title: Maxim Litvinov

text: It is not known whether it was The Western democracies' policy of appeasement that led the Soviet Union to reorient its foreign policy towards rapprochement with Germany, or whether it was the fact that the military mission had not been sent in good faith. It is presumed that, if Litvinov had overseen the negotiations with Britain and France, he would have suspected, as Stalin and Molotov did, that Britain was not carrying out the negotiations in good faith. The Foreign Office confirmed to the US chargé d’affaires on 8 August 1939 that ‘the military mission, which had now left for Moscow, had been told to make every effort to prolong discussions until 1 October 1939.’ Halifax disclosed to the  Foreign Affairs Committee on 10 July 1939: ‘Although the French were in favour of the military conversations commencing, the French Government thought that the military conversations would be spun out over a long time and as long as they were taking place we should be preventing Soviet Russia from entering the German camp.


title: Maxim Litvinov

text: On 3 May 1939, Stalin replaced Litvinov, who was closely identified with the anti-German position, with Vyacheslav Molotov. At a prearranged meeting, Stalin said: “The Soviet Government intended to improve its relations with Hitler and if possible sign a pact with Nazi Germany. As a Jew and an avowed opponent of such a policy, Litvinov stood in the way”. Litvinov argued and banged on the table. Stalin finally sucked his pipe and said, "enough". Then, thrusting a paper in Litvinov’s direction, Stalin said, "sign". It was Litvinov’s letter of resignation, which he signed. On the night of Litvinov's dismissal, NKVD troops surrounded the offices of the Commissariat of Foreign Affairs. The phone at Litvinov's dacha was disconnected and, the following morning, Molotov, Georgy Malenkov, and Lavrenty Beria arrived at the commissariat to inform Litvinov of his dismissal. After Litvinov's dismissal, many of his aides were arrested and beaten, evidently in an attempt to extract compromising information.


title: Maxim Litvinov

text: Hitler took Litvinov’s removal much more seriously than Chamberlain. As the German Ambassador to the Soviet Union, Schulenburg was in Iran to represent Germany at the Crown Prince’s wedding. Hilger, the First Secretary, was summoned to see Hitler, who asked two questions. The first was why Stalin might have dismissed Litvinov?


title: Maxim Litvinov

text: Hilger said: According to my firm belief he (Stalin) had done so because Litvinov had pressed for an understanding with France and Britain while Stalin thought the Western powers were aiming to have the Soviet Union pull “the chestnuts out of the fire” in the event of war. The second question Hitler asked Hilger was: Did I believe that Stalin might, under certain circumstances, be ready for an understanding with Germany?’ Hilger mentioned the speech by Stalin of 10 March 1939, in which he stated: ‘There was no visible ground for a conflict between the Soviet Union and Germany.’ Hilger was surprised that, in spite of a detailed report of the speech made by the German Embassy in Moscow, neither Hitler nor Ribbentrop remembered Stalin’s speech.


title: Maxim Litvinov

text: Contemporary and subsequent commentators speculated that Litvinov was in disgrace. This was not so. Litvinov continued to attend official functions and carry out his duties as a member of the Supreme Soviet and Central Committee. Barmine tells us that during this period Litvinov sometimes appeared on the official tribune for special occasions Similarly, Cassidy saw Ivy and Maxim at the Bolshoi from time to time.


title: Maxim Litvinov

text: Litvinov also attended the Supreme Soviet when the budget was presented. He was wearing a black suit and sat in the front row, chatting with Potemkin. Litvinov attended a number of sittings of the Supreme Soviet, most notably on the occasion of Molotov’s statement on foreign policy, where he sat in the fifth row. However, there was no praise or recognition of Litvinov’s work after he had held the position of Foreign Minister for nine years. Seeds thought his services might have merited some recognition.


title: Maxim Litvinov

text: However, when Litvinov applied for a passport to go to Vichy in France two months later to take the waters, it was refused, presumably on the grounds that he might never come back.


title: Maxim Litvinov

text: Litvinov was present during the speech that Molotov delivered to the Supreme Soviet in support of the Nazi-Soviet Pact. The British Embassy reported that, although Stalin was also present (he remained silent throughout the sitting), he did not seem fully at ease. However, Molotov enjoyed making his speech.


title: Maxim Litvinov

text: Notwithstanding Louis Fischer argued that ‘Litvinov never by hint or word approved of Stalin’s pact with Hitler.’ All Ivy Litvinov stated was that ‘the Nazi-Soviet Pact had not inspired her husband with much confidence.’ Nevertheless this does not prove that Litvinov would have rejected any overtures made by Germany, only that he would not have been surprised if Germany had broken any agreement and would have ensured that his country would have been as prepared as possible if Germany decided to invade the Soviet Union.


title: Maxim Litvinov

text: Nevertheless, Holroyd-Doveton believe that Litvinov, if he had been Foreign Commissar, would have approved the Pact. Sheinis states that, when foreign correspondents first asked Litvinov about the Pact, Litvinov evaded the question, but then decided to speak: ‘I think this calls for a closer look, because among other things enemies of the Soviet Union ascribe to me what I never said.’ He told foreign journalists:


title: Maxim Litvinov

text: "The imperialists in these two countries had done everything they could to goad Hitler’s Germany against the Soviet Union by secret deals and provocative moves. In the circumstances the Soviet Union could either accept German proposals for a non-aggression treaty and thus secure a period of peace in which to redouble preparations to repulse the aggressor; or turn down Germany’s proposals and let the warmongers in the Western camp push the Soviet Union into an armed conflict with Germany in unfavourable circumstances and in a setting of complete isolation. In this situation the Soviet Government was compelled to make the difficult choice and conclude a non-aggression treaty with Germany. I, too, would probably have concluded a pact with Germany although a bit differently."


title: Maxim Litvinov

text: Sheinis’ contention is supported by what Litvinov is reported to have told Ehrenburg, ‘The Pact was absolutely necessary’.


title: Maxim Litvinov

text: Talking to historian John Holroyd-Doveton, Tanya Litvinov recalled her father telling her that he had a meeting with Stalin set for the afternoon of 3 May. Tanya gleaned from her father's tone that he was concerned. Tanya similarly was so uneasy that she continually rang home on the day, but could not obtain an answer. When she arrived back at the Litvinov house, her father had already returned and gone to bed. In the morning, Litvinov's adopted daughter told Tanya, "father has been demoted". Tanya recounted that she went into her father’s bedroom, feeling terribly sympathetic. Maxim reported to have said to her in that moment, "Tanya, there is a new page in your life". Tanya then suggested they call her mother as they should all be together in this difficult time.


title: Maxim Litvinov

text: The replacement of Litvinov with Molotov significantly increased Stalin's freedom to maneuver in foreign policy. The dismissal of Litvinov, whose Jewish background was viewed disfavorably by Nazi Germany, removed an obstacle to negotiations with Germany. Following the Munich Agreement, German media derided Litvinov for his Jewish ancestry, referring to him as 'Finkelstein-Litvinov'. Stalin immediately directed Molotov to "purge the ministry of Jews." Recalling Stalin's order, Molotov commented, "Thank God for these words! Jews formed an absolute majority in the leadership and among the ambassadors. It wasn't good."


title: Maxim Litvinov

text: Given Litvinov's prior attempts to create an anti-fascist coalition, association with the doctrine of collective security with France and Britain, and pro-Western orientation by Kremlin standards, his dismissal indicated the existence of a Soviet option of rapprochement with Germany. Likewise, Molotov's appointment was a signal to Germany that the USSR was open to offers. The dismissal also signaled to France and Britain the existence of a potential negotiation option with Germany. One British official wrote that Litvinov's disappearance also meant the loss of an admirable technician or shock-absorber, while Molotov's "modus operandi" was "more truly Bolshevik than diplomatic or cosmopolitan."


title: Maxim Litvinov

text: With regard to the signing of a German-Soviet nonaggression pact with secret protocols dividing eastern Europe three months later, Hitler remarked to military commanders that "Litvinov's replacement was decisive." A German official told the Soviet Ambassador that Hitler was also pleased that Litvinov's replacement, Molotov, was not Jewish. Hitler also wrote to Mussolini that Litvinov's dismissal demonstrated the Kremlin's readiness to alter relations with Berlin, which led to "the most extensive nonaggression pact in existence." When Litvinov was later asked about the reasons for his dismissal, he replied by asking, "Do you really think that I was the right person to sign a treaty with Hitler?"


title: Maxim Litvinov

text: American historian Jeffrey Herf views Litvinov's dismissal and the Molotov–Ribbentrop Pact as conclusive proof that the Nazi belief in a Jewish conspiracy that supposedly controlled the governments of the Soviet Union and other allied powers was completely false.


title: Maxim Litvinov

text: Following the Nazi Soviet Pact, although given little official Soviet recognition, Stalin continued to respect Litvinov. The British Embassy records confirmed that Litvinov was present in a conspicuous place at the 1939 anniversary of the Revolution by Lenin's Mausoleum. He was standing on the outskirts of a group that included Stalin, Molotov, Kaganovich, Mikoyan, Andreev, Beria and Dimitrov. Litvinov was in full view of the diplomatic stand of foreign journalists, some of whom had no hesitation in exchanging salutations with Litvinov. The "New York Times" disclosed that about thirty members of the German Trade delegation, the German Military Attaché and members of a Finnish delegation watched the parade. The emergence of Litvinov wearing his usual flat cap was apparently a source of interest to the German delegation near the tomb Litvinov’s first public appearance for several months in such select company as Stalin’s entourage. Similarly Litvinov was in a conspicuous place at the 1940 celebration of the Russian Revolution. It may be supposed that Stalin may well have been finding some use for his talents and extensive knowledge of capitalist countries and their governments. However Holroyd-Doveton who has extensively researched this period of Litvinov’s life does not think any meaningful position was allotted by Stalin to Litvinov.


title: Maxim Litvinov

text: In the 21 month period between the declaration of war by France and Britain, and the invasion of the Soviet Union by Germany, Ivy Litvinov describes this period of her life She relates to how the family spent their time with their daughter-in-law in their Dacha from Moscow although when the schools were open the whole family migrated to the family apartment in Moscow. Nevertheless, they still spent long weekends in the country. Two years passed while the family played bridge, read music, and went on long walks in the countryside with the two dogs Silky and Me-Too, together with an assortment of young dogs and pups, some of them the offspring of carefully picked sires and others the fruit of the illicit union of Silky and Me-Too. Ivy had two pupils for her English classes: Svetlana, the 13-year-old daughter of the gardener, and Ivy’s 63-year-old husband. There was certainly rivalry between them, although both did very well.


title: Maxim Litvinov

text: On 21 February 1941 Litvinov was dismissed from the Central Committee of the Communist Party on the pretext of his inability to discharge his obligations as a member of the Committee. According to Pope, this step was taken because Stalin wanted to give no offence to the Germans.


title: Maxim Litvinov

text: Litvinov is alleged to have said: My more than 40 years in the Party oblige me to say what I think about what has happened. I do not understand why I am being dealt with in such a peremptory style.


title: Maxim Litvinov

text: Stalin rejected everything that Litvinov had said. When Stalin had stopped speaking, Litvinov faced and asked: “Does that mean you consider me an enemy of the people?” Stalin took his pipe, turned his head around, and answered: “We do not consider you an enemy of the people, but an honest revolutionary.”


title: Maxim Litvinov

text: Ivy tells us that her husband had followed with anxiety the steady advance of Hitler’s armies across Europe and wondered how long Britain could hold out unsupported. Nevertheless, even to Litvinov, Barbarossa was a surprise, as he did not believe Hitler would risk embarking on a second front at this stage of the war Litvinov told the Governor of Burma when he was en route to the USA to take up his appointment as ambassador, that Litvinov had not expected Germany to attack the Soviet Union until Germany had dealt with Britain.


title: Maxim Litvinov

text: The Soviet leaders, as well as Litvinov, were concerned that Britain might come to terms with Germany, a fear which now appears reasonable. Indeed, Litvinov was worried that Hess’s flight meant that Britain was about to make peace with Germany. Litvinov stated all believed the British fleet steaming up the North Sea for a joint attack with Germany on Leningrad and Kronstadt. The same day as Barbarossa, Churchill broadcast Britain’s intention to give full aid to the Soviet Union. When Litvinov heard of Churchill’s broadcast pledging such help, he was much relieved. This is confirmed in the conversation Litvinov had with the Governor of Burma. Nevertheless, Litvinov was suspicious of the British aristocracy


title: Maxim Litvinov

text: On 9 July 1941 Litvinov broadcast in English – obviously with Stalin’s approval. Litvinov condemned Germany’s treacherous attack on the Soviet Union.


title: Maxim Litvinov

text: No agreement or treaty, no document signed by Hitler and his henchmen, no promise or assurance on their part, no declaration of neutrality, and no relations with them whatsoever can provide a guarantee against sudden and unprovoked attack. Hitler and his gang considered themselves above all conceptions of peaceful coexistence and international obligations. There is nothing that distinguishes their society from the jungle.


title: Maxim Litvinov

text: Hitler has always ruled by the principle of dividing and attacking. He uses the most insidious methods to prevent the intended victims from organising a common resistance, taking special pains to prevent war on two fronts against the most powerful European countries. His strategy is to mark down the victims and strike them one by one in an order prompted by circumstances.


title: Maxim Litvinov

text: Hitler intended first to deal with the Western States so as to be free to fall upon the Soviet Union.


title: Maxim Litvinov

text: Hitler had not the training of a Channel swimmer yet, so another plan matured in his brain. Believing that he had secured himself by a pact of truce in the West, he decided upon a Blitzkrieg, a lightning war in the East in order immediately after this war to fall with added strength upon Britain and finish her off. He worked at the same time to prevent simultaneous action against himself from the West and East by driving between them an ideological wedge.


title: Maxim Litvinov

text: Litvinov then proceeded to praise Churchill by describing his statement on the day of the attack as one delivered with that ‘statesman-like promptness that is characteristic of him.’ Churchill ‘immediately informed the world he was not taken by surprise by Hitler’s steps, declaring that a victory over the Soviet Union by Hitler would be a disaster and a catastrophe for the British Empire.’


title: Maxim Litvinov

text: Churchill was correct. He had previously ordered Cadogan to inform Maisky of what British intelligence had gathered concerning the threatening German troop movement.


title: Maxim Litvinov

text: Litvinov finally states: ‘The people of the Soviet Union have responded with enthusiasm to the appeal of the Soviet Government and our beloved leader Stalin.’


title: Maxim Litvinov

text: Following his dismissal as head of Narkomindel, Litvinov was dispatched to Washington, D.C., to serve as the Soviet Union's Ambassador to the United States.


title: Maxim Litvinov

text: Like Churchill, Litvinov had misgivings about the Munich Agreement. Following the Nazi invasion of the Soviet Union on 22 June 1941, Litvinov said on a radio broadcast to Britain and the United States: "We always realized the danger which a Hitler victory in the West could constitute for us." After the United States entered the war, he encouraged Franklin D. Roosevelt to focus on the Mediterranean and Middle East theatre in order to prevent the Axis forces in North Africa from advancing towards the Caucasus.


title: Maxim Litvinov

text: Early in November 1941, Litvinov was summoned to see Stalin and told his services were required as ambassador to the United States.


title: Maxim Litvinov

text: Stalin has decided to place his ablest and most forceful diplomat and one who enjoys greater prestige in this country. He is known as a man of exceptional ability, adroit as well as forceful. It is believed that Stalin, in designating him for the ambassadorship, felt Litvinov could exercise real influence in Washington.


title: Maxim Litvinov

text: President Roosevelt showed his enthusiasm for Litvinov’s appointment by stating it is ‘most fortunate that the Soviet Government have deemed it advisable to send as ambassador a statesman who has already held high office in his own country.’


title: Maxim Litvinov

text: It should not be overlooked that Litvinov arrived in a country where the stiffening Soviet resistance to the German army, racing to take Moscow before the onset of the worst of the Russian winter, was winning the Soviet Union many American friends.


title: Maxim Litvinov

text: "The Washington Post reported:"Both Mrs Cordell Hull, the Secretary of State’s wife, and the Vice-President’s wife, Mrs Wallace, had travelled to the Soviet Embassy for celebrations to mark the 24th anniversary of the Soviet Revolution in 1941, where they were greeted by Mr and Mrs Gromyko and Mrs Umansky. The Under Secretary of State, Sumner Welles, Jessie Jones, the Commercial Secretary, and Francis Biddle, the Attorney General, were also present. Most foreign countries except Spain and Finland were represented.


title: Maxim Litvinov

text: Litvinov immediately gained popularity. In early December 1941 the Soviet Union’s war relief organisation called a large meeting in Madison Square. The huge auditorium was filled to capacity. Litvinov, speaking in English, told of the terrible suffering in the Soviet Union. A woman in the front row ran up to the stage, unhooked her diamond necklace and flung it at his feet. Another waved a cheque for $15,000.However, at the end, Litvinov said quietly: ‘What we need is a second front.


title: Maxim Litvinov

text: The  highlight of Litvinov’s eighteen months ambassadorship was the 25th celebration of the Russian Revolution on the 7 November 1942.


title: Maxim Litvinov

text: In 1942, 1200 guests, representing all the United Nations, flowed up the carpet with a red star motif and through the regal reception hall to shake hands with the smiling, rotund Soviet Ambassador. Only the President and his staff at work on the African campaign were missing. Nobody was happier than the Russians that they had more serious affairs with which to attend. Vice-President Wallace, the Secretary of the Treasury Morgenthau, Under Secretary of State Sumner Welles and Mrs Woodrow Wilson, Edward Stettinius, the Lend-Lease administrator, and Tom Connoll0y, chairman of the Senate Foreign Relations Committee, were among the guests. In spite of the war, vodka from Moscow and Leningrad and a sturgeon from the Volga were supplied to the guests.


title: Maxim Litvinov

text: Next day, the Litvinov’s travelled New York to attend celebrations in that city. "The New York Times" on 8 November agreed that Madison Square was packed to overflowing with a wildly cheering crowd of 20,000 for the annual tribute to the Soviet Union in the presence of Maxim Litvinov. The dramatic spotlighting, the colourful pageantry, the collection and all the trappings were the same as in previous Novembers. However, the cheerleaders were not only the Soviet Union’s old friends, but new friends like the Vice-President of the USA, General McNair, commanding general of Army Ground Forces, the capitalist Thomas Lamont and a Catholic professor, Francis McMahon, wo said:  ‘speaking up for Russia  would be disloyal to his religion and country.


title: Maxim Litvinov

text: As this meeting neared its end, the massed flags of the thirty United Nations fighting the Nazis were paraded on the platform in the centre of the auditorium. Then, Corliss Lamont presented to Litvinov four massive bound volumes, containing, it was said, a million signatures, with thousands more pouring in daily, from American citizens pledged to continued Soviet-American friendship. General McNair said:


title: Maxim Litvinov

text: As the 1941 campaign had shown the strength of the Red Army, the enthusiasm of the US Army was unbounded. The campaign in 1942 has shown an even more skilful and determined Red Army and the US Army is looking forward to the day when it can fight beside the Red Army and bear our full share of the common burden and go forward with it to victory.


title: Maxim Litvinov

text: Mayor La Guardia sent his personal greetings to his colleague, the Mayor of Stalingrad. The mayor sent what was then probably considered an optimistic but correct prediction that the only German soldiers who would enter Moscow would be an army of prisoners.


title: Maxim Litvinov

text: Litvinov, in his speech, asserted:Every act of international aggression beginning with 1931 could have been prevented by sincere co-operation between the Soviet Union and the other great powers.


title: Maxim Litvinov

text: No one can fail to recognise the fatal mistake made in so long ignoring the Soviet Union as a powerful factor of peace. This mistake was undoubtedly one of the causes of the present war which has brought upon humanity greater suffering and hardships and caused greater destruction than the sum of all the wars in the preceding century, not excluding the Napoleonic Wars. Sincere and close co-operation between the great powers and the Soviet Union, on the other hand, would have destroyed the "raison d’être" of Hitlerism and upset all the calculations of the aggressive countries. It was not hard to prove that such co-operation could have prevented each and every act of international aggression since 1931, crowned by the present war. This was a somewhat hypocritical remark, as Litvinov himself had refused international co-operation when Japan invaded Manchuria in 1931.


title: Maxim Litvinov

text: Wallace, the Vice-President, gave a very optimistic address:Both the Soviet Union and the United States retreated into isolationism to preserve their peace. Both failed. Both have learnt their lesson. I am here this afternoon to say it is my belief that the American and Soviet people can and will throw their influence on the side of building a new democracy which will be the hope of all the world. However, there was no evidence that Stalin would continue to act other than as a ruthless dictator.


title: Maxim Litvinov

text: Litvinov stated that, although Roosevelt was less friendly to the USSR than when he met him in 1933: ‘Roosevelt is more friendly than any other prominent American.’ I wonder whether Litvinov appreciated the respect Roosevelt had for Litvinov because when, on 5 May 1943, Roosevelt decided to write to Stalin to suggest a face-to-face meeting between the two. Roosevelt stated that Litvinov ‘was one of only two persons with whom he had discussed the subject.


title: Maxim Litvinov

text: However, Roosevelt himself had become annoyed with Litvinov’s second-front zeal. Indeed, Roosevelt told Harriman : ‘The US might ask for Litvinov’s recall.’ Harriman told Litvinov how upset the President was without actually saying what the President had said. All Harriman said was: ‘If Litvinov continued that way, he would get into serious difficulties with the President. Litvinov, who had been ebullient, collapsed so completely.’ It must have been even more distressing because he must have realised principal allies. Litvinov’s ambassadorship was now experiencing a bad time after it had started with such high hopes. Litvinov said that he had been forbidden by the Soviet Government from appearing in public or making any public speeches.


title: Maxim Litvinov

text: After returning to Soviet Union, Litvinov became deputy minister for foreign affairs. He was dismissed from his post after an interview given to Richard C. Hottelet on 18 June 1946 in which he expressed a belief that war between the West and the Soviet Union was inevitable.


title: Maxim Litvinov

text: Rumours indicate that Litvinov was murdered on Stalin's personal instructions to the Ministry of Internal Affairs. According to Anastas Mikoyan, a truck deliberately collided with Litvinov's car as it rounded a bend near to the Litvinov dacha on New Year's Eve 1951, and he later died of his injuries. British television journalist Tim Tzouliadis stated: "The assassination of Litvinov marked an intensification of Stalin's anti-Semitic campaign.". However, according to Litvinov's wife and daughter, Stalin was still on good terms with him at the time of his death. They say he had serious heart problems and was given the best treatment available during the final weeks of his life, which ended in a heart attack on 31 December 1951.


title: Maxim Litvinov

text: After Litvinov's death, his widow remained in the Soviet Union until she returned to live in Britain in 1972.


title: Maxim Litvinov

text: In his reminiscences dictated to a supporter when he was an old man, Litvinov's replacement as chief of foreign affairs and right-hand man of Joseph Stalin, Vyacheslav Molotov, remembered Litvinov as "intelligent" and "first rate" but declared that Stalin and he "didn't trust him" and consequently "left him out of negotiations" with the United States during the whole war. Molotov declared Litvinov "not a bad diplomat—a good one" but proclaimed him "quite an opportunist" who "greatly sympathized with Trotsky, Zinoviev, and Kamenev." "Litvinov remained among the living [in the Great Purge] only by chance," Molotov declared.


title: Maxim Litvinov

text: Litvinov's grandson Pavel Litvinov, a physicist, writer and Soviet-era dissident, resides in the United States.


title: Nadim Sawalha

text: Nadim Joakim Sawalha () (born 9 September 1935) is a Jordanian-British actor, the father of actresses Nadia and Julia Sawalha. He appeared in two Bond films, "The Spy Who Loved Me" (1977) and "The Living Daylights" (1987).


title: Nadim Sawalha

text: Sawalha was born in Madaba, Jordan, in 1935 and moved to Britain in the 1950s, to study drama. His daughter Julia revealed on her episode of "Who Do You Think You Are?" that even he is uncertain of his birth date, but it is thought to be around 7 to 9 September.


title: Nadim Sawalha

text: Nadim Sawalha has made over 100 appearances in film and television, in a career spanning more than 40 years.


title: Nadim Sawalha

text: Sawalha is married to Roberta Mary Lane, and has three daughters, Nadia, Julia and Dina. His brother is comedian Nabil Sawalha.


title: Cryoprecipitate

text: Cryoprecipitate, also called cryo for short, is a frozen blood product prepared from blood plasma. To create cryoprecipitate, fresh frozen plasma thawed to 1–6 °C is then centrifuged and the precipitate is collected. The precipitate is resuspended in a small amount of residual plasma (generally 10–15 mL) and is then re-frozen for storage. It is often transfused to adults as two 5-unit pools instead of as a single product. One of the most important constituents is factor VIII (also called antihaemophilic factor or AHF), which is why cryoprecipitate is sometimes called cryoprecipitated antihaemophilic factor or cryoprecipitated AHF. In many clinical contexts, use of whole cryoprecipitate has been replaced with use of clotting factor concentrates made therefrom (where available), but the whole form is still routinely stocked by many, if not most, hospital blood banks. Cryo can be stored at −18 °C or colder for 12 months from the original collection date. After thawing, single units of cryo (or units pooled using a sterile method) can be stored at 20–24 °C for up to 6 hours. If units of cryo are pooled in an open system, they can only be held at 20–24 °C for up to 4 hours. Presently cryo cannot be re-frozen for storage after it is thawed for use if it is not transfused.


title: Cryoprecipitate

text: Cross-matching (compatibility testing) is not necessary and all ABO groups are acceptable for transfusion to people of all ABO types.


title: Cryoprecipitate

text: Adverse effects reported with the usage of cryoprecipitate include hemolytic transfusion reactions, febrile non-hemolytic reactions, allergic reactions (ranging from urticaria to anaphylaxis), septic reactions, transfusion related acute lung injury, circulatory overload, transfusion-associated graft-versus-host disease, and post-transfusion purpura.


title: Cryoprecipitate

text: Cryoprecipitate also contains fibronectin; however there are no clear indications for fibronectin replacement.


title: Cryoprecipitate

text: US standards require manufacturers to test at least four units each month, and the products must have a minimum of 150 mg or more of fibrinogen and 80 IU of factor VIII. Individual products may actually have less than these amounts as long as the average remains above these minimums. Typical values for a unit are substantially higher, and aside from infants it is rare to transfuse just one unit.


title: Cryoprecipitate

text: While the method for the creation of Cryo was discovered by Judith Graham Pool from Stanford University in 1964, it was initially approved in 1971 by the U.S. Food and Drug Administration under the name "Cryoprecipitated AHF" for the Hoxworth Blood Center University of Cincinnati Medical Center.


title: Pascagoula, Mississippi

text: Pascagoula ( ) is a city in Jackson County, Mississippi, United States. It is the principal city of the Pascagoula Metropolitan Statistical Area, and is part of the Gulfport–Biloxi–Pascagoula Combined Statistical Area. The population was 22,392 at the 2010 census, down from 26,200 at the 2000 census. As of 2019 the estimated population was 21,699. It is the county seat of Jackson County.


title: Pascagoula, Mississippi

text: The city is served by three airports: Mobile Regional Airport, to the northeast in Alabama; Gulfport-Biloxi International Airport, about west of Pascagoula; and the Trent Lott International Airport, to the north in Jackson County.


title: Pascagoula, Mississippi

text: The name "Pascagoula", which means "bread eater", is taken from the Pascagoula, a group of Native Americans found in villages along the Pascagoula River some distance above its mouth. Hernando de Soto seems to have made the first contact with them in the 1540s, though little is known of that encounter. Pierre Le Moyne d'Iberville, founder of the colony of Louisiana, left a more detailed account from an expedition of this region in 1700. The first detailed account comes from Jean-Baptiste Le Moyne de Bienville, younger brother of Iberville, whom the Pascagoula visited at Fort Maurepas in present-day Ocean Springs, shortly after it was settled and while the older brother was away in France. There are few details that are certain about these people, except that their language seemed not to have shared an etymological root with the larger native groups to the north, the Choctaw particularly (who speak a Muskogean language). There has been speculation that their language may be related to Biloxi. (The Biloxi people spoke a now extinct Siouan language, which is related to the languages spoken by the Sioux, Crow, and Ho-Chunk.) The territory of the Biloxi people seems to have ranged from the areas of what are now called Biloxi Bay to Bayou La Batre (Alabama) and up the Pascagoula River, and the Pascagoula people's territory seems to have ranged between some distance north of there to the confluence of the Leaf and Chickasawhay rivers. However, the Pascagoula language is completely undocumented – thus, genealogical affiliations from other authors are speculation.


title: Pascagoula, Mississippi

text: The first European settlers of Pascagoula were Jean Baptiste Baudreau Dit Graveline, Joseph Simon De La Pointe and his aunt, Madame Chaumont.


title: Pascagoula, Mississippi

text: The region changed hands over the next century, being occupied variously by the English, French, and Spanish until well after the American Revolutionary War. It did not come into the permanent possession of the United States until 1812 when it was added to the Mississippi Territory. At one point, for 74 days in 1810, Pascagoula was a part of what was known as the Republic of West Florida. Pascagoula was incorporated as a village in 1892 and obtained city status in 1901. Today's downtown Pascagoula used to be the town of Scranton, Mississippi (incorporated in 1870) until the two towns merged in 1912.


title: Pascagoula, Mississippi

text: In October 1973, an alleged unidentified flying object sighting and alien abduction is said to have occurred when co-workers Charles Hickson and Calvin Parker claimed they were abducted by aliens while fishing near Pascagoula. The incident, Pascagoula Abduction, earned substantial mass media attention. In June 2019, Pascagoula placed an historical marker near the alleged abduction site.


title: Pascagoula, Mississippi

text: On August 29, 2005, Hurricane Katrina's storm surge devastated Pascagoula, much like Biloxi and Gulfport and the rest of the Mississippi Gulf Coast. Katrina came ashore during the high tide of 6:12 AM, more. Nearly 92% of Pascagoula was flooded. Most homes along Beach Boulevard were destroyed, and FEMA trailers became an omnipresent sight. Due to the media focus on the plight of New Orleans and Biloxi-Gulfport in the aftermath of Katrina, many Pascagoula citizens have expressed feeling neglected or even forgotten following the storm. Most Pascagoula residents did not possess flood insurance, and many were required to put their homes on pilings before being given a permit to rebuild. Additionally, TITANTubes (sometimes referred to as geotubes) were installed under the beach to serve as low-profile dune cores to protect the evacuation route.


title: Pascagoula, Mississippi

text: United States Navy officials announced that two guided missile destroyers that were under construction at Northrop Grumman Ship Systems in Pascagoula had been damaged by the storm, as well as the amphibious assault ship .


title: Pascagoula, Mississippi

text: Hurricane Katrina damaged over forty Mississippi libraries, flooding the Pascagoula Public Library's first floor and causing mold in the building.


title: Pascagoula, Mississippi

text: The United States post office in Pascagoula contains a mural, "Legend of the Singing River", painted in 1939 by Lorin Thompson. Murals were produced from 1934 to 1943 in the United States through the Section of Painting and Sculpture, later called the Section of Fine Arts, of the Treasury Department. The mural was restored in the 1960s as the building became the Pascagoula Public Library. The building was damaged by Hurricane Katrina in 2005, and the mural was placed in storage. In 2010, it was re-installed at the new Pascagoula post office on Jackson Avenue.


title: Pascagoula, Mississippi

text: Pascagoula is the home of the Old Spanish Fort, the oldest building in the Mississippi Valley. It was built sometime in the 1750s.


title: Pascagoula, Mississippi

text: Pascagoula is located along Mississippi Sound, on the east side of the mouth of the Pascagoula River. It is bordered to the north by Moss Point and to the west, across the Pascagoula River, by Gautier. According to the United States Census Bureau, the city has a total area of , of which are land and , or 37.25%, are water.


title: Pascagoula, Mississippi

text: U.S. Route 90 (Denny Avenue) passes through the city, leading northeast to Grand Bay, Alabama, and west to Biloxi. Mississippi Highway 613 (Telephone Road) leads north from US-90 into Moss Point and to Interstate 10.


title: Pascagoula, Mississippi

text: As of the 2020 United States census, there were 22,010 people, 8,415 households, and 4,865 families residing in the city.


title: Pascagoula, Mississippi

text: As of the census of 2000, there were 26,200 people, 9,878 households, and 6,726 families residing in the city. The population density was 1,726.4 people per square mile (666.4/km). There were 10,931 housing units at an average density of 720.3 per square mile (278.0/km). The racial makeup of the city was 67.15% White, 28.97% African American, 0.18% Native American, 0.97% Asian, 0.02% Pacific Islander, 1.67% from other races, and 1.04% from two or more races. Hispanic or Latino of any race were 3.89% of the population. There were 9,878 households, of which 34.5% had children under the age of 18 living with them, 44.6% were married couples living together, 18.8% had a female householder with no husband present, and 31.9% were non-families. 27.0% of all households were made up of individuals, and 9.7% had someone living alone who was 65 years of age or older. The average household size was 2.52 and the average family size was 3.05.


title: Pascagoula, Mississippi

text: In the city, the population was 26.9% under the age of 18, 12.0% from 18 to 24, 28.9% from 25 to 44, 20.4% from 45 to 64, and 11.9% who were 65 years of age or older. The median age was 33 years. For every 100 females, there were 101.8 males. For every 100 females age 18 and over, there were 100.9 males. The median income for a household in the city was $32,042, and the median income for a family was $39,044. Males had a median income of $30,313 versus $22,594 for females. The per capita income for the city was $16,891. About 18.1% of families and 20.7% of the population were below the poverty line, including 31.4% of those under age 18 and 13.0% of those age 65 or over.


title: Pascagoula, Mississippi

text: According to census 2010, Pascagoula has the highest percentage of Puerto Ricans in Mississippi. Puerto Ricans make up nearly 5% of the city.


title: Pascagoula, Mississippi

text: Pascagoula is a major industrial city of Mississippi, on the Gulf Coast. Prior to World War II, the town was a sleepy fishing village of about 5,000. The population skyrocketed with the war-driven shipbuilding industry. Although the city's population seemed to peak in the late 1970s and early 1980s as Cold War defense spending was at its height, Pascagoula experienced some new growth and development in the years before Hurricane Katrina. Today, Pascagoula is home to the state's largest private, single-site employer, Ingalls Shipbuilding, owned by Huntington Ingalls Industries. Other major industries include the largest Chevron refinery in the world; Rolls Royce Naval Marine specializing in U.S. Navy ship propulsion; and First Chemical/Chemours.


title: Pascagoula, Mississippi

text: Naval Station Pascagoula was located on Singing River Island and was homeport to several Navy warships, as well as a large Coast Guard contingent. However, Naval Station Pascagoula was decommissioned as part of the 2005 BRAC recommendations and ceased operations in 2006.


title: Pascagoula, Mississippi

text: The Pascagoula-Gautier School District serves Pascagoula. Resurrection Catholic School is a parochial school for grades PK3-12 established in 1882.


title: AVN (magazine)

text: Adult Video News (also called AVN or AVN Magazine) is an American trade magazine that covers the adult video industry. "The New York Times" notes that "AVN" is to pornographic films what "Billboard" is to records. "AVN" sponsors an annual convention, called the Adult Entertainment Expo or AEE, in Las Vegas, Nevada along with the AVN Awards, an award show for the adult industry modeled after the Oscars.


title: AVN (magazine)

text: "AVN" rates adult films and tracks news developments in the industry. An "AVN" issue can feature over 500 movie reviews. The magazine is about 80% ads and is targeted at adult-video retailers. Author David Foster Wallace has described "AVN" articles to be more like infomercials than articles, but he also described the "AVN" magazine as "sort of the "Variety" of the US porn industry."


title: AVN (magazine)

text: Paul Fishbein, Irv Slifkin, and Barry Rosenblatt founded "AVN" in 1983 in Philadelphia, Pennsylvania. Slifkin left in 1984; having lost interest in reviewing adult movies due to the industry's transition from film to videos. Rosenblatt and Fishbein had a falling out in 1987. Eventually, Fishbein moved the magazine to the San Fernando Valley where it operates to this day. Fishbein sold the company in 2010.


title: AVN (magazine)

text: "AVN" is widely quoted for various figures about the adult industry and its revenues. "AVN" estimated that the sales and rentals of adult videos topped four billion dollars in 2000 and 2002. "Forbes" has called this figure "baseless and wildly inflated". When "Forbes" asked "AVN" how it arrived at this figure, the managing editor responded, "I don't know the exact methodology... It's a pie chart." When asked to separate the figures for sales versus rentals, a standard practice among those who cover the video industry, the editor did not think those figures were available. Adams Media Research noted that no one tracked the adult video business with rigor or precision and that the most generous estimate of sales and rentals combined was $1.8 billion. "AVN" estimated that adult industry revenue in 2005 was $12.6 billion with $2.5 billion of that coming from the Internet. However, ABC News reported that this figure could not be independently verified. According to Michael Goodman of the Yankee Group, it is difficult to estimate for an industry where few companies are public and new providers continually appear.


title: AVN (magazine)

text: In October 2007, AVN launched the first ever pan-European, English-language adult industry trade-magazine, "AVN Europe", with editorial offices based in Budapest, Hungary. For about two years, AVN Europe published monthly issues with reviews and news items as well as in-depth background articles on such topics as historical development, distribution patterns and women's erotica. By mid-2009, following a change of editorial staff, the publication lowered its ambitions somewhat, focusing more on photos from trade shows and other light-weight content. It folded soon after; the last issue was June 2009.


title: AVN (magazine)

text: "AVN" sponsors an annual convention, the AVN Adult Entertainment Expo (AEE), held each January in Las Vegas. The Expo is the largest pornography industry trade show in the United States.


title: AVN (magazine)

text: "AVN" also hosts an award show for the adult industry modeled after the Oscars. The awards feature over 100 categories and has an attendance of over 3500 people. David Foster Wallace skeptically noted that "AVN", in 1997, reviewed over 4,000 new releases in every category in comparison to the 375 films that the Academy Awards were required to see for the Oscars. This number increased to 8,000 for the 2008 Awards and Paul Fishbein comments that it is "a very long, horrible process". "The New York Times" noted that the "precise criteria for winning an AVN are not, well, explicit". Awards often go to consistent advertisers in AVN.


title: AVN (magazine)

text: Sports columnist Bill Simmons commented that the Awards were "the most secretly captivating telecasts on TV" alongside the National Spelling Bee and Westminster Kennel Club Dog Show. Violet Blue, the sex writer, describes the Awards as "big backslapping event where the same companies and same names win year after year... To think of the 'porn Oscars' as a true representation of porn's very best is like having sex with a Jenna Jameson love doll and telling your friends you had sex with the porn star". Even Tyla Winn, an award winner, had trouble remembering one of her sex scenes that was nominated.


title: AVN (magazine)

text: "AVN" also sponsors the GAYVN Awards which are presented annually to honor work done in the gay pornography industry. Awards for gay adult video were a part of the AVN awards from 1988 to 1998. In 1999, "AVN" decided to separately host the GayVN Awards.


title: AVN (magazine)

text: "AVN" produces a publication dedicated to online adult business trends. In print and on the web, AVN Online publishes articles devoted to the diverse adult internet experience, such as a story about the Village TV "Gay News".


title: Haiku in English

text: A haiku in English is an English-language poem written in the Japanese poetry style known as haiku, which correlates the two languages. The degree to which haiku in English resemble classic Japanese haiku varies, but many of these poems draw on short, concise wording and a reference to the seasons.


title: Haiku in English

text: The first haiku written in English date from the late 19th century, influenced by English translations of traditional Japanese haiku. Many well-known English-language poets have written what they called "haiku", although definitions of the genre have remained disputable. Haiku has also proven popular in English-language schools as a way to encourage the appreciation and writing of poetry.


title: Haiku in English

text: "Haiku" in English is a term sometimes loosely applied to any short, impressionistic poem, but there are certain characteristics that are commonly associated with the genre:


title: Haiku in English

text: Some additional traits are especially associated with English-language haiku (as opposed to Japanese-language haiku):


title: Haiku in English

text: In Britain, the editors of "The Academy" announced the first known English-language haikai contest on April 8, 1899, shortly after the publication of William George Aston's "History of Japanese Literature". The contest, number 27 of the magazine's ongoing series, drew dozens of entries, and the prize was awarded to R. M. Hansard:


title: Haiku in English

text: The "Academy" contest inspired other experimentation with the format. Bertram Dobell published more than a dozen haikai in a 1901 verse collection, and in 1903 a group of Cambridge poets, citing Dobell as precedent, published their haikai series, "The Water Party." The "Academy"'s influence was felt as far away as Australia, where editor Alfred Stephens was inspired to conduct a similar contest in the pages of "The Bulletin". The prize for this (possibly first Australian) haiku contest went to Robert Crawford.


title: Haiku in English

text: In the United States, Yone Noguchi published "A Proposal to American Poets," in "The Reader Magazine" in February 1904, giving a brief outline of his own English hokku efforts and ending with the exhortation, "Pray, you try Japanese Hokku, my American poets! You say far too much, I should say."


title: Haiku in English

text: Ezra Pound's influential haiku-influenced poem, "In a Station of the Metro", published in 1913, has been widely regarded as a watershed moment in the establishment of English-language haiku as a literary form.


title: Haiku in English

text: During the Imagist period, a number of mainstream poets, including Amy Lowell, Richard Aldington, and Lewis Grandison Alexander, published what were generally called "hokku". Their efforts were actively encouraged by Noguchi, who published his own volume of English-language "Japanese Hokkus" in 1920.


title: Haiku in English

text: In the Beat period, original haiku were composed by Gary Snyder, Jack Kerouac, Richard Wright and James W. Hackett. Wright composed some 4,000 haiku (mostly with 5-7-5 syllabic structure).


title: Haiku in English

text: The first English-language haiku group in America, founded in 1956, was the Writers' Roundtable of Los Altos, California, under the direction of Helen Stiles Chenoweth. The Haiku Society of America was founded in 1968 and began publishing its journal "Frogpond" in 1978.


title: Haiku in English

text: In 1963 the journal "American Haiku" was founded in Platteville, Wisconsin, edited by the European-Americans James Bull and Donald Eulert. Among contributors to the first issue were poets James W. Hackett, O Mabson Southard, and Nick Virgilio. In the second issue of "American Haiku" Virgilio published his "lily" and "bass" haiku, which became models of brevity, breaking the conventional 5-7-5 syllabic form, and pointing toward the leaner conception of haiku that would take hold in subsequent decades.


title: Haiku in English

text: "American Haiku" ended publication in 1968 and was succeeded by "Modern Haiku" in 1969. Other early publications include Chenoweth's 1966 anthology "Borrowed Water", featuring the work by the Los Altos Writers' Roundtable, and journals "Haiku Highlights", founded 1965 by European-American writer Jean Calkins and later taken over by Lorraine Ellis Harr; Eric Amann's "Haiku", founded 1967; and Leroy Kanterman's "Haiku West" founded 1967.


title: Haiku in English

text: The first Haiku North America conference was held at Las Positas College in Livermore, California, in 1991, and has been held on alternating years since then. The American Haiku Archives, the largest public archive of haiku-related material outside Japan, was founded in 1996. It is housed at the California State Library in Sacramento, California, and includes the official archives of the Haiku Society of America.


title: Haiku in English

text: Significant contributors to American haiku have included Lee Gurga, Jim Kacian, Elizabeth Searle Lamb, Raymond Roseliep, Marlene Mountain, Alan Pizzarelli, Alexis Rotella, George Swede, and Michael Dylan Welch.


title: Haiku in English

text: The most common variation from the three-line standard is one line, sometimes called a "monoku". It emerged from being more than an occasional exception during the late 1970s. The one-line form, based on an analogy with the one-line vertical column in which Japanese haiku are often printed, was lent legitimacy principally by three people:


title: Haiku in English

text: The single-line haiku usually contains fewer than seventeen syllables. A caesura (pause) may be appropriate, dictated by sense or speech rhythm (following the Japanese tradition of a break, marked by the Kireji), and usually little or no punctuation. This form was used by John Wills and, more recently, has been practiced by poets such as M. Kettner, Janice Bostok, Jim Kacian, Chris Gordon, Eve Luckring, Scott Metz, Stuart Quine, John Barlow, and many others.


title: Haiku in English

text: The one-line form can create a variety of ambiguities allowing for multiple readings of the same haiku. A variation of the format breaks the line at the "caesura" or pause.


title: Haiku in English

text: Haiku of four lines (sometimes known as "haiqua") or longer have been written, some of them "vertical haiku" with only a word or two per line, mimicking the vertical printed form of Japanese haiku.


title: Haiku in English

text: Haiku have also appeared in circular form (sometimes known as "cirku") whereby the poem has no fixed start or end point.


title: Haiku in English

text: In the "zip" form developed by John Carley, a haiku of 15 syllables is presented over two lines, each of which contains one internal caesura represented by a double space.


title: Haiku in English

text: The leading English-language haiku journals published in the U.S. include "Modern Haiku", "Frogpond" (published by the Haiku Society of America), "Mayfly" (founded by Randy and Shirley Brooks in 1986), "Acorn" (founded by A. C. Missias in 1998), "Bottle Rockets" (founded by Stanford M. Forrester), "The Heron's Nest" (founded by Christopher Herold in 1999, published online with a print annual), and "Tinywords" (founded by Dylan F. Tweney in 2001). Some significant defunct publications include "Brussels Sprout" (edited from 1988 to 1995 by Francine Porad), "Woodnotes" (edited from 1989 to 1997 by Michael Dylan Welch), Hal Roth's "Wind Chimes", "Wisteria", and "Moonset" (edited from 2005 to 2009 by an'ya (Andja Petrović)). The largest publisher of haiku books in North America is Jim Kacian's Red Moon Press. Other notable American publishers of haiku books include Press Here, Bottle Rockets Press, Brooks Books, and Turtle Light Press.


title: Haiku in English

text: In the United Kingdom, leading publications include "Presence" (formerly "Haiku Presence"), which was edited for many years by Martin Lucas and is now edited by Ian Storr, and "Blithe Spirit", published by the British Haiku Society and named in honor of Reginald Horace Blyth. In Ireland, twenty issues of "Haiku Spirit" edited by Jim Norton were published between 1995 and 2000, and "Shamrock", an online journal edited by Anatoly Kudryavitsky, has been publishing international haiku in English since 2007. In Australia, twenty issues of "Yellow Moon", a literary magazine for writers of haiku and other verse, were published between 1997 and 2006 (issues 1-8 were edited by Patricia Kelsall; issues 9-20 by Beverley George). Nowadays "Paper Wasp" is published in Australia, "Kokako" in New Zealand and "Chrysanthemum" (bilingual German/English) in Germany and Austria. Two other online English-language haiku journals founded outside North America, "A Hundred Gourds" and "Notes from the Gean", are now defunct. John Barlow's Snapshot Press is a notable UK-based publisher of haiku books. The World Haiku Club publishes "The World Haiku Review".


title: Haiku in English

text: International websites have developed for the publication of haiku in English including: "The Living Haiku Anthology"; "The Living Senryu Anthology", "Under the Basho", "Failed Haiku", and "Wales Haiku Journal". In addition, personal websites such as Michael Dylan Welch's "Graceguts" provide extensive haiku resources with essays, reviews, and poems.


title: Evita (soundtrack)

text: Evita is the soundtrack album to the 1996 musical film of the same name, performed mostly by American singer Madonna. It was released by Warner Bros. Records on November 12, 1996. Directed by Alan Parker, the film was based on Tim Rice and Andrew Lloyd Webber's 1978 musical "Evita" about First Lady of Argentina Eva Perón, portrayed by Madonna. The soundtrack consists of reworked songs from its original 1976 concept album as well as a new song, "You Must Love Me". Additional performers on the soundtrack include Antonio Banderas, Jonathan Pryce and Jimmy Nail.


title: Evita (soundtrack)

text: After securing the title role in "Evita", Madonna underwent vocal training in order to enhance her singing abilities. The actors were tense during the recording sessions for "Evita", since they were from a non-musical background. The musical style for "Evita" differed from Madonna's previous works and she was not comfortable in recording her vocals inside the studio alongside the orchestra. After an emergency meeting with the principal personnel, it was decided she would record in a separate location. It took almost four months for the soundtrack to be finished. Rice and Lloyd Webber had employed the classical technique while creating the music, taking the central theme, "Don't Cry for Me Argentina", and tweaking it to cater to a variety of settings. Through the songs, the soundtrack tells the story of Eva Perón's beginnings, her rise to fame, political career and gradually her death.


title: Evita (soundtrack)

text: The soundtrack was released in two different versions. A two-disc edition featured all the tracks from the film, and a single-disc edition contained a selection of song highlights. "Evita" was promoted by the release of three singles—"You Must Love Me", "Don't Cry for Me Argentina" and "Another Suitcase in Another Hall"; the first won the Golden Globe and the Academy Award for Best Original Song in 1997. Critical reception towards the soundtrack was mixed, with AllMusic's Stephen Thomas Erlewine calling it "unengaging" while "Hartford Courant"s Greg Morago praised Madonna's singing abilities. "Evita" peaked at number two in the US "Billboard" 200 chart, and was certified quintuple platinum by the Recording Industry Association of America (RIAA). It topped the charts in Austria, Belgium, Czech Republic, Greece, Ireland, Scotland, Switzerland and the United Kingdom, and has sold over seven million copies worldwide.


title: Evita (soundtrack)

text: In 1996, Madonna starred in the film "Evita", playing the role of Eva Perón, the Spiritual Leader of the Nation of Argentina. For a long time, Madonna had desired to play Eva and even wrote a letter to director Alan Parker, explaining how she would be perfect for the part. Madonna had already enlisted the help of composers Tim Rice and Andrew Lloyd Webber, who had originally created the musical "Evita". Rice believed that the singer would suit in the title role since she could "act beautifully through music".


title: Evita (soundtrack)

text: However, Lloyd Webber was still wary about Madonna's singing, so after securing the role, she underwent vocal training with coach Joan Lader. Since "Evita" required the actors to sing their own parts, the training helped in increasing Madonna's confidence in the songs. Lader noted that the singer "had to use her voice in a way she's never used it before. "Evita" is real musical theater — it's operatic, in a sense. Madonna developed an upper register that she didn't know she had." She taught Madonna how to sing using her diaphragm rather than just her throat, enabling her to project her voice in a more cohesive manner. Madonna was thrilled to find the newly discovered nuances in her voice and would go home every night, practicing by telephoning her friends and singing to them.


title: Evita (soundtrack)

text: Parker finished writing the script for the film by May 1995. He then visited Lloyd Webber's home in France, and tried to bring him and Rice together for working on the film; the duo had not worked with each other for years after the musical "Cricket" (1986). While drafting the script, Parker had re-written the last act, removing the repetitive content of the original play. This resulted in Rice and Lloyd Webber composing new music, including the new song "You Must Love Me". Parker knew that the pre-recorded playback would be the main backbone for the filming, hence was wary about the decisions he had to make in the recording studio. He pondered over the script and the music, expecting any questions that the actors would have for later.


title: Evita (soundtrack)

text: Recording sessions began in September 1995, and took place at the CTS Studios in London, with Madonna and co-actors Antonio Banderas and Jonathan Pryce. Engineer David Reitzas performed the mixing of the track at Larrabee North Studios, utilizing their Solid State Logic 9000 J series consoles for the mix. For the first day's sessions, music supervisor David Caddick suggested to record "Don't Cry for Me Argentina" with the 84 piece orchestra backing Madonna's vocals. However, Lloyd Webber was critical of the recording arrangements done in the studio. The cast was also nervous. Flick noted that Banderas found the experience "scary" while Madonna was "petrified" when it came to recording the songs. "I had to sing 'Don't Cry For Me Argentina' in front of Andrew Lloyd Webber ... I was a complete mess and was sobbing afterwards. I thought I had done a terrible job", the singer recalled. Conductor John Mauceri remembered another challenge the production faced was adapting the stage numbers into a feature film; "On film, it's different than being on stage because the person on the screen in front of you is never farther than someone on the pillow in bed next to you". Parker declared the first day of recording as "Black Monday", since it was "filled with trepidation and nerves ... All of us came from very different worlds—from popular music, from movies, and from musical theater—and so we were very apprehensive".


title: Evita (soundtrack)

text: According to producer Nigel Wright, the lead actors would first sing the numbers backed by a band and orchestra, "then they would go off with Alan and David in a more intimate recording environment and perfect their vocals". However, more trouble arose as Madonna was not comfortable with laying down a "guide vocal" simultaneously with an 84 piece orchestra inside the studio. Also, unlike her previous soundtrack releases, she had little to no control over the project; "I'm used to writing my own songs and I go into a studio, choose the musicians and say what sounds good or doesn't ... To work on 46 songs with everyone involved and not have a big say was a big adjustment", she recalled.


title: Evita (soundtrack)

text: An emergency meeting was held between Parker, Lloyd Webber and Madonna where it was decided that the singer would record her part at Whitfield Street, a contemporary studio, while the orchestration would take place somewhere else. She also had alternate days off from the recording to save and strengthen her voice. Recording the soundtrack was a slow process and took almost four months before it was completed. But Parker noticed at the end of recording that they did not have the new song in place. Recalling in his "The Making of Evita" essay:


title: Evita (soundtrack)

text: Finally, while I was visiting Andrew at his country estate in Berkshire to play him the tracks we had recorded, he suddenly sat down at the piano and played the most beautiful melody, which he suggested could be our new song. Needless to say, I grabbed it. However, we still needed lyrics and Tim dutifully began to put words to the music. The vast majority of the original Evita score had been done this way: music first, lyrics afterwards. After many weeks of nail biting, Tim was finally cajoled into writing the lyrics that now accompany the music to "You Must Love Me".


title: Evita (soundtrack)

text: The soundtrack is generally considered a Madonna album since her vocals are featured on most of the songs. Other principal vocalists include Banderas, Pryce and Jimmy Nail. Rikky Rooksby noted in "The Complete Guide to the Music of Madonna" that "Evita" was stylistically different than the music Madonna had recorded previously. The soundtrack was her most challenging endeavor since the Stephen Sondheim songs recorded for the 1990 film, "Dick Tracy". Rice and Lloyd Webber employed the classical technique while creating the music, where a composer takes a central theme and adapts it to a variety of settings, keys and tempos. The central backbone and theme of the soundtrack is "Don't Cry for Me Argentina", and through the songs it tells the story of Eva's beginnings, her rise to fame, political career and gradually her death.


title: Evita (soundtrack)

text: The soundtrack begins with the tracks "A Cinema in Buenos Aires, 26 July 1952" and "Requiem for Evita", both conducted by John Mauceri, dealing with the announcement of Eva's death. Following this "Oh What a Circus" begins, where Banderas takes the lead vocals. Built on the uptempo melody of "Don't Cry for Me Argentina", the song has rock influences and piano sounds. After a short interlude by Nail, "On This Night of a Thousand Stars", a distorted electric guitar and bass heralds "Eva and Magaldi / Eva Beware of the City". Here the lyrics talk about warning Eva from strangers in the big city. The sound of train horns, Latin percussion, drums, and light guitars introduce "Buenos Aires", talking about Eva finally arriving in the city. The melody finds Madonna singing in a higher range, and the song has a heavy composition in the middle with guitar, trumpets and discordant music. "Another Suitcase in Another Hall" begins with soft strummed guitar in broken chords, and consists of strings and acoustic guitar played in a subdued manner. Madonna sings about Eva moving from one home to another, portraying an image—the suitcase in the hall—"to express the nomadic nature of modern civilization".


title: Evita (soundtrack)

text: In "Goodnight and Thank You", Madonna and Banderas trade verses, talking about ending Eva's love affairs, followed by Banderas' solo "The Lady's Got Potential", musing about Eva's gradual rise on the society ladder. The gentle ballad, "I'd Be Surprisingly Good for You", is about Eva meeting her husband Juan Perón; its composed of flutes, classical guitar and subdued strings. Military drum beats and a brass section start off "Peron's Latest Flame", where Banderas sings loudly about the general population disapproving of Eva. In the middle of a male backing chorus, Madonna sings her lines, accompanied by stereo tom-tom drum and synth sounds. For "A New Argentina", electric guitar and chorus form the main backbone. Composed as an "uprising hymn", Rooksby noted that Madonna's vocals sounded "aggressive and growling".


title: Evita (soundtrack)

text: The second disc begins with "Don't Cry for Me Argentina", whose lyrics are described as a "string of meaningless platitudes" by Rice, adding that it worked as a speech by a "megalomaniac woman" like Eva, trying to win the favor of the people of Argentina. The composition consist of pizzicato strings, and the song jumps from being light to heavy and extravagant, with one section of it being hummed by choral voices. "High Flying, Adored" has an Elton John style according to Rooksby, who described the lyrics as narcissistic and a parallel with Madonna's life. "RainBow High" features instrumentation from drums, guitars, horns and strings, with the lyrics being about Eva's materialistic needs.


title: Evita (soundtrack)

text: With "Waltz for Eva and Che", the soundtrack's atmosphere becomes tense, as Banderas and Madonna sing on top of bass and timpani. The bittersweet song "You Must Love Me" starts with orchestra and piano. Lyrically it talks about Eva's discovery that her husband Juan had actually loved her all along and not merely seen her as a political prop. As the song moves towards the chorus, the piano stops and the cello plays with Madonna belting out the lyrics: "Deep in my heart, I'm concealing, Things that I'm longing to say", when the piano and the orchestra come back again. It proceeds in the same way and gradually fades out. The final track, "Lament", finds Madonna singing in a whispered tone, about Eva looking back at her life on her deathbed. Accompanied by classical guitar and harp, Banderas also sings over Eva's grave, and the track gradually fades out as an anti-climax.


title: Evita (soundtrack)

text: The soundtrack was released in the United States on November 12, 1996, almost two weeks before the release of the film. It was already in huge demand prior to its release, according to Tim Devin, manager of Tower Records. "People are seriously clamouring for it. We are getting more inquiries about this record than anything else right now," Devin explained to "Billboard"s Larry Flick. Warner Bros. depended on pre-release press reviews, consumer curiosity and the singles from the soundtrack to keep the interest afloat, until the album was released. Jeff Gold, VP/GM of Warner Bros. declared the release a "worldwide event that has ignited public interest throughout each stage of its evolution".


title: Evita (soundtrack)

text: "Evita" consisted of two formats, a two-disc edition titled "The Complete Motion Picture Music Soundtrack", containing all the tracks used on the film, and a single-disc edition, "Music from the Motion Picture", which contained only a selection of highlights. International release strategy of the soundtrack was similar to that of the United States, with November 25 as the date, and the single-disc edition planned for release later in December. An "Evita" EP, containing remixed versions of "Buenos Aires", "Don't Cry for Me Argentina" and "Another Suitcase in Another Hall", was supposed to be released but was cancelled.


title: Evita (soundtrack)

text: "You Must Love Me" was released as the soundtrack's lead single on October 27, 1996. It was written specifically for the film with the hopes of obtaining an Academy Award nomination for Best Original Song. According to Lloyd Webber, the song's main inspiration was to showcase Eva's emotional state at the time as well as her relationship with Juan. The song garnered positive response from music critics, many of them highlighting Madonna's enhanced singing ability. It went on to win the Golden Globe and the Academy Award for Best Original Song in 1997. It was also a moderate commercial success, becoming a top-ten hit in some countries including Finland and the United Kingdom, while reaching the top-twenty in the United States, where it achieved a gold certification from the Recording Industry Association of America (RIAA).


title: Evita (soundtrack)

text: "Don't Cry for Me Argentina" was released as the second single from the album on December 16, 1996. A separate version called the "Miami Mix", which included re-recorded vocals in English and Spanish and an Argentinean bandoneon in the song's intro, was promoted to radio. Madonna's vocals received positive critical response and the song reached the top-ten of the charts a number of nations, including the US "Billboard" Hot 100 chart, and received gold certifications from five of them.


title: Evita (soundtrack)

text: "Another Suitcase in Another Hall" was the third and final single released on March 18, 1997. Upon its release, the song reached the top ten of the charts in the United Kingdom. The track "Buenos Aires" received remix treatment from DJ duo Pablo Flores-Javier Garza. Warner Bros. was initially reluctant to release the remixes, but decided to finally release it to coincide with the home video release of "Evita" the film. Flores and Garza kept the Latin composition of the track, while "flattening" the groove to make it suitable for playing in dance floors. They also added live percussion and keyboard lines to the remix. Larry Flick from "Billboard" commented that "Buenos Aires" displayed Madonna's "increased comfort and dexterity as a stylist". Following its promotional release in October 1997, "Buenos Aires" peaked at number three on the "Billboard" Dance Club Songs chart.


title: Evita (soundtrack)

text: "Evita" has received generally mixed reviews from music critics. The staff of "Music Week" called the soundtrack a "well-arranged album". Anthony Violanti from "The Buffalo News" deemed the album a "bold move" and "sign of artistic maturity for Madonna." He noted that although she lacked musical theater experience, Madonna "displays a broad vocal range and, though it may be hard for those who remember 'Like a Virgin' to believe, an operatic sensibility." J. Randy Taraborrelli, author of "", felt that Madonna's singing sounded "supple and strong", and believed her to be not "at all out of place". Jim Farber from "Entertainment Weekly" praised Madonna's performance on the album, writing: "Aided by impeccable orchestrations (and some coaching), her vocals are years ahead of anything she'd sung before." Greg Kot from the "Chicago Tribune" wrote that "the two-CD soundtrack casts Madonna in a new light. To put it simply, the Material Girl can sing. [...] comparing her performance [on the soundtrack] to that of Patti LuPone, one comes away with a new admiration for her vocal skills. In many ways, she does more with less than her predecessor."


title: Evita (soundtrack)

text: Authors Allen Metz and Carol Benson wrote in their book "The Madonna Companion" that the soundtrack gave Madonna "some of the post-disco queen/sex machine credibility she so desperately crave[d]". "Spin"s Annie Zaleski noted that the soundtrack demonstrated Madonna's "astronomical growth as a vocalist ..."Evita" marked the start of Madonna's Serious Phase, one where she balanced youthful coquettish-ness with a more mature, introspective outlook". In her review of the film, Janet Maslin from "The New York Times" complimented Madonna's ability to emote the songs, calling them "legitimately stellar and full of fire". Writing for the "Hartford Courant", Greg Morago complimented Madonna's "remarkable understanding of the material ... While some of the numbers have lost their sharp edge ('A New Argentina' lacks requisite anger), the recording benefits from its concentration on the characters' voices. There is a vibrant, contemporary energy and fearless cinematic sweep to this welcome new stamp on the mythic life of Eva Duarte de Perón". Stefan A. Meyer, from "The Herald Journal", felt that "there's a little something for everyone in "Evita". It's a pop-culture clash that is sometimes quite annoying (especially in Rice's left-field rhymes) but still works like a charm".


title: Evita (soundtrack)

text: AllMusic's Stephen Thomas Erlewine called the soundtrack "exquisitely produced and expertly rendered", but "curiously unengaging." Although he commended Madonna's singing as "startlingly accomplished and nuanced performance", Erlewine felt that she was "trying really hard to be credible, which makes it difficult to connect with her". While reviewing the film, the "San Francisco Chronicle"s Octavio Roca said that the "delicious irony of Rice's lyrics remains intact, as does the freshness of Lloyd Webber's music". But Roca believed that the Latin influences present in the original songs were missing, due to John Mauceri's "languid conducting of the soundtrack, and most of all by Vincent Paterson's choreography". Barbara Shulgasser, from the same newspaper, was more negative, writing that "all of "Evita"s songs are slightly above Madonna's limited range. With her thin voice, she peeps out a series of mournful sounds that are painful to endure". "The Baltimore Sun"s J. D. Considine felt the soundtrack would disappoint the singer's fans "because "Evita" just isn't pop music—or, at least, not the kind of pop music Madonna usually makes on her own ... As a result, slogging through "Evita" is like listening to an opera written by someone who never got beyond learning how to write recitativo". Considine was also disappointed with the vocal abilities of Madonna and co-star Antonio Banderas; "they lack the power and tone to lend this intoned dialog a patina of musicality".


title: Evita (soundtrack)

text: In the United States, "Evita" debuted at number six on the "Billboard" 200 chart for the issue dated November 30, 1996. It was the first entry on the chart for a "Broadway musical transitioned into film soundtrack" since "" in 1978. With opening sales of 97,000 units, it also represented the largest debut for a dual soundtrack until the release of "" in 2006. The soundtrack fell to number 28 the next week, before beginning to rise again when the film was released into theaters. Within five weeks it crept back into the top ten of the "Billboard" 200 and for the issue dated February 8, 1997, reached a peak of number two on the chart. This was spurred by Madonna winning the Golden Globe Award for Best Motion Picture – Musical or Comedy. Sales increased by 17.5% to 122,000 sold for that week according to Nielsen SoundScan. It remained there for two weeks, being kept from topping the chart by No Doubt's album "Tragic Kingdom", which only had an 8% sales decline to 143,000 copies.


title: Evita (soundtrack)

text: "Evita" was present for a total of 30 weeks on the "Billboard" 200, and ranked at number 26 on the year-end chart. Along with the "Billboard" 200, "Evita" reached the top of the Soundtracks Albums chart. The Recording Industry Association of America (RIAA) certified the soundtrack quintuple platinum, for shipment of 2.5 million copies across the country (or 5,000,000 "units" as the RIAA counted each disc of the double album as a separate unit). As of December 2016, the album had sold 2,025,000 copies according to Nielsen SoundScan. The single-disc edition of the soundtrack charted separately on the "Billboard" 200, reaching a peak of number 167.


title: Evita (soundtrack)

text: In Canada, "Evita" debuted at number 27 on the "RPM" Top Albums/CDs chart. It reached a peak of number five on the chart, and stayed for a total of 27 weeks. The single-disc edition also charted separately, reaching a peak of number 91. In Australia, the soundtrack debuted on the ARIA Charts at number six. After fluctuating down the charts for the next few weeks, it climbed into the top-ten in March 1997, and peaked at number five. The Australian Recording Industry Association (ARIA) certified the two-disc edition as gold and the single-disc edition as platinum for shipment of 35,000 and 70,000 copies respectively. The soundtrack had a similar trajectory in New Zealand, where it peaked at number six on the albums chart, and was present for a total of 18 weeks. The Recorded Music New Zealand (RMNZ) certified it platinum, for shipment of 15,000 copies.


title: Evita (soundtrack)

text: "Evita" debuted at number seven on the UK Albums Chart and ended up reaching the top of the charts in February 1997, becoming Madonna's fifth number one album in the country. It was present on the chart for a total of 44 weeks and ranked at number 23 on the year-end chart. The British Phonographic Industry (BPI) certified it double platinum for shipment of 600,000 copies. It has sold 733,000 copies as of January 2018 according to the Official Charts Company. Across Europe, "Evita" reached the top of the charts in Austria, Belgium (both Flanders and Wallonia), Czech Republic, Greece, Ireland, Scotland and Switzerland, as well as top-ten in Denmark, France, Germany, Netherlands, Norway, Portugal and Sweden. Its performance across the European markets resulted in the soundtrack reaching the top of the pan-European Top 100 Albums chart.


title: High school football

text: High school football () is gridiron football played by high school teams in the United States and Canada. It ranks among the most popular interscholastic sports in both countries, but its popularity is declining, partly due to risk of injury, particularly concussions. According to "The Washington Post", between 2009 and 2019, participation in high school football declined by 9.1%. It is the basic level or step of tackle football.


title: High school football

text: The National Federation of State High School Associations (NFHS) establishes the rules of high school American football in the United States. In Canada, high school is governed by Football Canada and most schools use Canadian football rules adapted for the high school game except in British Columbia, which uses the NFHS rules.


title: High school football

text: Since the 2019 high school season, Texas is the only state that does not base its football rules on the NFHS rule set, instead using NCAA rules with certain exceptions shown below. Through the 2018 season, Massachusetts also based its rules on those of the NCAA, but it adopted NFHS rules in 2019.


title: High school football

text: With their common ancestry, the NFHS rules of high school American football are largely similar to the college game, though with some important differences:


title: High school football

text: At least one unique high school rule has been adopted by college football. In 1996, the overtime rules originally utilized by Kansas high school teams beginning in 1971 were adopted by the NCAA, although the NCAA has made five major modifications. Through the 2018 season, each possession started from the 25-yard line. Since 2021, this remains in force through the first two overtime procedures. In the second overtime, teams must attempt a two-point conversion after a touchdown. Secondly, triple overtime & thereafter are two-point conversion attempts instead of possessions from the 25-yard line, and successful attempts are scored as conversions instead of touchdowns.


title: High school football

text: Thirty-four states have a mercy rule that comes into play during one-sided games after a prescribed scoring margin is surpassed at halftime or any point thereafter. The type of mercy rule varies from state to state, with many using a "continuous clock" after the scoring margin is reached (wherein, except for specific situations, the clock keeps running on plays where the clock would normally stop). Other states end the game once the margin is reached or passed. For example, Texas uses a 45-point mercy rule (to stop the game) only in six-man football; for 11-man football there is no automatic stoppage but the coaches may mutually agree to use a continuous clock.


title: High school football

text: High school football in the United States is played almost entirely by boys. Over the past decade, girls have made up less than half a percent of the players of American high school football. Eight states have high schools that sanction the non-contact alternative of flag football, but none sanction tackle football for girls, and a 2021 lawsuit in Utah that claimed the state violated Title IX laws by not sanctioning the sport was struck down.


title: High school football

text: According to the "New York Times", in 2006, 70% of high school football players were white and 20% were black; by 2018, those figures were 30% white and 40% black. Black youth are nearly three times more likely than white youth to play tackle football.


title: High school football

text: Below the largest high school American football stadiums by capacity. Stadiums with a capacity of at least 10,000 are included.


title: High school football

text: Robert Cantu, a Professor of Neurology and Neurosurgery and Co-Founder of the CTE Center at the Boston University School of Medicine, believes that children under 14 should not play tackle football. Their brains are not fully developed, and myelin (nerve cell insulation) is at greater risk in shear when the brain is young. Myelination is completed at about 15 years of age. Children also have larger heads relative to their body size and weaker necks.


title: High school football

text: Chronic traumatic encephalopathy (CTE) is caused by repeated brain trauma, such as concussions and blows to the head that do not produce concussions. It has been found in football players who had played for only a few years, including some who only played at the high school level.


title: High school football

text: An NFL-funded study reported that high school football players suffered 11.2 concussions per 10,000 games or practices, nearly twice as many as college football players.


title: High school football

text: According to 2017 study on brains of deceased gridiron football players, 99% of tested brains of NFL players, 88% of CFL players, 64% of semi-professional players, 91% of college football players, and 21% of high school football players had various stages of CTE.


title: Cream discography

text: Cream were a 1960s British rock power trio consisting of drummer Ginger Baker, guitarist/singer Eric Clapton and bassist/singer Jack Bruce. While together they released four albums, the last two being partly recorded live in concert, and ten singles. Since breaking up there have been four albums of music recorded live in concert (including of their brief reunion at the Royal Albert Hall in 2005), and 11 compilation albums.


title: Invader Zim: Enter the Florpus

text: Invader Zim: Enter the Florpus (titled onscreen as Dib Membrane VS. Invader Zim: Enter the Florpus) is a 2019 American animated science fiction comedy film written by Jhonen Vasquez. It is based on and is a continuation of the animated television series "Invader Zim", which was created by Vasquez and originally aired on Nickelodeon from 2001 to 2002 and later Nicktoons in 2006. Originally created as a television film for Nickelodeon's own network, Netflix bought its distribution rights in May 2019. The film was released on Netflix on August 16, 2019, and received critical acclaim, with critics praising the animation, humor, and voice performances.


title: Invader Zim: Enter the Florpus

text: When alien Irken infiltrator Zim suddenly reappears after a long absence, his now-overweight human nemesis Dib Membrane confronts him. Zim reveals that his disappearance was meant to make Dib too physically unfit to oppose him, allowing Zim to begin Phase Two of his plan. Zim contacts his leaders, the Almighty Tallest Red and Purple, but realizes during the call he has forgotten what Phase Two entails.


title: Invader Zim: Enter the Florpus

text: Dib regains his physical fitness with help from his sister Gaz. Their father Professor Membrane gives Dib a prototype device called the Membracelet, meant to harness the positive energy of the world's children, but expresses his disappointment in Dib's continued belief in aliens. An incensed Dib goes to confront Zim but finds him in a state of depression; Zim and his robotic assistant GIR have been unable to remember Phase Two and, furthermore, have realized that the Irken Armada (whose flight path consists of a straight line) does not plan to invade Earth. Defeated, Zim surrenders to Dib, who decides to present him to the world during his father's Membracelet presentation.


title: Invader Zim: Enter the Florpus

text: At Professor Membrane's keynote address, Dib allows Zim to modify the prototype Membracelet to hijack the presentation. However, as soon as Zim is free, the lights go out, Membrane disappears, and Zim takes control of the stage in disguise. Dib awakens the next day to find that he and Gaz are imprisoned in their own home by Clembrane, a failed clone of their father, while Zim continues distributing the modified Membracelets around the world. After GIR compels every child on Earth to hold hands while wearing the bracelets, Zim uses Minimoose and the combined energy of the Membracelets to teleport Earth into the Irken Armada's flight path to force the Tallest to visit him. However, the irritated Tallest decide to simply destroy him along with the Earth once they reach it.


title: Invader Zim: Enter the Florpus

text: The Earth's sudden teleportation suddenly opens a "Florpus", a space-time rift capable of consuming the planet and merging it with alternate realities, but Zim ignores the danger and begins preparing for the Tallest' arrival. Dib and Gaz escape using a spaceship formerly belonging to Zim's Irken rival Tak and free Professor Membrane from intergalactic space prison Moo-Ping 10; Dib expresses his desire for his father to be proud of him, and Membrane tells Dib that he is already proud of him, despite his belief in the supernatural. Dib lands on Earth and fights Zim for control of Minimoose to stop the Florpus, while Membrane, revealed to have robotic prosthetics, helps Dib destroy Zim's robot army. Although the Membranes are able to recover Minimoose after turning Clembrane on Zim, the Irken Armada finally arrives to destroy Earth just as it enters the Florpus. As Earth begins colliding with alternate realities, Membrane finally figures out how to teleport the planet back to its original location, while the Armada flies directly into the Florpus.


title: Invader Zim: Enter the Florpus

text: Back on Earth, the Membrane family is reunited, and Zim appears at their window claiming the real goal of Phase Two was stealing a ceramic clown figurine from their living room. Zim contacts the Tallest to report his success, only to see them suffering in an alternate reality. Zim interprets their anguished screams as them being pleased with his work before he is crushed by a falling pug that GIR had launched into space at the beginning of the movie; GIR launches the pug into space again.


title: Invader Zim: Enter the Florpus

text: On November 8, 2016, "Harvey Beaks" and "Chowder" creator C. H. Greenblatt was asked by a fan on Tumblr if he would work with Jhonen Vasquez on a hypothetical "Invader Zim" movie, and Greenblatt responded, "Jhonen IS making an "Invader Zim" movie for Nick. I'm not a part of it, but I'm excited." However, Jhonen initially denied this on his Twitter, most likely because he was under contract to not say anything at the time and was forced to dismiss it as a "rumor".


title: Invader Zim: Enter the Florpus

text: On April 4, 2017, over sixteen years since the series' debut and eleven years since the last "unaired" episode premiered in the United States, Nickelodeon officially announced that they had green-lit a 71-minute television film based on the series.


title: Invader Zim: Enter the Florpus

text: At San Diego Comic-Con 2018, Jhonen explained that Nickelodeon had been asking him about doing more "Invader Zim" for years and that he always had to decline their offers either because he was busy working on something else or due to not being able to come to an agreement with Nickelodeon on a budget for a "Invader Zim" revival; but being "completely miserable" with the other things he was working on at the time, Jhonen accepted Nickelodeon's latest offer to do more "Invader Zim". Nickelodeon initially wanted a new "Invader Zim" television series, but Jhonen suggested a six-episode miniseries instead. He soon changed his mind to a television film, since doing a film would be "infinitely less stressful".


title: Invader Zim: Enter the Florpus

text: Three teaser trailers for the film were released in the next four days following the initial announcement.


title: Invader Zim: Enter the Florpus

text: "Invader Zim: Enter the Florpus" had a panel at San Diego Comic-Con on July 20, 2018; during the panel, some never-before-seen production art such as backgrounds and turn-around charts for the film were revealed. A trailer put together out of unedited first take animation for the film was also shown at the panel accompanied by some original music composed for the trailer by Kevin Manthei. During the panel, Jhonen explained that he put the trailer together out of some random animated footage he had for the film that he thought looked presentable enough to show people and that most of the shots used in the trailer were going to be sent back overseas to be re-animated.


title: Invader Zim: Enter the Florpus

text: "Invader Zim: Enter the Florpus" is produced by Nickelodeon Animation Studio in collaboration with animation services by Maven Animation Studio in South Korea. During the "Invader Zim: Enter the Florpus" panel at San Diego Comic-Con on July 20, 2018, Jhonen revealed that they had written the film in 2015 and that at the time of the panel, they were in the process of getting first take animation back from their overseas animation team, Maven Animation Studio.


title: Invader Zim: Enter the Florpus

text: Jhonen Vasquez returned as executive producer and as the voice of Zim's computer, along with Kevin Manthei as the composer, and Jenny Goldberg, who worked on the "Invader Zim" comic book series, is the art director for the film. Breehn Burns, the supervising producer for the film, confirmed that production on "Enter the Florpus" officially wrapped on January 17, 2019.


title: Invader Zim: Enter the Florpus

text: "Invader Zim: Enter the Florpus" was originally created as a television film for Nickelodeon's own network, but on May 10, 2019, Viacom president Robert Bakish revealed in a conference call that Netflix had acquired the distribution rights to the film. On July 23, 2019, Netflix released a clip of the special with the release date shown. The movie was announced to be released on August 16, 2019.


title: Invader Zim: Enter the Florpus

text: On February 1, 2019, Nickelodeon held a cast-and-crew-exclusive screening of "Enter the Florpus". On July 24, 2019, the Nickelodeon Animation Studio held an exclusive pre-screening of "Invader Zim: Enter the Florpus" which was only accessible for ASIFA-Hollywood members. The Frida Cinema in Santa Ana, California held a free theatrical screening of "Invader Zim: Enter the Florpus" on August 16, 2019, to celebrate the premiere of the film. Series creator Jhonen Vasquez, art director Jenny Goldberg, and voice actors Rikki Simons and Melissa Fahn attended the screening for an exclusive Q&A.


title: Invader Zim: Enter the Florpus

text: "Invader Zim: Enter the Florpus" has received critical acclaim. On Rotten Tomatoes, the film has an approval rating of based on reviews, with an average rating of . The site's critical consensus reads: "Invader Zim quits being banished all over again in "Enter the Florpus", an excellent revival that captures the spirit of the cartoon while cranking the doom up to eleven."


title: Invader Zim: Enter the Florpus

text: Charles Pulliam-Moore of io9 wrote that the film "[conveys] how much more potential there still is in the "Invader Zim" franchise", and noted that "By turning Zim into a legitimate threat ... "Enter the Florpus" both gives Dib a real reason to fight and makes you question which of them you'd want to win in the end". NPR's Vincent Acovino said ""Invader Zim: Enter the Florpus" serves as an excellent reminder of why the series holds such a special place in the Nicktoon canon. It's weird, smart and bracingly unsentimental." Palmer Haasch of "Polygon" lauded the portrayal of the relationship between Dib and Professor Membrane, calling it "The best thing" about the film.


title: Invader Zim: Enter the Florpus

text: Joe Matar of Den of Geek praised the film's "inventive moments and truly hilarious laugh-out-loud jokes", and wrote that "The art and animation look almost perfect", though he called the film's aesthetic "a little too bright and sterile". Matthew Dougherty of "IGN" favorably compared "Enter the Florpus" to what "Serenity" did with "Firefly", while also saying "The sci-fi elements are fun, the humor is wildly absurd, and the animation is breathtaking. In this case, that's enough for this return to be worth the wait." Siobhan Ball of "The Daily Dot" gave the film three out of five stars, writing that "With "Enter the Florpus", "Invader Zim" has matured without losing any of the elements that endeared it to subculture teens in the first place." Eric Vilas-Boas of Thrillist wrote that "the dazzlingly animated space battles, and the firehose stream of gross and morbid humor that make "Invader Zim: Enter the Florpus" well worth the long, 17-year wait." Kellen Beck of Mashable said "The best thing about "Invader Zim: Enter the Florpus" is the way it manages to perfectly capture the spirit of the TV show and transport my brain right back to the early [2000s]." Sol Harris of "Starburst" gave the film a score of 7 out of 10, saying ""Enter the Florpus" is a fairly typical Nickelodeon TV-movie in that it retains everything that made the show work – its humor, its characters, its tone – but it suffers from messy pacing."


title: Tetsuya Naito

text: Tetsuya Naito began training for a professional wrestling career in 2000, initially under Animal Hamaguchi before joining NJPW in 2004, where he underwent further training. He is a former NEVER Openweight Champion, and a former IWGP Tag Team and IWGP Junior Heavyweight Tag Team Championship with former No Limit partner Yujiro Takahashi. In addition, Naito is the winner of the 2013 and 2017 editions of the G1 Climax, NJPW's premier singles tournament, and of the 2016 New Japan Cup. Regarded as one of the most popular and successful wrestlers in NJPW history, In 2016 and 2017, "Tokyo Sports" awarded Naito with the MVP Award, the publication's highest honor. In 2020, Naito became the first person to hold both the IWGP Heavyweight and Intercontinental Championships at the same time, accomplishing that feat twice, becoming a three-time IWGP Heavyweight and record six-time IWGP Intercontinental Champion. In addition, he is the only person to successfully win back the double gold, winning them back at Summer Struggle in Jingu.


title: Tetsuya Naito

text: Naito began training for a professional wrestling career in 2000, initially under Animal Hamaguchi. In 2004 he won the "Takeda Dojo Submission" tournament, which landed him a contract with New Japan Pro-Wrestling (NJPW) to train in their dojo.


title: Tetsuya Naito

text: On November 3, 2005, Tetsuya passed a public audition held by NJPW in Korakuen Hall, graduating from the dojo and earning a spot on the promotion's roster. After half a year of further training, Naito wrestled his debut match on May 27, 2006, losing to Takashi Uwano. He picked up his first win on October 29 over Mitsuhide Hirasawa. In 2007 Naito participated in the 2007 Best of the Super Juniors tournament, replacing a wrestler who was unable to compete due to injuries. Tetsuya finished last in Block B, earning four points by defeating Gedo and El Samurai, losing the other four matches in his block.


title: Tetsuya Naito

text: In February 2008, Naito formed a tag team with fellow rookie Yujiro Takahashi called "No Limit". In March, the two went to fifteen-minute time limit draws with former IWGP Junior Heavyweight Tag Team Championship teams such as Koji Kanemoto and Wataru Inoue, and Minoru and Prince Devitt, and Yujiro pinned veteran Super Strong Machine in a trios match. All of this led to a junior tag title challenge for the duo, facing Machine's Legend stablemates Jyushin Thunder Liger and Akira, in which No Limit came up short when Akira pinned Tetsuya. Yujiro would then participate in the ongoing feud between New Japan and Pro Wrestling Zero1, teaming with Koji Kanemoto and Manabu Nakanishi in two separate tag team matches, losing to Zero1's Masato Tanaka and Tatsuhito Takaiwa in the former, and defeating Takao Omori and Osamu Namiguchi in the latter.