the film has a 51% rating based on 65 reviews and an average rating of 6/10. The site's critical consensus reads: ""Ravenous" tries bringing cannibal horror into an Old West setting, ending up with an uneven blend that will fail to satisfy most fans of either genre".


title: Ravenous (1999 film)

text: Roger Ebert rated the film 3/4 stars and stated that it was "the kind of movie where you savor the texture of the filmmaking, even when the story strays into shapeless gore."


title: Jeannette Rankin

text: Jeannette Pickering Rankin (June 11, 1880 – May 18, 1973) was an American politician and women's rights advocate who became the first woman to hold federal office in the United States in 1917. She was elected to the U.S. House of Representatives as a Republican from Montana in 1916; she served one term until she was elected again in 1940. , Rankin is still the only woman ever elected to Congress from Montana.


title: Jeannette Rankin

text: Each of Rankin's congressional terms coincided with the initiation of U.S. military intervention in one of the two world wars. A lifelong pacifist, she was one of 50 House members who opposed the declaration of war on Germany in 1917. In 1941, she was the sole member of Congress to vote against the declaration of war on Japan following the attack on Pearl Harbor.


title: Jeannette Rankin

text: A suffragist during the Progressive Era, Rankin organized and lobbied for legislation enfranchising women in several states, including Montana, New York, and North Dakota. While in Congress, she introduced legislation that eventually became the 19th Constitutional Amendment, granting unrestricted voting rights to women nationwide. She championed a multitude of diverse women's rights and civil rights causes throughout a career that spanned more than six decades.


title: Jeannette Rankin

text: Rankin was born on June 11, 1880, near Missoula in Montana Territory, nine years before the territory became a state, to school teacher Olive ("née" Pickering) and Scottish-Canadian immigrant John Rankin, a wealthy mill owner. She was the eldest of six children, including five sisters (one of whom died in childhood) and a brother, Wellington, who became Montana's attorney general and later, a justice on the Montana Supreme Court. One of her sisters, Edna Rankin McKinnon, became the first Montana-born woman to pass the bar exam in Montana and was an early social activist for access to birth control.


title: Jeannette Rankin

text: As an adolescent on her family ranch, Rankin had many tasks, including cleaning, sewing, farm chores, outdoor work, and helping care for her younger siblings. She helped maintain the ranch machinery and once single-handedly built a wooden sidewalk for a building her father owned so it could be rented. Rankin later recorded her childhood observation that while women of the 1890s western frontier labored side by side as equals with men, they did not have an equal political voice—nor a legal right to vote.


title: Jeannette Rankin

text: Rankin graduated from high school in 1898. She studied at the University of Montana and, in 1902, received a bachelor of science degree in biology. Before her political and advocacy career, she explored a variety of careers, including dressmaking, furniture design, and teaching. After her father died in 1904, Rankin took on the responsibility of caring for her younger siblings.


title: Jeannette Rankin

text: At the age of 27, Rankin moved to San Francisco to take a job in social work, a new and developing field. Confident that she had found her calling, she enrolled in the New York School of Philanthropy in New York City from 1908 to 1909. After a brief period as a social worker in Spokane, Washington, Rankin moved to Seattle to attend the University of Washington, and became involved in the women's suffrage movement. In November 1910, Washington voters approved an amendment to their state constitution to permanently enfranchise women, the fifth state in the Union to do so. Returning to New York, Rankin became one of the organizers of the New York Woman Suffrage Party, which joined with other suffrage organizations to promote a similar suffrage bill in that state's legislature. During this period, Rankin also traveled to Washington to lobby Congress on behalf of the National American Woman Suffrage Association (NAWSA).


title: Jeannette Rankin

text: Rankin returned to Montana and rose through the ranks of suffrage organizations, becoming the president of the Montana Women's Suffrage Association and the national field secretary of NAWSA. In February 1911, she became the first woman to speak before the Montana legislature, arguing in support of enfranchisement for women in her home state. In November 1914, Montana became the seventh state to grant women unrestricted voting rights. Rankin coordinated the efforts of a variety of grassroots organizations to promote her suffrage campaigns in New York and Montana (and later in North Dakota as well). Later, she would draw from the same grassroots infrastructure during her 1916 congressional campaign.


title: Jeannette Rankin

text: Rankin later compared her work in the women's suffrage movement to promoting the pacifist foreign policy that defined her congressional career. She believed, as did many suffragists of the period, that the corruption and dysfunction of the United States government resulted from the lack of women's participation. At a disarmament conference during the interwar period, she said, "The peace problem is a woman's problem."