title: Carl Bildt

text: Long a champion of European integration and Sweden's participation in this, negotiating membership in the European Union was a priority for the Bildt premiership. The preceding Social Democratic government had, as part of an emergency economic crisis package in the autumn of 1990, done a sudden U-turn, abandoned its previous opposition and in the summer of 1991 submitted a formal application for membership in the EU.


title: Carl Bildt

text: Benefiting also from his close links with German Chancellor Helmut Kohl, Bildt was able to initiate and conclude membership negotiations with the EU in record time, signing the Treaty of Accession at the EU summit in Corfu on 23 June 1994. The accession was supported by a referendum in November, and Sweden entered the EU as full member on 1 January 1995, thus fulfilling a key part of the platform of the Bildt government.


title: Carl Bildt

text: By that time his governing coalition had lost its majority in the September 1994 elections, in spite of his Moderate party making slight gains.


title: Carl Bildt

text: The economic program of the government was focused primarily on a series of structural reforms aiming at improving competitiveness and improving growth. Economic reforms were enacted, including voucher schools, liberalizing markets for telecommunications and energy, privatizing publicly owned companies and health care, contributing to substantially liberalizing the Swedish economy.


title: Carl Bildt

text: These reforms were highly controversial at the time, and the government also had to deal with a rapid increase in unemployment as well as public deficits during 1991 and 1992. The period was marked by a severe economic crisis. These problems were reinforced by the economic crisis in other European countries and the crisis within the European Exchange Rate Mechanism in 1992. As a result, Sweden in November 1992 was forced to abandon its policy of a fixed exchange rate and allow the Swedish crown to float freely. As part of the effort to handle the economic crisis, the government was able to conclude an agreement with the Social Democratic opposition on some of its expenditure-cutting measures.


title: Carl Bildt

text: By 1994 the economy was registering strong growth, and the deficits were declining, although unemployment was still at levels higher than in 1991.


title: Carl Bildt

text: Prior to becoming Prime Minister, Bildt had been severely anti-Soviet Union and a strong supporter of the three Baltic nations, and during his period as PM devoted considerable efforts to trying to assist the three newly-independent Baltic states in handling their immediate challenges in the form of the withdrawal of ex-Soviet forces and strategic installations, as well as deciding on sensitive issues of citizenship. In this he worked closely together with the leaders of the three countries as well as with the Russian Foreign Minister Andrei Kozyrev.


title: Carl Bildt

text: His government also had to handle a large increase in refugee flows from primarily the war in Bosnia, defending a liberal approach against the anti-immigration New Democracy party that had entered parliament in 1991.


title: Carl Bildt

text: Bildt was an early champion of the Internet and information technologies. He led the first IT Commission in 1994, and in that year also had the first exchange of emails between two heads of government with US President Bill Clinton.


title: Carl Bildt

text: The government's effectiveness was sometimes hampered by in-fighting, most memorably over the construction of the Øresund Bridge, which led to the departure of the leader of the Centre Party Olof Johansson from the government, paving the way for the government to take the decision to approve the construction of the link.


title: Carl Bildt

text: Bildt continued to serve as leader of the Moderate party - and thus of the opposition - until 1999, when he was succeeded as party leader by Bo Lundgren.


title: Carl Bildt

text: After his term as prime minister, Bildt was active as a mediator in the Balkans conflict, serving as the European Union Special Envoy to Former Yugoslavia from June 1995, co-chairman of the Dayton Peace Conference that led to the Dayton Peace Accords in November 1995, and High Representative for Bosnia and Herzegovina from December 1995 to June 1997 immediately after the Bosnian War. From 1999 to 2001, he served as the United Nations Secretary General's Special Envoy for the Balkans.


title: Carl Bildt

text: Kosovo unilaterally declared its independence from Serbia on 17 February 2008, without the approval of the UN Security Council, and Sweden recognised it on 4 March 2008. On 8 March 2008, Bildt became the first foreign minister to officially visit Kosovo after it declared its independence.


title: Carl Bildt

text: On 6 October 2006, Bildt was appointed as Minister of Foreign Affairs in the newly formed cabinet of Fredrik Reinfeldt. This was seen by many as a surprising move. Not only had Bildt already served both as prime minister and as leader of the Moderate Party, but he and Reinfeldt had previously not got along. He retained this post following the 2010 general election.


title: Carl Bildt

text: During his time in office, Bildt was widely credited with steering efforts to set up the EU's Eastern Partnership in 2008. When Sweden held the rotating presidency of the Council of the European Union in 2009, he chaired the sessions of the EU's General Affairs and External Relations Council. For several years, he was widely seen as a candidate to become the first High Representative of the Union for Foreign Affairs and Security Policy under the new rules established by the Treaty of Lisbon; instead, the role went to Catherine Ashton.


title: Carl Bildt

text: Bildt later supported the 2011 military intervention in Libya. On 29 March, the government approved the deployment of JAS 39 Gripen multirole jet fighters to Libya to enforce the no-fly zone.


title: Carl Bildt

text: Following the 2014 European elections, the "Financial Times" and other news media considered Bildt as a potential candidate to succeed Ashton as High Representative; this time, the position went to Federica Mogherini.


title: Carl Bildt

text: Bildt lost his post after the 2014 general election, and moved on to become a board member of the International Crisis Group.


title: Carl Bildt

text: Bildt was as foreign minister in 2007 an active supporter for Turkey to join the EU. He called Istanbul a "true center of European history" and called Kemal Atatürk "undoubtedly the most significant European revolutionary of the last century" in 2004. Bildt's campaign for Turkey's EU membership was controversial in central Europe.


title: Carl Bildt

text: EU membership of Turkey was hindered by its government not recognizing Cyprus, an EU member along with reservations from the president of France, Nicolas Sarkozy.


title: Carl Bildt

text: In November 2014 Bildt was criticised for having written an opinion piece in "Dagens industri" newspaper where Recep Tayyip Erdoğan was described as being "on the right track" despite the persecution of Kurds and political opponents and jailed journalists in Turkey.


title: Carl Bildt

text: After the 2008 South Ossetia war, Bildt wrote on his blog that the Russian rationale for its intervention, concern for the welfare of its expatriates in the Near Abroad, had similarities with the rationale for the annexation of Sudetenland. Bildt called South Ossetian independence "a joke", and said it would be supported only by a "miserable" lot of countries.


title: Carl Bildt

text: Throughout his career, Bildt has frequently been reported by his critics to the Constitutional Committee of the Parliament, but in all cases acquitted of the accusations made.


title: Carl Bildt

text: After leaving his position as leader of the Moderate Party in 1999, other than engaging in international issues, Bildt took positions in the private sector and positions with international think tanks. His positions in think tanks included serving as the first non-US member on the Board of Trustees of the RAND Corporation in Santa Monica, California, and on the Advisory Board of the Centre for European Reform in London. He was a member of the board of the European Policy Centre in Brussels, the International Institute for Strategic Studies in London, and the International Advisory Board of the Council on Foreign Affairs in New York.


title: Carl Bildt

text: Bildt served as non-executive director of the Baltimore-based US assets management company Legg Mason, Inc. He served as chairman of the board of Teleopti and chairman of the public affairs consultancy Kreab AB, and board member of the IT consultancy HiQ AB. He was chairman of Nordic Venture Network, which brought Nordic high-tech VC firms together in an informal network.


title: Carl Bildt

text: In 2000, Bildt joined the Lundin Group's board of directors, a company with oil interests in Ethiopia and Sudan - the seven years with the Lundin Group that followed made Bildt a wealthy man.


title: Carl Bildt

text: From March to November 2000, Bildt was part of an independent panel – together with Jean Peyrelevade and Lothar Späth – to advise the European Space Agency's Director General Antonio Rodotà on the organization's future.


title: Carl Bildt

text: In 2002, Bildt joined the board of directors of Vostok Nafta, a financial company primarily with holdings in Gazprom.


title: Carl Bildt

text: Though decorated for his services in the Bosnian conflict and its immediate aftermath by Great Britain, France, and Germany, his mediation of the conflict and aftermath was castigated as well as celebrated.


title: Carl Bildt

text: Bildt opposed any military intervention and criticized the former British prime minister Margaret Thatcher in 1993 for calling NATO to intervene against the Bosnian Serb forces, which led to the "Sunday Times" describing Bildt and other EU leaders as "robotic political pygmies" and their acceptance of the ongoing genocide as "shameful".


title: Carl Bildt

text: Following Bildt's appointment as the EU special envoy to Yugoslavia, Tom Warrick from the Coalition for International Justice described Bildt as "dangerously misinformed about his own job description" and largely ignorant about the region. "The New York Times" criticized Bildt for a nonchalant attitude towards the Srebrenica genocide when over 8,000 Bosniaks were killed, and described him as being burdened with a reputation for accepting Bosnian Serb claims of good behavior at face value and overlooking evidence of atrocities against civilians.


title: Carl Bildt

text: Bildt has been questioned for his role as a member of the International Advisory Council of the Committee for the Liberation of Iraq, a group with ties to the Bush administration pushing for an invasion of Iraq in 2003.


title: Carl Bildt

text: On 8 April 2008, during his visit in Israel and Palestinian Authority, Bildt gave an interview to Swedish state radio, where he responded to a question on whether it would be possible to strike a peace deal without the involvement of the Palestinian group Hamas, which remained under international boycott. He responded that the Palestinian Fatah-backed government could deal with Israel, in the same way that it was possible for the Israeli government to make peace with Fatah over the objections of the former Israeli prime minister Benjamin Netanyahu, who, similarly to Hamas opposed a two-state deal. Israeli officials issued very strongly worded condemnations of this, describing it as "horrible and stupid" and an example of "chutzpah" and "complete ignorance of the Middle East", on the grounds that they saw it as comparing Hamas and Netanyahu as equals.


title: Carl Bildt

text: In 2012, Bildt said he saw no problem with exporting Swedish weapons to Saudi Arabia. According to Bildt, "Would the situation in the world be better if they had bought French manufactured ones instead?" Bildt called friendly Saudi Arabia as a "family business" and said that he sees Saudi Prince Turki bin Faisal Al Saud "quite regularly". In 2015, Bildt criticized Sweden's foreign minister Margot Wallström for damaging Saudi-Swedish relations. Wallström tweeted criticism of Saudi Arabia's flogging of Saudi blogger and activist Raif Badawi.


title: Carl Bildt

text: Bildt, together with Polish Foreign Minister Radosław Sikorski, is one of the main architects of the Eastern policy of the EU.


title: Carl Bildt

text: During Euromaidan, Carl Bildt has been criticized in Swedish media for ignoring and downplaying the issues with the Ukrainian Svoboda party. Johan Croneman at "Dagens Nyheter" has also condemned Bildt for pushing Prime Minister Fredrik Reinfeldt to rephrase himself after having expressed understanding of the Russians' concerns about the situation.


title: Carl Bildt

text: In a public message on Twitter, Bildt compared Viktor Yanukovych to Vidkun Quisling, writing that he was "sitting on foreign soil begging a foreign army to give his country to him". This has been described as "undiplomatic" by Christer Jönsson, professor in Political Science at the Lund University. Norwegian politician Anniken Huitfeldt also criticized Bildt's statement, saying that it showed "ignorance of history" and that it "does not contribute to solving the conflict". Torsten Kälvemark from "Aftonbladet" has criticized Bildt's statement as well. "Our Foreign Minister is ignorant, because it was actually Norway's legal head of state, Haakon VII, that during the war sat on foreign soil and hoped that he would with help from the British get back his country", he remarked. The culture editorial of the "Aftonbladet" newspaper where Torsten Kälvemark works has repeatedly been criticized since for being a tool of Russian propaganda in Sweden.


title: Carl Bildt

text: Stefan Hedlund, professor at Uppsala University, stated that "Carl Bildt's threatening rhetoric should in this context be regarded as extremely destructive", in an article about the Ukrainian crisis. Hedlund also suggested that Bildt should take a "time-out", and that progress can only be made through dialogue with Russia.


title: Carl Bildt

text: In a radio interview with channel SR P1 on March 15, Bildt stated that he considers the Crimean referendum illegal, and "invalid, no matter which way people vote". He continued his refusal to answer questions about Svoboda, saying that he "won't describe what that party is". His overall comment on the new regime in Kyiv was that it's a "reasonable and democratic government" and that he does not want to "play along with Russian propaganda".


title: Carl Bildt

text: In early 2015, a study made at the Swedish Defence Research Agency stated that Bildt had been a target of information warfare and that he was "regularly smeared in Russian state-controlled media". The reason was described to be Bildt's involvement in the Eastern Partnership program and that the project was perceived as a threat by the Russian government.


title: Carl Bildt

text: In September 2015 Bildt visited Kyiv, where he argued that the EU should provide more financial support to Ukraine.


title: Carl Bildt

text: Bildt was an early pioneer among politicians of using the Internet for communicating. On 4 February 1994, he sent an email message to US president Bill Clinton, which was the first publicly known electronic message sent between two heads of government. In the message he praised Clinton's decision to end the trade embargo on Vietnam. In the same year, he also started a weekly electronic newsletter which was active until 2005. He is an active blogger, starting his first blog in February 2005. His current blog, started in January 2007, is one of the most widely read political blogs in Sweden.


title: Carl Bildt

text: On 30 May 2007, Bildt officially opened a "Swedish embassy" in the virtual world "Second Life". The embassy, called "Second House of Sweden", is a virtual replica of House of Sweden, the Swedish embassy building in Washington, D.C. During Bildt's time as Foreign Minister, the Ministry of Foreign Affairs has opened a channel on YouTube which has been active since early 2008. He maintains a personal Twitter feed in English with approximately 780,000 subscribed followers. By 2013, an annual Burson Marsteller survey showed him as the best connected world leader. As of 2014, Bildt has served as Chair of the Global Commission on Internet Governance.


title: Carl Bildt

text: In mid-May 2015 Bildt was appointed to Ukraine's International Advisory Council on Reforms. The group consisting of several foreign advisors to President Petro Poroshenko, aims to improve security and economy in the country which has been ravaged by armed conflict in its Eastern part. On 14 May 2015, Bildt was also appointed as an advisor to Russian-controlled investment group LetterOne.


title: Carl Bildt

text: Bildt served as Chair of the Global Commission on Internet Governance that concluded its two-year work and produced its report in June 2016. In 2016, he joined international law firm Covington as a Senior Policy Advisor in the firm's global Public Policy and Government Affairs practice.


title: Carl Bildt

text: On 9 April 2021, the anniversary of the German occupation of Norway, Bildt tweeted that the Swedish defence forces were stronger than Norway and Denmark. His tweet provoked severe backlash, both from the public, and politicians, notably from Norwegian Minister of Culture Abid Raja, saying that he "had hoped our closest neighbour would be more sympathetic towards who this day is reflected by Norwegians and Norwegian Jews". Bildt stated that his intention was to commemorate the events of the occupation, and that what he tweeted was historically correct. He also added that people have read an assumption between the lines.


title: Looking-glass self

text: The term looking glass self was created by American sociologist Charles Horton Cooley in 1902, and introduced into his work "Human Nature and the Social Order". It is described as our reflection of how we think we appear to others. Cooley takes into account three steps when using "the looking glass self". Step one is how one imagines one looks to other people. Step two is how one imagines the judgment of others based on how one thinks they view them. Step three is how one thinks of how the person views them based on their previous judgments.


title: Looking-glass self

text: According to Lisa McIntyre's "The Practical Skeptic: Core Concepts in Sociology", the concept of the looking-glass self expresses the tendency for one to understand oneself through the perception which others may hold of them.


title: Looking-glass self

text: The result is that individuals will change their behavior based on what they feel other people think about them, even if not necessarily true. In this way, social interaction acts as a "mirror" or a "looking-glass," since one's sense of self and self esteem is built off of others. For example, an individual may walk into a job interview with confidence and attempt to display this confidence. A person in this situation most often examines the reactions of the interviewers to see if they are positively or negatively reacting to it. If the individual notices positive reactions, such as nodding heads or smiles, this might further develop the individual's sense of self-confidence. If the individual notices negative reactions, such as a lack of interest, this confidence in self often becomes shaken and reformed in order to better oneself, even if the perceived judgments were not necessarily true.


title: Looking-glass self

text: In hypothesizing the framework, "the mind is mental" because "the human mind is social". From the time they are born, humans define themselves within the context of their social interactions. Children learn that the symbol of their crying will elicit a response from their caregivers, not only when they are in need of necessities such as food or a diaper change, but also when they are in need of attention. Cooley best explains this interaction in "On Self and Social Organization", noting that "a growing solidarity between mother and child parallels the child's increasing competence in using significant symbols. This simultaneous development is itself a necessary prerequisite for the child's ability to adopt the perspectives of other participants in social relationships and, thus, for the child's capacity to develop a social self."


title: Looking-glass self

text: George Herbert Mead described the creation of the self as the outcome of "taking the role of the other", the premise for which the self is actualized. Through interaction with others, we begin to develop an identity of our own as well as developing a capacity to empathize with others. As stated by Cooley, "The thing that moves us to pride or shame is not the mere mechanical reflection of ourselves, but an imputed sentiment, the imagined effect of this reflection upon another's mind" (Cooley 1964).


title: Looking-glass self

text: The rise of social media very much reflects the mechanisms of the looking-glass self, as the different forms of social media offer all different "mirrors" in which individuals present themselves, perceive judgements of others based on likes, follows, etc., and further develop their sense of self. Indeed, as cyberpsychologist Mary Aiken, PhD. explains, social media has created a concept named the "cyber self," a version one wishes to portray online and to the public to others and based on the judgements of others. Unlike the real self, different forms of media allow judgements to be clearly posted, so in many cases, judgements may not even need to be imagined. Aiken explains this concept best, noting that "selfies ask a question of their audience: "Like me like this?""


title: Looking-glass self

text: Far different from face-to-face interactions, social media is intended to be accessible and public at all times. This means social media users are constantly exposed to criticism and judgement from others. Additionally, given the nature of social media, being a platform to share certain aspects of an individual's life at any time and in any means possible, the cyber self can be very easily changed and perfected to fit the supposed acceptance of others.


title: Looking-glass self

text: These aspects of social media and its relationship with the looking-glass self present a whole range of effects on social media users. Aiken notes that individuals, and particularly teenagers, who are increasingly involved in updating their online personas, risk damaging the development of their real-world self. She also notes that this effect may be even greater among users who display all different sorts of "cyber selves" among different platforms with different purposes, such as between Twitter, Instagram, and LinkedIn. A social media study also uncovered a host of positive effects of the use of social media and in developing oneself, with dozens of creators citing that producing content gave them a sense of self-confidence and self-worth, enhanced their creativity, increased their sense of professionality, and their platforms offered a positive space to interact with others. The negative effects of the concept of the looking-glass self can be harmful to the people's mentality. According to Zsolt Unoka and Gabriella Vizin's "To See In a Mirror Dimly. The Looking-Glass is Self-Shaming in Borderline Personality Disorder", shame is a large factor in the development of Borderline Personality Disorder. The feeling of shame and insufficient self-worth comes from traumatic experiences such as abuse, neglect, abandonment, shaming family situations, and harsh upbringing. The looking-glass self can cause feelings of insufficient self-worth and mental health issues.


title: Looking-glass self

text: According to Susan Harter's "The Perceived Directionality of the Link Between Approval and Self-Worth: The Liabilities of a Looking Glass Self-Orientation Among Young Adolescents," self-worth in adolescents is based mainly on their peer's approval of them. In a world of social media, seeking attention and approval from others is how adolescents determine their self-worth. They create an image of themselves they think others will approve of. This is in close relation to the concept of the looking glass self. Adolescents experience anxiety and depression based on a low opinion of self-worth. They base this self-worth off other's opinions of them.


title: Looking-glass self

text: In another study in the "Journal of Family Psychology" in 1998, researchers Cook and Douglas measured the validity of the looking glass self and symbolic interaction in the context of familial relationships. The study analyzed the accuracy of a college student's and an adolescent's perceptions of how they are perceived by their parents, surveying mothers, fathers, college students, and adolescents.


title: Looking-glass self

text: Three areas were investigated: assertiveness, firmness, and cooperation. In reference to the three areas respondents were asked the following: how they behave toward the target, how the target behaves toward them, and how they think they are viewed by the target. The study identified the looking glass self as a "metaperception" because it involves "perception of perceptions." One of the hypotheses tested in the study was: If "metaperceptions" cause self-perceptions they will necessarily be coordinated. The hypothesis was tested at the individual and relationship levels of analysis.


title: Looking-glass self

text: The study determined that the hypothesis is strongly supported at the individual level for cooperation for both college students and adolescents, but is only partially supported for assertiveness for college students. Also for college students, at the relationship level with their mothers the study supported assertiveness. There was an irregular finding regarding firmness in the mother-adolescent relationship that indicated that the firmer adolescents were perceived by their mothers, the less firm they rated themselves in the relationship. While there was not strong support of the hypothesis on the relationship level, on the individual level the findings suggest that how college students and adolescents think about themselves is directly correlated to how they think they are perceived by their parents.


title: Looking-glass self

text: In 2015, Julie Jones, a professor at the University of Oklahoma, asked a range of questions to 46 Youtube producers to evaluate how producing in media has positively or negatively affected them. As Jones explains, "digital media can serve as a mediated mirror and social media sites provide the space where others' judgments are clearly posted."


title: Looking-glass self

text: Of the Youtube producers asked, many noted that producing content gave them a sense of self-confidence and self-worth, enhanced their creativity, increased their sense of professionality, and their platforms offered a positive space to interact with others.


title: Looking-glass self

text: It has been argued that the looking glass self conceptualization of the social self is critically incomplete in that it overlooks the divergent roles of ingroups and outgroups in self-definition. That is, it has been demonstrated that while individuals will converge upon the attitudes and behaviours of ingroup members, they will also diverge from the attitudes and behaviours of outgroup members. The neglect of the latter scenario is attributed to the looking glass approaches' implicit focus on ingroup member appraisals. This alternative perspective is derived from the self-categorization theory analysis of social influence. Indeed, it is further argued that the looking glass self metaphor fails to reflect the fact that influence derives from the self-categorization of other individuals as part of the self. In other words, people are not shaped by the reflections from 'others', but rather are shaped by the creation of a collective social identity that contrasts 'us' "against" relevant 'others'. Therefore, the concept of self-identity may be considered an example of a social construction.


title: Udder

text: An udder is an organ formed of two or four mammary glands on the females of dairy animals and ruminants such as cattle, goats, and sheep. An udder is equivalent to the breast in primates and elephantine pachyderms. The udder is a single mass hanging beneath the animal, consisting of pairs of mammary glands with protruding teats. In cattle and camels, there are normally two pairs, in sheep, goats and deer, there is one pair, and in some animals, there are many pairs. In animals with udders, the mammary glands develop on the milk line near the groin, and mammary glands that develop on the chest (such as in humans and apes and elephants) are generally referred to as breasts.


title: Udder

text: Udder care and hygiene in cows is important in milking, aiding uninterrupted and untainted milk production, and preventing mastitis. Products exist to soothe the chapped skin of the udder. This helps prevent bacterial infection, and reduces irritation during milking by the cups, and so the cow is less likely to kick the cups off. It has been demonstrated that incorporating nutritional supplements into diet, including vitamin E, is an additional method of improving udder health and reducing infection.


title: Udder

text: Udder has been attested in Middle English as "udder" or "uddyr" (also as "uther", "iddyr"), and in Old English as "ūder". It was evolved from the Proto-Germanic reconstructed root "*eudrą" or "*ūdrą", which in turn descended from Proto-Indo-European "*h₁ówHdʰr̥" (“udder”). It is cognate with Saterland Frisian "Jadder" (“udder”), Dutch "uier" (“udder”), German "Euter" (“udder”), Swedish "juver" (“udder”), Icelandic "júgur" (“udder”), Vedic Sanskrit ऊधर् (ū́dhar), Ancient Greek οὖθαρ (oûthar), and Latin "ūber".


title: Udder

text: The udder, or "elder" in Ireland, Scotland and northern England, of a slaughtered cow was in times past prepared and consumed. In other countries, like Italy, cow udder is still consumed in dishes like the traditional "teteun".


title: American Redoubt

text: The American Redoubt is a political migration movement first proposed in 2011 by survivalist novelist and blogger James Wesley Rawles which designates Idaho, Montana, and Wyoming along with parts of Oregon and Washington, as a safe haven for conservative Christians. Rawles chose this area due to its low population density and lack of natural hazards.


title: American Redoubt

text: It is difficult to measure how many people have been influenced by the proposal to move to these states; "USA Today" estimated that anywhere from "hundreds" to "a few thousand" people may have come, although some may have moved for reasons of general cultural affinity rather than being directly influenced by Rawles's proposal.


title: American Redoubt

text: Kim Murphy, a reporter for the "Los Angeles Times", summed up one motivation for the movement: "For a growing number of people, it's the designated point of retreat when the American economy hits the fan. When banks fail, the government declares martial law, the power grid goes down." The same article identified Rawles as "the guru of the movement". Summarizing one of his reasons for formulating the relocation strategy, Rawles stated: "I'm often asked why I make such a 'big deal' about choosing conservative Christians, Messianic Jews, or Orthodox Jews for neighbors. The plain truth is that in a societal collapse there will be a veritable vacuum of law enforcement. In such times, with a few exceptions, it will only be the God-fearing that will continue to be law-abiding. Choose your neighborhood wisely."


title: American Redoubt

text: The American Redoubt concept is based primarily around the "Rawlesian Survivalist Philosophy" including the precept "Racism Ignores Reason". Rawles is outspokenly anti-racist and pro-Israel. Rawles published a blog entry in 2010 titled "Lest Any Man Should Boast: A Christian Survivalist Perspective on Race, Religion, and Reason", in which he stated that he was opposed to racism due to his Christian faith. He covered at length his views that people are individuals and that there is no inherent superiority among races. He observed that certain races have different genetics, but those do not matter before God. The only thing that matters when he meets his maker, he contended, was whether he accepted Christ as his Lord and Savior.


title: American Redoubt

text: In an interview by G. Jeffrey MacDonald published by the "St. Louis Post-Dispatch", Rawles was quoted as saying: "It's time to distance ourselves from the vile corruptness that we see inside the Washington, D.C., Beltway ... [The American Redoubt movement] is analogous to the Puritan exodus (from Europe). They couldn't fit in and said, 'We're going to move to completely virgin territory and start afresh.' ... In effect, we're becoming pistol-packing Amish." Rawles advocates a gradual demographic consolidation through political migration to the American Redoubt, but predicts that the federal government will "hammer" any states that attempt to secede under the current political order. Rawles also stated: "People who recognize that they are of the [Christian] remnant, that they are God's elect, will in increasing numbers choose to vote with their feet."


title: American Redoubt

text: In 2011, the American Redoubt concept was endorsed by 2008 Constitution Party presidential candidate Chuck Baldwin, who had relocated his entire extended family to western Montana. It also soon inspired the launch of a weekly podcast by Christian Libertarian journalist John Jacob Schmidt, called "Radio Free Redoubt", and a volunteer network of amateur radio operators called AmRRON (the American Redoubt Radio Operators Network) established in 2012. It also inspired the launch of the blog and weekly podcast by Alex Barron, called the "Charles Carroll Society", Barron, a black Catholic Libertarian journalist, is the self-proclaimed "Bard of the American Redoubt" who speaks from a Traditional Catholic, Constitutional Conservative, American Patriot viewpoint. In 2013, he opined:


title: American Redoubt

text: In February 2012, "The Seattle Times" characterized the American Redoubt movement as appealing to "a growing number of people" but concluded that as of that time "not all that many so far" had actually moved to the area. In April 2012, the business/arts columnist for "The Ferry County View", a weekly newspaper in Republic, Washington (located inside the Redoubt region) was critical of the Redoubt movement, characterizing it as driven by fear. By contrast, in October 2013, "The 700 Club" aired a news segment that favored the American Redoubt relocation concept. In an aside, the news story mentioned how the growth of the movement has even inspired the minting of silver coins.


title: American Redoubt

text: On October 14, 2013, Christian Broadcasting Network completed a featured television news segment and accompanying article on the American Redoubt titled "Redoubt: Northwest a Haven for Dismayed Americans". In the article they noted "...Some conservative American Christians are so dismayed with direction of the country that they're looking for a safe place for their families. They call it the 'American Redoubt.'" Westbrook continued, "I think that people recognize that tough times are coming. And it's time to think about their situation, it's time to think about how they live now, and the security of their family, the stability of society and how they are going to relate to that ... But I'm finding something else, too." he continued. "That is that more and more people are resonating with this idea of getting back to the land, of living a simple, more natural way."


title: American Redoubt

text: It is unclear how many people have moved because of the American Redoubt concept. In an interview on the Charles Carroll Society podcast in 2014, James Rawles estimated the number


title: American Redoubt

text: ...well into the thousands, but it is difficult to quantify, because the vast majority of the people who are moving are preppers, who are by their nature very circumspect. However look at admittedly anecdotal evidence such as the growth of Pastor Chuck Baldwin's Liberty Fellowship church in Kalispell, Montana where the growth has been phenomenal, and many of the families are moving from far outside of the Redoubt states.


title: American Redoubt

text: Rawles does not provide figures for what he terms "phenomenal" growth of the church, which meets at a local Hilton Garden Inn, according to the Church's website, but at his website, Baldwin mentions that some recent meetings were attended by more than 1,000 people.


title: American Redoubt

text: By 2016, Chris Carlson, a retired Democratic Party organizer, was comparing advocates of the American Redoubt to survivalists, with the difference being that the Redoubters have "become the shock troops for the Tea Party and openly support certain candidates." Carlson also claimed that the political migration to western states like Idaho, Montana and Wyoming has been driven by Redoubters seeking to be free from the federal government and that while they disavow racism, they have chosen a location where there are few racial minorities.


title: American Redoubt

text: An August 2016 article about the movement in "The Economist" magazine mentioned that "thousands of families" have now migrated to the American Redoubt and that the movement is "quietly gaining steam." Indeed, the election of Donald Trump has spurred on the movement. In 2017 the Inlander said "But increasingly, they [Preppers] see more political violence in big cities, and more of a divide between rural and urban environments. The left's reaction to Donald Trump's presidency, they feel, has deepened the divide, making the day they've been preparing for seem ever more imminent."


title: American Redoubt

text: It is impossible to know exactly how many people have come over the past few years, but newcomers, real estate agents, local officials and others said it was in the hundreds, or perhaps even a few thousand, across all five states. Here, they live in a pristine place of abundant water and fertile soil, far from urban crime, free from most natural disasters and populated predominantly by conservative, mostly Christian people with a live-and-let-live ethos and local governments with a light regulatory touch and friendly gun laws.


title: American Redoubt

text: It has been asserted that Republican Party politics in Idaho's northernmost legislative district have been pulled farther to the right with the arrival of conservative Christian "preppers" fleeing more populated states. In 2014, two ultraconservative state legislators were elected from the district: Reps. Heather Scott, R-Blanchard, and Sage Dixon, R-Ponderay. In 2016, state senator Shawn Keough, R-Sandpoint – an 8-time incumbent and a moderate Republican from one of the most conservative areas of Idaho – faced a hard primary challenge, but went on to win the general election.


title: American Redoubt

text: There are three primary outlets for the American Redoubt movement. James Rawles' blog "SurvivalBlog.com" regularly covers Redoubt news and focuses on preparedness "how to" guides. John Jacob Schmidt's blog "Radio Free Redoubt" and his radio show "The John Jacob Schmidt Show", transmitted on the American Christian Network (ACN) and KTW 630 AM out of Spokane, Washington, carries news and commentary often focused on the American Redoubt. The Charles Carroll Society and podcast by Alex Barron focuses on politics and commentary related to the American Redoubt and the many traditional Catholics located there. Similarly, the online outlet, "Redoubt News" publishes news and opinion relevant to Christian conservative culture in the American Redoubt.


title: American Redoubt

text: In December 2019, Rawles published a list of "key leaders and promoters of the American Redoubt movement", starting with Montana pastor Chuck Baldwin, who celebrates the Confederacy and preaches antisemitic 9/11 conspiracy theories, along with Washington State Representative Matt Shea and North Idaho Representative Heather Scott.


title: Oral Fixation, Vol. 2

text: Oral Fixation, Vol. 2 (Spanish: "Fijación Oral, Vol. 2") is the seventh studio album and second English-language album by Colombian singer and songwriter Shakira, released on 28 November 2005, by Epic Records. After attaining international success with her fifth studio effort, "Laundry Service" (2001), Shakira decided to create a two-part follow-up record. She released the project as the follow-up to her sixth studio effort, "Fijación Oral, Vol. 1", with which she had attained international success five months prior. As co-producer, Shakira enlisted producers including previous collaborators Gustavo Cerati, Lester Mendez, Luis Fernando Ochoa and Rick Rubin to work alongside newer partners Jerry Duplessis, Wyclef Jean, Tim Mitchell and The Matrix.


title: Oral Fixation, Vol. 2

text: Musically the album follows in the vein of her earlier works: heavily influenced by Latin pop styles, it additionally incorporates elements of dance-pop and pop rock. Upon its release, "Oral Fixation, Vol. 2" received generally favorable reviews from music critics, who complimented it as her strongest project to date. The album debuted at number five on the US "Billboard" 200 with first-week sales of 128,000 copies. The album was later certified platinum by the Recording Industry Association of America (RIAA) and has sold over 1.7 million units in the country. It additionally topped charts in Denmark and Mexico.


title: Oral Fixation, Vol. 2

text: Three singles were released from the album. Its lead single, "Don't Bother", reached number 42 on the US "Billboard" Hot 100. The second single, "Hips Don't Lie", included on the album's reissue, peaked at number 1 in the US, becoming her first single to do so. The third and final single, "Illegal", peaked at number 1 on the "Billboard" Hot Dance Club Songs component chart. The album was reissued in 2006 due to slow sales with a revised tracklist and two added tracks: "Hips Don't Lie" and an alternate version of "La Tortura". In December 2006, the album was included in a box set along with "Fijación Oral, Vol. 1", titled "Oral Fixation, Vol. 1 & 2". Both projects were promoted through the Oral Fixation Tour, which visited 39 countries throughout 2006 and 2007.


title: Oral Fixation, Vol. 2

text: After attaining international success with her third studio effort, "Laundry Service", in 2001, Shakira opted to create a two-part follow-up record. Having co-written nearly sixty tracks for "Laundry Service", she put herself "on the mission of selecting [her] favorite ones" to record for "Oral Fixation, Vol. 2" and its predecessor, the Spanish-language "Fijación Oral, Vol. 1". While recording the project, Shakira worked with previous collaborators Gustavo Cerati, Lester Mendez, Luis Fernando Ochoa and Rick Rubin, and newer partners Jerry Duplessis, Wyclef Jean, Tim Mitchell and The Matrix.


title: Oral Fixation, Vol. 2

text: For the album, Shakira wrote all the lyrics, and the majority of the music. "To start seeing people's first reactions, and how people start relating to these songs and appreciating every single piece of work I have done over the past two years, is the best reward an artist can have after so much hard work," says Shakira. "I will not lie to you; it was not a path of roses. It was painful at times to come up with two albums, to write more than 60 songs and to fight my own insecurities and doubts." While speaking about the difference about expressing herself in Spanish and English, Shakira said, "When I express myself in Spanish, I find elements that help me express an idea in perhaps a different way than when I do it in English. There are different aesthetics, but there is a certain style to the way I write my own songs, a particular way of describing feelings and emotions that I have developed over all these years making songs. I have gotten in touch with my own gift - I am sure, 10 years ago, I was not half as good as I can say I am today, and I am still not good enough. There is a long way to go."


title: Oral Fixation, Vol. 2

text: Shakira designed the artwork for both "Oral Fixation" records, and commented that they were inspired by the biblical figure of Eve, elaborating that she wanted "to attribute to Eve one more reason to bite the forbidden fruit, and that would be her oral fixation" and that "[she always felt] that [she has] been a very oral person. [It is her] biggest source of pleasure". The second volume's cover sees an unclothed Shakira covered by a tree's branches and leaves while holding an apple in her hand. The baby girl she held in her arms on the cover of the first volume is sitting in the tree, alluding to psychoanalyst Sigmund Freud's theory that infants begin discovering the world through their mouths during the oral stage of psychosexual development.


title: Oral Fixation, Vol. 2

text: For Jon Pareles of "The New York Times", "For obvious reasons, it's eye-catching, as was the cover of the Spanish-language companion album, "Fijación Oral, Vol. 1"". On Middle East versions of the album, Shakira was covered up with leaves which left her standing behind a bush, which surprised the singer. "Complex" magazine selected the album cover as the eleventh "sexiest album cover of all time", writing that it is "the hottest portrayal of Eve in the Garden of Eden we can imagine." "Maxim" also listed the album's cover as one of the "sexiest album covers", writing that, "A naked girl holding up an apple in a garden is played out, but not when the girl is hip-shaking Shakira. Damn, it could happen all over again, couldn't it?"


title: Oral Fixation, Vol. 2

text: For Stephen Thomas Erlewine of AllMusic, the album touches on everything from the expected Latin rhythms to glitzy Euro disco, trashy American rock & roll, and stomping Britpop, all punctuated by some stark confessionals. "How Do You Do" is a bold opening track that features Gregorian chants and an eerie reciting of "The Lord's Prayer" before thrusting the listener into a song similar to Sarah McLachlan's 'Dear God', according to Kristina Weise of "Songwriting Universe". It presents bitter questions regarding faith and religion. The lyrics say, "How many people die and hurt in your name?/Hey does that make you proud, or does it bring you shame?" Shakira affirms, "I decided in the bridge of the song to include chants from different religions like Islam, Judaism and Christianity. And the three chanters are saying basically the same: they are asking for forgiveness," she said off the track.


title: Oral Fixation, Vol. 2

text: The first single, "Don't Bother", presents the final chapter of a relationship and the confusion that faces anyone in a break-up. It includes the lyrics, "For you I'd give up all I own and move to a communist country/If you came with me, of course/And I'd file my nails so they don't hurt you." She quickly follows with: "And after all I'm glad I am not your type/I promise you won't see me cry/So don't bother/I'll be fine, I'll be fine." For Shakira, "I think 'Don't Bother' has a lot of pain in it as a song, but also a lot of humor and sarcasm. Yes, it is a way of exorcising all of these feelings, a form of catharsis, getting rid of all of those emotions that torture us women at some point in our lives."


title: Oral Fixation, Vol. 2

text: "Illegal" features a guitar solo by Mexican guitarist Carlos Santana, and features lyrics such as, "You said you would love me until you died/And as far as I know you're still alive", which were compared to Alanis Morissette's "You Oughta Know", according to Stephen Thomas Erlewine of AllMusic.


title: Oral Fixation, Vol. 2

text: "I'd like to be the owner of the zipper on your jeans," she sings on the racy "Hey You," which was compared to the works of American rock band No Doubt, by "Slant Magazine". Mariachi horns bump up against surf guitars in "Animal City", a don't-go-there warning against fame and fake friends, while bossa nova accents wind through "Something", one of only two tracks reprised from "Fijación Oral", being called "En Tus Pupilas" on the first edition. "The Day and the Time" is on the first edition, with the title "Dia Especial". Meanwhile, gypsy-caravan violin and marauder guitar complete "Your Embrace," a teardroppy, adult-contemporary ballad, whilst "Costume Makes the Clown" talks about her cheating on her guy, over battering-ram guitars. Shakira also dives into pulsating neo-disco on the closing track, "Timor", but in the form of a protest song.


title: Oral Fixation, Vol. 2

text: At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, "Oral Fixation" received an average score of 74 based on 15 reviews, indicating "generally favorable reviews". Stephen Thomas Erlewine of Allmusic gave the album a rating of 4 stars (out of 5), calling it "a deadly serious, ambitious pop/rock album, most assuredly not frivolous dance-pop, [...] it's pop, but it's unconventional". Erlewine also wrote that "Oral Fixation" "is not only a markedly different album from "Fijación Oral", but from every other record in her catalog -- or, most importantly, from any other pop album in 2005." Matt Cibula of "PopMatters" agreed, writing that "Oral Fixation" is "the best pop record of the year". Alexis Petridis of "The Guardian" wrote that "Oral Fixation is the sound of an utterly unique voice in a uniform world." Agustin Gurza of the "Los Angeles Times" wrote the album "is a stronger work as a whole, with sharper edges and darker undertones," praising its music, writing that "this work stands on its own, squarely within the mainstream of U.S. pop and rock with a lot less Latin flavor."


title: Oral Fixation, Vol. 2

text: David Browne of "Entertainment Weekly" gave the album a "B-" rating, writing that, "Although "Oral Fixation" is hardly the first time a Latina act has aimed straight for the middle of the North American road and nearly lost control of the wheel in the process, it's among the most disappointing. For all the musical ingredients at her disposal, Shakira winds up with a relatively bland dish." Sal Cinquemani of "Slant Magazine" wrote that the weakest part in some songs on the album are "the main(stream) hook, an attempt at radio-accessibility that white-washes the personality that sets Shakira apart from her competition." Barry Walters of "Rolling Stone" acknowledged that, "Occasionally clumsy but most often clever, Shakira's English lyrics and performances still lack the confidence of her Spanish tracks, yet "Oral Fixation" manages to maintain the musical credibility that "Fijacion Oral" won back." Edward Oculicz of "Stylus Magazine" concluded that, "Oral Fixation Volume 2 strikes a good balance between the creative audacity of its more extreme songs, all of which work as good pop, and the filler, which is well crafted and catchy."


title: Oral Fixation, Vol. 2

text: In the United States, "Oral Fixation, Vol. 2" debuted at number 5 on the "Billboard" 200 with first-week sales of 128,000 copies. Due to the success of "Hips Don't Lie" from the album reissue, the album moved from number 98 to number 6 on the week of May 6, 2006, selling 81,000 copies. By 2007, the album sold over 1.7 million units in the country. The album was certified Platinum by the RIAA in the United States. Shakira received 18 Platinum certifications for the sales of "Oral Fixation, Vol. 2" in the following countries: Canada, Mexico, Austria, Germany, Hungary, Italy, Norway, Portugal, Spain, Switzerland, Argentina, Peru, Chile, India, Greece, United States, United Kingdom, and her home country, Colombia. "Oral Fixation, Vol. 2" was named the ninth best selling album of 2006 worldwide. Also it was the 23rd best selling album in the United States of 2006. After the performance of "Hips Don't Lie" at the 2006 MTV Video Music Awards, which featured Shakira dancing in an Indian outfit, the album topped India Charts and was certified Platinum selling 80,000 units. In April 2007 "Oral Fixation, Vol. 2" re-entered the UK Albums Chart at #70 the same week that "Beautiful Liar", Shakira's duet with Beyoncé, entered the singles charts at No. 10 solely through downloads. It later moved to #69. The album was also certified Platinum in the UK in April 2007.


title: Oral Fixation, Vol. 2

text: To further promote "Fijación Oral, Vol. 1" and "Oral Fixation, Vol. 2", Shakira embarked on the Oral Fixation Tour. It was launched on 14 June 2006, at the Feria De Muestras in Zaragoza, Spain. With the assistance of the Creative Artists Agency, she visited ninety-four cities and performed forty-one shows across five continents. The tour concluded on 9 July 2007, at the Turkcell Kuruçeşme Arena in Istanbul, Turkey. It grossed over $42 million in North and Latin America, and grossed $100 million worldwide. The set list primarily consisted of Spanish-language tracks, and additionally included earlier singles from Shakira's albums "Pies Descalzos" (1996), "Dónde Están los Ladrones?" (1998), and "Laundry Service" (2001).


title: Oral Fixation, Vol. 2

text: In November 2007, Epic Records released the "Oral Fixation Tour" live album, filmed during a show in Miami, Florida in December 2006. Robert Silva from About.com provided a positive review, describing the recording as a "very entertaining and lively performance"; he expressed an additional interest in the bonus behind-the-scenes footage. William Ruhlmann from Allmusic shared a similar sentiment, complimenting her vocals and dancing abilities.


title: Oral Fixation, Vol. 2

text: The lead single, "Don't Bother", was released on 4 October 2005. The song received mixed reviews from music critics, who were ambivalent towards its production and songwriting. Commercially, the song was a moderate success, reaching the top ten in Austria, Germany, Italy, Switzerland and UK, while it only peaked at number 42 in the US, reaching a lower peak than "La Tortura", the lead single of "Fijación Oral".


title: Oral Fixation, Vol. 2

text: After the moderate success of "Don't Bother" and of the album, her label Epic Records asked Wyclef Jean, in early 2006, to remake his song "Dance Like This" with Shakira, attempting to revive sales of the album. After that, "Hips Don't Lie" was released as the second single from the album (first from the reissue) on 28 February 2006. The song received positive reviews from critics, while it gained 6 awards. Commercially, the single proved to be more successful than "Don't Bother", peaking at number one in more than 13 countries, including Australia, France, Ireland, the UK and the US, becoming her most successful single to date.


title: Oral Fixation, Vol. 2

text: The third and final single, "Illegal", was released on 14 November 2006. The song received favorable reviews from music critics, due to the inclusion of Carlos Santana on it. However, the song didn't perform well on the charts, after the huge success of "Hips Don't Lie", only managing to peak inside the top ten in Austria, Italy and the Netherlands, while elsewhere it reached the top forty, including the UK. In the US, the song didn't enter the "Billboard" Hot 100 chart.


title: Anya (Anastasia)

text: Anya is a character in 20th Century Fox and Don Bluth's animated film "Anastasia" (1997). A Russian orphan with amnesia, Anya travels to Paris in hopes of re-discovering her past and family, collaborating with a pair of con artists who scheme to use her likeness to Russia's Imperial family to win a lucrative reward. Although largely fictionalized, the character is loosely based on two historical figures: Grand Duchess Anastasia Nikolaevna of Russia, the youngest daughter of Nicholas II, and Anna Anderson, an imposter famous for claiming to be the Grand Duchess. Plot elements from the film "Anastasia" (1956), in which the title character is played by actress Ingrid Bergman, served as a primary source of inspiration for Anya.


title: Anya (Anastasia)

text: Created by director and animator Don Bluth, Anya is based on the urban legend that Anastasia survived the Romanov family's execution in 1918, with writers omitting most of the tragic elements about her life in favor of a more optimistic re-telling. Basing her appearance on actress Audrey Hepburn, Bluth re-designed the character several times in order to achieve a design he felt best embodied her personality. Anya is voiced primarily by actress Meg Ryan. Despite being the filmmakers' first choice for the role, Ryan was wary about the film's dark subject matter, and only committed after the directors animated an original sequence to dialogue from her film "Sleepless in Seattle" (1993). Singer Liz Callaway provides Anya's singing voice, while actresses Kirsten Dunst and Lacey Chabert provide the speaking and singing voices, respectively, for a younger version of the character.


title: Anya (Anastasia)

text: Reception towards Anya has been mostly positive, with film critics praising her spirited personality and independence. Ryan's voice acting was also well-received, although some critics found her American accent distracting. Due to stylistic similarities between "Anastasia" and Walt Disney Animation Studios films released during the 1990s, the character has often been mistaken as a member of the Disney Princess franchise. When Disney purchased Fox in 2019, several media publications speculated that Anya would officially be inducted into the lineup. In 2017, actress Christy Altomare originated the role of Anya in the Broadway musical adaptation of the film.


title: Anya (Anastasia)

text: "Anastasia" is loosely based on the urban legend that Grand Duchess Anastasia Nikolaevna of Russia, the youngest daughter of Czar Nicholas II, survived the execution of her family. The character Anya is based on Anastasia herself. Although Anastasia was in fact murdered alongside her family in 1918 at the age of 17, rumors of her having escaped the assassination persisted for several years, which prompted numerous impersonators to claim to be her. The most famous impersonator was Anna Anderson, whose claims were adapted into several retellings, including a 1956 film (also produced by 20th Century Fox) starring actress Ingrid Bergman as Anastasia.


title: Anya (Anastasia)

text: Considered to be a remake of the 1956 film, the previous film's plot was primarily used as the premise and inspiration for the animated character, with the idea of a confused young woman "who doesn't know who she is and discovers she's a princess" inspiring Fox Animation Studios to develop a fairy tale version of the myth. Despite acknowledging Anastasia's heritage and upbringing, the character is largely fictionalized; according to Russian culture researcher Kate White, the ideas that "a lot of people wanted Anastasia to be alive, and a lot of women over the years have claimed to be her" are some of the few historically accurate aspects about Anya. The character also takes several liberties with Anderson's story, who researchers had already determined was not related to the Romanovs by 1994.


title: Anya (Anastasia)

text: While researching the Grand Duchess, director Don Bluth discovered she was a young woman capable of "light[ing] up the whole house<nowiki>"</nowiki>, and incorporated transformative elements from the plays "My Fair Lady" and "Pygmalion" into her storyline. Agreeing that a documentary-style film would be too dark for its intended audience, the filmmakers opted for a more fantastical re-telling but incorporated some mature elements nonetheless, such as the heroine struggling with an inner conflict, while focusing on the developing romance between Anya and con-man Dimitri. Screenwriter Bruce Graham, who was not particularly fond of the film's tragic origins, felt the character would benefit from a female writer. Eventually, writer Susan Gauthier was recruited, with whom Graham re-worked Anya's somber story into a coming-of-age romance. Actress Carrie Fisher ghostwrote the scene in which Anya begins her journey to Paris, with songwriters Lynn Ahrens and Stephen Flaherty recalling that at least 13 writers worked on this particular scene in order to capture Anya's psyche convincingly.


title: Anya (Anastasia)

text: Bluth understood that, by the 1990s, animated heroines had begun to be written as strong, driven heroines, as opposed to simply beautiful princesses yearning for a romantic relationship. He envisioned Anya as tough enough to survive an orphanage, yet regal enough to convincingly pass for royalty. Most of Anya's early concept art was drawn by Bluth himself. Bluth originally struggled to create a suitable design for Anya, re-drawing the character hundreds of times until settling on one he felt embodied her mysterious, strong-willed nature. The director discovered that Anya herself could have a comedic personality, comparing her to actress Goldie Hawn.


title: Anya (Anastasia)

text: According to his notes, Bluth felt the character's eyes were originally drawn too close together, in addition to finding her hair too red and boots too large. Writing for Animated Views, Ben Simon observed that some early drawings conveyed a "softer and more visually appealing version" of the heroine. Other early iterations included a T-shirt and baggy men's trousers inspired by actress Marlene Dietrich. Bluth designed Anya based on actresses Audrey Hepburn and Julia Roberts. According to character designer Len Simon, Anya "physically looks like a princess, but has a more common way of behaving, as she doesn't remember that she belongs to a royal family". Some of Bluth's drawings of Anya were exhibited at the Savannah College of Art and Design in 2017.


title: Anya (Anastasia)

text: Critics believe Bluth, a former animator for Fox's then-rival studio Disney, was inspired by skills he had learned while working for them; Refinery29's Elena Nicolaou cited Anya's strong resemblance to Ariel from Disney's "The Little Mermaid" (1989) as an example. Film critic David Sterritt of "The Christian Science Monitor" described Anya as "a close cousin to all the genre's classic heroines". The yellow ball gown Anya wears towards the end of the film is almost an exact replica of one the Grand Duchess herself had worn.


title: Anya (Anastasia)

text: Anya's adult speaking voice is provided by actress Meg Ryan. Fox Filmed Entertainment CEO Bill Mechanic was a fan of Ryan's previous work, specifically the perceived combination of spunkiness and sweetness she contributes to her characters, and expressed a strong interest in casting her as the film's lead from the beginning. Although Ryan had always been the filmmakers' first choice for the role, she was initially concerned about the film's dark subject matter. With Graham, Bluth and his co-director Gary Goldman persuaded Ryan by showing her a brief original sequence animated to dialogue from one of her films, the romantic comedy "Sleepless in Seattle" (1993). Ryan immediately accepted, emotionally moved by the amount of effort they had put into convincing her. The first main cast member to sign onto the project, Ryan was cast in 1995. Once she was cast, animators also based Anya's expressions and mannerisms on Ryan's performance in "Sleepless In Seattle".Her first voice acting role, Ryan found the recording process to be very easy. She worked on the film sporadically for approximately three years for a total of 10 hours, most of which was done prior to animation, and reportedly felt guilty about how little she contributed to the film in comparison to its animators. Ryan claims she would offer 500 readings of a particular line, from which Bluth would choose his favorite. The actress recalled that she originally approached her performance "way [too] over the top", until she listened to herself and adjusted her approach accordingly. Bluth credited Ryan's performance with helping them create an admirable heroine. For mechanical reasons, Ryan recorded most of her dialogue isolated from actor John Cusack, who voices Dimitri, her character's love interest. The co-stars were allowed to record in neighboring sound booths on only one occasion, which Goldman credits with benefiting their performances and chemistry. Ryan and Cusack briefly dated shortly after working on the film together. Producer Maureen Donley spoke highly of Ryan's performance and sense of humor. Despite the character being Russian, Ryan voices Anya using her own American accent.


title: Anya (Anastasia)

text: When Ryan was first cast in 1995, the studio did not immediately disclose to the press whether or not she would be singing her character's songs. Singer Liz Callaway recorded Anya's songs in lieu of Ryan, including the film's two signature songs, "Journey to the Past" and "Once Upon a December". By this time, Callaway had already performed similar dubbing duties in several other animated films during the 1990s, including "The Swan Princess" (1994) for Michelle Nicastro, the "Aladdin" sequels "The Return of Jafar" (1994) and "King of Thieves" (1996) for Linda Larkin, and "" (1998) for Neve Campbell. Callaway attributes her success as a voice actor to possessing a "young-sounding singing voice", admitting that she typically voices 18-year-old girls. A last-minute addition to the cast, Callaway was originally recruited on a temporary basis solely to record demo tracks of Ahrens and Flaherty's songs when the original demo singer hired became unavailable. Ahrens personally asked Callaway to substitute. Initially, Callaway had only hoped to secure a job as a backup singer, as she had done for Disney's "Beauty and the Beast" (1991). However, the producers were so impressed with her singing that they decided to hire her for the entire film. Before Callaway, the studio had considered hiring Ryan's own sister or a Norwegian singer as Anya's singing voice. While working on "Anastasia", Callaway did not hear anything Ryan had recorded, nor was she instructed to sound like the actress. However, she did record a few scenes from "Sleepless in Seattle" on her Walkman, to which she would sometimes listen while traveling to the recording studio. Callaway believes their voices possess "a quality that was similar enough" to be convincing. She did not meet Ryan until the film's premiere, and considers "Anastasia" to be a highlight of her career.


title: Anya (Anastasia)

text: Actress Kirsten Dunst, who was 15 years-old at the time, provided the speaking voice of Anastasia as a child, while actress Lacey Chabert provided the singing voice for this version of the character. Mexican voice actress Dulce Guerrero dubbed the character's dialogue and Mexican singer Thalía dubbed the character's songs in the Latin American Spanish dub of the film.


title: Anya (Anastasia)

text: Banished by Nicholas II for treason, Rasputin sells his soul and curses the Romanovs to die, leading to a political uprising against the Imperial family. With help from a servant boy, 8 year-old Anastasia escapes across a frozen pond with her grandmother, the Dowager Empress Marie, while Rasputin seemingly drowns in pursuit of them. However, she is separated from Marie at a train station and knocked unconscious, losing her memory. Raised in an orphanage, the only clue Anastasia retains about her past is a locket inscribed "Together in Paris" her grandmother had gifted her. 10 years later, 18 year-old Anastasia – now going by "Anya" – decides to travel to Paris, France, to recover some semblance of her family. Meanwhile, rumors circulate that Anastasia may have survived the fateful execution, prompting Marie to offer a ₽10 million reward for the safe return of her granddaughter. Upon arriving in Saint Petersberg, Anya meets Dimitri and Vladimir, a pair of con artists who, upon noticing her striking resemblance to the Romanovs, convince Anya to let them present her as Anastasia to the Dowager Empress in Paris. Under the ruse that they are simply trying to reunite the Grand Duchess with her family, they do not disclose the reward money, and initially fail to realize that Anya is, in fact, Anastasia. Anya's presence alerts an undead Rasputin, who has been trapped in limbo due to failing to kill Anastasia. He pursues Anya relentlessly to fulfill his curse, but his attempts are unsuccessful.


title: Anya (Anastasia)

text: While learning to behave like royalty, some of Anya's memories begin to return, and she grows fond of Dimitri. Dimitri finally realizes Anya is truly Anastasia when she correctly answers how she escaped the palace, revealing to Vladimir that he was the servant who helped her. Marie, having grown despondent from interviewing numerous imposters, accuses Dimitri of only being interested in her money, and vehemently refuses to meet Anya. Overhearing Dimitri's original intentions for the first time, a furious Anya decides to leave Paris, but her plans are interrupted when Marie, having finally been convinced by a relentless Dimitri, visits her hotel room. After a sincere conversation in which Anya recalls intimate memories and reveals the locket, Marie finally declares that she is Anastasia, and the pair emotionally reunite. Realizing he has fallen in love with Anya, Dimitri refuses the Dowager's reward money and intends to return to Russia, while Anya is conflicted between her loyalty to Marie and feelings for Dimitri. After defeating Rasputin in a final confrontation, Anya ultimately elopes with Dimitri with her grandmother's blessing, promising they will meet again.


title: Anya (Anastasia)

text: Anya appears in "Anastasia on Ice", an ice show adaptation of the film, which premiered in 1999. Ice skater Florentine Houdinière performed as Anya, but Ryan's original dialogue from the animated film was re-used for the ice show, to which Houdinière lip synced. A stage musical adaptation of the film premiered on Broadway in 2017, in which the role of Anya was originated by actress Christy Altomare. The actress claims to have felt immediately connected to Anya, having grown up a fan of the character. Altomare was nominated for a Theatre World Award and a Drama Desk Award for her performance.


title: Anya (Anastasia)

text: Anya has received positive reviews from film critics, most of whom complimented her vibrant, independent personality. Wendy R. Weinstein of "Film Journal International" described Anya as a "witty" and "streetwise" character who is strong enough to physically fight Rasputin, a sentiment shared by Nell Minow of Common Sense Media. Marjorie Baumgarten of "The Austin Chronicle" called her "delightfully un-regal and un-ladylike". Both /Film's Dalin Rowell and Collider's Tyler B. Searle found Anya to be a multidimensional improvement over Thumbelina from Bluth's 1994 film of the same name. James Verniere of "The Boston Globe" described Anya as "so sweet, charming and likable [that] it's hard to imagine anyone could wish her ill", while "El-Shai" highlighted her as a refreshing heroine during a decade of "stereotypical 'damsel in distress' Disney Princesses". Some reviewers, such as Screen Anarchy's Sebastian Zavala Kahn, went as far as to declare Anya "one of the most memorable animated protagonists of the 90s", lauding her as a charismatic, engaging character while congratulating her creators for avoiding damsel in distress tropes commonly associated with Disney princesses. Echoing Kahn's proclamation, Leah Rozen of "People" described Anya as one of the best female characters of the decade, considering the role worthy of actresses Jodie Foster and Michelle Pfeiffer. Several critics also noted the character's resemblance to actress Audrey Hepburn.


title: Anya (Anastasia)

text: Ryan's voice acting was also praised by critics, who agreed that she helped make Anya a charming and likable character. James Berardinelli of "ReelViews" called Ryan "perfect" in the role. Hailing her casting as a stroke of genius, the "San Francisco Chronicle" Peter Stack said Ryan does a "stunning job", concluding, "Everything audiences liked about Ryan in, say, "Sleepless in Seattle", they'll like about her here". Jeff Vice of the "Deseret News" said Ryan "brings a fieriness to her role" he felt had been lacking from her other performances at the time. Nate Williams of ComingSoon.net and Thomas West of "Screen Rant" agree that Anya is one of the best performances of Ryan's career. Other critics were less impressed with her efforts; Todd McCarthy, film critic for "Variety", felt her "modern American" performance does little to make her character endearing. Writing for the "News & Record", film critic Stephen Holden criticized Ryan's voice acting for apparently lacking charm and likened it to a know-it-all cheerleader, while "The Philadelphia Inquirer" Desmond Ryan found the actress' American accent jarring. Ryan was nominated for an Annie Award for Outstanding Individual Achievement for Voice Acting by a Female Performer in an Animated Feature Production. Anya's song "Journey to the Past", performed by Callaway, was nominated for an Academy Award for Best Original Song.


title: Anya (Anastasia)

text: Anya was not spared criticism. AllMovie's Michael Betzold found Anya inferior to Bergman's version of the character from the 1956 film. Film critic and novelist Stephen Hunter felt Bergman's Anastasia had been too Americanized, likening her to an uncomplicated cheerleader. Mal Vincent of "The Virginian-Pilot" worried that audiences might struggle to empathize with Anya due to her feisty, "disagreeable" personality. Comparing Anya to Belle and Ariel from Disney's "Beauty and the Beast" (1991) and "The Little Mermaid" (1989), respectively, Carol Buckland of CNN felt she was flatly animated at times. Mary Kunz Gokldman, writing for "The Buffalo News", opined that despite finding some of her decisions questionable and unconvincing, audiences can not help but be entertained by Anya's personality. Carey Goldberg of "The New York Times" predicted that Romanov purists will condemn Anya as the "final indignity" against Anastasia, with the Russian Orthodox Church condemning the film's romanticization of Anya. The "Chicago Tribune"'s Michael Wilmington questioned whether Anya was an appropriate heroine for a children's animated film. In an article for "Texnews", writer Katherine Landsberg protested the character upon the film's release, criticizing Fox for apparently disrespecting Anastasia by using "flirty images of a teenybopper princess who, in reality, did not live happily ever after".


title: Anya (Anastasia)

text: According to Samantha Berkhead of "The Moscow Times", Anya is the most famous American depiction of Anastasia in popular culture. "Vulture" critic Hunter Harris crowned Anya "the cinematic It-girl princess of the '90s", while Heart UK called her "iconic". "Playbill" reporter Adam Hetrick lauded Anya as one "of the most enduring and beloved female heroines in animated film history". According to Gurleen Kaur Bajwa of "The Ubyssey", although Anya was originally created with the intention of deconstructing Disney's version of a princess, the character ironically became one of the foremost "examples of ... the quintessential Disney female character", citing her independence, resourcefulness, sense of humor and intelligence as personality traits that would eventually become commonplace among animated heroines. "Screen Rant" ranked her one of the "10 Best Animated Movie Princesses That Aren't Disney".


title: Anya (Anastasia)

text: In the decades since her film's release, Anya has enjoyed a reputation as a strong female character among fans, some of whom consider her to be a feminist icon and role model. E!'s Samantha Schnurr said Anya "brought a notable element of independence and personality as an animated female character on the big screen". Contributing to HelloGiggles in 2016, Jen Juneau described Anya as "an extremely admirable role model for young women". According to Maureen Lee Lenker of "Entertainment Weekly", the character has earned a cult following among "girls and young women who found [her to be] a relatable, spunky, proto-feminist heroine", in turn empowering a generation of female fans. Similarly, Lauren Henry of "The Mary Sue" declared that the Broadway musical introduced "a new generation of girls to [the] spunky proto-feminist". Chloe Wintersteen of "The Stanford Daily" reported that, by 2020, "Anastasia" had "gained notoriety for being blatantly more feminist than its counterparts that center leading women around romance-driven storylines", describing Anya as a driven, empowered heroine who does not need to be saved. Writing for "The New York Times", Rachel Syme quoted a fan who extolled Anya as "a strong feminist character who knew what she wanted and never took no for an answer". Naming "Anastasia" a "Nearly Perfect Animated Princess Film", Kate Gardner of "The Mary Sue" described the character as "a delightful lead" with "a tremendous amount of agency". Reviewing the stage musical, "Variety" theatre critic Frank Rizzo stated those "in search of a new Broadway role model need look no further than" Anya. The Daily Break contributor Anna Cieslik hailed Anya as "the most badass princess [character] ever", describing her as an "independent, feisty, street smart" heroine who she believes preceded Disney's liberated princess characters by nearly a decade.


title: Anya (Anastasia)

text: Due to its genre, musical numbers, animation style, and central heroine, "Anastasia" is often mistaken for a Disney film. Consequently, Anya has frequently been mistaken as a member of the Disney Princess franchise. When Disney purchased 21st Century Fox and its properties, including "Anastasia", in 2019, several fans and media publications speculated that the character would officially be inducted into the Disney Princess lineup, but this so far has not materialized. According to "Vogue España", Disney's acquisition of the character revived a 20 year-old debate about whether or not Anya qualifies as a Disney princess. The writer opined that Anya's story is well deserving of the Disney Princess title, and observed that fans arguing in favor of the character's inclusion are winning "by a landslide". Gabriela Delgado of Comic Book Resources agreed that Anya "ticks most, if not all, of the Disney Princess boxes". Conversely, "Polygon" contributor Petrana Radulovic argued that "just because Anastasia is a princess that belongs to Disney doesn't mean she qualifies as a Disney Princess", citing several "objective reasons" as to why the character might never be included in the media franchise. In 2020, "Screen Rant" Adrienne Tyler theorized that the character could potentially become a Disney Princess depending on how well her film performs on Disney's streaming service Disney+. In 2022, Bluth said that he accepts and trusts Disney's ownership of the character as long as they refrain from "marketing her as just another Disney princess". In December 2022, Disney released its first merchandise featuring the character in the form of a mug to honor the 25th anniversary of her film, leading to more talk of the character's potential addition to the Disney Princess lineup.


title: Anya (Anastasia)

text: The character's likeness has been used in much merchandise based on the film, including dolls, puppets, lunch boxes, backpacks, puzzles, and CD-Rom games.


title: Kodkod

text: The kodkod (Leopardus guigna) (), also called guiña, is the smallest felid species native to the Americas. It lives primarily in central and southern Chile, as well as marginally in adjoining areas of Argentina. Since 2002, it has been listed as Vulnerable on the IUCN Red List as the total population may be less than 10,000 mature individuals; it is threatened by persecution, and loss of habitat and prey base.


title: Kodkod

text: The kodkod's fur color ranges from brownish-yellow to grey-brown. It has dark spots, a pale underside and a ringed tail. The ears are black with a white spot, while the dark spots on the shoulders and neck almost merge to form a series of dotted streaks. Melanistic kodkods with spotted black coats are quite common. It has a small head, large feet, and a thick tail. Adult kodkods are in head to body length with a short tail and a shoulder height of about . Weight ranges between .


title: Kodkod

text: The melanistic phenotype is caused by the deletion of a single cysteine residue at position 126 of Agouti-signaling protein. This disrupts one of the four disulphide bonds in the normal protein, altering its tertiary structure and reducing its ability to bind to the melanocortin 1 receptor. Normally this interaction upregulates the production of orange pheomelanin and downregulates the production of black eumelanin, however, in the mutated form, this interaction is prevented, resulting in darker coat color than normal.


title: Kodkod

text: "Felis guigna" was the scientific name used in 1782 by Juan Ignacio Molina who first described a kodkod from Chile.


title: Kodkod

text: The genus "Leopardus" was proposed in 1842 by John Edward Gray, when he described two spotted cat skins from Central America and two from India in the collection of the Natural History Museum, London.


title: Kodkod

text: The subgenus "Oncifelis" was proposed in 1851 by Nikolai Severtzov with the Geoffroy's cat as type species.


title: Kodkod

text: The kodkod is strongly associated with mixed temperate rainforests of the southern Andean and coastal ranges, particularly the Valdivian and Araucaria forests of Chile, which is characterized by the presence of bamboo in the understory. It prefers evergreen temperate rainforest habitats to deciduous temperate moist forests, sclerophyllous scrub and coniferous forests. It is tolerant of altered habitats, being found in secondary forest and shrub as well as primary forest, and on the fringes of settled and cultivated areas.


title: Kodkod

text: It ranges up to the treeline at approximately . In Argentina, it has been recorded from moist montane forest, which has Valdivian temperate rain forest characteristics, including a multi-layered structure with bamboo, and numerous lianas and epiphytes.


title: Kodkod

text: Kodkods are equally active during the day and during the night, although they only venture into open terrain under the cover of darkness. During the day, they rest in dense vegetation in ravines, along streams with heavy cover, and in piles of dead gorse. They are excellent climbers, and easily able to climb trees more than a meter in diameter. They are terrestrial predators of birds, lizards and rodents in the ravines and forested areas, feeding on southern lapwing, austral thrush, chucao tapaculo, huet-huet, domestic geese and chicken.


title: Kodkod

text: The gestation period lasts about 72–78 days. The average litter size is one to three kittens. This species may live to be about 11 years old.


title: Kodkod

text: The major threat to the kodkod is logging of its temperate moist forest habitat, and the spread of pine forest plantations and agriculture, particularly in central Chile. In 1997 to 1998, two out of five radio-collared kodkods were killed on Chiloé Island while raiding chicken coops.


title: Chrysocolla

text: The structure of the mineral has been questioned, as a 2006 spectrographic study suggest material identified as chrysocolla may be a mixture of the copper hydroxide spertiniite and chalcedony.


title: Chrysocolla

text: The name comes from the ancient Greek χρυσός ("chrysos") and κολλα ("kolla"), "gold" and "glue," in allusion to the name of the material used to solder gold and was first used by Theophrastus in 315 BC.


title: Chrysocolla

text: Chrysocolla has a cyan (blue-green) color and is a minor ore of copper, having a hardness of 2.5 to 7.0. It is of secondary origin and forms in the oxidation zones of copper ore bodies. Associated minerals are quartz, limonite, azurite, malachite, cuprite, and other secondary copper minerals. It is typically found as botryoidal or rounded masses and crusts, or vein fillings.


title: Chrysocolla

text: A 2006 study has produced evidence that chrysocolla may be a microscopic mixture of the copper hydroxide mineral spertiniite, amorphous silica and water.


title: Chrysocolla

text: Due to being somewhat more common than turquoise, its wide availability, and vivid, beautiful blue and blue-green colors, chrysocolla has been popular for use as a gemstone for carvings and ornamental use since antiquity. It is often used in silversmithing and goldsmithing in place of turquoise and is relatively easy to work and shape. Chrysocolla exhibits a wide range of Mohs hardness ranging from 2 through 7, which is dependent on the amount of silica incorporated into the stone when it is forming. Generally, dark navy blue chrysocolla is too soft to be used in jewelry, while cyan, green, and blue-green chrysocolla can have a hardness approaching 6, similar to turquoise. Chrysocolla chalcedony is a heavily silicified form of chrysocolla that forms in quartz deposits and can be very hard and approach a hardness of 7.


title: Prison–industrial complex

text: The prison-industrial complex (PIC) is a term, coined after the "military-industrial complex" of the 1950s, used by scholars and activists to describe the relationship between a government and the various businesses that benefit from institutions of incarceration (such as prisons, jails, detention facilities, and psychiatric hospitals).


title: Prison–industrial complex

text: The term is most often used in the context of the contemporary United States, where the rapid expansion of the US inmate population has resulted in political influence and economic profits for private prison companies and other businesses that supply goods and services to government prison agencies. According to this concept, incarceration benefits not only the justice system, but also construction companies, surveillance and corrections technology vendors, companies that operate prison food services and medical facilities, corporations that contract cheap prison labor, correctional officers unions, private probation companies, lawyers, and the lobby groups that represent them. The term also refers more generally to interest groups who, in their interactions with the prison system, prioritize financial gain over rehabilitating criminals.


title: Prison–industrial complex

text: Proponents of this view, including civil rights organizations such as the Rutherford Institute and the American Civil Liberties Union (ACLU), believe that the economic incentives of prison construction, prison privatization, prison labor, and prison service contracts have transformed imprisonment into an industry capable of growth, and have contributed to the overall increase of incarcerated individuals, commonly known as mass incarceration. These advocacy groups note that incarceration affects people of color at disproportionately high rates.


title: Prison–industrial complex

text: Many commentators use the term "prison-industrial complex" to refer strictly to private prisons in the United States, an industry that generates approximately $4 billion in profit a year. Others note that fewer than 10% of U.S. inmates are incarcerated in for-profit facilities, and use the term to diagnose a larger confluence of interests between the U.S. government, at the federal and state level, and private businesses which profit from the increasing surveillance, policing, and imprisonment of the American public since approximately 1980.


title: Prison–industrial complex

text: Early American jails were largely privately managed, holding both criminals awaiting trial and debtors awaiting repayment, and charging holding fees to local governments and creditors. After the first publicly-run prison was established in 1790 in Pennsylvania, private business involvement in corrections largely diminished to providing contracted services, such as food preparation, medical care, and transportation. The major 19th-century exception to the relative separation between public punishment and private industry was the convict lease system in the American South, in which private parties paid public prisons for forced prisoner labor.


title: Prison–industrial complex

text: During the mass unemployment of the Great Depression, business leaders and unions successfully pressured the federal government to prohibit private corporations from contracting cheap prison labor and undercutting competition. In 1930, the federal government established Federal Prison Industries, a prison labor program to produce goods and services for the public sector.


title: Prison–industrial complex

text: Many scholars and activists argue that the contemporary prison-industrial complex has its origins in the War on Drugs, a legislative campaign orchestrated by the U.S. federal government since the early 1970s aimed at criminalizing and punishing drug trafficking and use. Following tougher anti-drug legislation and harsher sentencing standards under the presidential administrations of Richard Nixon and Ronald Reagan, incarceration increasingly became the standard punishment for non-violent offenses. As the overall incarcerated population dramatically increased, new correctional facilities needed to be built, staffed, and maintained, and private-sector prisons began to emerge as cost-effective solutions. Also during this period private-sector wage labor was reintroduced into the national prison system.


title: Prison–industrial complex

text: The number of Americans awaiting trial or serving a sentence for a drug conviction in prison or jail increased from about 40,000 in 1980 to about 450,000 in 2004. In May 2021 the Federal Bureau of Prisons listed 46.3 percent of federal inmates as incarcerated because of drug convictions.


title: Prison–industrial complex

text: In 1973, following the lead of President Nixon, New York State passed the Rockefeller Drug Laws, establishing mandatory minimum prison sentences for small-scale drug possession. Although not as harsh as Governor Nelson Rockefeller had originally called for, these laws inspired other states to enact similarly strict punishments for drug offenses, including mandatory minimum sentences in almost every instance. Also in 1973, conservative businesses and tough-on-crime politicians came together to establish the influential lobbying group American Legislative Exchange Council (ALEC).


title: Prison–industrial complex

text: In 1977, the U.S. Supreme Court case "Jones v. North Carolina Prisoners’ Labor Union" restricted prisoners’ First Amendment rights to free speech and assembly, and prohibited them from organizing labor unions. In 1979, inspired by legislation proposed by ALEC, the U.S. Congress overturned the New Deal–era legislation against for-profit prison labor by establishing the Prison Industry Enhancement Certification Program (PIE). Intended to allow inmates to contribute to society, offset the cost of their incarceration, reduce idleness, cultivate job skills, and improve the rates of successful transition back into their communities after release, the PIE program created a cheap captive domestic labor market, which set the stage for the adoption and expansion of private-sector labor in public prisons. The PIE program also allowed prisons themselves to be privatized and operated as for-profit entities.


title: Prison–industrial complex

text: Meanwhile, incarceration rates began to soar. After a period of relative stability since 1925 (around 0.1 percent of the population), the overall U.S. imprisonment rate grew rapidly and continuously from 1972, increasing annually by 6 to 8 percent through 2000.


title: Prison–industrial complex

text: President Ronald Reagan's 1986 Anti-Drug Abuse Act further accelerated mass incarceration. Very shortly many state prisons were experiencing unprecedented overcrowding. Rockefeller's successor, New York Governor Mario Cuomo, was unable to generate enough support to dismantle the drug laws, and to keep pace with increasing arrests, was forced to expand the prison system using the Urban Development Corporation, a public state agency, which could issue state bonds without voter support. Despite a general economic retrenchment and avowed state government austerity policies, these events proved that government funds could nevertheless be made available for prison construction.


title: Prison–industrial complex

text: Meanwhile, in 1983, the Corrections Corporation of America (CCA) was founded by Nashville businessmen who claimed they could build and operate state and federal prisons with the same quality of service provided by government prisons, but at a lower cost. In 1984, CCA was awarded a contract for a facility in Hamilton County, Tennessee, the first instance of the public sector contracting management of a prison to a private company. By 1987, the company had signed more contracts, with Tennessee, Texas, and Kentucky, establishing the legal precedent for other startups and established corporations to enter into the industry, not only operating prisons but also immigrant detention facilities for the US Immigration and Naturalization Service. As of 2012, the multibillion-dollar corporation, now known as CoreCivic, manages over 65 correctional facilities and boasts an annual revenue exceeding $1.7 billion.


title: Prison–industrial complex

text: In 1988, the now-second-largest for-profit private prison corporation, Wackenhut Corrections Corporation (WCC) was established as a subsidiary of The Wackenhut Corporation. The WCC is now known as GEO Group, and as of 2017, their U.S. Corrections and Detention division manages 70 correctional and detention facilities.


title: Prison–industrial complex

text: Between 1980 and 1989, the total U.S. prison population increased by 115%, from 329,821 to 710,054 people.


title: Prison–industrial complex

text: In 1992, William Barr, then United States Attorney General, authored a report, "The Case for More Incarceration", which argued for an even further increase in the United States incarceration rate. In 1994, President Bill Clinton signed the Violent Crime Control and Law Enforcement Act, the largest crime bill in U.S. history, which directly allotted a $9.7 billion funding increase to prisons and introduced the three-strikes law, assigning unprecedentedly long sentences (25 year to life minimum) to third-time convicts.


title: Prison–industrial complex

text: As the prison population continued to grow steeply throughout the 1990s, the profit margins of private prison corporations such as CCA and GeoGroup continued to increase. Throughout the 1990s, the CCA and GeoGroup were both significant donors to the American Legislative Exchange Council. In 1995, Congress passed another piece of ALEC-influenced legislation, the Prison Industries Act, allowing corporations to pay prison laborers less than the federal minimum wage and divert the difference to constructing facilities for further prison labor.


title: Prison–industrial complex

text: By the end of 1999, the U.S. had a total incarcerated population of 2,026,596. This included 71,206 prisoners held in privately operated facilities, accounting for 5.5% of state and 2.8% of federal prisoners. In 1999, nearly 43% of all sentenced inmates were African-American men, and an estimated 9% of African-American men in their late 20s were in prison.


title: Prison–industrial complex

text: Through the 2000s, the federal government continued outsourcing prison management to private facilities, while states varied in their approach to private incarceration. Between 1999 and 2010, six states began using private prisons, while nine states ended their private prison contracts. By 2010, the number of privately held state prisoners in the 30 practicing states ranged from a low of 5 in South Dakota to a high of 19,155 in Texas.


title: Prison–industrial complex

text: Overall U.S. incarceration (prisons and jails) peaked in 2008 at 2,308,400 people, approximately 1% of the adult population.


title: Prison–industrial complex

text: A 2010 investigation by the United States Department of Justice found that Federal Prison Industries (the New Deal–era public-sector prison labor program, rebranded in 1977 as UNICOR) had routinely exposed federal inmates to toxic heavy metals, exported hazardous wastes to developing countries, and attempted to conceal evidence of unsafe working conditions from OSHA inspectors.


title: Prison–industrial complex

text: In 2016, President Barack Obama issued an executive policy to reduce the number of private federal prison contracts, and the United States Justice Department began developing a plan to phase out its use of private prisons. Deputy Attorney General Sally Yates rationalized this decision: "Private prisons simply do not provide the same level of correctional services, programs, and resources; they do not save substantially on costs; and as noted in a recent report by the Department's Office of Inspector General, they do not maintain the same level of safety and security."


title: Prison–industrial complex

text: Both the GEO Group and CoreCivic donated heavily to the Donald Trump presidential campaign in 2016 and inaugural committee in 2017, and following his election, their stock prices skyrocketed: CoreCivic by 140% and GEO Group by 98%. Less than a month into the Trump administration, Attorney General Jeff Sessions rescinded the Obama directive curtailing the Federal Bureau of Prisons' private prison contracts, stating that the Obama administration had "impaired the Bureau's ability to meet the future needs of the federal correctional system."


title: Prison–industrial complex

text: By the end of 2019, the U.S. incarcerated population had dropped to 2,068,800 people, its lowest level since 2003. The incarceration rate had dropped to the same rate as 1995 (810 per 100,000 adult U.S. residents), with 11% of federal and 7.6% of state prisoners incarcerated in for-profit facilities.


title: Prison–industrial complex

text: The prison-industrial complex is an example of a complex system, comprising many institutions interacting in mutually reinforcing patterns. Minimal definitions of the system focus on the relationships between the federal and state criminal justice system; the for-profit companies that build, operate, and service public and private prisons; and the special interest groups that grow in size and influence as incarceration increases. These groups include ICE, police unions, correctional officers unions, and private probation companies, as well as private businesses that sell surveillance and corrections technology, operate prison food services and medical facilities, and private- and public-sector businesses that contract or subcontract prison labor.