title: Drive-through

text: In 1921, Kirby's Pig Stand introduced the drive-in restaurant, in which carhops delivered meals. In 1931, a California Pig Stand franchise introduced a drive-through service that bypassed the carhops. In 1948, Harry and Esther Snyder of the In-N-Out Burger chain built the first true drive-through restaurant, featuring a two-way speaker system that Harry Snyder invented himself earlier that year. By the 1970s, drive-through service had replaced drive-in restaurants in the United States.


title: Drive-through

text: The first McDonald's drive-through was created in 1975 in Sierra Vista, Arizona, near Fort Huachuca, a military installation, to serve military members who were not permitted to get out of their cars off-post while wearing fatigues. The original McDonald's was closed down and demolished in May 1999 and a new McDonald's replaced it.


title: Drive-through

text: Another early drive-through restaurant in Europe, a McDonald's drive-through, opened at the Nutgrove Shopping Centre in Dublin, Ireland in 1985.


title: Drive-through

text: In the US, drive-throughs account for 70 percent of McDonald's business and the average drive through order is fulfilled in under three and one half minutes. Outside of the US, McDonald's drive-throughs are variously known as "McAuto", "McDrive" and "AutoMac".


title: Drive-through

text: In 2010, the Casa Linda, Texas, franchise of McDonald's opened a drive-through/walk-up only store with no indoor seating although it has a small patio with tables.


title: Drive-through

text: In McDonald's in the UK, all McDonald's are going under an EOTF transformation (Experience of the Future), where many McDonald's with Drive-Thrus will have a third window. This would be where at the second window, the presenter would tell customers to pull up to the third window (if they've got a larger order and have longer to wait), this is known as the "fast forward window". This reduces waiting times for customers.


title: Drive-through

text: In 1928, City Center Bank, which became UMB Financial Corporation, president R. Crosby Kemper opened what is considered the first drive-up window. Shortly after the Grand National Bank in St Louis opened up a drive-through, including a slot to the side for night time deposits. Westminster Bank opened the UK's first drive-through bank in Liverpool in 1959, soon followed by Ulster Bank opening Ireland's first in 1961 at Finaghy.


title: Drive-through

text: In recent years, there has been a decline in drive-through banking due to increased traffic congestion and the increased availability of automated teller machines and telephone and internet banking. However, many bank buildings now feature drive-through ATMs.


title: Drive-through

text: Harold Willis and his father, Robert Willis, first incorporated a dairy and eggs drive through service in Redlands, California, in the early 1940s, supplying milk and eggs quickly and efficiently to driving customers; this utilized a dairy conveyor belt that Harold Willis had invented. Some supermarkets offer drive-through facilities for grocery shopping. In the UK, this service was first announced by Tesco in August 2010. In the United States, Crafty's Drive-Buy Grocery Store in Virginia started offering the service. In 2012, the Dutch chain Albert Heijn introduced a "Pick Up Point" where one can collect groceries bought online.


title: Drive-through

text: Dairy products are available at a drive-through dairy store (notably the Skinner Dairy shops of North-East Florida or Dairy Barn in Long Island).


title: Drive-through

text: In the early 1990s, the French Jean Duchaine came up with the idea of using drive-thru for the retail market.


title: Drive-through

text: The drive-thru was the Pillar of a full concept built with many innovative ideas: walk-thru, dark store, market place, big data, ads...


title: Drive-through

text: Alcoholic beverages have been sold at a drive-through liquor store (called a "Beer Through", a "Cruise Through", a "Brew Thru" in the U.S. eastern Mid-Atlantic coast, or a "Pony Keg" in certain areas; generally illegal in the Northeast and West)


title: Drive-through

text: During the COVID-19 pandemic, drive-through testing became a common approach around the world for testing people who were potentially infected with the virus. In 2020, drive-through testing facilities were set up in many countries to test whether passengers were infected with COVID-19 (the first being in South Korea).


title: Drive-through

text: This approached allowed medical workers to process high volumes of tests quickly while reducing exposure and risk of infection between those being tested by keeping patients isolated in their vehicles.


title: Drive-through

text: The process typically saw patients present their ID before being swabbed while remaining in their vehicles, before driving off once the test was complete. Their results were then typically shared with them either via text message or via their doctor.


title: Drive-through

text: In recent years, drive-through restaurants and other drive-through facilities have faced increased scrutiny due to the higher levels of emissions that they create – compared to walk-in equivalents.


title: Drive-through

text: A 2018 study by QSR Magazine found that the average waiting time at a McDonald's drive-through restaurant in the US took 3 minutes and 15 seconds, with an average of 3.8 cars waiting at any one time. This figure rose to an average of 4 minutes 25 seconds in 2019.


title: Drive-through

text: If the average motorist avoided idling for just 3 minutes every day of the year, emissions would be reduced by 1.4 million tonnes annually, or the equivalent of taking 320,000 cars off the road.


title: Drive-through

text: In response to emerging evidence of the role that drive-throughs play in contributing to climate change, Minneapolis banned the construction of new drive-throughs in 2019, while a number of other US cities including Creve, Coeur, Fair Haven and Orchard Park have enacted ordinances to restrict or prohibit fast-food drive-through restaurants.


title: Drive-through

text: Outside the US, a total of 27 municipalities have banned drive-through restaurants on the grounds of environmental and health concerns from engine idling


title: Drive-through

text: Long drive-through lines in the United States have been reported to cause traffic backups, blocking emergency vehicles and city buses and increasing the risk of collisions and pedestrian injuries. The popularity of Chick-fil-A's drive-throughs in particular has led to traffic problems, police interventions, and complaints by neighboring businesses in more than 20 states.


title: Drive-through

text: Pedestrians sometimes attempt to walk through the drive-through to order food after the seated section of a fast-food restaurant has closed. Many establishments refuse drive-through service to pedestrians for safety, insurance, and liability reasons. Cyclists are usually refused service with the same justification given.


title: Drive-through

text: However, in the summer of 2009, Burgerville gave use of the drive-through window to bicyclists. Similar issues can arise in rural areas for people on horseback or in a horse-drawn carriage.


title: Drive-through

text: On 20 July 2013, a woman was fined for taking her horse inside a McDonald's restaurant in Greater Manchester, United Kingdom after being refused service at the drive-through. The horse ended up defecating inside the restaurant which caused distress to other customers.


title: Drive-through

text: In May 2016, Scott McGee filed a United States federal class action lawsuit pursuing action against McDonald's due to the company being unwilling to serve people who are visually impaired when only the drive thru lane is open. , the matter was still in litigation.


title: Drive-through

text: On May 24, 2018, a law came into effect in Portland Oregon requiring multi-modal access to drive-throughs. The new zoning law states, "When a drive-through facility is open and other pedestrian-oriented customer entrances to the business are unavailable or locked, the drive-through facility must serve customers using modes other than a vehicle such as pedestrians and bicyclists."


title: Drive-through

text: Some establishments provide a walk-up window instead when a drive-through may not be practical. However, the walk-up windows should not be confused with small establishments that customers are lined up for services such as mobile kitchens, kiosks or concession stands. These walk-up windows are value-added services on top of the full services provided inside the stores.


title: Drive-through

text: The walk-up windows generally provide similar customer experience with the drive-throughs by allowing customers to receive services from the exterior of the facilities through a window. There are many reasons for the owners to provide such services. An example is when McDonald's entered a new market in Russia where the majority of families did not own cars, the owners developed the walk-up windows as an alternative. Another reason is to have a drive-through experience in the locations that are not feasible to construct a drive-through lane such as in city centers. Some establishments may want to use walk-up windows to attract certain customer demographics such as younger customers who need quick service during late night. Another reason is to offer extended service hours and maintain a safe environment for employees, such as a bulletproof walk-up window in high-crime areas.


title: Drive-through

text: McDonald's first opened a ski-through called "McSki" in the ski resort of Lindvallen, Sweden in 1996.


title: Montagnard (Vietnam)

text: Montagnard () is an umbrella term for the various indigenous peoples of the Central Highlands of Vietnam. The French term () signifies a mountain dweller, and is a carryover from the French colonial period in Vietnam. In Vietnamese, they are known by the term người Thượng (), although this term can also be applied to other minority ethnic groups in Vietnam. In modern Vietnam, both terms are archaic, and indigenous ethnic groups are referred to as "Đồng bào" () or "Người dân tộc thiểu số" (). Earlier they were referred to pejoratively as the mọi. Sometimes the term Degar is used for the group as well. Most of those living in the United States refer to themselves as Montagnards, while those living in Vietnam refer to themselves by their individual ethnic group.


title: Montagnard (Vietnam)

text: The Montagnards are most covered in English-language scholarship for their participation in the Vietnam War, where they were heavily recruited by the Army of the Republic of Vietnam (ARVN) and its American and Australian allies. The Montagnards tended to be Christian at a higher proportion than that of the Viet people, and the North Vietnamese were seen by some Montagnards as propounding a heavily centralized state that would not value Montagnard local priorities or religious practices.


title: Montagnard (Vietnam)

text: Below is a list of officially recognized ethnic groups in Vietnam that are indigenous to the Central Highlands and nearby areas, with a total population of approximately 2.25 million. They speak Austroasiatic languages of the Katuic and Bahnaric branches, as well as Chamic languages (which belong to the Austronesian language family). Population statistics are from the 2009 Vietnam Population Census.


title: Montagnard (Vietnam)

text: In 1962, the population of the Montagnard people in the Central Highlands was estimated to number as many as one million. Today, the population is approximately four million, of whom about one million are Montagnards. The 30 or so Montagnard tribes in the Central Highlands comprise more than six different ethnic groups who speak languages drawn primarily from the Malayo-Polynesian, Tai, and Austroasiatic language families. The main tribes, in order of population, are the Jarai, Rade, Bahnar, Koho, Mnong, and Stieng.


title: Montagnard (Vietnam)

text: The Montagnard have a long history of tensions with the Vietnamese majority. While the Vietnamese are themselves heterogeneous, they generally share a common language and culture and have developed and maintained the dominant social institutions of Vietnam. The Montagnard do not share that heritage. There have been conflicts between the two groups over many issues, including land ownership, language and cultural preservation, access to education and resources, and political representation.


title: Montagnard (Vietnam)

text: Originally inhabitants of the coastal areas of the region, they were driven to the uninhabited mountainous areas by the Chams and Cambodians beginning prior to the 9th century. Since then, they lived independently in the mountains up until the 19th century when the Vietnamese began to incorporate the territory.


title: Montagnard (Vietnam)

text: French missionaries converted some Montagnard to the Catholic Church in the nineteenth century, but American missionaries converted more to Protestantism in the 1930s. Of the approximately one million Montagnard, close to half are Protestant, and around 200,000 are Roman Catholic. This made Vietnam's Communist Party suspicious of the Montagnard, particularly during the Vietnam War, since it was thought that they would be more inclined to help the heavily Christian American forces.


title: Montagnard (Vietnam)

text: In 1950 the French government established the Central Highlands as the "Pays Montagnard du Sud" (PMS) under the authority of Vietnamese Emperor Bảo Đại, whom the French had installed as nominal chief of state in 1949 as an alternative to Ho Chi Minh's Democratic Republic of Vietnam. In the mid-1950s, the once-isolated Montagnard began experiencing more contact with outsiders after the Vietnamese government launched efforts to gain better control of the Central Highlands and, following the 1954 Geneva Accord, new ethnic minorities from North Vietnam moved into the area. As a result of these changes, Montagnard communities felt a need to strengthen some of their own social structures and to develop a more formal shared identity. When the French withdrew from Vietnam and recognized a Vietnamese sovereignty, Montagnard political independence was drastically diminished.


title: Montagnard (Vietnam)

text: As the Vietnam War began to loom on the horizon, both South Vietnamese and American policy makers sought to begin training troops from minority groups in the Vietnamese populace. The U.S. Mission to Saigon sponsored the training of the Montagnard in unconventional warfare by American Special Forces. These newly trained Montagnard were seen as a potential ally in the Central Highlands area to stop Viet Cong activity in the region and a means of preventing further spread of Viet Cong sympathy. Later, their participation would become much more important as the Ho Chi Minh trail, the North Vietnamese supply line for Viet Cong forces in the south, grew. The U.S. military, particularly the Special Forces, developed base camps in the area and recruited the Montagnard. The Montagnard were valued allies with their resolve, skills in tracking, and knowledge of the region; roughly 40,000 fought alongside American soldiers and became a major part of the U.S. military effort in the Highlands and I Corps, the northernmost region of South Vietnam.


title: Montagnard (Vietnam)

text: The Montagnards also cooperated with the Australians in addition to the Americans; the Australian Army Training Team Vietnam (AATTV) gained the support of many Montagnards by spending prolonged periods in different villages in the region, embracing their culture and gaining over a thousand recruits for the ARVN by 1964.


title: Montagnard (Vietnam)

text: The central highlands were greatly affected by bombings and herbicides from the United States during the war to stop materiel transportation on the Ho Chi Minh trail. It is estimated that over 200,000 Montagnards died and 85% of their villages were destroyed during the Vietnam war.


title: Montagnard (Vietnam)

text: In 1958, the Montagnard launched a movement known as BAJARAKA (the name is made up of the first letters of prominent tribes; similar to the later Nicaraguan Misurasata) to unite the tribes against the Vietnamese. There was a related, well-organized political and (occasionally) military force within the Montagnard communities known by the French acronym, FULRO, or United Front for the Liberation of Oppressed Races. FULRO's objectives were autonomy for the Montagnard tribes.


title: Montagnard (Vietnam)

text: In 1967, the Viet Cong slaughtered 252 Montagnard in the village of Dak Son, home to 2,000 Highlanders, known as the Đắk Sơn massacre, in revenge for the Montagnard's support and allegiance with South Vietnam. In 1975, thousands of Montagnard fled to Cambodia after the fall of Saigon to the North Vietnamese Army, fearing that the new government would launch reprisals against them because they had aided the U.S. Army. The U.S. military resettled some Montagnard in the United States, primarily in North Carolina, but these evacuees numbered less than 2,000. In addition, the Vietnamese government has steadily displaced thousands of villagers from Vietnam's central highlands, to use the fertile land for coffee plantations.


title: Montagnard (Vietnam)

text: Purges from the People's Army of Vietnam in 1976 and 1979 revealed that there were some Montagnards in its senior positions. FULRO continued the fight against the united Vietnamese government, the insurgency lasted into the mid 1980s.


title: Montagnard (Vietnam)

text: Vietnam's south and center highlands were subjected to systematic state backed settlement by ethnic Vietnamese Kinh people. The original peoples of the Central Highlands experienced ruin during and after the Vietnam War; in the worst cases, - such as during the Sino-Vietnamese War, - they were driven from their land and became refugees.


title: Montagnard (Vietnam)

text: In February 2001, thousands of Montagnards participated in mass protests demanding returns of ancestral lands and religious freedom. Other such protests took place in 2002, 2004, and 2008. The protests involved marches and sit ins. The nearby government officials reacted with military involvement and police arrests. Many Montagnards such as the Jarai were put on trial and imprisoned for years for their involvement in the protests. Some Montagnards residing in the United States also traveled to Washington, D.C. to protest and bring awareness to the Montagnards back in Vietnam.


title: Montagnard (Vietnam)

text: More than 1,000 Montagnard refugees have entered Ratanakiri and Mondulkiri, Cambodia, since 2001, raising issues of Cambodia's international law obligations toward refugees and its right to control its border. The government has a policy of deporting Degar refugees to Vietnam, viewing them as illegal immigrants to the country, and has threatened prosecution of Ratanakiri residents who aid them. Human rights organizations have described this policy as a violation of Cambodia's international law obligation of non-refoulement (not forcibly returning refugees to a country in which they will be harmed). Though the United Nations High Commissioner for Refugees has become involved processing asylum applications, refugees are often forcibly returned before they are able to apply for asylum. Many refugees have hidden in Ratanakiri's forests to avoid deportation.


title: Montagnard (Vietnam)

text: In 2003, the group gained admittance to the Unrepresented Nations and Peoples Organization as the "Degar-Montagnards", but this membership was discontinued in 2016.


title: Montagnard (Vietnam)

text: Outside of southeast Asia, the largest community of Montagnards in the world is located in Greensboro, North Carolina, US. Greensboro is also the home of several community and lobbying organizations, such as the Montagnard Foundation, Inc.


title: 2021 Canadian census

text: The 2021 Canadian census was a detailed enumeration of the Canadian population with a reference date of May 11, 2021. It follows the 2016 Canadian census, which recorded a population of 35,151,728. The overall response rate was 98%, which is slightly lower than the response rate for the 2016 census. It recorded a population of 36,991,981, a 5.2% increase from 2016.


title: 2021 Canadian census

text: Consultation on census program content was from September 11 to December 8, 2017. The census was conducted by Statistics Canada, and was contactless as a result of the COVID-19 pandemic in Canada. The agency had considered delaying the census until 2022.


title: 2021 Canadian census

text: About 900 supervisors and 31,000 field enumerators were hired to conduct the door-to-door survey of individuals and households who had not completed the census questionnaire by late May or early June. Canvassing agents wore masks and maintained a physical distance to comply with COVID-19 safety regulations.


title: 2021 Canadian census

text: In early May 2021, Statistics Canada began sending mailings to households throughout Canada containing instructions for completing the census questionnaire. The questionnaires could be completed by returning the paper questionnaire, or by phone or online by using an access code provided in the mailing. Statistics Canada expected about 80% of households to complete the questionnaire online. It was also available in large-print, braille, audio, and video formats. The questionnaire questions were available in a number of languages (Arabic, simplified and traditional Chinese, Italian, Korean, Persian, Portuguese, Punjabi, Russian, Spanish, Urdu, and Vietnamese) and indigenous languages (Atikamekw, Denesuline, Nunavik and Nunavut Inuktitut, Mohawk, Montagnais, Naskapi, Northern Quebec Cree, Ojibwe, Oji-Cree, Plains Cree, Swampy Cree, and Tłı̨chǫ), but the questionnaire had to be completed in either English or French.


title: 2021 Canadian census

text: The standard short-form questionnaire was to be completed by 75% of households. The other 25% completed a long-form questionnaire to collect data about the household's economic and social state, information about the occupied dwelling, and other data in addition to age, languages spoken, marital status, religious affiliation, and other basic data collected in the short-form questionnaire.


title: 2021 Canadian census

text: Those who completed the census questionnaire online could listen to a number of soundtracks on Spotify and YouTube prepared by Statistics Canada.


title: 2021 Canadian census

text: Completing the questionnaire is a legal requirement, and those who refuse to do so may be fined up to $500. It must be completed by citizens of Canada, permanent residents, refugee claimants, and those with a study or work permit.


title: 2021 Canadian census

text: Statistics Canada links income and related information obtained from the Canada Revenue Agency, and immigration status obtained from Immigration, Refugees and Citizenship Canada, to the census responses.


title: 2021 Canadian census

text: The 2021 Canadian census included new questions "critical to measuring equity, diversity and inclusivity". For the first time, questions were asked about commuting methods and the census counted transgender people and people of non-binary gender. Canada has been noted in this instance to be the first country to provide census data on transgender and non-binary people.


title: 2021 Canadian census

text: The 2021 census recorded a total federal population of 36,991,981, living in 14,978,941 of its 16,284,235 private dwellings. With a land area of , its population density was . Canada's most- and least-populated provinces were Ontario and Prince Edward Island respectively. Among the three territories, the Northwest Territories was the largest, while Nunavut once again became the smallest territory after briefly overtaking Yukon in 2016.


title: 2021 Canadian census

text: The population of Canada rose by 5.2 per cent federally since the 2016 census, which recorded a population of 35,151,728. Three provinces' and one territory's population grew faster than Canada's overall population increase: Yukon – a 12.1 per cent increase, Prince Edward Island – an 8 per cent increase, British Columbia – a 7.6 per cent increase, and Ontario – a 5.8 per cent increase. The rapid growth in Yukon is largely credited to immigration and migration from within Canada. At the other end of the spectrum, only one province and one territory saw a decrease in population since 2016: Newfoundland and Labrador – a 1.8 per cent decrease, and the Northwest Territories — a 1.7 per cent decrease.


title: 2021 Canadian census

text: The majority of Canadians identified as female at 50.73%, while 49.27% of the population identified as male. The median age overall was 41.6 years – 40.4 years for males and 42.8 years for females.


title: Chandni (film)

text: Chandni () is a 1989 Indian Hindi-language romantic musical film directed and co-produced by Yash Chopra from a story written by Kamna Chandra with a screenplay by Umesh Kalbagh, Arun Kaul, and Sagar Sarhadi. The film stars Sridevi in the titular role of Chandni Mathur, a young effervescent woman torn between two suitors played by Rishi Kapoor and Vinod Khanna. Waheeda Rehman, Anupam Kher, Sushma Seth, Mita Vashisht, and Manohar Singh feature in supporting roles.


title: Chandni (film)

text: The eighties marked a professional setback in Chopra's career, After a series of failed action films, Chopra decided to return to his roots and make a romantic musical, a film with all the hallmarks of what has come to be known as the "Yash Chopra style" – heroine-oriented, romantic, emotional, depicting the lifestyle of the super-elite, with melodic music used in songs picturized in foreign locations. The film marked the first collaboration between Chopra and Sridevi; they would collaborate again for "Lamhe" (1991).


title: Chandni (film)

text: "Chandni" was theatrically released on 14 September 1989 by Yash Raj Films. The film was a widespread critical and commercial success and became one of the highest-grossing Hindi films of 1989, whereas its soundtrack became the best selling album of the year as well as the decade with more than 10 million copies sold. The massive success of the film and its soundtrack were instrumental in ending the era of violent action films in Indian Cinema and rejuvenating the romantic musical genre. The success of film further reinforced Sridevi's position as the top female star of the era. Over the years, "Chandni" is hailed as one of Chopra's finest films.


title: Chandni (film)

text: At the 37th National Film Awards, "Chandni" won Best Popular Film Providing Wholesome Entertainment. At the 35th Filmfare Awards, the film received 10 nominations, including Best Film, Best Director (Chopra), Best Actress (Sridevi), Best Actor (Kapoor), Best Supporting Actor (Khanna) and Best Supporting Actress (Rehman), and won Best Cinematography.


title: Chandni (film)

text: Chandni Mathur, a middle-class naïve girl travels to Delhi with her parents to attend her cousin's wedding. There she meets Rohit Gupta, her cousin's friend. Rohit instantly falls in love with her at first sight with the beautiful Chandni and starts courting her. After his continuous attempts, Chandni accepts him and they eventually get engaged, though the Guptas dislike Chandni due to difference in their social status. One day, Rohit calls Chandni and asks her to come on the roof of her home where he is waiting for her in a helicopter to shower rose petals on her. While doing that, his helicopter crashes, hence paralyzing him below the waist. The Guptas blame Chandni for the mishap and mistreat her. Thinking he cannot be a good husband, Rohit lets Chandni go. Heartbroken, she leaves Delhi and travels to Mumbai and finds work at a travel agency. Lalit Khanna, the head of the travel agency, and a widower, falls for Chandni and asks her to marry him, and she accepts the proposal hesitantly.


title: Chandni (film)

text: After much contemplation, Chandni agrees to marry Lalit and meets his mom Lata, who likes her instantly. Lalit visits Switzerland on a business trip and runs into Rohit, who is still undergoing treatment from professional therapists and physicians for his paralysis.


title: Chandni (film)

text: Recovered, he befriends Lalit and they share their respective love-stories, unaware they both love the same girl, Chandni. Back to India, Rohit visits Lalit's house to meet him. Chandni opens the door; she and Rohit are surprised to see each other. Rohit reveals he is no longer paralyzed. They get keyed up with tears, and he seizes this chance to propose to her.


title: Chandni (film)

text: However, Chandni tells Rohit that she is engaged to marry Lalit. She also reminds him what the Guptas did to her. He leaves regretfully. Lalit invites Rohit to his wedding as they became friends. Rohit and Chandni pretend as strangers. On the wedding day, he mumbles and stumbles down a flight of stairs in a drunken stupor. Out of panic Chandni runs towards him, hugs him and starts crying. Upon seeing this, Lalit realizes Chandni loves Rohit. In the hospital, Rohit regains consciousness. Lalit sacrifices his love for Chandni, and she marries Rohit, and they live happily ever after. Lalit and Lata share a brief sad moment upon seeing Chandni and Rohit leave.


title: Chandni (film)

text: Speaking about the film with Karan Johar, Yash Chopra recalled when he was making "Vijay" (1988), an action film, he felt like he was not supposed to make films like this. Later he met with writer Kamna Chandra, who had achieved popularity after having written Raj Kapoor's "Prem Rog" (1982). She presented the story of a social romantic musical film to Chopra who liked it and started casting the stars. However, at the launch party, Chopra had a change of heart and decided to change the second half of the script, wherein originally Chandni was supposed to marry Lalit and have a son.


title: Chandni (film)

text: With casting of Vinod Khanna, distributors started demanding an action sequence in the film to which Chopra refused. Originally, the script required Khanna saving Sridevi from a fire incident. However, upon watching the completed film, Chopra felt that it did not feel like a part of the film, so he called Sridevi and Khanna back for a day's shoot to re-film their first meeting


title: Chandni (film)

text: The soundtrack of "Chandni" was composed by Shiv Kumar Sharma and Hariprasad Chaurasia, known together as Shiv-Hari. The lyrics were provided by Anand Bakshi. In addition to the songs listed below, there was a recurring instrumental love melody, not part of a full song. That melody was further developed into the song "Kabhi Main Kahoon" for Chopra's next film "Lamhe" (1991), also scored by Shiv-Hari.


title: Chandni (film)

text: The film's soundtrack was a major success in India and sold more than 10 million copies, becoming the best selling soundtrack album of the year as well as the decade. It is believed that the soundtrack helped bring back the romantic musical genre, along with "Qayamat Se Qayamat Tak" (1988) and "Maine Pyar Kiya" (1989), with its songs and lyrics receiving major critical acclaim. According to Yash Raj Films, the soundtrack went 4× Platinum by the day of the premiere. By the 25th week, it went 25× Platinum, a new standard in the music industry.


title: Chandni (film)

text: "Chandni" received widespread critical acclaim upon its release, with many critics highlighting the film's impact in being instrumental in bringing an end to an era of violent action movies in Indian cinema and rejuvenating the romantic musical genre. According to "iDiva", "Chandni" was "more an event and less a movie. Even as its shooting rolled on the sets, the film was a constant subject of discussion in the press." "Chandni" emerged as one of the biggest blockbusters of 1989, with "The Hindu" stating that "the film opened to full houses and distributors had to drastically increase the number of theatres."' It was cited by "Times of India" as "one of the most-watched films of Indian Cinema." "Hindustan Times" featured the movie in its list of 'Yash Chopra's Greatest Hits' saying "it was instrumental in ending the era of violence in Bollywood and bringing back the romance into Hindi films."


title: Chandni (film)

text: The film consolidated Sridevi's position as the top female star of the era. Describing Sridevi's performance in "Chandni", "Indiatimes" wrote "True to her screen-name, she was an epitome of radiance, warmth and vivacity. She effortlessly introduced us to the powerful streaks, her classic, angelic character was laden with." The scene where she confronts Rishi Kapoor was ranked by "Rediff" as one of the "10 Best Scenes from Yash Chopra Films." While Sridevi topped the "Hindustan Times"' list of Yash Chopra's "Top 5 Heroines", "CNN-IBN" ranked her #1 on its list of 'Yash Chopra's 10 Most Sensuous Heroines', saying that "Yash Chopra immortalized Sridevi as the perfect "Chandni"." The titular character became one of the most famous characters of Hindi cinema, with "India Today" including it in its list of 'Yash Chopra's Iconic Characters'. "CNN-IBN" listed it among 'The Cult Characters Yash Chopra Created', while "NDTV" featured it in its list of 'Yash Chopra's Greatest Creations' stating that the film established Sridevi "as the nation's sweetheart" and "reinforced her position as the reigning actress in Bollywood."


title: Chandni (film)

text: Costume design in the film was done by Bhanu Athaiya and Leena Daru. Sridevi's iconic Chandni" Look' revolutionized fashion in North India and became synonymous with the actress, with "Rediff" stating "A luminous Sridevi slips into every possible design in white for a major chunk of the romance and no one complains." Speaking about the look, Chopra told film critic Rajeev Masand "While making "Chandni", I had a vision of who I wanted this girl to be. I told Sridevi that most of her costumes in the film would be in white." "The Tribune" wrote "Leena Daru scored a winner again when she created the "Chandni" look for Sridevi. Every street corner sold the salwar-kameez and dupatta that gave the heroine a refreshingly understated look, rarely seen on the Indian screen." while "Mid-Day" reported "Leena Daru dressed Bollywood's beauties for several years. But it was her simple white churidar and kurta with the "leheriya" dupatta for Sridevi in "Chandni" that gave the Southern belle an angelic image and caused the Chandni Chowk stores to hit the jackpot with thousands of copies." "BizAsia" described the effect of the look saying "Chopra never quite got over his Sridevi hangover and almost always chose to present his future lead heroines in similar outfits (Juhi Chawla in "Darr" (1993), Madhuri Dixit in "Dil To Pagal Hai" (1997), Preity Zinta in "Veer-Zaara" (2004)), but none of them became half as iconic as Sridevi did after "Chandni"." The '""'Chandni" Look' was also highlighted in the film's famous tandav dance sequence by Sridevi, where "Rediff" said "the actress transformed into a mythical goddess in a white number." Sridevi's chiffon sarees became equally popular with "Indian Express" writing "This film made the chiffon sari a must-have in every Indian woman's wardrobe."


title: Chandni (film)

text: The music of "Chandni" became a multi-platinum success with Sridevi's famous dance number "Mere Haathon Mein Nau Nau Choodiyan Hai" finding a place in "Rediff"'s chart of 'Bollywood's Top 25 Wedding Songs'. Sridevi also lent her voice to the film's popular title-track "Chandni O Meri Chandni" which featured among the 'Top 5 Songs of Yash Chopra' by "Hindustan Times". Talking about her role in "Chandni", Sridevi said it was "a lively and vibrant girl in the first half (who) becomes quiet and goes into a shell in the second half. I loved that transformation and when you have a director like Yash Chopra at the helm, you can be sure that he will make the best out of everything."


title: Cueva de las Manos

text: Cueva de las Manos (Spanish for Cave of the Hands or Cave of Hands) is a cave and complex of rock art sites in the province of Santa Cruz, Argentina, south of the town of Perito Moreno. It is named for the hundreds of paintings of hands stenciled, in multiple collages, on the rock walls. The art was created in several waves between 7,300 BC and 700 AD, during the Archaic period of pre-Columbian South America. The age of the paintings was calculated from the remains of bone pipes used for spraying the paint on the wall of the cave to create the artwork, radiocarbon dating of the artwork, and stratigraphic dating.


title: Cueva de las Manos

text: The site is considered by some scholars to be the best material evidence of early South American hunter-gatherer groups. Argentine surveyor and archaeologist Carlos J. Gradin and his team conducted the most important research on the site in 1964, when they began excavating sites during a 30-year study of cave art in and around Cueva de las Manos. The site is a National Historic Monument in Argentina and a UNESCO World Heritage Site.


title: Cueva de las Manos

text: Cueva de las Manos refers to both the main site of the cave and the surrounding complex of rock art sites that includes it. The cave lies at the base of a stepped cliff in the Pinturas River Canyon, in the upper part of the Deseado River basin, in an isolated part of Patagonia. It is about south of Perito Moreno, a town in northwest Santa Cruz Province, Argentina. It is part of both Perito Moreno National Park and Cueva de las Manos Provincial Park.


title: Cueva de las Manos

text: During the time of the Paleoindians, around the late Pleistocene to early Holocene geological periods, the areas between above sea level formed a microclimate in the canyon promoting a grassland ecosystem hospitable to many animals. This ecosystem included the "Schinus molle" plant, which was used to form resins and adhesives and as a source of firewood. It was also home to edible vegetables and plants that could be used for medicine; tubers, such as the rush root; and numerous fruits, such as that of the "Berberis" plant.


title: Cueva de las Manos

text: The current climate of the cave area can be described as precordilleran steppe (or "grassy foothills"). The climate is cold and dry, with very low humidity. Ian N. M. Wainwright and colleagues state that the area receives a total annual precipitation of less than per year, while Gladys I. Galende and Rocío Vega state that it averages per year. The topography of the canyon blocks the strong westward winds that are common in the region, making winters less severe. The average temperature is , with extreme highs of around and extreme lows of around . The coldest month is July, and the warmest month is February, which average and , respectively.


title: Cueva de las Manos

text: In ancient times, people accessed the Pinturas Canyon, and by extension the cave area, through ravines in the east and west, typically from higher elevations around above sea level. Currently, there are three gravel roads that lead to the site: a route from the south, starting near Bajo Caracoles, and two more further north, a route from Ruta 40 (Route 40) and a route that ends with a foot trail.


title: Cueva de las Manos

text: When the site was occupied, the Pinturas and Deseado Rivers drained into the Atlantic Ocean and provided water for herds of guanacos, making the area attractive to Paleoindians. As the glacial ice fields melted, the Baker River captured the drainage of the eastward flowing rivers. The resulting reduction in water levels of the Pinturas and Deseado rivers led to a progressive abandonment of the Cueva de las Manos site.


title: Cueva de las Manos

text: Projectile points, a bola stone fragment, side-scrapers, and fire pits have been found alongside the remains of guanaco, puma, fox, birds, and other small animals. Guanacos were the natives' primary food source; hunting methods included bolas, ambushes, and game drives, in which they would drive guanacos into ravines and other confined areas to better collectively hunt them. This technique is recorded in the art of the cave, and shows how the topography of the area influenced the art and how it was created. Dart and spear throwers are also depicted, although there is little archaeological evidence of these types of weapons being used in Patagonia.


title: Cueva de las Manos

text: The Pre-Columbian economy of Patagonia depended on hunting-gathering. Archaeologist Francisco Mena states: "[in the] Middle to Late Holocene Adaptations in Patagonia ... neither agriculture nor fully fledged pastoralism ever emerged." Argentine surveyor and archaeologist Carlos J. Gradin remarks in his writings that all the rock art in the area shows the hunter-gatherer lifestyle of the artists who made it. The presence of obsidian near the cave—which is not natural to the region—implies a broad-ranging network of trade between peoples of the cave area and distant tribal groups.


title: Cueva de las Manos

text: Beginning around 7,500 BC, the site, along with the Cerro Casa de Piedra-7 site near Lake Burmeister, became important landmarks in a nomadic circuit between Pinturas Canyon and its surrounding areas, the western part of the Central High Plateau, and the steppes and forests of the ecotone bordering the steppes and forests of the mountainous-lake environment of the Andes. These regions existed at various elevations. The migratory patterns of this circuit were seasonal, following the abundance of vegetables in each region and the births of guanacos, which varied based on the altitude. The furs of newborn guanacos were highly sought after by the native peoples, increasing the importance of guanaco birth patterns to the timing of the seasonal migrations. The prime time for newborn guanacos near Cueva de las Manos was around November. The groups who inhabited the area included the Toldense people, who lived in the caves until the third or second millennium BC. When occupying the area, temporary camp sites would be made around the cave, where extended families or even large bands of people would gather. The groups that gathered at these camp sites would have enabled the inhabitants to organize group hunting of guanacos.


title: Cueva de las Manos

text: The earliest rock art at the site was created around 7,300 BC. Cueva de las Manos is the only site in the region with rock art of this age, categorized as the A1 and A2 styles of the cave, but after 6,800 BC similar art, particularly hunting scenes of styles A3, A4, and A5, was created at other sites in the region. The site was last inhabited around 700 AD, with the final cave dwellers possibly being ancestors of the Tehuelche tribes.


title: Cueva de las Manos

text: Father Alberto Maria de Agostini, an Italian missionary and explorer, first wrote about the site in 1941. It was then investigated by an expedition of the La Plata Museum in 1949. Argentine surveyor and archaeologist Carlos Gradin and his team began the most substantial research on the site in 1964, initiating a 30-year-long study of the caves and their art. Gradin's work has helped to identify the different stylistic sequences of the cave.


title: Cueva de las Manos

text: Cueva de las Manos is a National Historic Monument in Argentina, and has been since 1993. In 1995, the site became a major subject in a study of Argentina's rock art initiated by the National Institute of Anthropology and Latin American Thought (INAPL). This study led to Cueva de las Manos being listed as a UNESCO World Heritage Site in 1999. In 2015, the land was bought from a private ranch by Rewilding Argentina, an environmental organization. In 2018, the site received its own provincial park, and as of 2020 the land is controlled directly by the state, after being donated by Rewilding Argentina.


title: Cueva de las Manos

text: The cave is in the walls of the canyon, which are composed of ignimbrite and other volcanic rocks in the Bahía Laura Group. The rocks were formed about 150 million years ago during the Jurassic period as part of the larger Deseado Massif. The cave and surrounding overhangs were carved out of the rock face through differential erosion, a process by which weaker rocks are eroded away, leaving formations composed of the stronger rocks. This erosion was caused by the Pinturas River, fed by glacial runoff, which cut into the Chon Aike Formation to form the Pinturas Canyon. The cave itself is located at a fissure in the rock face that the river eroded more than the surrounding canyon wall.


title: Cueva de las Manos

text: The site is composed of the cave itself, which is about deep, two outcroppings, and the walls at either side of the entrance. The entrance faces northeast and is about in height by wide. The paintings on the cave's wall span about . The initial height of the cave is . The ground inside has an upward slope; as a result, the height is eventually reduced to no more than .


title: Cueva de las Manos

text: Cueva de las Manos is named for the hundreds of hand paintings stenciled into multiple collages on the rock walls. The art in the Cueva de las Manos is some of the most important art in the New World, and by far the most famous rock art in the Patagonian region. The art dates to between around 7,300 BC to 700 AD, during the Archaic period of Pre-Columbian South America. Scholars Ralph Crane and Lisa Fletcher assert that the rock art at Cueva de las Manos includes the oldest-known cave paintings in South America.


title: Cueva de las Manos

text: The artwork decorates the interior of the cave and the surrounding cliff faces. It can be divided by subject into three basic categories: people, the animals they ate, and the human hand. Inhabitants of the site hunted guanacos for survival, a dependency reflected in their artwork by totemic-like depictions of the creatures.


title: Cueva de las Manos

text: Several waves of people occupied the cave over time. The age of the paintings can be calculated from the remains of bone pipes used for spraying the paint on the wall of the cave to create the stenciled artwork of the hand collages, radiocarbon dating of the artwork itself, and stratigraphic dating, including from a piece of the rock wall that had fallen with art on it. Chemical analysis of the pigments used to create the painting, and analysis of the stylistic aspects and superimpositioning (overlap) of the different parts of the art has verified that it is authentic. According to scholar Irene Fanning and colleagues, it is "the best material evidence of early hunter gatherer groups in South America."


title: Cueva de las Manos

text: Earlier works in the cave were more naturalistic—they looked close to how the subjects of the art would have looked in real life. Over time, depictions became more abstract and different in form from how the subject would normally look.


title: Cueva de las Manos

text: There are over 2,000 handprints in and around the cave. Most of the images are painted as negatives or stenciled, alongside some positive handprints. There are 829 left hands to 31 right hands, suggesting that most painters held the bone spray pipe with their right hand. Some handprints are missing fingers, which could be due to necrosis, amputation, or deformity, but might also indicate the use of sign language or bending fingers to convey meaning.


title: Cueva de las Manos

text: The varying depth of the rock face alters the "canvas" of the artwork, and the different depths from the viewer alter the way the images are seen, based on where the viewer is standing. There is a large amount of superimpositioning of the handprints in different areas, with some areas containing so many handprints that they form a palimpsest background of layered color. Along with the superimposed masses of images, there are many purposefully placed single hands.


title: Cueva de las Manos

text: There are also depictions of human beings, guanacos, rheas, felines, south Andean deer, and other animals, as well as geometric shapes, zigzag patterns, representations of the sun, and hunting scenes. The hunting scenes are naturalistic portrayals of a variety of hunting techniques, including the use of game drives and bolas. Similar paintings, though in smaller numbers, can be found in nearby caves. There are also red dots on the ceilings, probably made by submerging hunting bolas in ink and throwing them upwards.


title: Cueva de las Manos

text: The wildlife depicted in the artwork is still found in the area today. Most prominent among the animals are the guanacos, upon which the natives depended for survival. There are repeated scenes of guanacos being surrounded by hunters, suggesting that this was the preferred hunting tactic.


title: Cueva de las Manos

text: Little is known about the culture of those who made these works aside from the tools they used and what they hunted. Modern research is left to speculate about their culture and what life was like in the societies that created it. However, that so many people contributed to the artwork for thousands of years suggests the cave held great significance for the artists who painted on its walls. The art shows the people of this area had a symbolic element to their culture.


title: Cueva de las Manos

text: Regardless of its purpose, the artwork played a key role in the collective social memories of the peoples who inhabited the area, with earlier groups influencing later ones through a narrative spanning millennia. Important aspects of the culture of the hunter-gatherers are shown in the themes of the art, such as the reproductive cycles of guanacos and collective hunting. The site also bore a deep social and personal connection to the artists, as the same groups returned to the location seasonally and created artwork at the cave, which was a kind of ritual.


title: Cueva de las Manos

text: The exact function or purpose of this art is unknown, although some research has suggested that it may have had a religious or ceremonial purpose as well as a decorative one. Some scholars, such as Merry Wiesner-Hanks, have suggested that handprints are indicative of the human desire to be remembered, or to record that they were there. However, Jean Clottes has challenged this perspective, stating that "the likelihood of such behavior is virtually zero." Instead, Clottes asserts that prehistoric shamanism is the most plausible explanation for the purpose of the artwork, as part of "ceremonies about which we will never know anything", although he acknowledges that this hypothesis does not explain everything, and that much work still needs to be done. Another hypothesis posits that the art served as boundary markers between peoples, showing territoriality and ensuring the cooperation of others by functioning as aggregation sites. There are also hypotheses that the works were part of hunting magic, with Alan Thorne suggesting that they might have been created as part of efforts to influence the number of animals available to be hunted. Regardless, the fact that many people gathered in one place to contribute to the rock art for such a long period shows a large cultural significance, or at least usefulness, to those who participated.


title: Cueva de las Manos

text: The binder used in the artwork is unknown, but the mineral pigments include iron oxides, producing reds and purples; kaolin, producing white; natrojarosite, producing yellow; manganese oxide (pyrolusite), producing black; and copper oxide, producing green. Haematite, goethite, green earth, quartz, and calcium oxalate have also been detected. Gypsum was used, which allowed the pigments to better adhere to the surface of the rock faces.


title: Cueva de las Manos

text: Specialists have categorized the art into four stylistic groups, as proposed by Carlos Gradin and adapted and modified by others: A, B, B1, and C, also known as "Río Pinturas I", "II", "III", and "IV", respectively. The first two groups were partly conceived to differentiate group A's dynamic depiction of guanacos from group B's static depiction of them.


title: Cueva de las Manos

text: Stylistic group A (also known as Río Pinturas I) is the art of the first hunter-gatherers who lived in the area. It is the oldest style in the cave, and can be traced back to around 7,300 BC. The style is naturalistic and dynamic, and encompasses polychrome, dynamic hunting scenes along with negative human hand motifs. The imagery takes advantage of the grooves and irregularities in the rock face itself to form part of the art. This is especially true in the use of these irregularities to represent the topography of the settings of the images, such as in the depiction of ravines. The hunters depicted in the scenes were likely long distance hunters, and the scenes often depicted ambush or surround tactics being used when hunting guanacos.


title: Cueva de las Manos

text: Since 2010, this stylistic group has been further subdivided into five different sub-styles, or series, categorized by color/material. These series are classified as A1 (Ochre series), which is primarily made up of ochre and some red; A2 (Black series), which is predominantly black but also contains some dark purple; A3 (Red series) which primarily incorporates red; A4 (Purplish/Dark Red series), which uses purplish red and dark red; and A5 (White/Yellow series), which predominately uses the color white but also incorporates yellow-ochre. In terms of layering, A2 generally covers A1; A3 goes over A1 and A2; A4 goes over A3 and A2; and A5 is positioned on top of all other layers. The sub-styles of stylistic group A are numbered chronologically; that is, A1 is the oldest and A5 is the youngest.


title: Cueva de las Manos

text: The Black series in particular introduced several artistic innovations that were carried forward into subsequent artistic styles. These include the introduction of both aerial and hierarchical perspectives, which would be incorporated into later artwork. It also introduced contrasting colors, in the form of black and dark purple, which were used to differentiate between separate representations, a method that would be used throughout the history of the cave art. Many of these influences would carry on in the styles of hunting scenes as late as 5,400 BC.


title: Cueva de las Manos

text: Stylistic group A ended during the H eruption of the Hudson volcano, which took place around 4,770/4,675 BC and led to the abandonment of the Rio Pinturas Area. It is very likely that this eruption is what caused the end of this stylistic group.


title: Cueva de las Manos

text: A new cultural group, lasting from around 5,000 BC until around 1,300 BC, created the art of what is now considered stylistic groups B (Río Pinturas II) and B1 (Río Pinturas III). Static, isolated groups of guanacos with large bellies, possibly pregnant, replace the lively hunting scenes that marked the previous group. These pregnant guanacos and their style and construction were first introduced as part of the Black series of Stylistic group A. Large groups of superimposed handprints, numbering around 2,000, in many colors, are associated with group B, as are some rarer motifs of human and animal footprints.


title: Cueva de las Manos

text: In group B1, a subgroup of B, the forms become more and more schematic, and figures, human and animal, become more stylized; the group includes hand stencils, bola marks, and dotted line patterns.


title: Cueva de las Manos

text: Stylistic group C, Río Pinturas IV, begins around 700 AD and marks the last of the stylistic sequences in the cave. The group focuses around abstract geometric figures, including highly schematic silhouettes of both animal and human figures, alongside circles, zigzag patterns, dots, and more hands superimposed onto larger groups of hands. The primary color is red.


title: Cueva de las Manos

text: Every February the nearby town of Moreno hosts a celebration in honor of the caves called Festival Folklórico Cueva de las Manos.


title: Cueva de las Manos

text: Many tourists visit the cave, which is known worldwide. The number of tourists visiting the site has increased by a factor of four since its inclusion on the UNESCO World Heritage list in 1999. As of 2020, Cueva de las Manos was visited by around 8,000 people per year. This has brought new challenges for preserving the site. Currently, the most significant threat is graffiti, followed by other forms of vandalism, such as visitors taking pieces of painted rock from the walls and touching the paintings.


title: Cueva de las Manos

text: In response, the site has been closed off with chain-link fencing and a boardwalk has been installed to control the movements of visitors. To access the site, visitors must be accompanied by a tour guide. The site also has sanctioned walking trails, a guide lodge, railings, and a parking lot. A team of professionals from the INAPL and the National Scientific and Technical Research Council (CONICET) supervised the construction of these facilities. An awareness program has been undertaken to educate tourists and visitors to the site, including local guides, and to facilitate greater involvement by local communities. The rock art of the site is being recorded and documented in 360° video to make a virtual reality experience involving the site.


title: Cueva de las Manos

text: Despite these measures, the local provincial government, the Argentinian government, and the UNESCO have been criticized for not doing enough to protect the site. The provincial government in particular has been criticized for falling short of the recommendations of the INAPL, including the need for additional staffing and a permanent on-site archaeologist.


title: Supposed Former Infatuation Junkie

text: Supposed Former Infatuation Junkie is the fourth studio album and second internationally released album by singer-songwriter Alanis Morissette, released by Maverick Records in the United States on November 3, 1998. The album was positively received by critics and performed well commercially, breaking the record for album sales in its first week by a female artist. The first single from the album, "Thank U", reached the top 20 of the US "Billboard" Hot 100. Morissette promoted the album with worldwide touring.


title: Supposed Former Infatuation Junkie

text: Inspired from her trip to India over late 1996 and early 1997, the album cover contains phrases from five precepts, a basic code of ethics of the followers of Buddhism.


title: Supposed Former Infatuation Junkie

text: Morissette wrote "Thank U" and "Baba" after her trip to India in 1997. The protagonist of "Baba" goes on a spiritual pilgrimage to India where she encounters a guru who, like many spiritual teachers in India, is referred to as "Baba". The word "Baba" means "father" in the Hindi language. Morissette opened most of shows during the "Junkie" era with the song, and it was featured as an opener during her 2002 tours. It has been seldom played since then. "Baba" opened Morissette's performance on the television show "MTV Unplugged" in 1999, but it was excluded from the CD release "Alanis Unplugged". Another live version of "Baba" was released on the "No Boundaries: A Benefit for the Kosovar Refugees" CD. In a 2012 interview with fans, director Kevin Smith confirmed that "Front Row" was partially inspired by a phone conversation he and Morissette once had. They were mutually attracted to each other but never actually dated. His suggestion of naming the reasons they were not a couple became part of the lyrics.


title: Supposed Former Infatuation Junkie

text: "Supposed Former Infatuation Junkie" was acclaimed by music critics. Stephen Thomas Erlewine from AllMusic called it a "clear step forward" and concluded that "Morissette is a weird acquired taste, due to her idiosyncratic vocals and doggedly convoluted confessionals – but [the album] certainly confirms that she doesn't quite sound like anyone else, either." "The Village Voice"s Robert Christgau commented that he felt "privileged to listen along with all the young women whose struggles Morissette blows up to such a scale." Ken Tucker from "Entertainment Weekly" complimented Morissette's new style and wrote that "Morissette has used her year-plus recording hiatus and newfound star status wisely, in pursuit of a way to make a vulnerable, openhearted album in the face of intense commercial expectations." "Slant Magazine" critic Sal Cinquemani complimented Morissette's songwriting and concluded that while the album "is nearly 15 minutes too long (did an ode to her mother, the sweet 'Heart of the House,' really need to be made public?)... not one moment of "Junkie"s 70-plus minutes is less than captivating."


title: Supposed Former Infatuation Junkie

text: Despite the B+ grade from Ken Tucker in 1998, fellow Entertainment Weekly music critic David Browne was much harsher. In the Spring 2000 Tenth Anniversary issue of Entertainment Weekly, in a retrospective article discussing popular music in the 1990s, Browne wrote "Musically speaking, easy targets abounded--does anyone beyond family remember Hammer's gangsta makeover or Vanilla Ice's live album? At least we could laugh at those, whereas the decade's foremost clunker--Alanis Morisette's "Supposed Former Infatuation Junkie"--was corporate grunge and victim-culture whining incarnate." It was also listed amongst "the worst albums ever" by "Q" magazine.


title: Supposed Former Infatuation Junkie

text: In the United States, "Supposed Former Infatuation Junkie" debuted at number one on the "Billboard" 200 with 469,000 copies sold in its first week. The album broke the record for sales in its first week by a female act, surpassing Lauryn Hill's "The Miseducation of Lauryn Hill" which opened with 423,000 copies. This would be later surpassed once again in 2000 by Britney Spears with the release of her second album "Oops!...I Did It Again" selling 1.3 million copies in its first week. In the New Zealand Albums Chart, it was Morissette's second consecutive number one album, and was certificated 2× Platinum by RIANZ, selling over 30,000 copies. The album also debuted at number one in Switzerland, and stayed in the charts for thirty-one weeks. It was certified Platinum in that country. The album entered at number one in Norway, staying there for three weeks. It was certificated platinum there as well. It also peaked in the top ten in many countries, including the United Kingdom, Australia, France, Sweden, and other European countries. The album has sold 2,604,000 copies in the United States as of March 2012.


title: Supposed Former Infatuation Junkie

text: The album sold 2.2 million copies worldwide on its first week of release and over 5.2 million copies worldwide within a month.


title: Supposed Former Infatuation Junkie

text: "Thank U" received a Grammy Award nomination for Best Female Pop Vocal Performance, and "So Pure" was nominated in the category of Best Female Rock Vocal Performance.


title: Supposed Former Infatuation Junkie

text: The album itself won a Juno Award for Album of the Year. The third single So Pure won the award for Best Video.


title: Supposed Former Infatuation Junkie

text: As with the previous album, Morissette did an extensive amount of touring in support for this record. In the fall of 1998, she embarked on a club tour across North America with select appearances in Europe, Asia and Australia. The North American leg of the tour included opening act Chris Whitley.


title: Supposed Former Infatuation Junkie

text: Guitarist Nick Lashley and bassist Chris Chaney remained for this album's touring from the previous years, although there were several new band members. The band now incorporated a keyboardist, Deron Johnson, and welcomed guitarist Joel Shearer (from the "Jagged Little Pill" recording sessions) and drummer Gary Novak. Morissette herself continued playing guitar (however more so than previous tours) and harmonica. She also started playing the flute in concerts, during the song "That I Would Be Good".


title: Supposed Former Infatuation Junkie

text: In January 1999, "The Junkie Tour" kicked off, and lasted through July, then returned in October up until the end of December. Opening acts included Garbage and Liz Phair, among others. The worldwide tour had alternating setlists for every leg, but included the usual set openers and closers. The concert introduction music was a track from DJ Shadow, entitled "Building Steam with a Grain of Salt".


title: Supposed Former Infatuation Junkie

text: During the tour, Morissette wrote the song "Still" for the Kevin Smith film, "Dogma". This song was performed live for the first time in July at Morissette's "VH1 Storytellers" special. After that special, she performed in front of thousands during the Woodstock '99 concert festival in New York. Unlike the previous tours, Morissette focused mainly on performing songs that had been released and didn't perform any new songs, aside from a couple of B-sides during the second half of the year.


title: Supposed Former Infatuation Junkie

text: In May, Morissette and Tori Amos announced the "5 Week Tour" which filled the touring void in August and September before "The Junkie Tour" re-commenced. The tour would be a joint venture, as they both co-headlined the bills. Toward the end of the tour, Morissette recorded her "MTV Unplugged" concert special. During the final weeks of "The Junkie Tour", keyboardist Deron Johnson left the band and was replaced, and Gary Novak took a temporary leave and was replaced as well.


title: Supposed Former Infatuation Junkie

text: Morissette announced a summer tour in 2000 called "The One Tour" which kicked off with two dates in North America, before continuing in places she had never toured (or rarely toured) before across Europe and parts of Asia. In each city, she selected an ambassador through a website contest on "Z.com", to show her around and teach her the culture. It was after this tour that Morissette kicked off MSN and DirecTV's concert series, "Music in High Places" where she performed acoustic on the Navajo Nation in Arizona, and also learned the cultures, practices, traditions and songs from the natives in the area. This was Morissette's final performance and release that tied into promotion for "Supposed Former Infatuation Junkie" before she started writing her follow-up, "Under Rug Swept".


title: Supposed Former Infatuation Junkie

text: The first single from "Supposed Former Infatuation Junkie", "Thank U", was released to US radio in October 1998. It charted considerably high in initial airplay because of the anticipation for the album, but many critics and listeners who had pigeonholed Morissette as an angry woman were surprised by the song's calm and serene feel. Released in November, the album debuted at number one on the US "Billboard" 200 with the highest first-week sales for a female artist at the time, selling 469,054 copies in its first seven days. She held this record for two years, until being outsold in first week sales by Britney Spears' "Oops!...I Did It Again" which sold 1.3 million copies in 2000. It held the number-one spot for an additional week, before falling to eighth place in what is generally a busy shopping period because of the holiday season. Over the next few weeks sales for the album slowly declined, and then faltered drastically. After 28 weeks, the album had fallen off the "Billboard" 200, and as of September 2008 it had sold 2.6 million copies in the US, less than a fifth in sales of that of "Jagged Little Pill".


title: Supposed Former Infatuation Junkie

text: Though not an official single release in the US, "Joining You" became a modest hit on the Modern Rock Tracks chart; it was released as the album's second single in the UK and Europe. "Unsent", the second US single, peaked outside the top 40 on the US "Billboard" Hot 100. The third single "So Pure" made the top 40 in the UK as well as certain airplay charts in the US, though not the "Billboard" Hot 100. None of the singles revived significant interest in the album.


title: Supposed Former Infatuation Junkie

text: There had been many songs performed live during the tour in support of "Jagged Little Pill", and during festivals in between albums that did not appear on the album. It was never specified if those songs were supposed to be included or not, but one of the songs did make its way through, "Can't Not" which was first performed live on January 12, 1996, along with "King of Intimidation" & "No Pressure Over Cappuccino". This version of "Can't Not", however, was slightly more mellow—and differed from the demo version previewed on the home video, "Jagged Little Pill, Live". The song "King of Intimidation" (also previewed on the video) was never released on any album until the "Jagged Little Pill" 2015 deluxe edition, but appeared in a live clip along with the original "Can't Not" live clip on 2005's "" DVD.


title: Supposed Former Infatuation Junkie

text: "No Pressure Over Cappuccino" was another song that popped up from the previous tours, but not until 1999's live album, "Alanis Unplugged". This song was previewed on the above-mentioned video, but only in acoustic form. That version is mistakenly believed to be a studio demo, but it is merely an acoustic version performed with the band. The final song previewed on "Jagged Little Pill, Live" is "Death of Cinderella"; Alanis debuted the song live on December 6, 1995. It had never been released until the "Jagged Little Pill" 2015 deluxe edition. Other songs include "Gorgeous", "London", "Pray for Peace" (a.k.a. "She Gave Me a Wink") which has never been released but she played it for the first time in concert on October 18, 1997, and two untitled songs that fans refer to as "The Weekend Song" (or "I Don't Know") which debuted in concert on February 4, 1996, and "After A Year Like This One" on July 12, 1996. A live version of "London" appeared as a B-side to the "Joining You" and "Unsent" singles. The studio version was later released on the "Jagged Little Pill" 2015 deluxe edition with "Gorgeous" as well. Both songs debuted in concert on June 8, 1997.


title: Supposed Former Infatuation Junkie

text: Aside from the songs written and performed during concerts 1995–1997, there were songs specifically written for "Supposed Former Infatuation Junkie". "Pollyanna Flower" was released as a B-side to "Thank U", while "These Are The Thoughts" appeared on the single to "Joining You" (and later on "Alanis Unplugged"). "Can't Not" was originally intended to be a B-side, but Morissette and Ballard decided to put it on the record. Another song left off the album was "Princes Familiar", whose studio version has yet to surface. It has only been released in live, acoustic form on both "Alanis Unplugged" and "The Collection"


title: Executive Order 9066

text: Executive Order 9066 was a United States presidential executive order signed and issued during World War II by United States president Franklin D. Roosevelt on February 19, 1942. This order authorized the secretary of war to prescribe certain areas as military zones, clearing the way for the incarceration of nearly all 120,000 Japanese Americans during the war. Two-thirds of them were U.S. citizens, born and raised in the United States.


title: Executive Order 9066

text: Notably, far more Americans of Asian descent were forcibly interned than Americans of European descent, both in total and as a share of their relative populations. Those relatively few German and Italian Americans who were sent to internment camps during the war were sent under the provisions of Presidential Proclamation 2526 and the Alien Enemy Act, part of the Alien and Sedition Act of 1798.


title: Executive Order 9066

text: On March 21, 1942, Roosevelt signed Public Law 77-503 (approved after only an hour of discussion in the Senate and thirty minutes in the House) in order to provide for the enforcement of his executive order. Authored by War Department official Karl Bendetsen — who would later be promoted to Director of the Wartime Civilian Control Administration and oversee the incarceration of Japanese Americans — the law made violations of military orders a misdemeanor punishable by up to $5,000 in fines and one year in prison.


title: Executive Order 9066

text: Using a broad interpretation of EO 9066, Lieutenant General John L. DeWitt issued orders declaring certain areas of the western United States as zones of exclusion under the Executive Order. As a result, approximately 112,000 men, women, and children of Japanese ancestry were evicted from the West Coast of the continental United States and held in American relocation camps and other confinement sites across the country. EO 9066 was not applied in such a sweeping manner to persons of non-Japanese descent. Notably, in a 1943 letter, Attorney General Francis Biddle reminded Roosevelt that "You signed the original Executive Order permitting the exclusions so the Army could handle the Japs. It was never intended to apply to Italians and Germans."


title: Executive Order 9066

text: Japanese Americans in Hawaii were not incarcerated in the same way, despite the attack on Pearl Harbor. Although the Japanese-American population in Hawaii was nearly 40% of the population of the territory, only a few thousand people were detained there. This fact supported the government's eventual conclusion that the mass removal of ethnic Japanese from the West Coast was motivated by reasons other than "military necessity."


title: Executive Order 9066

text: Japanese Americans and other Asians in the U.S. had suffered for decades from prejudice and racially motivated fears. Racially discriminatory laws prevented Asian Americans from owning land, voting, testifying against whites in court, and set up other restrictions. Additionally, the FBI, Office of Naval Intelligence and Military Intelligence Division had been conducting surveillance on Japanese-American communities in Hawaii and the continental U.S. from the early 1930s. In early 1941, President Roosevelt secretly commissioned a study to assess the possibility that Japanese Americans would pose a threat to U.S. security. The report, submitted one month before the Japanese bombing of Pearl Harbor, found that, "There will be no armed uprising of Japanese" in the United States. "For the most part," the Munson Report said, "the local Japanese are loyal to the United States or, at worst, hope that by remaining quiet they can avoid concentration camps or irresponsible mobs." A second investigation started in 1940, written by Naval Intelligence officer Kenneth Ringle and submitted in January 1942, likewise found no evidence of fifth column activity and urged against mass incarceration. Both were ignored by military and political leaders.


title: Executive Order 9066

text: Over two-thirds of the people of Japanese ethnicity who were incarcerated — almost 70,000 — were American citizens. Many of the rest had lived in the country between 20 and 40 years. Most Japanese Americans, particularly the first generation born in the United States (the "Nisei"), identified as loyal to the United States of America. No Japanese-American citizen or Japanese national residing in the United States was ever found guilty of sabotage or espionage.


title: Executive Order 9066

text: There were 10 of these internment camps across the country called “relocation centers”. There were two in Arkansas, two in Arizona, two in California, one in Idaho, one in Utah, one in Wyoming, and one in Colorado.


title: Executive Order 9066

text: Secretary of War Henry L. Stimson was responsible for assisting relocated people with transport, food, shelter, and other accommodations and delegated Colonel Karl Bendetsen to administer the removal of West Coast Japanese. Over the spring of 1942, General John L. DeWitt issued Western Defense Command orders for Japanese Americans to present themselves for removal. The "evacuees" were taken first to temporary assembly centers, requisitioned fairgrounds and horse racing tracks where living quarters were often converted livestock stalls. As construction on the more permanent and isolated War Relocation Authority camps was completed, the population was transferred by truck or train. These accommodations consisted of tar paper-walled frame buildings in parts of the country with bitter winters and often hot summers. The camps were guarded by armed soldiers and fenced with barbed wire (security measures not shown in published photographs of the camps). Camps held up to 18,000 people, and were small cities, with medical care, food, and education provided by the government. Adults were offered "camp jobs" with wages of $12 to $19 per month, and many camp services such as medical care and education were provided by the camp inmates themselves.


title: Executive Order 9066

text: In December 1944, President Roosevelt suspended Executive Order 9066, forced to do so by the Supreme Court decision "Ex parte Endo". Detainees were released, often to resettlement facilities and temporary housing, and the camps were shut down by 1946.


title: Executive Order 9066

text: In the years after the war, the interned Japanese Americans had to rebuild their lives but had lost a lot. United States citizens and long-time residents who had been incarcerated lost their personal liberties; many also lost their homes, businesses, property, and savings. Individuals born in Japan were not allowed to become naturalized US citizens until after passage of the Immigration and Nationality Act of 1952.


title: Executive Order 9066

text: On February 19, 1976, President Gerald Ford signed a proclamation formally terminating Executive Order 9066 and apologizing for the internment, stated: "We now know what we should have known then — not only was that evacuation wrong but Japanese-Americans were and are loyal Americans. On the battlefield and at home the names of Japanese-Americans have been and continue to be written in history for the sacrifices and the contributions they have made to the well-being and to the security of this, our common Nation."


title: Executive Order 9066

text: In 1980, President Jimmy Carter signed legislation to create the Commission on Wartime Relocation and Internment of Civilians (CWRIC). The CWRIC was appointed to conduct an official governmental study of Executive Order 9066, related wartime orders, and their effects on Japanese Americans in the West and Alaska Natives in the Pribilof Islands.


title: Executive Order 9066

text: In December 1982, the CWRIC issued its findings in "Personal Justice Denied", concluding that the incarceration of Japanese Americans had not been justified by military necessity. The report determined that the decision to incarcerate was based on "race prejudice, war hysteria, and a failure of political leadership". The Commission recommended legislative remedies consisting of an official Government apology and redress payments of $20,000 to each of the survivors; a public education fund was set up to help ensure that this would not happen again ().


title: Executive Order 9066

text: On August 10, 1988, the Civil Liberties Act of 1988, based on the CWRIC recommendations, was signed into law by Ronald Reagan. On November 21, 1989, George H. W. Bush signed an appropriation bill authorizing payments to be paid out between 1990 and 1998. In 1990, surviving internees began to receive individual redress payments and a letter of apology. This bill applied to the Japanese Americans and to members of the Aleut people inhabiting the strategic Aleutian islands in Alaska who had also been relocated.


title: Executive Order 9066

text: February 19, the anniversary of the signing of Executive Order 9066, is now the Day of Remembrance, an annual commemoration of the unjust incarceration of the Japanese-American community.


title: Executive Order 9066

text: In 2017, the Smithsonian launched an exhibit about these events with artwork by Roger Shimomura. It provides context and interprets the treatment of Japanese Americans during World War II.


title: Executive Order 9066

text: In Feb. 2022, for the 80th anniversary of the signing of the order, supporters lobbied to pass the Amache National Historic Site Act historical designation for the Granada War Relocation Center in Colorado.


title: Myfanwy Talog

text: Myfanwy Talog Williams ( 31 March 1944 – 11 March 1995), known professionally as Myfanwy Talog, was a Welsh actress and the long-term partner of English actor David Jason.


title: Myfanwy Talog

text: Talog was born on 31 March 1944 in Caerwys, Flintshire and a plaque is currently on the house where she was born. She worked as a teacher before pursuing an acting career and appeared mainly on Welsh-language television, comedy and children's programmes. For the Welsh audience, she played the character of Phyllis Doris, the teen daughter of the family in the comedy series "Ryan a Ronnie".


title: Myfanwy Talog

text: She later appeared in several English-language sitcoms and soap operas. She lived with David Jason and accompanied him to Buckingham Palace in 1993 to receive his OBE. She lived with him for eighteen years until her death from breast cancer.


title: Myfanwy Talog

text: On television, Talog narrated "Wil Cwac Cwac" ("English: Will Quack Quack") and voiced The Two Girls in the "SuperTed" episode, "SuperTed and the Pothole Rescue" for S4C and Siriol Productions. She did voice work for Cosgrove Hall on "Alias the Jester", and "The BFG", where she voiced Mrs. Clonkers (with Jason voicing the BFG). Contrary to popular belief, she did not sing the theme tune to "Danger Mouse". She also appeared in the British TV shows "The Magnificent Evans", "Bread, Ryan and Ronnie, Within These Walls, A Sharp Intake of Breath, Crossroads, Butterflies, Yes, Prime Minister" and "Waiting for God".


title: Myfanwy Talog

text: Talog died of breast cancer in 1995. In 2006, on the anniversary of her birthday, a plaque in her memory was placed on her former family home in Caerwys.


title: Psychedelic soul

text: Psychedelic soul (originally called black rock or conflated with psychedelic funk) is a music genre that emerged in the late 1960s and saw Black soul musicians embrace elements of psychedelic rock, including its production techniques, instrumentation, effects units (wah-wah pedal, phaser, etc.) and drug influences. It came to prominence in the late 1960s and continued into the 1970s, playing a major role in the development of funk and disco.


title: Psychedelic soul

text: Pioneering acts working in the genre included Sly and the Family Stone, Jimi Hendrix, Isaac Hayes, and the Temptations. Mainstream acts that developed a psychedelic sound included the Supremes, Stevie Wonder, the Chambers Brothers, the 5th Dimension, Edwin Starr, Rare Earth, Arthur Brown and George Clinton's Parliament-Funkadelic ensemble.


title: Psychedelic soul

text: Following the lead of Jimi Hendrix in psychedelic rock, in the late 1960s psychedelia began to have a widespread impact on Afro American musicians, particularly the stars of the Motown label. Influenced by the civil rights movement, it had a darker and more political edge than much psychedelic rock. Building on the funk sound of James Brown, it was pioneered by Sly and the Family Stone with songs like "Dance to the Music" (1968), "Everyday People" (1968) and "I Want to Take You Higher" (1969), which had a sound that emphasized distorted electric rhythm guitar and strong basslines. Also important were the Temptations and their producer Norman Whitfield, who moved from a relatively light vocal group into more hard-edged and topical material like "Cloud Nine" (1968), "Runaway Child, Running Wild" (1969), and "Psychedelic Shack" (1969).


title: Psychedelic soul

text: Other Motown acts soon followed into psychedelic territory, including established performers like the Supremes with "Reflections" (1967), "Love Child" (1968), and "Stoned Love" (1970). Psychedelic influences could also be heard in the work of Stevie Wonder and in Marvin Gaye's socially conscious work from "What's Going On" (1971). Acts that broke through with psychedelic soul included the Chambers Brothers with "Time Has Come Today" (1966, but charting in 1968), the 5th Dimension with a cover of Laura Nyro's "Stoned Soul Picnic" (1968), Edwin Starr's "War" (1970) and the Undisputed Truth's "Smiling Faces Sometimes" (1971).


title: Psychedelic soul

text: George Clinton's interdependent Funkadelic and Parliament ensembles and their various spin-offs, taking influence from Detroit rock groups including MC5 and The Stooges, used extended distorted guitar solos and psychedelic sound effects, coupled with surreal imagery and stage antics, especially on early Funkadelic albums such as "Funkadelic" (1970), "Free Your Mind... and Your Ass Will Follow" (1970), and "Maggot Brain" (1971); and Parliament album "Osmium" (1970), producing more than forty singles, including three in the US top ten, and three platinum albums. Shuggie Otis's 1974 album "Inspiration Information" was a psychedelic soul record that emerged too late to take advantage of the style's popularity, but later found acclaim when it was reissued in 2001.


title: Psychedelic soul

text: While psychedelic rock began to waver at the end of the 1960s, psychedelic soul continued into the 1970s, peaking in popularity in the early years of the decade, and only disappearing in the late 1970s as tastes began to change. Isaac Hayes and Curtis Mayfield added orchestral instrumentation, creating cinematic soul, which ultimately led to disco. Acts like Earth, Wind & Fire, Kool & the Gang, and Ohio Players, who began as psychedelic soul artists, incorporated its sounds into funk music and eventually the disco which partly replaced it.


title: Nero Wolfe

text: Nero Wolfe is a brilliant, obese and eccentric fictional armchair detective created in 1934 by American mystery writer Rex Stout. Wolfe was born in Montenegro and keeps his past murky. He lives in a luxurious brownstone on West 35th Street in New York City, and he is loath to leave his home for business or anything that would keep him from reading his books, tending his orchids, or eating the gourmet meals prepared by his chef, Fritz Brenner. Archie Goodwin, Wolfe's sharp-witted, dapper young confidential assistant with an eye for attractive women, narrates the cases and does the legwork for the detective genius.


title: Nero Wolfe

text: Stout published 33 novels and 41 novellas and short stories featuring Wolfe from 1934 to 1975, with most of them set in New York City. The stories have been adapted for film, radio, television and the stage. The Nero Wolfe corpus was nominated for Best Mystery Series of the Century at Bouchercon 2000, the world's largest mystery convention, and Rex Stout was a nominee for Best Mystery Writer of the Century.


title: Nero Wolfe

text: Although the Nero Wolfe stories take place contemporaneously with their writing and depict a changing landscape and society, the principal characters in the corpus do not age. According to a memo prepared by Rex Stout in 1949, Nero Wolfe's age is 56, although this is not directly stated in the stories.


title: Nero Wolfe

text: "Those stories have ignored time for thirty-nine years," Stout told his authorized biographer, John McAleer. "Any reader who can't or won't do the same should skip them. I didn't age the characters because I didn't want to. That would have made it cumbersome and would seem to have centered attention on the characters rather than the stories."


title: Nero Wolfe

text: According to the same memo, Wolfe's height is and his weight is . Archie Goodwin, the narrator of the stories, frequently describes Wolfe as weighing "a seventh of a ton". This was intended to indicate unusual obesity at the time of the first book (1934), especially through the use of the word "ton" as the unit of measure. In a single short story written in 1947, Archie writes, "He weighs between 310 and 390, and he limits his physical movements to what he regards as the irreducible essentials."


title: Nero Wolfe

text: "Wolfe's most extravagant distinction is his extreme antipathy to literal extravagance. He will not move," wrote J. Kenneth Van Dover in "At Wolfe's Door: The Nero Wolfe Novels of Rex Stout":


title: Nero Wolfe

text: Wolfe's most remarkable departure from the brownstone is due to personal reasons, not to business, and thus does not violate the rule regarding the conduct of business away from the office. That event occurs in "The Black Mountain", when he leaves not only the brownstone but the United States to avenge the murder of his oldest friend. He abandons his cherished daily habits for a time and, despite his physical bulk, engages in strenuous outdoor activity in mountain terrain.


title: Nero Wolfe

text: The corpus implies or states that Nero Wolfe was born in Montenegro, with one exception. In the first chapter of "Over My Dead Body" (1939), Wolfe tells an FBI agent that he was born in the United States—a declaration at odds with all other references. Stout revealed the reason for the discrepancy in a 1940 letter cited by his authorized biographer, John McAleer: "In the original draft of "Over My Dead Body" Nero was a Montenegrin by birth, and it all fitted previous hints as to his background; but violent protests from "The American Magazine", supported by Farrar & Rinehart, caused his cradle to be transported five thousand miles."


title: Nero Wolfe

text: "I got the idea of making Wolfe a Montenegrin from Louis Adamic," Stout said, noting that everything he knew about Montenegrins he learned from Adamic's book, "The Native's Return" (1934), or from Adamic himself.


title: Nero Wolfe

text: "Adamic describes the Montenegrin male as tall, commanding, dignified, courteous, hospitable," McAleer wrote. "He is reluctant to work, accustomed to isolation from women. He places women in a subordinate role. He is a romantic idealist, apt to go in for dashing effects to express his spirited nature. He is strong in family loyalties, has great pride, is impatient of restraint. Love of freedom is his outstanding trait. He is stubborn, fearless, unsubduable, capable of great self-denial to uphold his ideals. He is fatalistic toward death. In short, Rex had found for Wolfe a nationality that fitted him to perfection."


title: Nero Wolfe

text: Wolfe is reticent about his youth, but apparently he was athletic, fit, and adventurous. Before World War I, he spied for the Austrian government's Evidenzbureau, but had a change of heart when the war began. He then joined the Serbian-Montenegrin army and fought against the Austrians and Germans. That means that he was likely to have been involved in the harrowing 1915 withdrawal of the defeated Serbian army, when thousands of soldiers died from disease, starvation, and sheer exhaustion—which might help to explain the comfort-loving habits that are such a conspicuous part of Wolfe's character. He joined the American Expeditionary Forces, and after a time in Europe and North Africa, he came to the United States.


title: Nero Wolfe

text: In 1956, John D. Clark theorized in an article in "The Baker Street Journal" that Wolfe was the offspring of an affair between Sherlock Holmes and Irene Adler (a character from "A Scandal in Bohemia"). Clark suggested that the two had an affair in Montenegro in 1892, and that Nero Wolfe was the result. The idea was later co-opted by William S. Baring-Gould and implied in the novels of Nicholas Meyer and John Lescroart, but there is no evidence that Rex Stout had any such connection in mind. Certainly there is no mention of it in any of the stories, although a painting of Sherlock Holmes does hang over Archie Goodwin's desk in Nero Wolfe's office. Some commentators note both physical and psychological resemblances and suggest Sherlock's brother Mycroft Holmes as a more likely father for Wolfe. Commentators have noted a coincidence in the names "Sherlock Holmes" and "Nero Wolfe": the same vowels appear in the same order. In 1957, Ellery Queen called this "The Great O-E Theory" and suggested that it was derived from the father of mysteries, Edgar Allan Poe. The only mention of Wolfe's mother in Stout's stories is in the first novel, "Fer-de-Lance" (1935), in which it is stated that she lives in Budapest and Wolfe sends her a monthly check.


title: Nero Wolfe

text: Some Wold Newton theorists have suggested the French thief Arsène Lupin as the father of Nero Wolfe. They note that in one story Lupin has an affair with the queen of a Balkan principality, which may be Montenegro by another name. Further, they note that the name Lupin resembles the French word for wolf, "loup".


title: Nero Wolfe

text: Wolfe has expensive tastes, living in a comfortable and luxurious New York City brownstone on the south side of West 35th Street. The brownstone has three floors plus a large basement with living quarters, a rooftop greenhouse also with living quarters, and a small elevator, used almost exclusively by Wolfe. Other unique features include a timer-activated window-opening device that regulates the temperature in Wolfe's bedroom, an alarm system that sounds a gong in Archie's room if someone approaches Wolfe's bedroom door or windows, and climate-controlled plant rooms on the top floor. Wolfe is a well-known amateur orchid grower and has 10,000 plants in the brownstone's greenhouse. He employs three live-in staff to see to his needs: Archie Goodwin (assistant), Fritz Brenner (chef), and Theodore Horstmann (orchidist).


title: Nero Wolfe

text: The front door is equipped with a chain bolt, a bell that can be shut off as needed, and a pane of one-way glass, which enables Archie to see who is on the stoop before deciding whether to open the door. The front room is used as a waiting area for visitors while Archie informs Wolfe of their arrival, and also as a place for Archie to hide one visitor from another.


title: Nero Wolfe

text: Wolfe's bedroom is on the second floor of the brownstone, and Archie's is on the third. Each of these floors also includes one spare bedroom, used on occasion to house a variety of clients, witnesses, and sometimes even culprits. Wolfe takes pride in being able to offer such assistance and once remarked, "The guest is a jewel resting on the cushion of hospitality".


title: Nero Wolfe

text: Wolfe's office becomes nearly soundproof when the doors connecting it to the front room and the hallway are closed. There is a small hole in the office wall covered by what Archie calls a "trick picture of a waterfall". A person in an alcove at the end of the hallway can open a sliding panel covering the hole, so as to see and hear conversations and other events in the office without being noticed. The chair behind Wolfe's desk is custom-built, with special springs to hold his weight; according to Archie, it is the only chair that Wolfe really enjoys sitting in. Near the desk is a large chair upholstered in red leather, which is usually reserved for Inspector Cramer, a current or prospective client, or the person whom Wolfe and Archie want to question. In the short story "The Squirt and the Monkey", Wolfe and Archie have a hidden tape recorder and microphone installed in the office, with controls in the kitchen. In the story "Eeny Meeny Murder Mo", the system is modified to transmit sound to a speaker in the front room.


title: Nero Wolfe

text: The brownstone has a back entrance leading to a private garden, as noted in "Champagne for One" (chapter 10) and elsewhere, from which a passage leads to 34th Street—used to enter or leave Wolfe's home when it is necessary to evade surveillance. Archie says that Fritz tries to grow herbs such as chives in the garden.


title: Nero Wolfe

text: "That readers have proved endlessly fascinated with the topography of Wolfe's brownstone temple should not be surprising", wrote J. Kenneth Van Dover in "At Wolfe's Door":


title: Nero Wolfe

text: It is the center from which moral order emanates, and the details of its layout and its operations are signs of its stability. For forty years, Wolfe prepares menus with Fritz and pots orchids with Theodore. For forty years, Archie takes notes at his desk, the client sits in the red chair and the other principals distribute themselves in the yellow chairs, and Wolfe presides from his custom-made throne. For forty years, Inspector Cramer and Sergeant Purley Stebbins ring the doorbell, enter the office, and explode with indignation at Wolfe's intractability. The front room, the elevator, the three-foot globe—all persist in place through forty years of American history. ... Like Holmes's 221B Baker Street, Wolfe's West Thirty-Fifth Street remains a fixed point in a turning world.


title: Nero Wolfe

text: "Curiously, the 900 block of West 35th Street would be in the Hudson River", wrote American writer Randy Cohen, who created a map of the literary stars' homes for "The New York Times" in 2005. "It's a non-address, the real estate equivalent of those 555 telephone numbers used in movies." Cohen settled on 922 West 35th Street—the address printed on Archie's business card in "The Silent Speaker"—as Nero Wolfe's address. On the "Literary Map of Manhattan", the brownstone is numbered 58 and is placed in the middle of the Hudson River.


title: Nero Wolfe

text: It is described in the opening chapter of "The Second Confession" as being on West Thirty-Fifth Street "nearly to 11th Avenue", which would put it in the 500 block.


title: Nero Wolfe

text: Writing as Archie Goodwin, Ken Darby suggests that "the actual location was on East 22nd Street in the Gramercy Park District. ... Wolfe merely moved us, fictionally, from one place to the other in order to preserve his particular brand of privacy. As far as "I" can discover, there never "were" brownstone houses on West 35th Street."


title: Nero Wolfe

text: The absence of brownstones in Wolfe's neighborhood sent television producers to the Upper West Side of Manhattan for an appropriate home and setting for select exterior shots, used in the A&E TV series "A Nero Wolfe Mystery". This Manhattan brownstone lacked some peculiarities of Wolfe's home, unlike the model specially constructed on the Toronto set where most of the series was filmed—for example, the correct number of steps leading up to the stoop. It was, therefore, shown from angles that would camouflage any slight discrepancies. The series settled on "914" for the brownstone's address. This number can be seen on the studio set representing the front door exterior in several episodes and on a closeup of Archie's paycheck in "Prisoner's Base".