title: John Dies at the End

text: John Dies at the End is a comic horror novel written by David Wong that was first published online as a webserial beginning in 2001, then as an edited manuscript in 2004, and a printed paperback in 2007, published by Permuted Press. An estimated 70,000 people read the free online versions before they were removed in September 2008. Thomas Dunne Books published the story with additional material as a hardcover on September 29, 2009. The book was followed by three sequels, "This Book Is Full of Spiders" in 2012, "What The Hell Did I Just Read" in 2017, and "If This Book Exists, You're in the Wrong Universe," in 2022. A film adaptation by Don Coscarelli was released in 2012.


title: John Dies at the End

text: Dave and John are a pair of paranormal investigators who live in an unnamed Midwestern town (referred to in the novel as "Undisclosed"). Dave meets reporter Arnie in a local restaurant and recounts the origin of his and John's unusual abilities.


title: John Dies at the End

text: The main story begins with Dave and John at a party, where John is performing with his band. Dave leaves the party early and John meets up with him later at Denny's, where John reveals that he has taken a drug known as "soy sauce" and shows Dave a syringe containing the drug. Dave pockets the syringe. Later, Dave accidentally injects himself with the drug in his pocket and begins to feel the effects.


title: John Dies at the End

text: Local police detective Lawrence Appleton informs Dave that everyone from the party except himself are either dead or missing, which turns out not to be true. John and Dave gather the remaining survivors of the party and they head to the Luxor Hotel in Las Vegas to meet with Albert Marconi, an expert in the paranormal. En route to Las Vegas, Detective Appleton kidnaps the group, until he and one other person are taken over by a malevolent force known as the Shadow Men, forcing the rest of the group to kill them. After a climactic battle scene at the Luxor, John and Dave return home and resume their lives.


title: John Dies at the End

text: One year later, Dave and John begin investigating various strange phenomena, all caused by the Shadow Men. At one point they build a bomb, which is eaten by Dave's Irish setter Molly. While tracking the Shadow Men to an abandoned mall, John and Dave are transported to another dimension, where they are greeted by followers of a godlike being called Korrok, who commands the Shadow Men in a bid to conquer all possible universes for consumption and amusement via acts of mass genocide and torture. They are informed that through their use of the Soy Sauce, they are now the chosen vectors through which the Shadow Men will invade their world. Escaping their captors, the two flee with Molly just as the bomb detonates.


title: John Dies at the End

text: An incredulous Arnie refuses to believe Dave, even after being shown one of the monsters the Shadow Men summoned. Dave reveals the real Arnie dead in the trunk of his car. Arnie panics and disappears.


title: John Dies at the End

text: In an epilogue, John and Dave find another dimensional portal inhabited by members of a paramilitary organization, who tell the two friends they are chosen ones who will save them. Annoyed, John and Dave leave, and watch as a group of teenagers travel through the portal and save the dimension.


title: John Dies at the End

text: David Wong: Author surrogate and the novel's protagonist. Dave narrates the novel from the first-person perspective. Dave is self-conscious and sarcastic, thus his narration is unreliable as the truth (he says he has been "mostly" honest with Arnie, and thus the reader). Dave is a slacker who works various minimum-wage jobs in his local town; during the timeline of the story he works at a video rental store.


title: John Dies at the End

text: John: Long-time best friend of Dave. John is frequently under the influence of various drugs, and Dave's need to rescue John from various difficult situations propels the plot forward. His band is playing at the party that opens the main storyline.


title: John Dies at the End

text: Molly: Molly is David's adoptive dog, an "Irish rust dog", whose tags indicate she previously belonged to the Sullivan family. Dave finds Molly at the party at the beginning of the main storyline. When Dave tries to return the dog, they refuse to receive it, and it follows Dave around for most of the story.


title: John Dies at the End

text: Arnie Blondestone: A journalist investigating paranormal affairs, his interview with Dave provides a framing story for the main events of the novel.


title: John Dies at the End

text: Robert Marley: A drug dealer present at the party at the outset of the story, he provides a drug known as "soy sauce" that either kills its users or gives them supernatural powers.


title: John Dies at the End

text: Jennifer Lopez, "Big" Jim Sullivan, Fred Chu: Three party-goers who were all present at the party at the start of the story that sets the plot in motion. The three of them join John and Dave on the trek to Las Vegas in Book 1. "Big" Jim and Fred are killed in the events, while Jennifer (whom Dave has had a crush on since high school) ends up dating Dave for a while during the period between the two main storylines.


title: John Dies at the End

text: Detective Lawrence "Morgan Freeman" Appleton: Detective in the Undisclosed Police Department, he starts investigating the deaths of several of the party goers, but becomes obsessed with the case, and changes from an investigator to trying to actively stop the evil that is operating in Undisclosed. He reminds Dave of a famous African-American actor, which Dave mistakenly thinks is Morgan Freeman.


title: John Dies at the End

text: Doctor Albert Marconi: A former priest, and current lecturer on Paranormal Activities, he acts as an advisor of sorts to Dave and John.


title: John Dies at the End

text: Danny Wexler: Local sportscaster who possession by The Shadow Men provides the inciting incident in Book 2.


title: John Dies at the End

text: Korrok: Believed to be an evil deity worshiped by several different cultures in human history, Korrok serves as the novel's major antagonist, with many of the demons encountered by David and John throughout the novel acting as his servants. Korrok is depicted in many ways, both physical and metaphorical.


title: John Dies at the End

text: "Shitload": One of Korrok's supernatural minions. Shitload's natural form consists of a swarm of small, white insectoids comparable to rods described in cryptozoological theories.


title: John Dies at the End

text: Reviewer Bryan Gatchell considered it "a horror novel parody," saying, "The story combined the horror of the writings of H. P. Lovecraft and the surrealism of Heironymus [sic] Bosch painting with the early 20s (i.e., their age) asininity of its two main protagonists, David Wong and John... [T]hey can see things no other human can see such as shadow men, demons, floating worms, obscene fast food murals, ghost doors, men observing them through the television and dog-sized, wig-wearing, scorpion-like creatures... Wong is much more at home when it comes to the humorous aspects of the story... Strangely enough, the best moment of the novel has neither to do with horror (in the traditional sense) or humor. The novel becomes the most gripping when David describes a violent incident as a high school student. The rest of the novel is amusing, but at this moment, the novel breaks away from its jokey Internet origins and seems to come into its own as a genuinely good book."


title: John Dies at the End

text: The book received a positive review in The Guardian, with reviewer Eric Brown comparing it to the works of Philip K. Dick, Kurt Vonnegut and Hunter S. Thompson and writing "it may be a farrago of nonsense, but it's also unputdownable thanks to great narrative pace and its pair of likeable layabouts".


title: John Dies at the End

text: A review in Publishers Weekly was positive, saying "the book's smart take on fear manages to tap into readers' existential dread on one page, then have them laughing the next".


title: John Dies at the End

text: A review in Kirkus Reviews criticised the writing as "clunky" but ultimately praised the book, concluding "when it’s funny, it's laugh-out-loud funny, yet when the situation calls for chills, it provides them in spades".


title: John Dies at the End

text: Sandra Scholes, writing a featured review on SF Site recommended the book, stating "for those who like to delve into the realms of the unreal and offbeat, this is a really good one".


title: John Dies at the End

text: A sequel to the book, "This Book Is Full of Spiders", was published on October 2, 2012. It originally had the working title of "John and Dave and the Fifth Wall" before Wong announced the official title. Part of the book was originally hosted on the official website under the title of "John and Dave and the Temple of X'al'naa'thuthuthu", but was removed from the site. Wong later re-posted the excerpt on the website in February 2009, but removed it the following year.


title: John Dies at the End

text: A third book in the series was released on October 3, 2017, under the title "What the Hell Did I Just Read: A Novel of Cosmic Horror".


title: John Dies at the End

text: The fourth book in the series, "If This Book Exists, You're in the Wrong Universe" was released in October 2022. This book was released under Wong's real name, Jason Pargin, as have recent paperback editions of the earlier books.


title: John Dies at the End

text: Director Don Coscarelli purchased film rights to the book; and subsequently wrote and directed the film adaptation.


title: John Dies at the End

text: Filming began on October 21, 2010. The movie stars Paul Giamatti as Arnie Blondestone and Clancy Brown as Dr. Marconi, with Giamatti also helping to produce. Actors Chase Williamson and Rob Mayes play the lead roles of Dave and John, respectively.


title: John Dies at the End

text: The movie premiered at the 2012 Sundance Film Festival on January 24, 2012 and was released as an independent theatrical film the following day.


title: Green Versace dress of Jennifer Lopez

text: American entertainer Jennifer Lopez wore a green Versace silk chiffon dress to the 42nd Grammy Awards ceremony on February 23, 2000. The sheer fabric was printed with a tropical leaf and bamboo pattern, and cut with a very low neckline that extended well past Lopez's navel, while the waist of the dress was studded with citrines.


title: Green Versace dress of Jennifer Lopez

text: This garment instantly received significant global media coverage, and it has been cited, along with Elizabeth Hurley's black Versace dress, as one of the most high-profile dresses that made the designer Versace a household name. In addition, this dress was described as a turning point in designer Donatella Versace's career after the death of her brother, Gianni Versace. It was chosen by fashion journalist Lisa Armstrong to represent 2000 in the Fashion Museum of Bath's Dress of the Year collection, at which point it was described as a key example of the close relationship between fashions, celebrities and publicity.


title: Green Versace dress of Jennifer Lopez

text: Another duplicate of the dress is displayed at The Grammy Museum while, as of 2015, Lopez herself still owned the original gown.


title: Green Versace dress of Jennifer Lopez

text: Before it became famous on the red carpet of the Grammy Awards, the dress was presented on the catwalk by model Amber Valletta, and was featured in Versace's main advertising campaign that year. Steven Meisel also photographed it on Valletta. Andrea Lieberman, Lopez's stylist at the time, remarked, "Versace and Jennifer [Lopez] belonged together. It was really natural."


title: Green Versace dress of Jennifer Lopez

text: In 2000, the dress had a market value of approximately $15,000. Spice Girl Geri Halliwell wore the same dress to the NRJ Music Awards in France in January 2000, approximately one month before Lopez wore it; however, she failed to receive as much attention as Lopez did. The designer herself wore it to a Met Gala on December 6, 1999.


title: Green Versace dress of Jennifer Lopez

text: Lopez arrived on the red carpet of the 42nd Grammy Awards in the company of then-boyfriend Sean Combs; he was dressed in a gray suit. The actress-singer immediately monopolized the attention and curiosity of the public and photographers at the event. Actor David Duchovny appeared on stage with Lopez to present the award for Best R&B Album and declared to the audience, "This is the first time in five or six years that I'm sure that nobody is looking at me." In saying this, he elicited laughter from the audience and Lopez.


title: Green Versace dress of Jennifer Lopez

text: Designed by Donatella Versace, it has been described as "jungle green", "sea green" or "tropical" green, a green dress with touches of blue to give an exotic appearance. It is a see-through silk chiffon dress with a tropical leaf and bamboo pattern, with a citrine-studded crotch. The dress "had a low-cut neck that extended several inches below her navel, where it was loosely fastened with a sparkly brooch and then opened out again," exposing her midriff and then cut along the front of the legs like a bath robe. The dress then drooped behind her on the floor, open at the back.


title: Green Versace dress of Jennifer Lopez

text: Under it, Lopez wore a pair of nude-tone bathing suit shorts and kept the dress on by using double-sided fashion tape.


title: Green Versace dress of Jennifer Lopez

text: The dress was discussed by those in the fashion and entertainment for weeks after the event, with dedicated television specials and magazine covers featuring her. Images of Lopez in the green dress were downloaded from the Grammy website 642,917 times in just 24 hours after the event. The dress has been cited along with the Black Versace dress of Elizabeth Hurley as being those most iconic dresses which made Versace a household name. "Vibe" magazine said, "Jen Lo made Donatella Versace's diaphanous green fabric a national call to arms." Others have argued that the dress led to Lopez becoming "one of the most glamorous and publicity-friendly icons of the red carpet."


title: Green Versace dress of Jennifer Lopez

text: Lopez was surprised by the enormous media coverage, declaring in an interview: "It was a nice dress. I had no idea it was going to become such a big deal." Versace later revealed that the dress was the turning point of her career, saying that the media now had confidence in her own work, after the death of Gianni Versace. She declared to the Canadian press, "It was an unexpected success. The next day she [Jennifer Lopez] was everywhere and people were talking about her in that dress. It was one of those moments like the one that Gianni [Versace] had with Elizabeth Hurley and clothes-pins." The dress has been referred to many times as "notorious" and "infamous" because of its boldness.


title: Green Versace dress of Jennifer Lopez

text: At the 72nd Academy Awards in March 2000, "South Park" co-creator Trey Parker wore an imitation of the dress.


title: Green Versace dress of Jennifer Lopez

text: The Fashion Museum, Bath asked Lisa Armstrong of the "Times" to choose an outfit to represent 2000 for their "Dress of the Year" collection. While Armstrong initially considered choosing Hussein Chalayan's table dress, she eventually decided on the Versace dress, arguing that due to the media attention it had received through being worn by Lopez, Geri Halliwell, and others, the gown represented "some kind of high water mark in the current symbiosis between fashion and celebrity." Versace subsequently donated a duplicate of the dress to the Museum. Another duplicate is displayed at the Grammy Museum in Los Angeles. As of 2015, the original dress remains in Lopez's possession.


title: Green Versace dress of Jennifer Lopez

text: Lopez wore the dress during her monologue while hosting "Saturday Night Live" in February 2001. She wore a dress resembling the original during her monologue when she returned to host in December 2019. Lopez modeled a reimagined version of the dress at the Spring 2020 Versace show during Milan Fashion Week in September 2019.


title: Green Versace dress of Jennifer Lopez

text: On October 15, 2002 at the Radio City Music Hall in New York City, Lopez was awarded the VH1 Vogue Fashion Award as the most influential star of the year. The award was presented by Versace herself.


title: Green Versace dress of Jennifer Lopez

text: In a poll by Debenhams, published in the "Daily Telegraph" in 2008, the dress was voted the fifth most iconic red carpet dress of all time.


title: Green Versace dress of Jennifer Lopez

text: In January 2015, Google's president Eric Schmidt cited the massive attention to this dress as a motivation for the creation of Google Images search. In 2000, Google Search results were limited to simple pages of text with links, but the developers worked on developing this further, realizing that an image search was required to answer "the most popular search query" they had seen to date: Jennifer Lopez's green dress.


title: Green Versace dress of Jennifer Lopez

text: The dress was worn by Kerri Colby on the runway during an episode of RuPaul's Drag Race (season 14) in January 2022.


title: Green Versace dress of Jennifer Lopez

text: In May 2022, a duplicate of the dress appeared in the season 14 premiere episode of "The Real Housewives of Atlanta" as a part of cast member Marlo Hampton's fashion archive showroom.


title: BenDeLaCreme

text: BenDeLaCreme (born September 24, 1981) is the stage persona of Benjamin H. Putnam, an American drag queen, burlesque performer, and actor based in Seattle, Washington. He is known for being a contestant on the sixth season of "RuPaul's Drag Race" and the third season of "." He is also known for his solo shows " Ready To Be Committed", "Terminally Delightful", "Inferno A-Go-Go" and "Cosmos", and as co-creator and host of burlesque revues "Freedom Fantasia" and "Homo for the Holidays."


title: BenDeLaCreme

text: Putnam grew up in Litchfield, Connecticut, attending Litchfield High School. During his performance on "Drag Race", Putnam revealed that he was bullied as a child for being overweight, "weird", and gay. His mother, who had been the positive voice to counteract this, died of cancer when he was 13 years old. Putnam was also open about his struggles with depression, revealing that his "terminally delightful" drag persona helped him overcome this.


title: BenDeLaCreme

text: Putnam's stage name is a play off the French term "crème de la crème", which, translated, means "cream of the cream" or "best of the best", as well as a play off of his given first name. He commonly refers to himself as either "Ben" or "DeLa" to distinguish between the private, male persona (Ben) and public, female one (DeLa). He is also sometimes referred to as "Bendela", a take on the name Vendela. In an interview with "Artes Magazine", he explained "I consider BenDeLaCreme to be the very best of Ben which is the name of the gentleman that I share a body with. DeLa is how I refer to the lady part of me. If you say Ben you're talking to that guy. If you say DeLa you are talking to me."


title: BenDeLaCreme

text: Putnam credits his interest in drag and burlesque to seeing Varla Jean Merman's "Holiday Ham" in Boston in 2001. He was inspired by Merman's theatrical, character-driven approach to drag performance. DeLa considers drag to be "an inherently political act", an opportunity to encourage people to think about complex issues related to gender and sexuality through humor and theatre. Her solo shows combine comedy, song, burlesque, dance, and video clips (often DeLa herself in other roles). DeLa's costume style is reminiscent of iconic 1950s pin-up girls. She cites dancer and actress Ann Miller as an early influence.


title: BenDeLaCreme

text: Putnam's career began in Chicago in 2002, while he was pursuing a BFA degree at the School of the Art Institute of Chicago from 2001 to 2003. Although his course of study focused on painting, he found himself more interested in performance art.


title: BenDeLaCreme

text: Her first opportunities to perform came at drag revues at Chicago-area gay bars. Early on, she was exposed to a more explicitly feminist, message-driven side of drag culture by the Chicago Kings, a drag king troupe with which she frequently performed as the token "queen". At the same time, DeLa made a conscious decision to present a more positive, cheerful persona during her shows, even when addressing serious subject matter such as prejudice, death, and depression.


title: BenDeLaCreme

text: Since the mid-2000s, she has been based in Seattle, Washington. She is the hostess for The Atomic Bombshells burlesque troupe and teaches at Seattle's Academy of Burlesque. DeLa has collaborated with many members of the Seattle burlesque community, including "Drag Race" Season 5 winner Jinkx Monsoon. She runs the theatrical production company DeLouRue Presents, creating and performing in popular holiday revue shows "Freedom Fantasia" and "Homo for the Holidays", with burlesque duo Kitten La Rue and Lou Henry Hoover, her friends and frequent collaborators.


title: BenDeLaCreme

text: BenDeLaCreme's touring solo shows include "Terminally Delightful, Cosmos, and Inferno A-Go-Go." She has also appeared in several films by filmmaker Wes Hurley including the documentary "Waxie Moon", "Waxie Moon in Fallen Jewel", and as a narrator of the series "Capitol Hill".


title: BenDeLaCreme

text: At the 2019 MAC Awards, BenDeLaCreme was presented with an award in the category "Major Impersonation/Characterization/Drag Artist" for her show Inferno A-Go-Go.


title: BenDeLaCreme

text: In December 2020, BenDeLaCreme's collaboration film with Jinkx Monsoon, "The Jinkx and Dela Holiday Special" was released, and can be streamed on Hulu.


title: BenDeLaCreme

text: In 2014, BenDeLaCreme appeared in the sixth season of "RuPaul's Drag Race," where she placed fifth and was voted Miss Congeniality by viewers. In 2018, she appeared in the of "," where, after a record-breaking fifth challenge win in episode 6, she chose to eliminate herself, claiming she had already proven herself and that she felt the other remaining contestants wanted the crown more than she did. Many fans were shocked at this decision, as her track record heavily favored her to win the entire competition. DeLa is the only "Drag Race" contestant so far to win five challenges in a single season, win four episodes consecutively and, at the time, win the "Snatch Game" challenge on more than one season (later joined by season 7 and All Stars 6 contestant Ginger Minj, as well as Season 5 and All Stars 7 contestant Jinkx Monsoon), and currently still has the best statistics of any queen to have ever competed in "Drag Race".


title: John Roberts (journalist)

text: John David Roberts (born November 15, 1956) is a Canadian-American television journalist currently working for the Fox News Channel, as the co-anchor of "America Reports". Roberts formerly worked as the Fox News Chief White House Correspondent from 2017 to 2021, covering the Donald Trump presidency.


title: John Roberts (journalist)

text: He joined Fox News in January 2011. Prior to Fox News, Roberts was at CNN where he was an anchor and Senior National Correspondent. He worked at various radio and television jobs before joining CTV in 1990, CBS News in 1992 and CNN in 2006. On March 12, 2009, Roberts was inducted into the Canadian Broadcast Hall of Fame. Prior to becoming their chief White House correspondent, Roberts was a national correspondent for Fox News, based in Atlanta.


title: John Roberts (journalist)

text: Roberts was born in Toronto, Ontario and grew up in Mississauga, Ontario. He attended Erindale Secondary School and Lorne Park Secondary School and later the University of Toronto's Erindale College.


title: John Roberts (journalist)

text: Roberts first started working in radio at the local college station, CFRE-FM in Mississauga. His first professional job was as reporter and news anchor with CFOS in Owen Sound, Ontario in 1975.


title: John Roberts (journalist)

text: From there, he went to CHYM in Kitchener, where he worked as a newsman and DJ, then worked on-air for radio station CJBK in London, Ontario in 1977, before moving back to Toronto to join top-40 powerhouse CHUM later that year as a weekday evening disc jockey. 1050 CHUM and CITY-TV gave him the on-air name J.D. Roberts.


title: John Roberts (journalist)

text: In 1979, he branched out from his radio work to co-host with Jeanne Beker the music newsmagazine "The NewMusic" on CITY-TV until 1985. "The New Music" was a pioneering program that pre-dated MTV. Roberts, Beker and the "New Music" team won many awards for their work. During that time, Roberts also served as Entertainment reporter for CITY-TV and on occasion filled in for John Majhor and later Brad Giffen on CITY-TV's local music video show "Toronto Rocks". In 1984, Roberts was tapped to front Canada's music channel MuchMusic. He and Christopher Ward were the first on-air personalities appearing when the network launched in 1984. At MuchMusic he hosted many programs, including a one-hour heavy metal video show called "The Power Hour".


title: John Roberts (journalist)

text: In 1987, Roberts left MuchMusic to anchor CITY-TV's "CityPulse", and became anchor of the 10 pm "CityPulse Tonight" when Anne Mroczkowski moved from anchoring that newscast to join Gord Martineau on the 6 pm edition.


title: John Roberts (journalist)

text: Between 1989 and 1990 Roberts was an anchor/reporter for WCIX (now WFOR-TV), the CBS-owned and operated television station in Miami, Florida.


title: John Roberts (journalist)

text: Roberts returned to Canada in September 1990 to co-host the national CTV morning show "Canada AM", initially with Deborah McGregor, and later with Pamela Wallin.


title: John Roberts (journalist)

text: In 1992, Roberts moved to CBS News in New York. His initial assignment was anchoring the "CBS Morning News" with co-anchor Meredith Vieira. Roberts was also the news reader and substitute anchor for Harry Smith on "CBS This Morning" and "The Early Show". From 1994 to 1995 Roberts anchored the 5pm and 11pm newscasts at CBS's flagship station in New York, WCBS-TV. In March 1995, he moved back to the CBS Network as anchor of the "CBS Sunday Evening News," remaining in that position for nearly 11 years. He also anchored the "CBS Saturday Evening News" from February 1999 until he became CBS chief White House Correspondent in August 1999.


title: John Roberts (journalist)

text: Roberts served as chief White House Correspondent at CBS from August 1999 to February 2006, and regularly anchored a Sunday-afternoon 3pm ET newscast for the CBS Radio Network. In March 2003, Roberts was embedded with the 2nd Light Armored Reconnaissance Battalion of the U.S. Marines during the initial invasion of Iraq.


title: John Roberts (journalist)

text: On July 19, 2005, he introduced CBS's coverage on the announcement of the nomination of John Roberts for the Supreme Court of the United States. He jokingly asked colleagues to refer to him as "Your Honor" because he and Justice Roberts bear the same name.


title: John Roberts (journalist)

text: He had been widely considered a potential replacement for "CBS Evening News" anchor Dan Rather after Rather stepped down from the anchor desk in March 2005, but Bob Schieffer was chosen on an interim basis to be the next "CBS Evening News" anchor, and in subsequent months, it became clear that Roberts was not under consideration for the job.. During his time at CBS, Roberts received three national Emmy awards as well as a Gracie award for his coverage of a groundbreaking surgery to repair neural tube defects.


title: John Roberts (journalist)

text: In February 2006, Roberts left CBS and joined CNN. In July 2006 and August 2006, Roberts reported from the front lines in the Israel/Hezbollah war and at one point, embedded with an Israeli infantry unit, marching 10 miles into Lebanon. Roberts was recognized with a Headline Award for that embed. CNN's coverage of the war was recognized with an Edward R. Murrow Award.


title: John Roberts (journalist)

text: In October 2006, he returned to Iraq as the first anchor of "This Week at War" and served as the Senior National Correspondent based in Washington. He has also substituted for Anderson Cooper on "Anderson Cooper 360°". Roberts was co-anchor of CNN's morning program "American Morning" from 2007 to 2010. He anchored from New York. In 2010, "American Morning" was nominated for "best morning program" at the Daytime Emmy Awards, losing to "Good Morning America".


title: John Roberts (journalist)

text: The "New York Post" reported on December 7, 2010, that Roberts would depart "American Morning" and become a national correspondent based out of CNN's headquarters in Atlanta. The Associated Press reported that Roberts' departure was at his request so he could move closer to fiancée and CNN anchor Kyra Phillips.


title: John Roberts (journalist)

text: Executives at CNN confirmed on January 3, 2011, that Roberts would be leaving CNN to join Fox News as a national correspondent, based in Atlanta.


title: John Roberts (journalist)

text: Roberts reported on numerous breaking news events including the murder trial of real estate heir Robert Durst, the U.S. Ebola outbreak, the 2013 EF5 tornado in Moore, Oklahoma, and the aftermath of Hurricane Irene in 2011 as well continuing his coverage of American politics.


title: John Roberts (journalist)

text: In an August 2016 sexual harassment lawsuit against Fox News, Andrea Tantaros claimed that Roberts, Scott Brown, and Bill O'Reilly sexually harassed her. The case was dismissed.


title: John Roberts (journalist)

text: In January 2017, Roberts became chief White House correspondent for Fox News, covering the activities of US President Donald Trump. Roberts garnered significant attention in 2020 for criticizing the Trump presidency's hostility with the media and its failure to properly inform the media. Following the first presidential debate in the 2020 elections, Roberts got into a heated exchange with press secretary Kayleigh McEnany over the president's failure to explicitly denounce white supremacy. During the press briefing, Roberts frustratedly told McEnany to "stop deflecting, stop blaming the media", to which he received much backlash, prompting controversy over the subject in the media and among politicians.


title: John Roberts (journalist)

text: In October 2020, Fox News announced that Roberts had signed a multi-year contract extension and that he would remain with Fox News for the coming years.


title: John Roberts (journalist)

text: On January 14, 2021, Fox News announced that Roberts was being promoted to an anchor position, with a 1-3 pm show entitled "America Reports". Peter Doocy took Roberts' former position as the White House correspondent during the Joe Biden administration.


title: John Roberts (journalist)

text: On October 18, 2021, Roberts tweeted that the death of Colin Powell, who died as a result of complications due to COVID-19 despite being fully vaccinated, raised “new concerns” about the long-term efficacy of vaccines. His tweet was criticized for not taking into account Powell's age and health history, which reportedly included a diagnosis of multiple myeloma, a type of blood cancer that weakens the body’s ability to protect against infections. Roberts eventually deleted the tweet, and subsequently saying he did so because the tweet was interpreted as "anti-vax", when "it was not".


title: John Roberts (journalist)

text: Divorced in 2008, John Roberts announced his engagement to Kyra Phillips on April 25, 2010. They have twin children named Sage Ann and Kellan Clay.


title: Batak

text: Batak is a collective term used to identify a number of closely related Austronesian ethnic groups predominantly found in North Sumatra, Indonesia, who speak Batak languages. The term is used to include the Karo, Pakpak, Simalungun, Toba, Angkola, and Mandailing which are related groups with distinct languages and traditional customs ("adat").


title: Batak

text: Linguistic and archaeological evidence indicates that Austronesian speakers first reached Sumatra from Taiwan and the Philippines through Borneo or Java about 2,500 years ago, and the Batak probably descended from these settlers. While the archaeology of southern Sumatra testifies to the existence of neolithic settlers, it seems that the northern part of Sumatra was settled by agriculturalists at a considerably later stage.


title: Batak

text: Although the Batak are often considered to be isolated peoples thanks to their location inland, away from the influence of seafaring European colonials, there is evidence that they have been involved in trade with other neighbouring kingdoms for a millennium or more.


title: Batak

text: The Bataks practiced a syncretic religion of Shaivism, Buddhism and local culture for thousands of years. The last Batak king who fought valiantly against Dutch imperialists until 1905 was an Indonesian Shaivite king. The Batak may be mentioned in Zhao Rugua's 13th-century "Description of the Barbarous Peoples" ("Zhu Fan Zhi" ), which refers to a 'Ba-ta' dependency of Srivijaya. The "Suma Oriental", of the 15th century, also refers to the kingdom of Bata, bounded by Pasai and the Aru kingdom.


title: Batak

text: Based on this evidence, the Batak may have been involved in procuring important commodities for trade with China, perhaps from the 8th or 9th centuries and continuing for the next thousand years, with Batak men carrying the products on their backs for sale at ports.


title: Batak

text: It has been suggested that the important port of Barus in Tapanuli was populated by Batak people. A Tamil inscription has been found in Barus which is dated to 1088, while contact with Chinese and Tamil traders took place at Kota Cina, a trading town located in what is now northern Medan that was established in the 11th century, and comprising 10,000 people by the 12th century. Tamil remains have been found on key trade routes to the Batak lands.


title: Batak

text: These trading opportunities may have caused migration of Batak from Pakpak and Toba to the present-day Karo and Simalungun 'frontier' lands, where they were exposed to greater influence from visiting Tamil traders, while the migration of Batak to the Angkola-Mandailing lands may have been prompted by 8th-century Srivijayan demand for camphor.


title: Batak

text: The Karo "marga" or tribe "Sembiring" "black one" is believed to originate from their ties with Tamil traders, with specific Sembiring sub-marga, namely Brahmana, Colia, Pandia, Depari, Meliala, Muham, Pelawi, and Tekan all of Indian origin. Tamil influence on Karo religious practices are also noted, with the pekualuh secondary cremation ritual being specific to the Karo and Dairi people. Moreover the Pustaka Kembaren, an origin story of the Sembiring Kembaren suggests linkages with Pagarruyung in Minangkabau Highlands.


title: Batak

text: From the 16th century onward, Aceh increased the production of pepper, an important export commodity, in exchange for rice, which grew well in the Batak wetlands. Batak people in different areas cultivated either "sawah" (wet rice fields) or "ladang" (dry rice), and the Toba Batak, most expert in agriculture, must have migrated to meet demand in new areas. The increasing importance of rice had religious significance, which increased the power of the Batak high priests, who had responsibility for ensuring agricultural success.


title: Batak

text: The Batak speak a variety of closely related languages, all members of the Austronesian language family. There are two major branches, a northern branch comprising the Pakpak-Dairi, Alas-Kluet and Karo languages, which are similar to each other, and a distinct southern branch, comprising three mutually intelligible dialects: Toba, Angkola and Mandailing. Simalungun is an early offspring of the southern branch. Some Simalungun dialects can be understood by speakers of Batak Karo, whereas other dialects of Simalungun can be understood by speakers of Toba. This is due to the existence of a linguistic continuum that often blurs the lines between the Batak dialects. Batak dialect still influences the dialects in Medan city today.


title: Batak

text: The Batak possess their own script known as the "Surat Batak". The writing has chiefly ceremonial importance within traditional religious ceremonies, and was subject to little change for this reason. It is likely that the Batak people originally received their writing system from southern Sumatra.


title: Batak

text: In the broader context of national language, the modern Batak authors are well-known as the outstanding Malay-speaking writers that shape modern Malay into the national concept of "Bahasa Indonesia" (Indonesian language) and its literary canon. Merari Siregar (1896–1941) is the author of Azab dan Sengsara (Pain and Suffering, 1920), the first novel written in Indonesian. Muhammad Kasim Dalimunte (born 1886) is the author of "Teman Doedoek" (1936), the first short story collection in the Indonesian literary canon. Soeman Hasiboean is one of the pioneers of modern short story who wrote Kawan Bergeloet (Playmate, 1941) and "Mentjahari Pentjoeri Anak Perawan" (Seeking a Maiden's Kidnapper, 1932), the first Indonesia's detective novel. E. St. Harahap is the author of "Kamus Indonesia" (1942), the first Indonesian dictionary. Moreover, Bakri Siregar (1922–1994) is the author of "Sedjarah Sastera Indonesia Modern I" (History of Modern Indonesian Literature I, 1964), Indonesia's first work that attempts to discuss the history of Indonesian literature. Sitor Situmorang (1923–2014) is the first Indonesian author who wrote a non-fiction work in order to reflect his own life as a poet through a form of modern autobiography, "Sitor Situmorang Sastrawan 45, Penyair Danau Toba" (1981).


title: Batak

text: The modern Batak authors are widely known for their efforts on bringing Indonesian literature to the international readers. Mochtar Lubis (1922–2004) is the author of Senja di Jakarta (Twilight in Jakarta, 1963), the first Indonesian novel translated into English even before its Indonesian version was printed and published. Iwan Simatupang (1928–1970) is the author of "Ziarah" (The Pilgrim, 1969), the first Indonesian novel awarded international prize through ASEAN Literary Award in Bangkok in 1977. Poet Sitor Situmorang is the first Indonesian who wrote and published a collection of poems in English, "The Rites of Bali Aga" (1976).


title: Batak

text: The traditional occupation of the Batak was agriculture, hunting and farming. The great lake of Toba provided vast opportunity for freshwater aquaculture since ancient times. Interior rural Batak communities relied heavily on rice farming, horticulture and other plant and commercial crops, and to some extent, acquiring forest products, such as hard wood, plant resin, and wild animals.


title: Batak

text: The port of Barus on the western coast of Batak lands has become famous as the source of "kapur barus" (camphor). In ancient times, Batak warriors were often recruited by neighboring Malay courts as mercenaries. In the colonial era, the Dutch introduced commercial cash crops, such as coffee, "sawit" palm oil, and rubber, converting some parts of the Batak land into plantations.


title: Batak

text: Throughout the history of modern Indonesia, the Batak community has been a significant contributor. Batak people have filled a wide range of occupations, from running modest tire service workshops to serving as state ministers. The modern Batak have gravitated towards professions such as attorneys, bus and taxi drivers, mechanics, engineers, singers and musicians, writers and journalists, teachers, economists, scientists, and military officers. Important figures such as local king (Sisingamangaraja XII), two Indonesian prime ministers (Amir Syarifuddin Harahap, Burhanuddin Harahap), speakers of the parliament (Zainul Arifin Pohan, Akbar Tanjung), one vice president (Adam Malik Batubara), two governors of the central bank (Darmin Nasution, Arifin Siregar), one attorney general (Marsillam Simanjuntak), and many influential cabinet ministers (Albert Mangaratua Tambunan, Ferdinand Lumbantobing, Luhut Binsar Pandjaitan, M.S. Kaban, Tifatul Sembiring), business magnate and entrepreneurs (Chairul Tanjung), legendary military figures with five-star general (Abdul Harris Nasution) and leading-generals (T. B. Simatupang, Maraden Panggabean, Feisal Tanjung) are well-known as prominent persons that shape Indonesian history. In Malaysia, some Batak descendants held positions as ministers, such as Saifudin Nasuiton bin Ismail and Senu Abdul Rahman Siregar.


title: Batak

text: Although the Batak are a minority among the Indonesian population (3.58%; only 8–9 million Batak people out of 236 million according 2010's census), a large number of notable Batak have achieved prominent places in the Indonesian history. For instance, the Batak have been well-represented especially in the field of law . Adnan Buyung Nasution is one of the most influential attorneys in Indonesian legal history who founded the Lembaga Bantuan Hukum Jakarta (LBH) Jakarta), Indonesia's first legal aid non-government organization, struggled in the autocratic Suharto era with great personal risk and engagement for democratic values and the rule of law. Among others, lawyers like Todung Mulya Lubis, Ruhut Sitompul and Hotman Paris Hutapea are widely known beyond the circle of their legal colleagues, since they have gained star lawyer reputations by handling high-profile cases closely reported by the media.


title: Batak

text: Batak societies are patriarchally organized along clans known as "Marga". A traditional belief among the Toba Batak is that they originate from one ancestor "Si Raja Batak", with all "Margas" descended from him. A family tree that defines the father-son relationship among Batak people is called "tarombo". In contemporary Indonesia, the Batak people have a strong focus on education and a prominent position in the professions, particularly as teachers, engineers, doctors and lawyers. Toba Batak are known traditionally for their weaving, wood carving and especially ornate stone tombs.


title: Batak

text: Before they became subjects of the colonial Dutch East Indies government, the Batak had a reputation for being fierce warriors. Today the Batak are mostly Christian with a Muslim minority. Currently the largest Christian congregation in Indonesia is the HKBP ("Huria Kristen Batak Protestan") Christian church. The dominant Christian theology was brought by Lutheran German missionaries in the 19th century, including the well-known missionary Ludwig Ingwer Nommensen. Christianity was introduced to the Karo by Dutch Calvinist missionaries, and their largest church is the GBKP ("Gereja Batak Karo Protestan"). The Mandailing and Angkola Batak were converted to Islam in the early 19th century during the reign of Minangkabaus Padri. A significant minority of Batak people do not adhere to either Christianity or Islam, however, and follow traditional practices known as the "agama si dekah", the old religion, which is also called "perbegu" or "pemena".


title: Batak

text: "Dalihan Na Tolu" (three-legged furnace) is the philosophy of life of the Batak people. It was consisted of three general rule in Batak society. Those are:


title: Batak

text: The essence of this teachings is the moral code contains the teachings of mutual respect ("masipasangapon") with the support of the moral rule: mutual respect and helpfulness.


title: Batak

text: Ritual cannibalism was well documented among pre-colonial Batak people, being performed in order to strengthen the eater's "tendi". In particular, the blood, heart, palms and soles of the feet were seen as rich in "tendi".


title: Batak

text: In Marco Polo’s memoirs of his stay on the east coast of Sumatra (then called Java Minor) from April to September 1292, he mentions an encounter with hill folk whom he refers to as "man-eaters". From secondary sources, Marco Polo recorded stories of ritual cannibalism among the "Battas". Marco Polo's stay was restricted to the coastal areas, and he never ventured inland to directly verify such claims. Despite never personally witnessing these events, he was nonetheless willing to pass on descriptions which were provided to him, in which a condemned man was eaten: "They suffocate him. And when he is dead they have him cooked, and gather together all the dead man's kin, and eat him. And I assure you they do suck the very bones till not a particle of marrow remains in them...And so they eat him up stump and rump. And when they have thus eaten him they collect his bones and put them in fine chests, and carry them away, and place them in caverns among the mountains where no beast nor other creature can get at them. And you must know also that if they take prisoner a man of another country, and he cannot pay a ransom in coin, they kill him and eat him straightway.


title: Batak

text: The Venetian Niccolò de' Conti (1395–1469) spent most of 1421 in Sumatra in the course of a long trading journey to Southeast Asia (1414–1439), and wrote a brief description of the inhabitants: "In a part of the island called Batech live cannibals who wage continual war on their neighbors."


title: Batak

text: Sir Thomas Stamford Raffles in the 1820s studied the Batak and their rituals and laws regarding the consumption of human flesh, writing in detail about the transgressions that warranted such an act as well as their methods. Raffles stated that "It is usual for the people to eat their parents when too old to work," and that for certain crimes a criminal would be eaten alive: "The flesh is eaten raw or grilled, with lime, salt and a little rice."


title: Batak

text: The German physician and geographer Franz Wilhelm Junghuhn visited the Batak lands between 1840 and 1841. Junghuhn says about cannibalism among the Batak (whom he called "Battaer"):


title: Batak

text: "People do the honest Battaer an injustice when it is said that they sell human flesh in the markets, and that they slaughter their old people as soon as they are unfit for work...They eat human flesh only in wartime, when they are enraged, and in a few legal instances."


title: Batak

text: Junghuhn tells how after a perilous and hungry flight he arrived in a friendly village, and the food that was offered by his hosts was the flesh of two prisoners who had been slaughtered the day before, however he maintains that the Batak exaggerated their love of human flesh in order to frighten off would-be invaders and to gain occasional employment as mercenaries for the coastal tribes who were plagued by pirates.


title: Batak

text: Oscar von Kessel visited Silindung in the 1840s and in 1844 was probably the first European to observe a Batak cannibalistic ritual in which a convicted adulterer was eaten alive. His description parallels that of Marsden in some important respects, however von Kessel states that cannibalism was regarded by the Batak as a judicial act and its application was restricted to very narrowly defined infringements of the law including theft, adultery, spying or treason. Salt, red pepper and lemons had to be provided by the relatives of the victim as a sign that they accepted the verdict of the community and were not thinking of revenge.


title: Batak

text: Ida Laura Pfeiffer visited the Batak in August 1852 and although she did not observe any cannibalism, she was told that:


title: Batak

text: Samuel Munson and Henry Lyman, American Baptist missionaries to the Batak, were cannibalized in 1834. Dutch and German missionaries to the Batak in the late 19th century observed a few instances of cannibalism and wrote lurid descriptions to their home parishes in order to raise donations for further missions. The growing Dutch influence in northern Sumatra led to increased Malay influence in coastal trade and plantations, pushing the Karo farther inland. Growing ethnic tensions culminated in the 1872 Karo Rebellion where the Karo were suppressed by Dutch and Malay forces. Despite this, Karo resistance to Dutch imperialism lingered into the early 20th century. In 1890 the Dutch colonial government banned cannibalism in the regions under their control. Rumors of Batak cannibalism survived into the early 20th century but it seems probable that the custom was rare after 1816, due partially to the influence of Islam.


title: Batak

text: Family tree or lineage is a very important thing for the Batak, as those who do not know the lineage will be considered as a strayed ("nalilu") Batak. Batak people are required to know their lineage or at least the ancestors of which the family name (Marga (Batak)) and the related clans ("dongan tubu") came from. This is necessary in order to determine the relation of a kinship ("partuturanna") within a clan or simply the surname (Marga (Batak)) itself.


title: Batak

text: The Batak lands consist of North Sumatra province, excluding Nias island, the historically Malay kingdoms of the east coast and the western coast of Minangkabau people. In addition, part of the Karo lands extend into modern-day East Aceh Regency in Aceh province, while parts of the Mandailing lands lie in Rokan Hulu Regency in Riau. Significant numbers of Batak have migrated in recent years to prosperous neighbouring Riau province.


title: Batak

text: To the south of North Sumatra are the Muslim Minangkabau of West Sumatra, while to the north there are various Muslim Acehnese peoples.


title: Batak

text: The various Batak cultures differ in their pre-colonial religious ideas as they do in many other aspects of culture. Information about the old religious ideas of the Mandailing and Angkola in southern Batakland is incomplete, and very little is known about the religion of the Pakpak and Simalungun Batak. For the Toba and Karo on the other hand the evidence in the writings of missionaries and colonial administrators is relatively abundant. Information on the traditional forms of Batak religion is derived mainly from the writings of German and Dutch missionaries who became increasingly concerned with Batak beliefs towards the end of the 19th century.


title: Batak

text: Various influences affected the Batak through their contact with Tamil and Javanese traders and settlers in southern Batakland, and the east and west coast near Barus and Tapanuli, in particular the large Padang Lawas temple complex in Tapanuli. These contacts took place many centuries ago and it is impossible to reconstruct just how far the religious ideas of these foreigners were adopted and reworked by the Batak. It is suggested that the Batak adopted aspects of these religions, specifically Mahayana Buddhist, Shaivist, and Tantrist practices within their own customs.


title: Batak

text: The modern Indonesian state is founded on the principles of pancasila, which requires the belief in 'one and only God', the practice of either Protestantism, Catholicism, Islam, Buddhism or Hinduism, one of which must be entered on an individual's KTP. Traditional religions are not officially recognised, and accordingly traditional religions are increasingly marginalised, although aspects of the traditional Batak religion are still practised alongside Christianity.


title: Batak

text: There are many different versions in circulation. These were formerly passed down through oral tradition but have now been written down in the local languages. There are also large collections of Batak tales collected by European scholars since the mid-19th century and recorded in European languages, mostly Dutch.


title: Batak

text: At the beginning of time there was only the sky with a great sea beneath it. In the sky lived the gods and the sea was the home of a mighty underworld dragon "Naga Padoha". The earth did not yet exist and human beings, too, were as yet unknown. All the surviving myths record that at the beginning of creation stands the god "Mula Jadi Na Bolon". His origin remains uncertain. A rough translation of the name is the "beginning of becoming". The creation of everything that exists can be traced back to him. "Mula Jadi" lives in the upper world which is usually thought of as divided into seven levels. His three sons, "Batara Guru", "Mangalabulan" and "Soripada" were born from eggs laid by a hen fertilized by "Mula Jadi". Two swallows act as messengers and helpers to "Mula Jadi" in his act of creation. Their functions vary in the different versions. "Mula Jadi" begets three daughters whom he gives as wives for his three sons. Mankind is the result of the union of the three couples. Besides the three sons of "Mula Jadi" there is another god, "Asiasi", whose place and function in the world of the gods remains largely unclear. There is some evidence that "Asiasi" can be seen as the balance and unity of the trinity of gods.


title: Batak

text: The ruler of the underworld, i. e. the primeval sea, is the serpent-dragon "Naga Padoha". He too existed before the beginning and seems to be the opponent of "Mula Jadi". As ruler of the underworld "Naga Padoha" also has an important function in the creation of the earth.


title: Batak

text: What all the six gods so far mentioned have in common is that they play a minor role in ritual. They do not receive any sacrificial offerings from the faithful and no places of sacrifice are built for them. They are merely called on in prayers for help and assistance.


title: Batak

text: The origin of the earth and of mankind is connected mainly with the daughter of "Batara Guru", "Sideak Parujar", who is the actual creator of the earth. She flees from her intended husband,


title: Batak

text: the lizard-shaped son of "Mangalabulan", and lets herself down on a spun thread from the sky to the middle world which at that time was still just a watery waste. She refuses to go back but feels very unhappy. Out of compassion "Mula Jadi" sends his granddaughter a handful of earth so that she can find somewhere to live. "Sideak Parudjar" was ordered to spread out this earth and thus the earth became broad and long. But the goddess was not able to enjoy her rest for long. The earth had been spread out on the head of "Naga Padoha", the dragon of the underworld who lived in the water. He groaned under the weight and attempted to get rid of it by rolling around. The earth was softened by water and threatened to be utterly destroyed. With the help of "Mula Jadi" and by her own cunning "Sideak Parudjar" was able to overcome the dragon. She thrust a sword into the body of "Naga Padoha" up to the hilt and laid him in an iron block. Whenever "Naga Padoha" twists in the fetters an earthquake occurs.


title: Batak

text: After the lizard-shaped son of "Mangalabulan", the husband the gods intended for her, had taken another name and another form, "Sideak Parujar" marries him. "Sideak Parujar" becomes the mother of twins of different sexes. When the two have grown up their divine parents return to the upper world leaving the couple behind on the earth. Mankind is the result of their incestuous union.


title: Batak

text: The couple settle on Pusuk Buhit, a volcano on the western shore of Lake Toba, and found the village of Si Anjur Mulamula. The mythological ancestor of the Batak, "Si Raja Batak" is one of their grandchildren.


title: Batak

text: In the religious world of the Toba and Karo Batak the gods and the creation of mankind are far less significant than the complex concepts connected with the "tendi" (Karo) or "tondi" (Toba) and the "begu". Probably the most useful translations of these terms are "life-soul" and "death-soul". A person receives his "life-soul" ("tendi") from "Mula Jadi Na Bolon" before he is born. The destiny of the individual "tendi" is decided by the "tendi" itself before birth. Various myths are woven around manner in which the "tendi" choose their destiny from "Mula Jadi". Warneck, a missionary and for a long time superintendent ("ephorus") of the Batak Church, recorded two particularly expressive myths in his major work on Batak religion. What is significant is that the "tendi" themselves are responsible for their destiny:


title: Batak

text: Among the Karo and the Toba there are sometimes widely diverging versions of where the "tendi" dwells and how many "tendi" there are. According to the Toba a person has seven "tendi". The second "tendi" is found in the placenta and amniotic fluid of the new-born baby, and accordingly the afterbirth is given special attention after the birth of a child. It is usually buried under the house, is called "saudara" (brother) and is regarded as the person's guardian spirit. Similar ideas about the afterbirth are also found among the Karo, who also bury the placenta and amniotic fluid under the house and regard them as two guardian spirits ("kaka" and "agi") who always remain close to the person.


title: Batak

text: All Batak regard the loss of "tendi" as signifying a great danger for "body and soul". "Tendi" can be separated from their owners through inattentiveness, or as a result of black magic by a "datu" with evil intentions. In other words, the "tendi" is not tied to the body; it can also live for a time outside the body. The final loss of the "tendi" inevitably results in death. There are a variety of ideas about where exactly in the body the "tendi" dwells. It is present to a particularly high degree in certain parts of the body, especially the blood, the liver, the head and the heart. Sweat too is described as rich in "tendi". It is believed that illnesses are connected with the absence of "tendi", and the bringing back of the "tendi" is a main method of healing. The Karo, for instance, have gifts, called "upah tendi" ("upah" = wage, payment, gift), which they give to their "tendi" so that their "tendi" stay with them. These gifts may consist of a knife, a gong, a particular piece of clothing, a water buffalo or a small holy place. The gifts are carefully cared for in order to keep the "tendi" satisfied.


title: Batak

text: "Tendi" love the sound of the "surdam" (a bamboo flute). If a "tendi" has abandoned the body of a patient, the playing of the "surdam" in the "raleng tendi" ritual can contribute to the "tendi" returning to the body of the sick person. It must be emphasized that only the "datuk" are in a position to interpret and influence people's "tendi" correctly. If their endeavors are unsuccessful, then clearly the "tendi" has chosen another destiny for itself.


title: Batak

text: At death the "tendi" leaves the human body through the fontanelle and the "death-soul" ("begu") is set free. It is thought that the "tendi" vanishes and after the death of any human being only the "begu" continues to exist. The Batak believe that the "begu" continue to live near their previous dwelling (in a village of the dead which is thought to be situated not far from the


title: Batak

text: cemetery) and that they may contact their descendants. Bad dreams, particular misfortune and such like may be signs that the "begu" of an ancestor is not satisfied with the behavior of its descendants. Any individual can attempt to pacify an enraged "begu" by means of food and drink offerings and prayers. If this does not work, a "datu" or a "guru" must be called in. The "begu" are not immortal, since death also rules in the land of the dead: a "begu" dies seven times before it is changed into a straw and finally becomes earth.


title: Batak

text: The Batak believe that three categories of "begu" exist. The "bicara guru" are the "begu" of stillborn babies or of babies who have died before teething. It is possible to turn "bicara guru" into guardian spirits if misfortune has befallen the family of the child shortly after its death. With the help of a "guru sibaso", the "bicara guru" can be made the family's guardian spirit for which a shrine is provided and to which sacrifices are regularly made. Once a year the "bicara guru" is accorded a special feast, preceded by ritual hair washing.


title: Batak

text: The "begu" of members of the family who have had a sudden death ("mate sada-uari") can also act as guardian spirits for the family. They include the victims of accidents, suicides, murder victims, or people struck by lightning. A shrine is built where they are venerated and where sacrifices are made. A third category consists of the "begu" of dead virgins ("tungkup"). Their graves, called "bata-bata" or "ingan tungkup", are maintained for a long time by their relatives.


title: Batak

text: Batak burial traditions are very rich and complex. Immediately after death various ritual actions are performed to make the "begu" understand that from now on its world is separate from that of its kin. Symbolically this is done by reversing the mat on which the corpse is laid out so that the body lies with its head at the foot of the mat. Thumbs and toes respectively are tied together and the body is rubbed all over with camphor and its orifices stopped with camphor, then it is wrapped in a white cotton cloth. During this "perumah begu" ceremony a "guru sibaso" declares to the "begu" of the deceased that it is definitely dead and must take leave of its relatives.


title: Batak

text: Wealthier families have their coffins (Karo: "pelangkah") made of the wood of the "kemiri" tree ("Aleurites moluccanus"), carved in the shape of a boat, its bow decorated with the carved head of a hornbill, or a horse, or a mythical beast known as a singa. The lid is then sealed with resin and the coffin may be placed in a special location near the family's house until a reburial ceremony can take place. Families that are not wealthy use simple wooden coffins or wrap the body in a straw mat.


title: Batak

text: The corpse is carried a few times round the house, usually by women, and then to the cemetery with musical accompaniment from the "gondang" orchestra and the continual firing of guns. At any crossroads the corpse is put down and eleven people go around it four times to confuse the "begu". It is hoped that the "begu" will then be unable to find its way back to the village. When the funeral procession arrives at the cemetery the grave is dug and the corpse laid in it, flat on its back. Care is taken that the head lies towards the village so that, in the unexpected event that the body should get up, he or she will not be looking in the direction of the village. The bodies of "datuk" and those who have died from lightning are buried sitting up with their hands tied together. The palms of the hand are tied together and betel placed between them.


title: Batak

text: The burial tradition includes a reburial ceremony in which the bones of one's ancestors are reinterred several years after death. This secondary burial is known among the Toba Batak as "mangongkal holi", among the Karo as "nurun-nurun". In a ceremony lasting several days the bones of a particularly honored ancestor and those of his descendants are exhumed, cleaned, mourned and finally laid to rest again in a bone house known as a "tugu" or "tambak":


title: Batak

text: In ancient times these sarcophagi were carved from stone or constructed from wood and later brick. Nowadays they are made of cement or concrete. Large and very ornate "tugu" can be seen around Lake Toba and on the island of Samosir.


title: Batak

text: One motive for the reburial ceremony appears to be to raise the status of the "begu" of the deceased. Traditional Batak beliefs hold that the dead occupy a hierarchical status similar to the social position they held in life. This means that a rich and powerful individual remains influential after death, and this status can be elevated if the family holds a reburial ceremony. A rich descendant can advance a "begu" to the status of a "sumangot" by means of a great ceremony and a "horja" feast which can last up to seven days. In antiquity a vast number of pigs, cattle or even buffalo were slaughtered at such festivals, and the "gondang" orchestra provided an accompaniment.


title: Batak

text: The next level up from the "sumangot" is the "sombaon", who are the spirits of important ancestors who lived ten to twelve generations ago. To raise a "sumangot" to a "sombaon" requires another great festival, a "santi rea", often lasting several months, during which the inhabitants of the whole district come together. These powerful ancestor spirits offer protection and good fortune to their descendants, but the ceremony also serves to establish new kinship groups descended from the ancestor thus honored.


title: Batak

text: In traditional Batak society "datuk" (animist priests) as well as "gurus" practiced traditional medicine, although the former were exclusively male. Both professions were attributed with supernatural powers and the ability to predict the future. Treatments and healing rituals bear some resemblance to those practiced by dukuns in other parts of Indonesia. Following the Christianization of the Toba and Karo Batak in the late 19th century, missionaries discouraged traditional healing and divination and they became largely clandestine activities.


title: Batak

text: Both "datu" and "guru" healers also practiced divination by consulting a "pustaha", a handwritten book made of wood and bark in which were inscribed recipes for healing remedies, incantations and songs, predictive calendars, and other notes on magic, healing and divination written in "poda," an archaic Batak shorthand. According to Winkler, there were three categories of "Pustaha" based on the purpose of their usage:


title: Batak

text: The "datu" or "guru" consulted the "pustaha" when presented with a difficult problem, and in time this became in itself a ritual. When missionaries began to discourage traditional healing and augury the Bible may have been adopted by some "gurus" in place of the "pustaha".


title: Batak

text: Among the most important healing ceremonies performed in Toba and Karo communities is that of recalling the "jinujung," or personal guardian spirit. According to Toba and Karo cosmology, each person receives a "jinujung" in childhood or at puberty and they keep it for life unless they are unfortunate enough to lose it, in which case they will fall ill. In order to call the "jinujung" back, a female "guru" ("guru sibaso" in Karo) goes into a trance and the "jinujung" will enter into her and speak through her mouth. At this time the sick person or the family can negotiate ritual payment to entice it to return.


title: Batak

text: Traditional healers are not powerful enough to cure illness due to the loss of a person's "tendi" (this falls under the jurisdiction of the "datuk"), however they do play a role in communicating with "begu" and influencing their behavior.


title: Batak

text: At the time of Marco Polo's visit in 1292 the people were described as "wild idolaters" who had not been influenced by outside religions, however by Ibn Battuta's visit in 1345 Arab traders had established river-ports along the northern coasts of Sumatra and Sultan Al-Malik Al-Dhahir had recently converted to Islam.


title: Batak

text: Sir Stamford Raffles perceived the Batak lands as a buffer between the Islamic Aceh and Minang kingdoms, and encouraged Christian missionary work to preserve this. This policy was continued by the Dutch, who deemed the non-Muslim lands the 'Bataklanden'.


title: Batak

text: In 1824 two British Baptist missionaries, Richard Burton and Nathaniel Ward, set off on foot from Sibolga and traveled through the Batak lands. After three days' journey they reached the high valley of Silindung and spent about two weeks in the Batak region. Considering the shortness of their stay their account reveals very intensive first-hand observation. This was followed in 1834 by Henry Lyman (missionary) and Samuel Munson from the American Board of Commissioners for Foreign Missions who met with a more hostile reception. According to Ida Pfeiffer:


title: Batak

text: Herman Neubronner van der Tuuk was employed by the Nederlands Bijbel Genootschap (Netherlands Bible Society) in the 1850s to produce a Batak–Dutch grammar-book and a dictionary, which enabled future Dutch and German missionaries to undertake the conversion of the Toba and Simalungan Batak.


title: Batak

text: The first German missionaries to the Lake Toba region arrived in 1861, and a mission was established in 1881 by Dr. Ludwig Ingwer Nommensen of the German Rhenish Missionary Society. The New Testament was first translated into Toba Batak by Dr. Nommensen in 1869 and a translation of the Old Testament was completed by P. H. Johannsen in 1891. The complete text was printed in Latin script in Medan in 1893, although a paper describes the translation as "not easy to read, it is rigid and not fluent, and sounds strange to the Batak…[with] a number of errors in the translation."


title: Batak

text: The Toba and Karo Batak accepted Christianity rapidly and by the early 20th century it had become part of their cultural identity.


title: Batak

text: This period was characterized by the arrival of Dutch colonists and while most Batak did not oppose the Dutch, the Toba Batak fought a guerrilla war that lasted into the early 20th century and ended only with the death in 1907 of their charismatic priest-warrior-king Si Sisingamangaraja XII, who had battled the Dutch during the First Toba War with both magic and weaponry.


title: Batak

text: The Huria Kristen Batak Protestan (HKBP) Church was established in Balige in September, 1917. By the late 1920s a nursing school was training nurse midwives there. In 1941, the Gereja Batak Karo Protestan (GBKP) was established. Although missionaries ceded much power to Batak converts in the first decades of the 20th century, Bataks never pressured the missionaries to leave and only took control of church activities as a result of thousands of foreign missionaries being interned or forced to leave after the 1942 invasion of Sumatra by the Japanese.


title: Batak

text: The Gereja Kristen Protestan Simalungun, originally part of the HKBP and preaching in Batak Toba language, eventually became a distinctively Simalungun church, adopting Simalungun customs and language, before finally incorporating as GKPS in 1963.


title: Batak

text: The Mandailing and Angkola people, occupying the southern Batak lands, came under the influence of the neighbouring Islamic Minangkabau people as a result of the Padri War (1821–1837). Some Mandailing had previously converted to Islam, but the Padri war was a watershed event, with the Padris suppressing traditional customs ("adat") and promoting 'pure' Islamic faith. Over time Mandailing Islam, has been brought closer to the predominant Southeastern Shafi`i school of Islam as a result of Mandailing discourse with other Islamic practitioners and the practice of hajj, although traditional elements remain, such as dividing inheritance among all children, a Mandailing rather than Islamic practice. Islam caused the decline in importance of marga, with many Mandailing abandoning their marga in favour of Muslim names, much less so among the Angkola to their North.


title: Batak

text: The advent of Islam also caused the relegation of the datuk to a medicine man, with traditional rice-planting ceremonies and other such remnants of traditional culture deemed incompatible with Islam. The 'pasusur begu', a ceremony invoking ancestors to aid the community, was also suppressed. Other aspects of adat were however tolerated, with the Mandailing Islamic ideology placing adat on the same level as Islamic law, as in contrast with the Minang practice of placing Islamic law above adat. In more recent times, learned Islamic scholars (ulama) studying abroad, have suggested that many traditional Mandailing practices, such as the 'Raja' hereditary leaders, were in conflict with Islam, being indicative of 'pele begu'. The Islamist ulama were in conflict for authority with the Namora-Natora, the traditional village legal practitioners, who were influenced by adat as much as Islam.


title: Batak

text: Christian missionaries had been active among the northern Mandailing from 1834 onwards, but their progress was restricted by the Dutch government, who feared conflict between newly converted Christians and Muslims. In addition, the lingua franca of the government was Malay, associated with Muslims, as were government civil servants, creating the perception that Islam was the religion of modernity and progress. Missionaries determined that resistance among the Muslim Mandailing to Christianity was strong, and the missionaries abandoned them as 'unreachable people', moving north to convert the Toba.


title: Batak

text: At the turn of the 20th century, nearly all Mandailing and Angkola were Muslims. Despite this, the Dutch administration marked them as part of the Bataklanden, and therefore heathen or Christian. This perception was an inaccurate one, and many Mandailing strongly rejected the 'Batak' label. Abdullah Lubis, writing in the 1920s, claimed that while the Mandailing followed Batak marga practice, they had never followed the Batak religion, and that the Mandailing people pre-dated the Toba, having acquired marga directly from 'Hindu' visitors. In the Dutch census, the Mandailing objected strongly to being listed in the census as 'Batak Mandailing'. Mandailing in Malaysia (who migrated in the years following the Padri war), had no such objection to their being deemed 'Malays', and indeed Malaysian Mandailing retain little of their distinct identity, partly due to a British colonial policy of rice-land ownership restrictions for all but Malay-speaking Muslims, and the disapproval of 'Batak' Muslim practices by the existing Malay Muslim population.


title: Batak

text: Parmalim or Malim is the modern form of the Batak Toba religion. Practitioners of Malim are called Parmalim.


title: Batak

text: At the end of the 19th and in the beginning of the 20th century the Parmalim movement, which originated in Toba lands spread to other areas of the Batak lands. Especially in the lower Karo lands, the 'dusun' the Malim religion, became very influential as an expression of anti-colonial sentiments at the turn of the 20th century. Today the majority of Parmalim are Toba Batak. The largest of the several existing Parmalim groups has its centre in "Huta Tinggi" in the vicinity of "Laguboti" on the south shore of Lake Toba.


title: Batak

text: Non-Malim Batak peoples (those following Christian or Muslim faith) often continue to believe certain aspects of traditional Batak spiritual belief.


title: Batak

text: Another traditional religion of Batak is "Pemena", is a tribal religion of Karo people of Indonesia. Pemena means the first or the beginning. Pemena is regarded as the first religion of Karo people. One of the doctrines of Pemena is the concept of "Dibata".


title: Batak

text: The 'Perodak-odak' movement among the Karo people in the 1960s was a reassertion of the traditional Karo religion, but has largely faded; a subsequent Karo movement to identify as Hindu was noted starting from the late 1970s in order to adopt, if only in name, one of the recognised religions of Indonesia, while in practice still following traditional beliefs.


title: Cessna Citation II

text: <section begin=summary/>Stretched from the Citation I, the Model 550 was announced in September 1976, first flew on January 31, 1977, and was certified in March 1978.


title: Cessna Citation II

text: The II/SP is a single pilot version, the improved S/II first flew on February 14, 1984 and the Citation Bravo, a stretched S/II with new avionics and more powerful P&WC PW530A turbofans, on April 25, 1995. The United States Navy adopted a version of the S/II as the T-47A.


title: Cessna Citation II

text: The Citation II (Model 550) was developed to provide docile low-speed handling and good short-field performance like the preceding Citation I while addressing a primary criticism of that aircraft—its relatively slow cruise speed of around at altitude. The II stretches the Citation I fuselage by 1.14m (3 ft 9in), increasing seating capacity to ten (two pilots and eight passengers) and gross weight to .


title: Cessna Citation II

text: Wingspan was increased by , fuel capacity was increased from to , and more powerful, Pratt & Whitney Canada JT15D-4 engines were installed for a higher cruise speed of and a longer range of . The cabin interior was also redesigned to increase headroom by .


title: Cessna Citation II

text: The stretched Citation was announced in September 1976, it first flew on January 31 1977 and FAA certification was awarded in March 1978. The II/SP (Model 551) is the single pilot version, type certificated to slightly less stringent FAR Part 23 standards, with a slightly reduced maximum takeoff weight (MTOW) at and minor changes in cockpit equipment. As the II and II/SP are otherwise largely similar, the reduction in MTOW of the II/SP often mandates operating with a reduced fuel load, shortening the aircraft's loaded range compared to the standard II. Both the II and II/SP require special training to be operated by a single pilot. A total of 688 II and II/SP aircraft were delivered.


title: Cessna Citation II

text: The improved Citation S/II (Model S550) was announced in October 1983 and first flew on February 14, 1984, before certification in July.


title: Cessna Citation II

text: It gained a supercritical airfoil with swept wing roots, aileron and flap gap seals, and a fluid deicing system instead of the pneumatic deicing boots used on earlier Citations.


title: Cessna Citation II

text: To further reduce drag, the fuselage and engine nacelle pylons were redesigned, and nacelle fairings were added. Fuel capacity was also increased by . The result of the improvements was a cruise speed of —exceeding 400 kn, felt to be an important marketing benchmark by Cessna—and a range of with a 45-minute fuel reserve.


title: Cessna Citation II

text: The improved JT15D-4B engines had higher temperatures components, allowing more thrust at higher altitudes.


title: Cessna Citation II

text: The S/II replaced the II from 1984, but some potential buyers objected to the sharp price increase from for the II to for the S/II, prompting Cessna to reintroduce the II in late 1985; both were built until the Bravo introduction. Deliveries of the S/II amounted to 160, including fifteen T-47A aircraft purchased by the U.S. Navy. The S/II's higher performance coupled with its lower production numbers led to substantially higher demand on the used aircraft market compared to the standard II and II/SP.


title: Cessna Citation II

text: The US Customs & Border Protection purchased ten Citation IIs configured with fire control radar (initially the F-16's AN/APG-66(V), later the Selex ES Vixen 500E system) and the WF-360TL imaging system. These aircraft have been used effectively in Panama, Honduras, Colombia, Peru, Venezuela, Mexico and Aruba. The similar OT-47B aircraft are based on the Cessna Citation V airframe.


title: Cessna Citation II

text: The T-47A was a modified version of the Citation S/II (Model 552) for the U.S. Navy, featuring a wingspan reduction and hydraulically boosted ailerons for enhanced maneuverability, thrust JT15D-5 engines, a cockpit roof window for better pilot visibility during hard maneuvering, strengthened windshields for protection against bird strikes during high-speed low-altitude sorties, multiple radar consoles, and the AN/APQ-167 radar system. Intended to replace the North American T-39D as a radar systems trainer aircraft, fifteen aircraft were purchased in 1984 to train naval radar intercept officers.


title: Cessna Citation II

text: All T-47A aircraft were operated with civil aircraft registration numbers by Training Air Squadron VT-86 based at Naval Air Station Pensacola, Florida. On 20 July 1993, thirteen of the fifteen aircraft were destroyed when a roofing contractor accidentally set fire to a hangar at Forbes Field where the aircraft were being stored by Cessna. The navy replaced the lost trainers with upgraded T-39D aircraft and the two survivors were transferred to civil owners.


title: Cessna Citation II

text: The Citation Bravo first flew on April 25, 1995, was granted certification in August 1996 and was first delivered in February 1997.


title: Cessna Citation II

text: It features new P&WC PW530A turbofans, modern Honeywell Primus EFIS avionics, a revised Citation Ultra interior and a trailing link main undercarriage.


title: Cessna Citation II

text: It burns of fuel in the first hour, dropping to the second hour cruising at at FL410-430 and then the third hour at and FL450.


title: Cessna Citation II

text: In 2018, early 1997 models starts at $800,000, up to $1.7 million for 2006 planes. The Bravo was replaced by the better-but-more-expensive Citation CJ3.


title: Cessna Citation II

text: The competing Beechjet 400A is roomier and faster but needs more fuel and more runway while the compact Learjet 31A competitor is faster but has less range. The faster and more expensive Citation V Ultra's have a longer cabin but consume more fuel.


title: Cessna Citation II

text: By December 2006, Clifford Development in Ohio had launched a program to re-engine Citation IIs with Williams FJ44-3 engines for $1.9 million.


title: Cessna Citation II

text: Clifford expected a STC within 12 months, 21% faster long-range cruise, 29% longer range, 34% better single-engine climb rate and 20% better fuel efficiency.


title: Cessna Citation II

text: By May 2007, Sierra Industries in Texas was also developing a similar modification, as 900 Citations qualify for it, directly as a broker and MRO provider, while Clifford should license its STC.


title: Cessna Citation II

text: The conversion cost $1.9 million in 2009, resulting in a $3.5-4.6 million value for a converted Citation II.


title: Cessna Citation II

text: Ceiling is increased from FL 410 to FL 430, reached directly in 25 min at max takeoff weight with a thrust increased from each.


title: Cessna Citation II

text: The converted 550 is 25% more fuel efficient than the JT15D-powered original at the same speed, and burns of fuel per hour at .


title: Cessna Citation II

text: Clifford and its partner Stevens Aviation could also update the flight deck with Collins ProLine 21 avionics and refurbish the cabin.


title: Cessna Citation II

text: Sierra was announcing a IFR/VFR range for the re-engined Super II; or a IFR/VFR range for the re-engined Super S-II.


title: Cessna Citation II

text: By June 2012, Sierra Industries had re-engined 59 various Citations with FJ44s, among avionics retrofit and airframe modifications.


title: Cessna Citation II

text: The Citation was also operated by at least one airline in scheduled passenger service being Enterprise Airlines in the U.S. from the late 1980s to 1990.


title: Cessna Citation II

text: On September 4, 2022, a Cessna 551 heading from Jerez, Spain did not land at its intended destination, Cologne, Germany, but instead kept flying across Germany and the Baltic Sea where it eventually ran out of fuel and crashed in the sea off Ventspils, Latvia. The pilot had reported problems with air conditioning and pressurization early in the flight but later stopped responding to communications. A possible cause of the crash is that loss of cabin pressure rendered everyone on board unconscious.


title: Sodium phosphates

text: Sodium phosphate is a generic term for a variety of salts of sodium (Na) and phosphate (PO). Phosphate also forms families or condensed anions including di-, tri-, tetra-, and polyphosphates. Most of these salts are known in both anhydrous (water-free) and hydrated forms. The hydrates are more common than the anhydrous forms.


title: Sodium phosphates

text: Sodium phosphates have many applications in food and for water treatment. For example, sodium phosphates are often used as emulsifiers (as in processed cheese), thickening agents, and leavening agents for baked goods. They are also used to control pH of processed foods. They are also used in medicine for constipation and to prepare the bowel for medical procedures. Moreover, they are used in detergents for softening water, and as an efficient anti rust solution.


title: Sodium phosphates

text: Sodium phosphates are popular in commerce in part because they are inexpensive and because they are nontoxic at normal levels of consumption. However, oral sodium phosphates when taken at high doses for bowel preparation for colonoscopy may in some individuals carry a risk of kidney injury under the form of phosphate nephropathy. There are several oral phosphate formulations which are prepared extemporaneously. Oral phosphate prep drugs have been withdrawn in the United States, although evidence of causality is equivocal. Since safe and effective replacements for phosphate purgatives are available, several medical authorities have recommended general disuse of oral phosphates.


title: Sodium phosphates

text: Three families of sodium monophosphates are common, those derived from orthophosphate (PO), hydrogen phosphate (HPO), and dihydrogenphosphate (HPO). Some of the most well known salts are shown in the table.


title: Sodium phosphates

text: In addition to these phosphates, sodium forms a number of useful salts with pyrophosphates (also called diphosphates), triphosphates and high polymers. Of these salts, those of the diphosphates are particularly common commercially.


title: Sodium phosphates

text: Beyond the diphosphates, sodium salts are known triphosphates, e.g. sodium triphosphate and tetraphosphates. The cyclic polyphosphates, called metaphosphates, include the trimer sodium trimetaphosphate and the tetramer, NaPO and NaPO, respectively.


title: Sodium phosphates

text: Polymeric sodium phosphates are formed upon heating mixtures of NaHPO and NaHPO, which induces a condensation reaction. The specific polyphosphate generated depends on the details of the heating and annealing. One derivative is the glassy (i.e., amorphous) Graham's salt. It is a linear polyphosphate the average formula NaO(NaPO)Na. Crystalline high molecular weight polyphosphates include Kurrol's salt and Maddrell's salt (CAS#10361-03-2). These species have the formula [NaPO][NaPO(OH)] where n can be as great as 2000. In terms of their structures, these polymers consist of PO "monomers", with the chains are terminated by protonated phosphates.


title: Toontown Online

text: Toontown Online, commonly known as Toontown, was a 2003 massively multiplayer online role-playing game based on a cartoon animal world, developed by Disney's Virtual Reality Studio and Schell Games, and published by The Walt Disney Company.


title: Toontown Online

text: Players created characters known as Toons and used weapons referred to as Gags—commonly slapstick comedy items, such as a thrown cream pie—to fight and destroy Cogs, robot businessmen who served as the game’s antagonists.


title: Toontown Online

text: Various servers hosting "Toontown Online" were shut down throughout the game’s tenure, with the US servers and the game itself closing in September 2013. Since the game’s closure, various fan servers have been created using most of the game’s original assets. The most popular of these, "Toontown Rewritten", was created some days after "Toontown Online"’s closure.


title: Toontown Online

text: Players could create characters called "Toons". Players were able to customize their Toons in various shapes, colors, clothes, and sizes, as well as their species, with choices consisting of cats, dogs, ducks, mice, pigs, rabbits, bears, horses, and monkeys.


title: Toontown Online

text: "Cogs" were the antagonists in-game, stylized to be corporate robots that wanted to take over the town to propagate business culture. Cogs came in four types: brown-clad Bossbots, blue-clad Lawbots, green-clad Cashbots, and maroon-clad Sellbots, each with increasing levels throughout the game that increased their health and damage.


title: Toontown Online

text: Toons began with basic 'Gags' and a 15-point 'Laff' meter and had a maximum of 137 point Laff meter at the end of the game. Gags, rooted in old cartoon slapstick humor, were weapons used to destroy the Cogs in Cog battles. Each 'Gag track' had Gags with different properties that could be unlocked by completing 'ToonTasks' and each gag track would get progressively more powerful as 'Toons' used their gags more. The Laff meter functioned as a health meter, representing how much damage Toons could take from the Cogs before going 'sad' – in-game defeat. Cogs were battled using a timed turn-based combat system with up to four Toons in a battle. Cogs could be fought on the streets of the game, in 'Cog Buildings' or in their own designated 'Cog HQ', with each Cog HQ having a boss that could only be fought by obtaining a full set of the HQ's Cog disguise. These include the Senior V.P. (Vice President, Sellbot HQ), C.F.O. (Chief Financial Officer, Cashbot HQ) C.J. (Chief Justice, Lawbot HQ), and C.E.O. (Chief Executive Officer, Bossbot HQ).


title: Toontown Online

text: Playgrounds were the only areas of Toontown permanently safe from Cogs. In the playgrounds, Toons could regain lost Laff Points, receive or complete ToonTasks unique to each playground, purchase gags, play trolley games, go fishing, kart racing, or golfing. By completing ToonTasks, Toons would grow in strength through additional Laff Points or new Gags. Laff Point increases were also available through fishing, racing, and golfing challenges. There was a playground in each neighborhood of Toontown. Each playground featured one of Disney's classic animated characters as a non-player character. The main playgrounds were Toontown Central, Daisy Gardens, Donald's Dock, Minnie's Melodyland, The Brrrgh, and Donald's Dreamland, along with extra playgrounds such as Goofy Speedway and Chip 'n Dale's Acorn Acres.


title: Toontown Online

text: Every "Toontown Online" account came with a player's estate. Each estate consisted of a fishing pond and six houses for each Toon on the player's account. Players could customize their Toon's appearance and home with objects ordered from the in-game catalog ('Clarabelle's Cattlelog') by using jellybeans, the in-game currency. Wardrobes and accessory trunks held clothing and accessories that were not currently being worn by the player's Toon. Other elements of estates included Doodles (pets), gardening, fishing, and the ability to purchase various types of in-game items from Clarabelle's Cattlelog.


title: Toontown Online

text: "Toontown Online" was marketed and developed for players of all ages, which is why a chat restriction was placed on the game. Players could only chat using "SpeedChat", a list of pre-approved phrases set by Disney that the player could select. It included general English phrases, in-game strategy phrases, and, occasionally, seasonal phrases. Players could purchase more SpeedChat phrases using, most of the time, 100 jellybeans. "SpeedChat Plus" and "Secret Friends", later renamed to "True Friends", were introduced sometime after the game's release, which had to be enabled using a parental account if the player was under 13 years of age. SpeedChat Plus allowed the player to type their messages against a word filter developed by Disney; if a word was not allowed, it was replaced with an onomatopoeia of that player's Toon's species. True Friends allowed players to chat with a less-restrictive filter with certain friends who have shared a "True Friend code" with each other.


title: Toontown Online

text: Parties were hostable, plannable, and customizable events by Toons. Toons would use their stored jellybeans in their bank to customize and add content to their parties, such as fireworks, minigames (Tug-O-War, etc.), trampolines, party cannons, etc. To plan a party, Toons would go to a Toon Party Planner. Toons could also customize their invitations to these parties.


title: Toontown Online

text: Platform Publishing, a subsidiary company of Sony Online Entertainment that publishes games for third-party developers, acquired rights to publish a CD version of "Toontown Online" in August 2005 for the PC and their intention to bring the game to online game consoles. "Toontown Online" became available on CD for the PC on October 3, 2005. This allowed players to play the game without downloading it onto their storage devices. This version came in a box set with two months of subscription, a poster, a game manual, and an in-game bonus. "Toontown Online" chose to create a CD that could be purchased in stores, due to customer insecurity when downloading and buying things online that they could not physically hold.


title: Toontown Online

text: After ten years of operation, "Toontown Online" was shut down permanently on September 19, 2013. Subsequently, every player was given membership for the remaining time of the game. Seasonal and holiday celebrations and special in-game events took place in the time remaining. Recurring paid memberships were automatically canceled. Memberships could no longer be purchased, and accounts could no longer be created. The website was also updated with a closing FAQ.


title: Toontown Online

text: After the game's closure, "Toontown"s website was updated with a new FAQ to help with billing support and inform users about the game's closure. "Toontown" site, toontown.go.com, now redirects to Disney's main site, disney.com.


title: Toontown Online

text: In response to the closure, former players have created multiple private servers of "Toontown Online" that are free-to-play and not monetized. The most popular server, "Toontown Rewritten", is described by its developers as "a fan-made revival of Disney's "Toontown Online", created using publicly available downloads and information made freely available to the general public in June 2015.


title: Toontown Online

text: Jesse Schell, the former Creative Director of the Walt Disney Imagineering Virtual Reality Studio, hinted that "Toontown Online" closed due to becoming unsustainable in its business model (subscription-based downloadable RPG). Schell confirmed that Disney wanted to port the game to mobile devices but was waiting for a working business model for self-sustaining, constantly-updating mobile RPGs. Schell also stated that the company has hosted internal meetings discussing the future of the game, taking the popularity of mobile games, and the payment options available on that platform into consideration for planning the next step for the "Toontown" license. A solution has yet to be agreed upon, but according to Schell, these internal meetings continued into 2016.


title: Toontown Online

text: Seven years after the game's closure on June 2, 2021, an unofficial archive of "Toontown Online" titled the "Toontown Preservation Project" was released by "Toontown Rewritten". The archive is hosted via "Toontown Rewritten"'s Notion board and features original design documents and artwork donated by the game's developers, among promotional material such as digital downloads, merchandise, newsletters, trading cards, and websites.


title: Toontown Online

text: Disney organized two real-life gatherings for "Toontown" fans called ToonFest. It included themed activities and games, trivia and costume contests, previews of upcoming features for the game, and developer Q&A panels. The first gathering, ToonFest 2006, was held at the Walt Disney Studios complex in Burbank, California. The second gathering, ToonFest 2007, was held at Walt Disney World in Orlando, Florida.


title: Tim McMullan

text: Timothy W. V. McMullan (born 1963 in Lambeth, London, England) is an English actor, notable for his stage, television and film work. He trained at the Royal Academy of Dramatic Arts after obtaining a degree at the University of St. Andrews.


title: Tim McMullan

text: His stage work includes a 2008 adaptation of "The Misanthrope" alongside Damian Lewis and Keira Knightley along with the 2003 adaptation of "His Dark Materials". In 2009 he was in Dominic Dromgoole Shakespeare's Globe production of "As You Like It" and worked for Complicite. In 2016, again for Dromgoole, he was Prospero in "The Tempest" at the Sam Wanamaker Playhouse.


title: Tim McMullan

text: In 2017 McMullan played Sir Toby Belch in a production of "Twelfth Night" on the Olivier stage at the Royal National Theatre.


title: Tim McMullan

text: In July 2020 "Deadline" announced that PBS’ "Masterpiece" would adapt Anthony Horowitz's Magpie Murders novel into a six-part drama series and air it in the US, and on BritBox in the UK. Horowitz prepared the script and "Masterpiece" produced the series along with Jill Green and Eleventh Hour Films. McMullan was signed to portray the character of Atticus Pünd after actor Timothy Spall pulled out of the production due to scheduling issues.


title: Krishna and His Leela

text: Krishna and His Leela is a 2020 Indian Telugu-language romantic comedy film directed by Ravikanth Perepu who co-wrote and co-edited the film with Siddu Jonnalagadda. The film is produced by Suresh Productions and Viacom18 Studios. It stars Jonnalagadda, Shraddha Srinath, Seerat Kapoor and Shalini Vadnikatti. This is Perepu's second film after "Kshanam" (2016). The music was composed by Sricharan Pakala. The cinematography for the film was handled jointly by Shaneil Deo and Sai Prakash U, whereas Garry BH served as one of the editors. The film was released directly on Netflix on 25 June 2020 globally.


title: Krishna and His Leela

text: In Vizag, Sathya breaks up with Krishna and moves to Bangalore. After going through a phase of depression, Krishna decides to move on and meets Radha, and they begin dating. Krishna receives a job offer in an IT firm in Bangalore, and leaves after deciding to maintain a long-distance relationship with Radha.


title: Krishna and His Leela

text: In Bangalore, Krishna meets his sister Arya’s roommate Rukhsar, and forms a close friendship with her. He also meets and reconnects with Sathya, and tells Radha about his friendship with Sathya. Radha arrives in Bangalore a fortnight later, and they all take a vacation to Coorg. After returning to Bangalore, Radha leaves back to Vizag. Over the next few weeks Krishna and Sathya get closer, and the former begins to drift apart from Radha. This leads to their eventual breakup. One night, while spending the night with Sathya, Krishna ends up sleeping with her, and they reconcile, starting a relationship again.