title: Kastellorizo

text: The day before the feast of Agios Elias on July 19 (the feast itself is on July 20) first the children and then the men jump into the sea, and wear their wet clothes the whole day. Those who do not want to participate are sometimes forced to do so.


title: Kastellorizo

text: On Easter, the Liturgy of the Resurrection takes place in the open at midnight, the faithful bearing candles. As soon as the bells start ringing, the young people let off fireworks, and the people tell each other the ritual words "Christ is resurrected". Then everyone enters the church and lights his candle from the holy fire held by the priest, and then goes home to light the fire in the fireplace. On Easter Monday the whole population gathers in the main square, and they remain there the whole day eating, drinking and singing. In the past single girls had to stay at home, but they were allowed to stay in the entrance, where they sang and played with swings.


title: Kastellorizo

text: On May 1, at dawn, all the girls of the island, in groups, each one carrying a jar, went to get water outside of town, but they were not allowed to speak a single word during the route. This water ("Amilito Neró", "water of silence") was supposed to bring good luck to the family. Everyone washed him/herself with it that day, and every utensil and wall of the house was splashed with it. When a girl became engaged, she filled a crystal carafe with it and brought it to her future mother-in-law, who gave her in return a special cake and an odd number of gold coins.


title: Kastellorizo

text: When a child became seriously ill, a woman with knowledge of prayers against the evil eye was invited to her/his home. She drew signs of the cross on the body of the child with a thurible filled with embers and branches of the olive tree which had been gathered in the church on Palm Sunday, pronouncing the following words: "Christ came: then he laid down his stick and chased away the snake and the bad neighbor from our home". After this exorcism, the woman would throw the content of the thurible into a bucket filled with water, and then count the pieces of wood which did not burn. This number was said to be equal to the number of persons who were supposed to have enchanted the sick child. The enchantment of the child was sure, if the olive leaves burned with a loud crackling sound.


title: Kastellorizo

text: In the 1961 film "The Guns of Navarone", a saboteur team led by Anthony Quayle is briefed on its mission at Castelrosso. The Italian 1991 movie "Mediterraneo" was filmed on the island.


title: Kastellorizo

text: Kastellorizo also lends its name to David Gilmour's instrumental track "Castellorizon" from his album "On an Island" (2006). He stayed on the island in the early 1990s with his wife, Polly Samson, and many close friends. The music reflects the memories of the time spent there, and is a tribute to the friends who have since died.


title: Square root of a matrix

text: In mathematics, the square root of a matrix extends the notion of square root from numbers to matrices. A matrix is said to be a square root of if the matrix product is equal to .


title: Square root of a matrix

text: Some authors use the name "square root" or the notation only for the specific case when is positive semidefinite, to denote the unique matrix that is positive semidefinite and such that (for real-valued matrices, where is the transpose of ).


title: Square root of a matrix

text: Less frequently, the name "square root" may be used for any factorization of a positive semidefinite matrix as , as in the Cholesky factorization, even if . This distinct meaning is discussed in "".


title: Square root of a matrix

text: In general, a matrix can have several square roots. In particular, if formula_1 then formula_2 as well.


title: Square root of a matrix

text: In particular if formula_8 is any Pythagorean triple—that is, any set of positive integers such that formula_9, then


title: Square root of a matrix

text: which can be used to represent the imaginary unit and hence all complex numbers using 2×2 real matrices, see Matrix representation of complex numbers.


title: Square root of a matrix

text: Just as with the real numbers, a real matrix may fail to have a real square root, but have a square root with complex-valued entries.


title: Square root of a matrix

text: While the square root of a nonnegative integer is either again an integer or an irrational number, in contrast an "integer matrix" can have a square root whose entries are rational, yet non-integral, as in examples above.


title: Square root of a matrix

text: A symmetric real "n" × "n" matrix is called "positive semidefinite" if formula_15 for all formula_16 (here formula_17 denotes the transpose, changing a column vector into a row vector).


title: Square root of a matrix

text: In particular, since is required to be symmetric, formula_20, so the two conditions formula_19 or formula_18 are equivalent.


title: Square root of a matrix

text: For complex-valued matrices, the conjugate transpose formula_23 is used instead and positive semidefinite matrices are Hermitian, meaning formula_24.


title: Square root of a matrix

text: This unique matrix is called the principal, non-negative, or positive square root (the latter in the case of positive definite matrices).


title: Square root of a matrix

text: The principal square root of a positive definite matrix is positive definite; more generally, the rank of the principal square root of is the same as the rank of .


title: Square root of a matrix

text: The operation of taking the principal square root is continuous on this set of matrices. These properties are consequences of the holomorphic functional calculus applied to matrices.


title: Square root of a matrix

text: The existence and uniqueness of the principal square root can be deduced directly from the Jordan normal form (see below).


title: Square root of a matrix

text: An matrix with "distinct nonzero eigenvalues" has 2 square roots. Such a matrix, , has an eigendecomposition where is the matrix whose columns are eigenvectors of and is the diagonal matrix whose diagonal elements are the corresponding eigenvalues . Thus the square roots of are given by , where is any square root matrix of , which, for distinct eigenvalues, must be diagonal with diagonal elements equal to square roots of the diagonal elements of ; since there are two possible choices for a square root of each diagonal element of , there are 2 choices for the matrix .


title: Square root of a matrix

text: This also leads to a proof of the above observation, that a positive-definite matrix has precisely one positive-definite square root: a positive definite matrix has only positive eigenvalues, and each of these eigenvalues has only one positive square root; and since the eigenvalues of the square root matrix are the diagonal elements of , for the square root matrix to be itself positive definite necessitates the use of only the unique positive square roots of the original eigenvalues.


title: Square root of a matrix

text: If a matrix is idempotent, meaning formula_25, then by definition one of its square roots is the matrix itself.


title: Square root of a matrix

text: If the diagonal elements of are real and non-negative then it is positive semidefinite, and if the square roots are taken with non-negative sign, the resulting matrix is the principal root of .


title: Square root of a matrix

text: A diagonal matrix may have additional non-diagonal roots if some entries on the diagonal are equal, as exemplified by the identity matrix above.


title: Square root of a matrix

text: If is an upper triangular matrix (meaning its entries are formula_29 for formula_30) and at most one of its diagonal entries is zero, then one upper triangular solution of the equation formula_31 can be found as follows.


title: Square root of a matrix

text: Since the equation formula_32 should be satisfied, let formula_33 be the principal square root of the complex number formula_34.


title: Square root of a matrix

text: By the assumption formula_35, this guarantees that formula_36 for all (because the principal square roots of complex numbers all lie on one half of the complex plane).


title: Square root of a matrix

text: If is upper triangular but has multiple zeroes on the diagonal, then a square root might not exist, as exemplified by formula_41.


title: Square root of a matrix

text: Note the diagonal entries of a triangular matrix are precisely its eigenvalues (see Triangular matrix#Properties).


title: Square root of a matrix

text: An "n" × "n" matrix is diagonalizable if there is a matrix and a diagonal matrix such that . This happens if and only if has "n" eigenvectors which constitute a basis for . In this case, can be chosen to be the matrix with the "n" eigenvectors as columns, and thus a square root of is


title: Square root of a matrix

text: When is symmetric, the diagonalizing matrix can be made an orthogonal matrix by suitably choosing the eigenvectors (see spectral theorem). Then the inverse of is simply the transpose, so that


title: Square root of a matrix

text: Every complex-valued square matrix formula_50, regardless of diagonalizability, has a Schur decomposition given by formula_51 where formula_52 is upper triangular and formula_53 is unitary (meaning


title: Square root of a matrix

text: where a square root formula_57 of the upper triangular matrix formula_52 can be found as described above.


title: Square root of a matrix

text: If formula_50 is positive definite, then the eigenvalues are all positive reals, so the chosen diagonal of formula_57 also consists of positive reals.


title: Square root of a matrix

text: Hence the eigenvalues of formula_61 are positive reals, which means the resulting matrix is the principal root of formula_50.


title: Square root of a matrix

text: Similarly as for the Schur decomposition, every square matrix formula_50 can be decomposed as formula_64 where is invertible and is in Jordan normal form.


title: Square root of a matrix

text: To see that any complex matrix with positive eigenvalues has a square root of the same form, it suffices to check this for a Jordan block. Any such block has the form λ("I" + "N") with λ > 0 and "N" nilpotent. If is the binomial expansion for the square root (valid in |"z"| < 1), then as a formal power series its square equals 1 + "z". Substituting "N" for "z", only finitely many terms will be non-zero and


title: Square root of a matrix

text: It suffices to check uniqueness for a Jordan block with λ = 1. The square constructed above has the form where "L" is polynomial in "N" without constant term. Any other square root "T" with positive eigenvalues has the form "T" = "I" + "M" with nilpotent, commuting with "N" and hence "L". But then . Since and commute, the matrix is nilpotent and is invertible with inverse given by a Neumann series. Hence .


title: Square root of a matrix

text: If is a matrix with positive eigenvalues and minimal polynomial , then the Jordan decomposition into generalized eigenspaces of can be deduced from the partial fraction expansion of . The corresponding projections onto the generalized eigenspaces are given by real polynomials in . On each eigenspace, has the form as above. The power series expression for the square root on the eigenspace show that the principal square root of has the form "q"("A") where "q"("t") is a polynomial with real coefficients.


title: Square root of a matrix

text: Recall the formal power series formula_65, which converges provided formula_66 (since the coefficients of the power series are summable). Plugging in formula_67 into this expression yields


title: Square root of a matrix

text: provided that formula_69. By virtue of Gelfand formula, that condition is equivalent to the requirement that the spectrum of formula_70 is contained within the disk formula_71. This method of defining or computing formula_72 is especially useful in the case where formula_70 is positive semi-definite. In that case, we have formula_74 and therefore formula_75, so that the expression formula_76 defines a square root of formula_70 which moreover turns out to be the unique positive semi-definite root. This method remains valid to define square roots of operators on infinite-dimensional Banach or Hilbert spaces or certain elements of (C*) Banach algebras.


title: Square root of a matrix

text: As this uses a pair of sequences of matrix inverses whose later elements change comparatively little, only the first elements have a high computational cost since the remainder can be computed from earlier elements with only a few passes of a variant of Newton's method for computing inverses,


title: Square root of a matrix

text: With this, for later values of one would set formula_80 and formula_81 and then use formula_82 for some small n (perhaps just 1), and similarly for formula_83


title: Square root of a matrix

text: Convergence is not guaranteed, even for matrices that do have square roots, but if the process converges, the matrix formula_84 converges quadratically to a square root , while formula_85 converges to its inverse, .


title: Square root of a matrix

text: Yet another iterative method is obtained by taking the well-known formula of the Babylonian method for computing the square root of a real number, and applying it to matrices. Let "X" = "I", where "I" is the identity matrix. The iteration is defined by


title: Square root of a matrix

text: Again, convergence is not guaranteed, but if the process converges, the matrix formula_87 converges quadratically to a square root "A". Compared to Denman–Beavers iteration, an advantage of the Babylonian method is that only one matrix inverse need be computed per iteration step. On the other hand, as Denman–Beavers iteration uses a pair of sequences of matrix inverses whose later elements change comparatively little, only the first elements have a high computational cost since the remainder can be computed from earlier elements with only a few passes of a variant of Newton's method for computing inverses (see Denman–Beavers iteration above); of course, the same approach can be used to get the single sequence of inverses needed for the Babylonian method. However, unlike Denman–Beavers iteration, the Babylonian method is numerically unstable and more likely to fail to converge.


title: Square root of a matrix

text: The Babylonian method follows from Newton's method for the equation formula_88 and using formula_89 for


title: Square root of a matrix

text: In linear algebra and operator theory, given a bounded positive semidefinite operator (a non-negative operator) "T" on a complex Hilbert space, "B" is a square root of "T" if "T" = "B* B", where "B*" denotes the Hermitian adjoint of "B". According to the spectral theorem, the continuous functional calculus can be applied to obtain an operator "T" such that


title: Square root of a matrix

text: "T" is itself positive and ("T") = "T". The operator "T" is the unique non-negative square root of "T".


title: Square root of a matrix

text: A bounded non-negative operator on a complex Hilbert space is self adjoint by definition. So Conversely, it is trivially true that every operator of the form "B* B" is non-negative. Therefore, an operator "T" is non-negative if and only if "T" = "B* B" for some "B" (equivalently, "T" = "CC*" for some "C").


title: Square root of a matrix

text: The Cholesky factorization provides another particular example of square root, which should not be confused with the unique non-negative square root.


title: Square root of a matrix

text: If "T" is a non-negative operator on a finite-dimensional Hilbert space, then all square roots of "T" are related by unitary transformations. More precisely, if "T" = "A*A" = "B*B", then there exists a unitary "U" such that "A" = "UB".


title: Square root of a matrix

text: Indeed, take "B" = "T" to be the unique non-negative square root of "T". If "T" is strictly positive, then "B" is invertible, and so is unitary:


title: Square root of a matrix

text: If "T" is non-negative without being strictly positive, then the inverse of "B" cannot be defined, but the Moore–Penrose pseudoinverse "B" can be. In that case, the operator is a partial isometry, that is, a unitary operator from the range of "T" to itself. This can then be extended to a unitary operator "U" on the whole space by setting it equal to the identity on the kernel of "T". More generally, this is true on an infinite-dimensional Hilbert space if, in addition, "T" has closed range. In general, if "A", "B" are closed and densely defined operators on a Hilbert space "H", and "A* A" = "B* B", then "A = UB" where "U" is a partial isometry.


title: Square root of a matrix

text: Square roots, and the unitary freedom of square roots, have applications throughout functional analysis and linear algebra.


title: Square root of a matrix

text: If "A" is an invertible operator on a finite-dimensional Hilbert space, then there is a unique unitary operator "U" and positive operator "P" such that


title: Square root of a matrix

text: this is the polar decomposition of "A". The positive operator "P" is the unique positive square root of the positive operator "A""A", and "U" is defined by .


title: Square root of a matrix

text: If "A" is not invertible, then it still has a polar composition in which "P" is defined in the same way (and is unique). The unitary operator "U" is not unique. Rather it is possible to determine a "natural" unitary operator as follows: "AP" is a unitary operator from the range of "A" to itself, which can be extended by the identity on the kernel of "A". The resulting unitary operator "U" then yields the polar decomposition of "A".


title: Square root of a matrix

text: is called the "Choi matrix" of Φ. The Kraus operators correspond to the, not necessarily square, square roots of "M": For any square root "B" of "M", one can obtain a family of Kraus operators "V" by undoing the Vec operation to each column "b" of "B". Thus all sets of Kraus operators are related by partial isometries.


title: Square root of a matrix

text: In quantum physics, a density matrix for an "n"-level quantum system is an "n" × "n" complex matrix "ρ" that is positive semidefinite with trace 1. If "ρ" can be expressed as


title: Square root of a matrix

text: is said to be an ensemble that describes the mixed state "ρ". Notice {"v"} is not required to be orthogonal. Different ensembles describing the state "ρ" are related by unitary operators, via the square roots of "ρ". For instance, suppose


title: Square root of a matrix

text: In the Unscented Kalman Filter (UKF), the square root of the state error covariance matrix is required for the unscented transform which is the statistical linearization method used. A comparison between different matrix square root calculation methods within a UKF application of GPS/INS sensor fusion was presented, which indicated that the Cholesky decomposition method was best suited for UKF applications.


title: Hunter Henry

text: Hunter Henry (born December 7, 1994) is an American football tight end for the New England Patriots of the National Football League (NFL). He played college football at Arkansas and was selected by the San Diego Chargers in the second round of the 2016 NFL Draft. Henry was a member of the Chargers for five seasons before joining the Patriots in 2021.


title: Hunter Henry

text: Henry was born in Little Rock, Arkansas on December 7, 1994 to Mark and Jenny Henry. In summer 2000, his family moved to the Atlanta area for his father's job. Henry moved back to Little Rock for his freshman year of high school where he attended Pulaski Academy in Little Rock for four years. As a freshman, Henry spent time playing offensive tackle, wide receiver, and defensive end for the football team. He would not play tight end during his high school career, due to the fact that Pulaski Academy's Spread Offense scheme did not feature the tight end position. Henry started his sophomore, junior, and senior year, winning a state championship with the Bruins in 2011.


title: Hunter Henry

text: Henry was named to the Parade All-American team for the 2012-13 school year and was one of the top recruits in the nation.


title: Hunter Henry

text: In 2015, Henry was involved in one of the most memorable plays in Arkansas football history. During a fourth-and-25 play in overtime against Ole Miss in the rivalry game, Henry caught a pass from quarterback Brandon Allen and upon seeing that he was going to be tackled short of the first down marker, Henry blindly flung the ball backwards as a lateral to running back Alex Collins. Collins picked it up on the bounce and ran it for a 31-yard gain to gain a first down. This set up an eventual touchdown and successful two-point conversion to win the game. The uniqueness of the play led to widespread media coverage and replays. He was the John Mackey Award winner for best tight end in the nation and also was a Consensus All-American in the 2015–2016 season. Henry helped Arkansas win back-to-back bowl games in consecutive years for the first time in program history, beating former Southwest Conference rival the Texas Longhorns in the 2014 Texas Bowl, and winning the 2016 Liberty Bowl over the Kansas State Wildcats.


title: Hunter Henry

text: In early 2016, Henry was predicted to be a late first- to second-round pick in the 2016 NFL Draft. Henry skipped most physical drills at the NFL Combine but did compete in bench press with a position worst of 13 reps. Henry managed to improve on his pro day by posting a 4.67 40 yard dash and completing 21 reps in the bench press establishing himself as one of the top tight ends in the 2016 NFL Draft.


title: Hunter Henry

text: Henry was drafted by the San Diego Chargers in the second round (35th overall) of the 2016 NFL Draft. He was the first tight end to be selected in the 2016 NFL Draft. In addition, he was the first of five Arkansas Razorbacks to be selected that year.


title: Hunter Henry

text: On June 2, 2016, Henry and the Chargers agreed to a four-year, $6.38 million contract with $3.98 million guaranteed and a $2.84 million signing bonus.


title: Hunter Henry

text: Henry entered training camp competing to be the backup tight end, against veterans Sean McGrath and Asante Cleveland. Henry was named the San Diego Chargers' third tight end on their depth chart to begin the regular season, behind longtime Pro-bowl veteran Antonio Gates and Sean McGrath.


title: Hunter Henry

text: In his NFL debut against the Kansas City Chiefs, Henry made one reception for 20 yards in the season-opening overtime loss. The following week, he earned his first NFL start during a victory over the Jacksonville Jaguars. During a Week 4 loss to the Saints, he caught four passes for 61 yards and scored his first NFL touchdown on a 20-yard pass from quarterback Philip Rivers. On October 13, 2016, Henry led all Chargers in receptions, making six catches for 83 yards and a touchdown in a 21–13 victory over the Denver Broncos. On December 18, he caught three passes for 37 receiving yards and a touchdown during a 19–16 loss to the Oakland Raiders. Henry has the distinction of catching the final touchdown of the Chargers' history in San Diego scoring a 12-yard touchdown in the fourth quarter of the 37-27 loss to Kansas City in the season finale.


title: Hunter Henry

text: In his rookie season, Henry scored the second-most touchdowns by a rookie tight end in the last decade (only behind Rob Gronkowski), and scored the fifth-most touchdowns by a rookie tight end in NFL history.


title: Hunter Henry

text: During Week 15 against the Kansas City Chiefs, Henry left the game with a knee injury. The next day, it was revealed that he suffered a lacerated kidney and was placed on injured reserve on December 19, 2017. He finished the season with 45 receptions for 579 yards and four touchdowns.


title: Hunter Henry

text: On May 22, 2018, Henry suffered a torn ACL during OTAs, and was ruled out for the entire season. On September 1, 2018, he was placed on the physically unable to perform list, giving Henry a chance to return later in the season. He was added to the active roster on January 7, 2019, ahead of their game, which they lost to the eventual Super Bowl LIII champion New England Patriots.


title: Hunter Henry

text: On September 11, 2019, it was announced that Henry suffered a tibia plateau fracture to his left knee and would be out several weeks. Henry made his return from injury in Week 6 against the Pittsburgh Steelers. In that game, Henry caught eight passes for 100 yards and two touchdowns in the 24-17 loss. Overall, Henry finished the 2019 season with 55 receptions for 652 receiving yards and five receiving touchdowns.


title: Hunter Henry

text: The Chargers placed the franchise tag on Henry on March 13, 2020. He signed the tag on April 16. He was placed on the reserve/COVID-19 list by the team on December 24, 2020, and activated on January 7, 2021.


title: Hunter Henry

text: On March 19, 2021, Henry signed a three-year, $37.5 million contract with the New England Patriots. He scored his first touchdown for the Patriots in Week 4 during a 17–19 home loss to the Tampa Bay Buccaneers. Over the first 10 games, Henry caught seven touchdown passes, establishing himself as a frequent red zone target for rookie quarterback Mac Jones.


title: Hunter Henry

text: Henry's parents are Mark Henry and Jenny Henry, and they live in Little Rock. His father was an offensive lineman for the Arkansas Razorbacks from 1987–1991. He lettered four years for the Razorbacks. Henry has three siblings; Hayden, Hudson and Hope. Hayden was a linebacker at Arkanasas from 2017-2022. Hudson is a redshirt junior tight end also at the University of Arkansas.


title: Hunter Henry

text: Henry married Parker Elizabeth Schmidly of Fort Smith, Arkansas on June 30, 2018. Hunter and Parker have one son John Ace Henry, who was born December 9, 2021.


title: Hunter Henry

text: Henry is a Christian. He has said, “I would say my faith is the most important thing to me. My dad is a pastor in Little Rock. I’ve grown up in a Christian background my whole life. My faith is the most important thing to me; that’s the one message that I want to convey to everybody.”


Sesame Street Presents: Follow That Bird (or simply Follow That Bird) is a 1985 American musical road comedy film directed by Ken Kwapis and written by Judy Freudberg and Tony Geiss. Based on the long-running popular children's television series "Sesame Street" created by Joan Ganz Cooney and Lloyd Morrisett, it was the first theatrical feature-length "Sesame Street" film. It stars Muppet performers Caroll Spinney, Jim Henson and Frank Oz alongside Sandra Bernhard, John Candy, Chevy Chase, Joe Flaherty, Waylon Jennings, and Dave Thomas.


title: Sesame Street Presents: Follow That Bird

text: Produced by the Sesame Workshop and filmed at the Cinespace Film Studios and on location in the Greater Toronto Area, the film was released in the United States on August 2, 1985 by Warner Bros. and received mostly positive reviews from critics. However, it was a box office disappointment, grossing $13.9 million ($36 million when adjusted for inflation) and resulting in a slight loss for the Children's Television Workshop.


text: This is the only "Sesame Street" feature film to star both Henson and Richard Hunt. It was also Henson's final performance as Kermit the Frog (as well as Ernie) in a theatrical "Muppets" film before his death five years later in 1990. It was followed by "The Adventures of Elmo in Grouchland" in 1999.


text: The Feathered Friends' Board of Birds - an organization whose purpose is to place stray birds with nice bird families - discusses the case of Big Bird. The social worker, Miss Finch, is sent to Sesame Street to find and bring Big Bird to a worthy family of dodos in Ocean View, Illinois. However, he begins to feel uncomfortable with them as they all think poorly of non-birds, and reaches his breaking point when they suggest he should have a bird as a best friend instead of Mr. Snuffleupagus, who is watching over his nest back on Sesame Street.


text: When Big Bird leaves the Dodos' home to return to Sesame Street, he ends up on the news where Miss Finch tells reporter Kermit the Frog that she intends to find him and bring him back to the Dodos. His friends on Sesame Street also see the news and band together to find him before Miss Finch does, and take various vehicles on their quest after Bob instructs them to head to Toadstool, Indiana to meet up with him. Along the way home, he hitches a ride with a trucker who encourages him to persevere and later meets two kids named Ruthie and Floyd at a farm, who allow him to sleep in their barn overnight. The next morning, Miss Finch arrives and he sneaks away.


text: Two con artist brothers named Sid and Sam Sleaze, who operate a fraudulent carnival called The Sleaze Brothers Funfair, plot to capture Big Bird and put him on display for profit. When he arrives in Toadstool, Miss Finch does so at the same time and chases him there. After escaping her, Big Bird meets the Sleaze Brothers at their carnival and asks if they have a place to hide, resulting in them putting him in their cage and deciding to paint him blue and tout him as "The Bluebird of Happiness", though he sings sadly about wishing to be back home. Despite this, he brings in plenty of customers.


text: After the show, two kids sneak backstage to see Big Bird, who asks them to call Sesame Street to inform his friends of his whereabouts. The next morning, his friends sneak into the circus tent and try to set him free. However, the Sleaze Brothers quietly wake up and just as Linda unlocks the cage, they drive off in their truck with it, with Big Bird still inside. Gordon and Olivia give chase in Gordon's Volkswagen Beetle and successfully rescue him after he jumps from the moving truck. Shortly afterwards, a police officer pulls the Sleaze Brothers over for speeding and arrests them on various charges.


text: Upon arriving back on Sesame Street, Big Bird is happy to be back home until Miss Finch arrives, admitting that the Dodos were not perfect for him and that she has found him another bird family before Maria tells her that he is happy on Sesame Street where it does not matter that his family consists of humans, monsters, grouches, and other species. Considering Maria's statement and realizing how far his friends went to bring him back, a sympathetic Miss Finch officially declares Sesame Street to be his home and happily leaves with her job complete. As everyone celebrates his return, Oscar the Grouch gets carried around the block in his trash can by Bruno the Trashman in order to get over everyone's happiness.


text: Additional Bird Members performed by Bob Stutt, Nikki Tilroe, Lee Armstrong, Rob Mills, and John Pattison.


text: Additional Muppets performed by Kevin Clash, Frank Meschkuleit, Terry Angus, Matthew Pidgeon, Stephen Brathwaite, Tom Vandenberg, Francine Anderson, Ron Wagner, Martine Carrier, Karen Valleau, Michelle Frey, Gus Harsfai, Patricia Lewis, Charlotte Levinson, Carolanne McLean, Peter McCowatt, Brian Moffatt, Myra Fried, Jani Lauzon and Sandra Shamas.


text: The film was filmed on location in Ontario, Canada (Bolton, Schomberg and Georgetown), and at Toronto International Studios (now Cinespace Film Studios) in 1984. The street set, rebuilt to make it look more realistic than in the television series, was expanded in the film to include a music store, a fire station, an auto body shop, a family clinic, a bakery, a bookstore, and a grocery store.


text: According to Noel MacNeal, after filming the footage of Big Bird on the farm with Ruthie amd Floyd, the filmmakers discovered that the film was badly scratched and unusable. The actors, crew, and performers promptly had to return to the same location months later in winter, whereupon many of the green leaves in the film are spray-painted and after each take, the kids would run to put their coats on. Early in production, the crew noticed that Oscar's trash can looked too new, so they banged it up and dirtied it to match the one in the television series.


text: While filming Bert and Ernie's "upside down world" song, Jim Henson and Frank Oz were actually in an upside down biplane eighteen feet from the ground.


text: After filming wrapped, the filmmakers did not believe that the voice of Cheryl Wagner, who had performed Miss Finch while voicing her simultaneously, seemed appropriate for the character, so her voice was dubbed over by that of Sally Kellerman.


text: Before Ken Kwapis was chosen to be the director of the film, John Landis (who had previously puppeteered Grover in the "Rainbow Connection" finale in "The Muppet Movie") was asked by Warner Bros. to direct the film. He liked it, but dropped out due to scheduling conflicts with "Into the Night".


text: Due to having a criminal record there, Northern Calloway was banned from entering Canada for the film's production; his character, David, is not seen in the film as a result.


text: The film was a critical success upon its release. On Rotten Tomatoes, the film has a "Fresh" rating of 92% based on 12 reviews, with an average score of 6.40/10.


text: The "Orlando Sentinel" called the film "a flip and funny 'road picture' for children that doesn't let its kind heart get in the way of its often biting wit." Walter Goodman observed in "The New York Times" that "by and large, the script by Tony Geiss and Judy Freudberg and the direction by Ken Kwapis don't strain for yuks; what they seek, and more often than not attain, is a tone of kindly kidding."


text: In spite of the near-universal critical acclaim, the film underperformed at the box office due to having opened the same day as "Fright Night" and "Weird Science" and faced heavy competition from "Back to the Future", "Mad Max Beyond Thunderdome", Warner's own "Pee-wee's Big Adventure", "The Black Cauldron" and Warner's own "National Lampoon's European Vacation" among other films. It grossed merely $2,415,626 on its opening weekend. By the end of its theatrical run, its total gross was $13,961,370. This production, along with other unsuccessful ventures, hurt the Children's Television Workshop financially during the 1980s, though they did recover afterwards.


text: The film was first released on VHS and LaserDisc in 1986 and was re-released onto VHS three times by Warner Bros. Family Entertainment starting in 1993, then a second time in 1999 and the third time in 2002 and also on DVD (the opening of it starts with the Warner Home Video logo and a text on a black screen says, ""This film has been modified as follows from its original version: it has been formatted to fit your screen"", in which it appears in some different movies on DVD). Another DVD release followed in 2004, which was re-issued as a special "25th Anniversary Edition" in 2009 with the original theatrical widescreen version and the new bonus features and cover art intact.


title: Star Wars: Shadows of the Empire (video game)

text: Star Wars: Shadows of the Empire is a third-person shooter video game developed by LucasArts and published by Nintendo for the Nintendo 64 and published by LucasArts for Microsoft Windows. It is primarily a third-person shooter, with multiple types of vehicular combat sequences. It was released for the Nintendo 64 on December 3, 1996, and for Microsoft Windows on September 17, 1997. Good Old Games re-released it on May 3, 2016, as a compatibility update for 64-bit Windows.


text: The player controls the mercenary Dash Rendar to help Luke Skywalker and rescue Princess Leia from Prince Xizor. It is part of the "" multimedia project and has a backstory between "The Empire Strikes Back" and "Return of the Jedi". Tracks from the multimedia project's are in the musical score. The game received mixed reviews from critics. "Shadows of the Empire" is the third top-selling Nintendo 64 game for 1997, with more than one million copies sold.


text: "Star Wars: Shadows of the Empire" plays primarily as a third-person shooter. Players control the protagonist, Dash Rendar. His blaster pistol recharges after each shot, and can pick up additional powerups for the gun. In later levels, Rendar acquires a jetpack to traverse larger gaps. The jetpack can also be used under water in the sewer level. He has limited health, which can be replenished with health packs located throughout the game. The player is given a finite amount of lives to complete the game. Additional lives can be acquired, however if the player runs out of lives a game over sequence occurs. Each level is timed and up to three challenge points are awarded for performing specific actions or finding hidden tokens, to unlock rewards.


text: The game features other non-shooter elements. In the opening level, Rendar pilots a snowspeeder in defense of the Rebel base on Hoth. Rendar controls the turret of his ship, the "Outrider", in 360 degree space battles to destroy a specific number of enemy ships. In other space sequences, he pilots the ship, destroying targets with its forward cannons. In one sequence, Rendar makes a high-speed chase on swoop bikes, controlling the swoop and attack to eliminate an enemy gang before reaching the destination.


text: The story is divided into four chapters. "Part I: Escape from Echo Base" begins shortly before the battle of Hoth, as Dash Rendar and his droid co-pilot, Leebo, arrive at Echo Base to deliver supplies. He briefly talks with Han Solo, who gets him temporary clearance to fly with Rogue Squadron. Dash pilots a snowspeeder into battle, and returns to Echo Base when the shield generator is destroyed, just as the "Millennium Falcon" leaves. He makes his way through the base, attempting to return to his ship, the "Outrider". Dash encounters several wampas on the way, and has to fight an AT-ST, but eventually makes it back to Leebo and "The Outrider", and they escape a Star Destroyer through an asteroid field.


text: "Part II: In Search of Boba Fett" begins after the end of "The Empire Strikes Back", as Dash searches for Boba Fett, who holds Han Solo, frozen in carbonite. He hunts and battles IG-88, who is attempting to repair his ship on Ord Mantell after an altercation with Fett. The droid tells him that Fett is hiding on a moon of the planet Gall. Dash finds Fett, and damages his ship, the , but Fett escapes. Believing that the Emperor will let him take Darth Vader's place if Skywalker is killed, Prince Xizor orders Jabba the Hutt to kill Luke Skywalker.


text: In "Part III: Hunting the Assassins", Jabba sends a group of swoop bikers to Obi-Wan Kenobi's home, where Luke is practicing his Jedi skills. Dash races them to Kenobi's, and eliminates all members of the gang. Luke informs Dash of a secret imperial supercomputer aboard the Imperial Freighter "Suprosa", containing unknown important Imperial construction plans for the Death Star II. Dash steals the computer, and battles with a cargo droid in a hangar.


text: "Part IV: Lair of the Dark Prince" begins with Luke, Lando Calrissian, Chewbacca, and Dash infiltrating Xizor's palace on Coruscant to save Princess Leia, whom Xizor has taken captive. Dash enters the palace through the underground sewer system, and battles an enormous dianoga, before entering the palace itself. While in the palace Dash plants thermal detonators in an effort to destroy the it before Xizor summons his droid, which Dash quickly disposes of. After defeating the droid, Xizor flees to his "Skyhook" space station. Xizor's forces engage in battle with the Rebellion, but during the conflict an Imperial Star Destroyer arrives firing on both parties. The conflict turns as the Star Destroyer engages Xizor and his forces. Utilizing this distraction, Dash destroys the "Skyhook"s outer defenses and proceeds to fly inside the station, destroying its core. Dash is presumably killed in the blast, along with Xizor.


text: A short pre-credits scene shows Luke and Leia on Tatooine, mourning Dash's death. If the game is completed on medium or higher difficulty levels, this is followed by an additional scene of Dash and Leebo, who had jumped to hyperspace to escape the blast. Leebo questions Dash's decision to keep the illusion they had died in the "Skyhook"s destruction, to which Dash says, "It's good to be remembered as a martyr without actually being dead, wouldn't you say?"


text: The work on "Shadows of the Empire" project started in late 1994 with the idea of making a side story to the movies. After dismissing the use of the main characters from the movies as the playable character of the new game, which gave the developers more freedom with the game and story, they built on a minor character from the book, Dash Rendar. He has many similarities to Han Solo, including a ship, the "Outrider", which bears a close resemblance to Solo's "Millennium Falcon". Jon Knoles, who was the game's senior artist and animator and previously worked on other LucasArts games for PC and SNES, is credited with bringing the idea of "Shadows of the Empire" and placing it between the films "The Empire Strikes Back" and "Return of the Jedi".


text: LucasArts used the level editor of the Jedi engine, previously used on its games "" and "Outlaws", to create the game's 3D environments. The game was programmed in the language C. The game was originally planned to have 19 levels, "Nintendo Power" reported a reduction to 12 levels, and the final release has 10 levels.


text: LucasArts's choice to be an early adopter of the Nintendo 64 came from what company leaders believed were missed opportunities for revenue on game consoles. When work began on "Shadows of the Empire", the Nintendo 64 hardware had not been finalized by Silicon Graphics (SGI) and Nintendo. Therefore, SGI approximated the console's performance and functionality profile using a SGI Onyx supercomputer with the RealityEngine2 graphics subsystem with the Performer 3D API — the architecture which had originally inspired SGI's design of the Nintendo 64. Two LucasArts developers already had extensive experience with the SGI platform, which eased the prototyping of the game for approximately 18 months until the Nintendo 64 hardware was finalized. Eventually, Nintendo 64 hardware cards were released for SGI Indy workstations, and given to the team to replace the software-based profile on Onyx. Because of the team's SGI expertise and the Nintendo 64's design heritage from the Onyx, they ported the game to the console in three days and continued development on Indy, while still performing large environmental precalculations on Onyx. For a prototype controller with which to test the game, they were delivered a modified SNES controller with a primitive analog joystick and Z trigger, designed by Konami. For maximal secrecy under strict nondisclosure agreement, the core team was not allowed to speak to anyone else about the hardware or the project, and the controller prototype was concealed within a cardboard box that the team members could place their hands into.


text: During development, Shigeru Miyamoto, senior marketing director of Nintendo, suggested that Dash be more animated. He suggested Rendar could become restless when waiting for the player to control him, and more animated in how he holds his weapons. Motion capture was done at LucasArts's sister company Industrial Light & Magic (ILM). The recorded animations proved to be unusable, and had to be redone manually using keyframes in Alias Power Animator. Music development began with MIDI approximations of the original film scores by composer John Williams. The team believed that MIDI-sequenced synthesis did not appropriately capture the essence of the music, and switched to digital samples of the original music. As part of the "Shadows of the Empire" multimedia project, a full soundtrack was composed by Joel McNeely and recorded with the Royal Scottish National Orchestra. Soundtrack samples were used in both versions of the game, with many full tracks in the Windows version. For the console version, due to limited cartridge space, the score was sampled down to 16-bit at in mono. After some discussion, Nintendo agreed to increase the cartridge space from to , giving the developers enough room to sample roughly 15 minutes of music on the cartridge. It is unique among Nintendo 64 games for using a digitized orchestral soundtrack, instead of synthesized music like that in "". John Cygan voices the game's protagonist, Dash Rendar. Cygan reprises his role in "". His droid, Leebo, is voiced by Tom Kane. Luke Skywalker is voiced by Bob Bergen, official audio double for Mark Hamill. Prince Xizor, the game's primary antagonist, is voiced by Nick Tate.


text: Because of the much greater storage space available with a PC, LucasArts added full motion video (FMV) cinematic sequences and a number of additional speech clips to the Windows version. According to Knowles, when working on the Nintendo 64 version, the development team could have adapted the Windows version's FMV sequences into animated cutscenes using the game engine (which would have substantially lower quality than FMV, but use only a tiny fraction of the storage space), but this would have severely delayed the game's release, so they used just still images for the Nintendo 64 version's cutscenes. When supplemented with a 3D acceleration card, the Windows version runs at a resolution of pixels. The Nintendo 64 version runs at a 320 x 240 resolution with hardware based blending and anti-aliasing features to make the difference in resolution less obvious.


text: After the game's demonstration at the 1996 Electronic Entertainment Expo met with mixed reactions, LucasArts canceled its plans to release it with the Nintendo 64 North American launch, postponing it until December to give the production team a few more months for quality.


text: "Shadows of the Empire" was released on December 3, 1996, for the Nintendo 64, three months after the console's launch. It was released in Japan on June 14, 1997. With the developer reporting more than one million copies sold by 1997, It is the third top-selling Nintendo 64 game for that year (September 1996 to August 1997) and the third top-selling game on any system for the 1996 Christmas shopping season. A version for Windows 95 was released on September 17, 1997. In coming decades, compatibility problems arose, so the game was re-released for 64-bit Windows systems on May 3, 2016, through Good Old Games.


text: On July 26, 2019, the Nintendo 64 version was re-released in both a standard and Collector's Edition in limited quantities by Limited Run Games.


text: "Shadows of the Empire" has received mixed reviews from critics. The most common comment was that the opening Battle of Hoth is outstanding, but all the other levels are mediocre. Some critics specified that though the different game styles add variety, none of them offered anything new or were executed well. The third-person shooter stages (which comprise the majority of the game) drew the strongest criticism, with reviews describing poor controls and camera angles which either give a cripplingly limited view or block the action with Dash's own body. Reviewers often praised the game's polygonal graphics as being convincing enough to affect the player's mood.


text: A reviewer for "Next Generation" remarked that the cartridge format was insufficient for a game of this type, resulting in issues — the lack of fluidity in the sewer waters, and the frequent looping of the music — which could have been easily solved with the greater storage capacity of CD. Chiefly criticizing the multi-genre gameplay, he said the game was especially disappointing in light of its great potential. Doug Perry of IGN similarly said that "we were disappointed again and again at this game's terrible control, its mediocre gameplay, and the overall knowledge that, once having finished it, you knew that the developers from LucasArts could have orchestrated a much better piece of videogaming." Writing in "GamePro", Scary Larry highly praised the soundtrack, but concluded that the issues with the gameplay made it a must-have for "Star Wars" fans but a poor choice for anyone else. Unlike many other critics, Shawn Smith of "Electronic Gaming Monthly" asserted that all the gameplay styles in "Shadows of the Empire" are done extremely well, and said it was the best "Star Wars" game he had played on either console or PC. The other three reviewers for "EGM" were less enthusiastic, with Sushi-X in particular summarizing the game as "a poor first-person shooter on top of an awesome Hoth battle sequence". GameSpot's John Broady claimed that "...the control, camera angles, and frustrating save feature keep it from reaching its full potential".


text: Most critics were amazed by the Battle of Hoth level, particularly its success in recreating the scene from "The Empire Strikes Back" as an interactive experience. The month prior to reviewing the game, "EGM"s lead editorial hailed this level as a watershed moment for movie-to-game adaptations, anticipating a new era in which film studios would take into account prospective game adaptations when making a movie.


text: "EGM" named "Shadows of the Empire" a runner-up for Nintendo 64 Game of the Year, behind "Super Mario 64". Though noting little competition for this category, because only eight Nintendo 64 games were released in the US in 1996, they called the game "a tour-de-force that all "Star Wars" fans must check out". They also named it a runner-up for Best Music, behind "Wipeout XL".


text: In a retrospective review, Allgame's Scott Alan Marriott criticized the shooting sequences as "rather boring, probably due to the less involving third-person perspective".


title: Formant

text: In speech science and phonetics, a formant is the broad spectral maximum that results from an acoustic resonance of the human vocal tract. In acoustics, a formant is usually defined as a broad peak, or local maximum, in the spectrum. For harmonic sounds, with this definition, the formant frequency is sometimes taken as that of the harmonic that is most augmented by a resonance. The difference between these two definitions resides in whether "formants" characterise the production mechanisms of a sound or the produced sound itself. In practice, the frequency of a spectral peak differs slightly from the associated resonance frequency, except when, by luck, harmonics are aligned with the resonance frequency.


title: Formant

text: A room can be said to have formants characteristic of that particular room, due to its resonances, i.e., to the way sound reflects from its walls and objects. Room formants of this nature reinforce themselves by emphasizing specific frequencies and absorbing others, as exploited, for example, by Alvin Lucier in his piece "I Am Sitting in a Room".


title: Formant

text: In both speech and rooms, formants are characteristic features of the resonances of the space. They are said to be "excited" by acoustic sources such as the voice, and they shape (filter) the sources’ sounds, but they are not sources themselves.


title: Formant

text: From an acoustic point of view, phonetics had a serious problem with the idea that the effective length of vocal tract changed vowels. Indeed, when the length of the vocal tract changes, all the acoustic resonators formed by mouth cavities are scaled, and so are their resonance frequencies. Therefore, it was unclear how vowels could depend on frequencies when talkers with different vocal tract lengths, for instance bass and soprano singers, can produce sounds that are perceived as belonging to the same phonetic category. There had to be some way to normalize the spectral information underpinning the vowel identity. Hermann suggested a solution to this problem in 1894, coining the term “formant”. A vowel, according to him, is a special acoustic phenomenon, depending on the intermittent production of a special partial, or “formant”, or “characteristique” feature. The frequency of the “formant” may vary a little without altering the character of the vowel. For “long e” ("ee" or "iy") for example, the lowest-frequency “formant” may vary from 350 to 440 Hz even in the same person.


title: Formant

text: Formants are distinctive frequency components of the acoustic signal produced by speech, musical instruments or singing. The information that humans require to distinguish between speech sounds can be represented purely quantitatively by specifying peaks in the frequency spectrum.


title: Formant

text: Most of these formants are produced by tube and chamber resonance, but a few whistle tones derive from periodic collapse of Venturi effect low-pressure zones.


title: Formant

text: The formant with the lowest frequency is called "F", the second "F", and the third "F". (The fundamental frequency or pitch of the voice is sometimes referred to as "F", but it is not a formant.) Most often the two first formants, "F" and "F", are sufficient to identify the vowel. The relationship between the perceived vowel quality and the first two formant frequencies can be appreciated by listening to "artificial vowels" that are generated by passing a click train (to simulate the glottal pulse train) through a pair of bandpass filters (to simulate vocal tract resonances).


title: Formant

text: Nasal consonants usually have an additional formant around 2500 Hz. The liquid usually has an extra formant at 1500 Hz, whereas the English "r" sound () is distinguished by a very low third formant (well below 2000 Hz).


title: Formant

text: Plosives (and, to some degree, fricatives) modify the placement of formants in the surrounding vowels. Bilabial sounds (such as and in "ball" or "sap") cause a lowering of the formants; on spectrograms, velar sounds ( and in English) almost always show "F" and "F" coming together in a 'velar pinch' before the velar and separating from the same 'pinch' as the velar is released; alveolar sounds (English and ) cause fewer systematic changes in neighbouring vowel formants, depending partially on exactly which vowel is present. The time course of these changes in vowel formant frequencies are referred to as 'formant transitions'.


title: Formant

text: In normal voiced speech, the underlying vibration produced by the vocal folds resembles a sawtooth wave, rich in


title: Formant

text: harmonic overtones. If the fundamental frequency or (more often) one of the overtones is higher than a resonance frequency of the system, then the resonance will be only weakly excited and the formant usually imparted by that resonance will be mostly lost. This is most apparent in the case of soprano opera singers, who sing at pitches high enough that their vowels become very hard to distinguish.


title: Formant

text: Control of resonances is an essential component of the vocal technique known as overtone singing, in which the performer sings a low fundamental tone, and creates sharp resonances to select upper harmonics, giving the impression of several tones being sung at once.


title: Formant

text: Spectrograms may be used to visualise formants. In spectrograms, it can be hard to distinguish formants from naturally occurring harmonics when one sings. However, one can hear the natural formants in a vowel shape through atonal techniques such as vocal fry.


title: Formant

text: Formants, whether they are seen as acoustic resonances of the vocal tract, or as local maxima in the speech spectrum, like band-pass filters, are defined by their frequency and by their spectral width (bandwidth).


title: Formant

text: Different methods exist to obtain this information. Formant frequencies, in their acoustic definition, can be estimated from the frequency spectrum of the sound, using a spectrogram (in the figure) or a spectrum analyzer. However, to estimate the acoustic resonances of the vocal tract (i.e. the speech definition of formants) from a speech recording, one can use "linear predictive coding". An intermediate approach consists in extracting the spectral envelope by neutralizing the fundamental frequency, and only then looking for local maxima in the spectral envelope.


title: Formant

text: The first two formants are important in determining the quality of vowels, and are frequently said to correspond to the open/close (or low/high) and front/back dimensions (which have traditionally been associated with the shape and position of the tongue). Thus the first formant "F" has a higher frequency for an open or low vowel such as and a lower frequency for a closed or high vowel such as or ; and the second formant "F" has a higher frequency for a front vowel such as and a lower frequency for a back vowel such as .


title: Formant

text: Vowels will almost always have four or more distinguishable formants, and sometimes more than six. However, the first two formants are the most important in determining vowel quality and are often plotted against each other in vowel diagrams, though this simplification fails to capture some aspects of vowel quality such as rounding.


title: Formant

text: Many writers have addressed the problem of finding an optimal alignment of the positions of vowels on formant plots with those on the conventional vowel quadrilateral. The pioneering work of Ladefoged used the Mel scale because this scale was claimed to correspond more closely to the auditory scale of pitch than to the acoustic measure of fundamental frequency expressed in Hertz. Two alternatives to the Mel scale are the Bark scale and the ERB-rate scale. Another widely-adopted strategy is plotting the difference between "F" and "F" rather than "F" on the horizontal axis.


title: Formant

text: Studies of the frequency spectrum of trained speakers and classical singers, especially male singers, indicate a clear formant around 3000 Hz (between 2800 and 3400 Hz) that is absent in speech or in the spectra of untrained speakers or singers. It is thought to be associated with one or more of the higher resonances of the vocal tract. It is this increase in energy at 3000 Hz which allows singers to be heard and understood over an orchestra. This formant is actively developed through vocal training, for instance through so-called "voce di strega" or "witch's voice" exercises and is caused by a part of the vocal tract acting as a resonator. In classical music and vocal pedagogy, this phenomenon is also known as "squillo".


title: Jeff Samardzija

text: Jeffrey Alan Samardzija (; born January 23, 1985), nicknamed "Shark", is an American professional former baseball pitcher. He played college baseball and football for the University of Notre Dame, and was recognized as a two-time All-American wide receiver. He was selected by the Chicago Cubs in the fifth round of the 2006 Major League Baseball Draft, and made his major-league (MLB) debut in 2008. He played in the MLB for the Chicago Cubs from 2008 to 2014, the Oakland Athletics in 2014, the Chicago White Sox in 2015, and the San Francisco Giants from 2016 to 2020. He was an all-star in 2014.


title: Jeff Samardzija

text: Samardzija's father, Sam Samardzija, was a professional hockey player, and his older brother, Sam Samardzija Jr., Samardzija's current agent, was an All State football and baseball player who graduated from Indiana University and is now a Vice President at Wasserman Baseball. His paternal grandparents emigrated from Serbia. When Samardzija was in high school his mother, Debora Samardzija, died from a rare respiratory disease.


title: Jeff Samardzija

text: Samardzija grew up in Valparaiso, Indiana, where he attended Valparaiso High School, and was a letterman in football, basketball, and baseball. In football, he was a three-time first team All-State honoree, and was twice named the team's Most Valuable Player. After his junior year, he was invited to participate in the Indiana football All-Star game. In baseball, he was a first team All-State honoree. He graduated from Valparaiso High School in 2003.


title: Jeff Samardzija

text: Samardzija accepted an athletic scholarship to attend the University of Notre Dame, where he played for the football team from 2003 to 2006, and baseball team from 2004 to 2006.


title: Jeff Samardzija

text: He made his first impact at Notre Dame as a right-handed pitcher for the baseball team, finishing second in the Big East Conference in both earned run average (ERA) (2.95) and opponents' batting average (.209), and being named a Freshman All-American by "Collegiate Baseball Magazine." He continued to play baseball at Notre Dame until he was selected by the Chicago Cubs in the 5th round (149th overall) of the 2006 Major League Baseball Draft.


title: Jeff Samardzija

text: In football, he was a reserve for his first two seasons, catching a total of 24 passes. He first started at the 2004 Insight Bowl at the end of his sophomore season. He emerged as a star in the 2005 season, ending the regular season with 77 catches – 15 of them for touchdowns – for 1,215 yards and making numerous All-America Teams.


title: Jeff Samardzija

text: Samardzija set single-season school records in both receiving yardage and touchdown receptions. He caught a touchdown pass in each of Notre Dame's first eight games in 2006, giving him the school record for consecutive games with a touchdown reception. He made 78 catches for 1,017 yards and 12 touchdowns in 13 games in the 2006 season to finish as the all-time Fighting Irish leader in reception yards with 2,593. He made the Football Writers Association of America All-America Team following the 2006 season.


title: Jeff Samardzija

text: Samardzija was twice selected as one of the three finalists for the Fred Biletnikoff Award, for the nation's top wide receiver in both 2005 and 2006. Although initially planning to play both in the NFL and MLB, Samardzija announced after being selected in the Major League Draft that he would take his name out of the NFL Draft and play baseball.


title: Jeff Samardzija

text: On January 19, 2007, Samardzija announced he would forgo the NFL Draft and commit to a baseball career. Samardzija signed a five-year deal to play baseball with the Chicago Cubs. The deal had both a no-trade clause and a club option for a sixth and seventh year. If the club option was exercised, the total value of the deal would have been $16.5 million. The deal included a $1 million signing bonus.


title: Jeff Samardzija

text: On June 23, 2008, Samardzija was promoted to Triple-A Iowa after posting a 3–5 record in Tennessee with a 4.86 ERA. In his career in Triple-A Iowa, he posted a 4–1 record and a 3.13 ERA with 40 strikeouts and 16 walks.


title: Jeff Samardzija

text: On July 25, 2008, Samardzija was called up to join the bullpen of the Chicago Cubs to replace Kerry Wood, who was placed on the DL.


title: Jeff Samardzija

text: He made his MLB debut the same day against the Florida Marlins, striking out the first batter he faced in the 7th inning. Chicago Cubs Manager Lou Piniella was impressed with Samardzija's major league debut, saying he may never see the minors again. On July 27, 2008, Samardzija recorded his first career major league save against the Florida Marlins.


title: Jeff Samardzija

text: In 2009, Samardzija was optioned to the Triple-A Iowa Cubs after failing to make the team out of spring training. However, he was quickly called back up only a few games into the season. He quickly returned to Des Moines to pitch for the Iowa Cubs, after posting an 8.10 ERA in 5 appearances. He made his first major league start on August 12 against Pedro Martínez of the Philadelphia Phillies, a 12–5 loss.


title: Jeff Samardzija

text: In March 2010, Samardzija returned to the Cubs and pitched his first game in exhibition on March 13, 2010. He pitched in four regular season games in April and compiled an 18.90 ERA before being sent back down to the Triple-A Iowa Cubs in order to make space for Ted Lilly on the Cubs roster.


title: Jeff Samardzija

text: In 2011, Samardzija made the opening day roster as a reliever. During the 2011 season Samardzija, statistically had his best season posting an 8–4 record and an ERA of 2.97


title: Jeff Samardzija

text: In 2012, Samardzija was named a starter in the Cubs rotation and was solid going 9–13 with a 3.81 ERA and 180 strikeouts.


title: Jeff Samardzija

text: On March 3, 2013, Samardzija was named the opening day starter. He threw his first major league shutout on May 27, 2013 against the Chicago White Sox, allowing two hits and two walks. He was named National League Co-Player of the Week for August 19–25, 2013, after recording a 2–0 record and 1.59 ERA in 17 innings pitched.


title: Jeff Samardzija

text: He began 2014 as a hardluck pitcher. He set a major league record for lowest ERA (1.46) by a winless pitcher through his first 10 starts. The 1.46 ERA was the latest league-leading ERA by a winless pitcher since Bruce Sutter's 0.89 ERA on June 7, 1977. Samardzija won his eleventh start of the season by striking out a season-high 10 San Francisco Giants. On June 18, 2014, the Cubs offered Samardzija a five-year, club friendly deal that included multiple option years, which he rejected.


title: Jeff Samardzija

text: On July 6, 2014, he was selected as a National League All-Star but was not eligible to play because he was traded to an American League team.


title: Jeff Samardzija

text: On July 5, 2014, Samardzija, along with Jason Hammel, was traded to the Oakland Athletics in exchange for top shortstop Addison Russell, pitcher Dan Straily, outfielder Billy McKinney, and cash. In his debut on July 6, he went seven innings with five strikeouts, allowing one run and four hits.


title: Jeff Samardzija

text: On December 9, 2014, the Athletics traded Samardzija along with Michael Ynoa to the Chicago White Sox in exchange for Marcus Semien, Chris Bassitt, Rangel Ravelo and Josh Phegley. Samardzija and the White Sox avoided arbitration by agreeing to a one-year deal for $9.8 million on January 16, 2015.


title: Jeff Samardzija

text: Samardzija made his first start for the White Sox on April 6, 2015, during opening day against the Kansas City Royals. He allowed 5 runs including a home run by Alex Ríos in 6 innings as the White Sox lost to the Royals, 10–1. During another game against the Royals on April 23, Samardzija was one of five players to be ejected for his role in a bench-clearing brawl. On April 25, Samardzija was suspended 5 games. On July 9, he pitched a complete game shutout and allowed only four hits in a 2–0 victory over the Toronto Blue Jays at US Cellular Field. This was his first complete game shutout victory for the White Sox and the second of his major league career. On September 21, Samardzija pitched a complete-game one-hit shutout against the Detroit Tigers on only 88 pitches; the only baserunner was Victor Martinez, who singled to lead off the fifth inning, and no batter's count went to three balls. Despite the strong finish, Samardzija tied for the American League lead in home runs allowed (29) and led the league in earned runs allowed (118). Overall, Samardzija finished 11–13 with a 4.96 ERA. After the season, Samardzija revealed that he had been inadvertently tipping his pitches, leading to his poor performance.


title: Jeff Samardzija

text: On December 9, 2015, Samardzija signed a five-year, $90 million contract with the San Francisco Giants. He was selected as an alternate for 2017 World Baseball Classic, although he would not be included on the final rosters. He earned his first win as a Giant on April 13, 2016, yielding only two earned runs and six hits in 8 innings pitched at Coors Field. Samardzija earned his first home win as a Giant on April 22, pitching 7 innings while giving up only one earned run against the Miami Marlins. Samardzija also matched his career-high for a season of 3 RBIs in the game. In his first season as a Giant, Samardzija was fifth in the National League with 203.1 innings pitched and finished 2016 with a 12–11 record and a 3.81 ERA. The 12 wins were a career high and it was his first winning season since he became a full-time starter in 2012.


title: Jeff Samardzija

text: Samardzija pitched his first shutout as a Giant and third of his career on August 28, 2017, blanking the San Diego Padres 3–0. He was named National League Player of the Week for August 28–September 3, 2017, after recording a 1–0 record, including the shutout, and 0.56 ERA in 16 innings pitched. Samardzija finished the 2017 season with a National League leading 207.2 innings pitched, finished sixth in the National League in strikeouts with 205 and led the major leagues with the lowest bases on balls per 9 innings pitched (1.387). However, he finished with a 9–15 record and a 4.43 ERA. The 15 losses tied for the National League lead.


title: Jeff Samardzija

text: At the start of the 2018 season, he was placed on the disabled list with a strained pectoral muscle. He was placed on the disabled list for a third time on July 15 with shoulder inflammation. He finished the season 1–5 in 10 starts.


title: Jeff Samardzija

text: In 2019 he was 11–12 with 3.52 ERA, as he started 32 games (8th in the NL) and pitched 181.2 innings. He was 10th in the National League in WHIP (1.108) and in hits per 9 innings pitched (7.544).


title: Jeff Samardzija

text: On September 26, 2020, Samardzija was designated for assignment by the Giants and placed on release waivers. In 2020 for the Giants, Samardzija pitched to an 0–2 record with a 9.72 ERA, allowing 18 earned runs over 16.2 innings pitched.


title: Jeff Samardzija

text: Samardzija has thrown as many as seven types of pitches in his career, but as of 2016, he used six. They are as follows: a four-seam fastball (93–97 mph), two-seam fastball (94–99), cutter (91–93), slider (84–86), splitter (85–87) and a curveball (79–82). He is comfortable throwing all of his pitches for strikes. Against right-handed and left-handed hitters, the splitter is by a wide margin his most commonly thrown pitch in 2-strike counts. As of August 2016, Samardzija re-inserted the curveball into his repertoire, a pitch he had not used in almost 4 years.


title: Jeff Samardzija

text: Samardzija is of Serbian descent; his grandparents emigrated to the United States in the 1940s. He was nicknamed "Shark" by teammates during his career at Notre Dame.


And to Think That I Saw It on Mulberry Street is Theodor Seuss Geisel's first children's book published under the pen name Dr. Seuss. First published by Vanguard Press in 1937, the story follows a boy named Marco, who describes a parade of imaginary people and vehicles traveling along a road, Mulberry Street, in an elaborate fantasy story he dreams up to tell his father at the end of his walk. However, when he arrives home, he decides instead to tell his father what he actually saw—a simple horse and wagon.


title: And to Think That I Saw It on Mulberry Street

text: Geisel conceived the core of the book aboard a ship in 1936, returning from a European vacation with his wife. The rhythm of the ship's engines captivated him and inspired the book's signature lines:


text: At least 20 publishers rejected the book before Geisel ran into an old college classmate, who had just become juvenile editor at Vanguard Press. Vanguard agreed to publish the book, and it met with high praise from critics upon release, though sales were not as impressive. Later analyses of the book have focused on its connections to Geisel's childhood; the street of the title is probably named after a street in Geisel's hometown of Springfield, Massachusetts. Geisel returned to fictionalized versions of Springfield in later books, and Marco appeared again in 1947 in the Dr. Seuss book "McElligot's Pool". In March 2021, the Seuss Estate removed the book from publication due to images in the book that the estate deemed "hurtful and wrong".


text: However, the only thing Marco has seen on his walk is a horse pulling a wagon on Mulberry Street. To make his story more interesting, Marco imagines a progressively more elaborate scene. He imagines the horse is first a zebra, then a reindeer, then an elephant, and finally, an elephant helped by two giraffes. The wagon changes to a chariot, then a sled, then a cart holding a brass band.


text: Marco's realization that Mulberry Street intersects with Bliss Street leads him to imagine a group of police escorts. The scene becomes a parade, as he then imagines a grandstand filled with the mayor and aldermen; an airplane dropping confetti; and, in the final incarnation of the scene, a Chinese man, a magician pulling rabbits out of a hat, and a man with a ten-foot beard. Now almost home, he snaps back to reality and rushes up the front steps, eager to tell his father his imagined story. However, when his father questions him about what he saw on his way home, his face turns red and he says, "Nothing ... but a plain horse and wagon on Mulberry Street."


text: Geisel was 33 and had ten years of experience in cartooning, illustrating and advertising when he began work on "Mulberry Street". He had an established and prosperous career in advertising, including a contract with Standard Oil for Flit bug spray. Geisel's popular campaign featured the line "Quick, Henry, the Flit!" He had also made some forays into book publishing: for Viking Press in 1931 he illustrated "Boners" and "More Boners", collections of quotations from children's school papers. The book's positive sales encouraged Geisel to create his own children's book, which his advertising contract did not forbid. In 1932, Geisel wrote and illustrated an alphabet book featuring a collection of odd animals, but was unable to interest publishers in it.


text: According to Judith and Neil Morgan, Geisel conceived the core of "Mulberry Street" in the summer of 1936 aboard the MS "Kungsholm", a Swedish American luxury liner, during the return trip from a European vacation with his wife, Helen Palmer. As the "Kungsholm" endured a storm and Geisel experienced sea sickness, he jotted down a rambling plot that started with "a stupid horse and wagon". To keep himself occupied, he began reciting poetry to the rhythm of the ship's engines and soon found himself saying, "And that is a story that no one can beat, and to think that I saw it on Mulberry Street." For days after they landed, he had the rhythm of the ship's engine stuck in his head, so, at Helen's suggestion, he decided to write a story based on it.


text: The Morgans based this account on interviews with Geisel, who had given similar accounts of the book's creation to journalists throughout his career, often omitting or altering various details. In one version, he had already been working on the book for six months before the European trip, and the trip home provided the final breakthrough. In another, he claimed he had the book about half finished when they landed in the United States.


text: Geisel, in his perfectionism, struggled with writing "Mulberry Street". According to the Morgans, "Although he lived for wit, his flights of fancy were subject to strict review." He spent at least six months on the book, questioning every word and writing numerous drafts. He wrote the poem out in pencil on yellow paper and asked his wife to discuss every page with him.


text: Geisel submitted his finished manuscript, originally titled "A Story No One Can Beat", to dozens of publishers during the winter of 1936–37. Publishers posited a variety of criticisms of the book, including that fantasy was not salable, that children's books written in verse were out of style, and that the book lacked a clear moral message. According to the Morgans, Geisel angrily exclaimed to his wife, "What's wrong with kids having fun reading without being preached at?" She cited the book's cartoon-like drawings and its story, which might be seen to encourage daydreaming and lying to one's parents, as possible reasons for its rejection.


text: According to Geisel, he was walking down Madison Avenue in New York City after learning of the latest rejection, planning to burn the manuscript when he got home, when he ran into Mike McClintock, an old Dartmouth College classmate. McClintock had just become juvenile editor at Vanguard Press and took Geisel to his office to introduce him to Vanguard's President James Henle and editor Evelyn Shrifte. Henle had been gaining a reputation for signing authors whom other, larger publishers had rejected. He soon agreed to publish the book, but stipulated that its title be changed. Geisel cited the incident for his belief in luck and later stated, "If I had been walking down the other side of Madison Avenue, I'd be in the dry-cleaning business today." In gratitude to McClintock, Geisel changed the name of the book's protagonist to Marco, after McClintock's son, and dedicated the book to McClintock's wife, Helene.


text: In "an act of faith", Vanguard Press printed 15,000 copies of the book for its first printing. To promote the book, Henle bought a full-page advertisement in "Publishers Weekly", which reproduced the book's two-page spread of a reindeer pulling a cart and featured the line, "Book publishers, hitch on! This is the start of a parade that will take you places!" Approximately two years later, Vanguard printed 6,000 more copies. By 1943, it had printed 31,600 copies, and Geisel's royalties were no more than $3,500. Although Geisel later moved to Random House, Vanguard continued to publish "Mulberry Street" and his second book, "The 500 Hats of Bartholomew Cubbins", until 1988, when Random House bought Vanguard.


text: The book has received only one textual revision. In 1978, Geisel agreed to a slight rewording, renaming the character who appears near the end of the story a "Chinese man" instead of a "Chinaman". He also agreed to remove the character's pigtail and the yellow coloring from the character's skin. However, he denied on multiple occasions requests from feminists to change the lines "Say—"any"one could think of "that",/ Jack or Fred or Joe or Nat—/ Say, even Jane could think of "that"."


text: Hearing of its release, neighbors of Geisel's in Springfield were at first worried the book would be an exposé of the people there. Sales were lackluster, but early reviews were glowing. Clifton Fadiman wrote a one-sentence review in "The New Yorker", which Geisel could still quote near the end of his life: "They say it's for children, but better get a copy for yourself and marvel at the good Dr. Seuss' impossible pictures and the moral tale of the little boy who exaggerated not wisely but too well." "The New York Times" wrote, "Highly original and entertaining, Dr Seuss' picture book partakes of the better qualities of those peculiarly America institutions, the funny papers and the tall tale. It is a masterly interpretation of the mind of a child in the act of creating one of those stories with which children often amuse themselves and bolster up their self-respect."


text: Anne Carroll Moore, then in charge of the children's section at the New York Public Library, wrote an enthusiastic review in the "Atlantic Monthly" and invited Geisel to speak at the library. In her review she called the book "so completely spontaneous that the American child can take it to his heart on sight", and "as original in conception, as spontaneous in the rendering as it is true to the imagination of a small boy." Moore sent a copy of the book to English children's author Beatrix Potter, who wrote back, "What an amusing picture book ... I think it the cleverest book I have met with for many years. The swing and merriment of the pictures and the natural truthful simplicity of the untruthfulness ... Too many story books for children are condescending, self-conscious inventions—and then some trivial oversight, some small incorrect detail gives the whole show away. Dr. Seuss does it thoroughly!" Geisel himself was later critical of the book, saying on its 25th anniversary, "I think I was a little aloof, too outside there. It was written from the point of view of my mind, not the mind of a child."


text: While "Mulberry Street"s sales grew significantly as the Dr. Seuss brand became more famous, it is not one of Geisel's best-selling books. In 2012, on the occasion of the book's 75th anniversary, Michael Winerip argued that later Dr. Seuss books were more entertaining and inventive than "Mulberry Street" but that it is nevertheless important as a harbinger of the many books that followed. A. O. Scott, in a 2000 article in "The New York Times", contradicted this view, calling the book "a hymn to the generative power of fantasy, a celebration of the sheer inventive pleasure of spinning an ordinary event into 'a story that no one can beat'."


text: Some writers have focused on "Mulberry Street"s connections to elements of Geisel's life, particularly his childhood in Springfield, Massachusetts. Geisel probably named the street in his story after a real-life Mulberry Street in Springfield. However, Guy McLain, director of the Springfield Museum, contends that Geisel might have chosen the street mainly because of the sound and rhythm of its name. Lewis Nichols, writing in 1962 on the occasion of the book's 25th anniversary, largely confirmed this view, writing that in the book's creation "there was no particular Mulberry Street in view, although there was one of the name in Springfield, Mass., where Mr. Geisel was born, and the subconscious may have taken him back." Other writers have pointed out that the motorcycles the policemen use to escort the parade in "Mulberry Street" resemble Indian motorcycles, which were manufactured in Springfield during Geisel's childhood. Cori Urban claimed that the mayor in the story resembles Fordis C. Parker, who was mayor of Springfield from 1925 to 1929.


text: Charles Cohen notes that, while the book mentions the intersection of Bliss and Mulberry Streets, their real-life counterparts in Springfield do not cross. Cohen connects the horse and wagon in "Mulberry Street" to Geisel's Springfield childhood and points to precursors of it in Geisel's earlier work. He traces the blue elephant in the book to the blue elephants that appear in Geisel's comic strip "Hejji". Philip Nel acknowledges "Mulberry Street" as the start of Geisel's particular, distinctive verse style and theorizes that he may have learned "the narrative power of meter and rhyme" from books he read as a child, including "The Hole Book" by Peter Newell.


text: Jonathan Cott noted that "Mulberry Street" is similar to "Der Erlkönig", a German poem by Goethe, "for both of them are about a father and a son and about the exigencies and power of the imagination." When Cott told Geisel about this, Geisel responded by quoting the first two lines of the poem, in German. He also noted that he was raised in a German-speaking home, minored in German in college, and had memorized the poem while in high school.


text: Mary Galbraith makes a connection between "Mulberry Street" and Geisel's fears about the spread of Nazism. Geisel conceived of the story while returning from a European vacation that coincided with the 1936 Summer Olympics in Berlin, and Galbraith contends that in the book the "mayor's small mustache and raised arm evoke Hitler, while the brass band and international cast of characters evoke the parade of nations at the beginning of the games". She argues that the horse and wagon at the beginning of the story evokes the peaceful German Americans of Springfield, and by extension the non-threatening actions of Germany. As Marco's story evolves, the horse and wagon transform into a parade, which Galbraith equates with "a military monolith ... marching down main street as an airplane drops confetti."


text: Some analyses have examined the relationship between Marco and his father. Alison Lurie asserts that Marco's factual reply to his father at the end of the story suggests to the book's young readers that "it is sometimes, perhaps always, best to conceal one's inner imaginative life from adults", a message that appears again in "The Cat in the Hat". To Matthew Pierlot, "The father serves as an external check on the boy's tendency to abandon the truth", a Socrates-like figure who insists on intellectual integrity and thwarts Marco's desire to mold mundane reality into something more exciting than it is. To Patrick Shannon, "Marco escapes into his imagination to combat the insipid character and conformity of the adult world". In this sense the book follows an individualist, child-centered trend in children's literature beginning in the mid-20th century, also seen in the works of Maurice Sendak and William Steig; this is in contrast to the norm in earlier children's books where the author tried to impart outside values on the child reader.


text: Pastoral theologian Herbert Anderson has written that the child's perspective of reality in "Mulberry Street" can be challenging and seem subversive to an adult. He argues that Marco's internal story of what happened on his walk was not dishonest or rebellious, but a natural "openness to constructing a world". The child's untruthful response that he had not seen anything interesting on Mulberry Street is not out of disrespect to the parent, but is Marco's attempt to reconcile his perspective with the authoritative, adult one of his father.


text: Nel notes that Geisel makes heavy use of anapestic tetrameter in "Mulberry Street" and many of his later books, citing the rhythm and draw of the books' language as a main reason for their appeal. Thomas Fensch also notes the rollicking rhythm of the verse in "Mulberry Street" and Geisel's other books, writing, "Children can read the lines; they can sing the lines; they can "SHOUT!" the lines; they can dance to the lines." Fensch marks "Mulberry Street" as the start of what he calls ""escalating sequences" or "escalating action"", a technique Geisel used in most of his books, in which the action builds with each page. As Fensch put it, "The rhythm gallops—the pictures move from left to right, toward the next page and the action builds."


text: Geisel's drawings formed a part of the narrative, bordering on the blending of text and image found in the much-denigrated comics medium. The artwork in children's literature before Geisel's appearance was much more restrained than Geisel's, and relegated to a lower status than the text it illustrated. By linking text and image, the book helps children follow the story even if they cannot read every word of the text. By encouraging children to explore the page, the drawings allow them to use their imaginations to fill in gaps in the text. The details shown in the pictures but not explained in the text creates a tension between them that leads the reader to think and imagine further. In the case of "Mulberry Street", Philip Nel writes, readers might be moved to ask questions such as "Why is the elephant blue?" or "Where did the airplane come from?"


text: In bold colors Geisel illustrated the surreal scenery and strange human and animal characters of the book with the strong, loose, energetic line that remained familiar in his later works. Ruth MacDonald saw Geisel's drawing style as fully formed in "Mulberry Street", arguing that only his page design improved in later books, better keeping children's attention without confusing them. Philip Nel found the artwork in Geisel's later books to have a greater energy and looseness than in "Mulberry Street" or his earlier cartooning. Nel felt Geisel began loosening up toward his classic style as early as "Horton Hatches the Egg" (1940) and reached fruition with 1950's "If I Ran the Zoo" (1950).


text: Composer Deems Taylor adapted "Mulberry Street" into an orchestral work, "Marco Takes a Walk". The work opens with a theme that represents the horse and wagon, which is followed by six variations that represent the various changes in Marco's story. The work's premiere, conducted by Howard Barlow, occurred at Carnegie Hall on November 14, 1942.


text: As "Mulberry Street" is Geisel's first children's book, Donald Pease calls it "the scene of origin for all of Dr. Seuss's children's books". After several books in prose, Geisel returned to verse for 1940's "Horton Hatches the Egg", using the same "galloping, rollicking, anapestic tetrameter rhyme scheme" he had used for "Mulberry Street". In a later series of children's stories for "Redbook" magazine, Geisel reported "the latest news from Mulberry Street". In "Marco Comes Late", Marco attempts to explain why he is two hours late to school.


text: Geisel returned to fictionalized versions of his home town in three later books, which, together with "Mulberry Street", form what Donald Pease calls the Springfield Cycle. "McElligot's Pool" (1947), "If I Ran the Zoo" (1950), and "If I Ran the Circus" (1956) take place in different fictionalized versions of Springfield. Each also features a young protagonist who, when prompted by an adult, responds with "a series of increasingly fantastic scenarios." "McElligot's Pool" also marks Marco's return as a main character in a Dr. Seuss book.


text: When Geisel returned to Springfield in 1986 as part of a publicity tour he was greeted by dozens of children on Mulberry Street. Another group of children held up a banner that read, "And to think that we saw him on Mulberry Street". John Fogerty, frontman for the Creedence Clearwater Revival, has stated that the band's song "Lookin' Out My Back Door" was partly inspired by the book.


text: In 2017, there was some controversy regarding the stereotypical depiction of a Chinese man in a mural at the Amazing World of Dr. Seuss Museum, which was derived from the book.


text: Dr. Seuss Enterprises pulled "Mulberry Street" from publication in March 2021 along with five other works by Geisel due to the inclusion of imagery they deem "hurtful and wrong". While Dr. Seuss Enterprises did not specify which illustrations were offensive, the "National Post" cited an instance where "Mulberry Street" depicts a "Chinese man". This particular character has lines for eyes, wears a conical hat and clog shoes, and carries chopsticks to eat a bowl of rice. The original publication referred to a "Chinaman" who also had a queue, and yellow coloring for the character's skin. These latter features were removed by Geisel in the 1970s when the character's name was changed to "a Chinese man". Other plausible (but unspecified by Dr. Seuss Enterprises) content for exclusion include depictions of a "Rajah, with rubies" and two fur-clad figures being pulled by a reindeer. Removing the books caused a surge in sales for other works by Geisel that impacted Amazon's charts in the United States. It was reported by CTV News that nine of the top ten best sellers were all books by Geisel, excluding the books that were removed. Other impacts included the collectors value of "Mulberry Street", as cash offerings rose substantially on eBay before the listings were removed for "offensive content".


title: Nancy Parsons

text: Parsons grew up in Lake Minnetonka, Minnesota and was a member of the Class of 1960 at Minnetonka High School.


title: Nancy Parsons

text: Parsons's acting debut came in the film "I Never Promised You a Rose Garden" (1977). She portrayed Beulah Balbricker in the 1982 film "Porky's" and its sequels, as well as Ida in "Motel Hell" (1980).


title: Nancy Parsons

text: Parsons made guest appearances in several TV shows, including "Remington Steele", "Baretta", "Charlie's Angels", "The Rockford Files", "Lou Grant", "Family Ties", and "".


title: Raí

text: Raí Souza Vieira de Oliveira (born 15 May 1965), known as Raí (), is a Brazilian former professional footballer who played as an attacking midfielder.


title: Raí

text: He spent the better part of his 15-year career with São Paulo and Paris Saint-Germain, winning 10 major titles with the two teams combined, and nearing the 100-goal mark. He is considered by fans, journalists and players as the greatest legend of Paris Saint-Germain despite his relatively short period at the club. He is the younger brother of more famous Brazilian footballer Sócrates.


title: Raí

text: Born in Ribeirão Preto, São Paulo, Raí started his career with local Botafogo Futebol Clube (SP), signing in 1986 with Associação Atlética Ponte Preta, with which he made his Série A debuts.


title: Raí

text: Raí joined São Paulo FC for the 1987 season, only making his league debut on 18 October due to injury. He only scored once in his first year but, following the arrival of Telê Santana as coach, blossomed into a prolific scorer, scoring 28 overall in the 1991 campaign as the team won both the regional Campeonato Paulista and the National Championship.


title: Raí

text: In 1992, Raí was part of the São Paulo team that won the club's first ever Copa Libertadores, scoring the only goal of the final second-leg against Newell's Old Boys that took the match to a penalty shootout. Later that year, he was instrumental in the defeat of FC Barcelona in the 1992 Intercontinental Cup, netting both goals in a 2–1 win in Tokyo. This form saw Raí named South American Footballer of the Year for 1992.


title: Raí

text: In the 1993 season, São Paulo defended their Copa Libertadores title, with Raí again scoring in the final as CD Universidad Católica were beaten 5–1 at the Estádio do Morumbi.


title: Raí

text: In June 1993, Raí was acquired by Paris Saint-Germain F.C. of France for US$4.6 million, remaining with São Paulo until the end of the year. He still managed to contribute with six goals in 28 Ligue 1 games as his new club won the national championship for the second time in its history; he helped "PSG" to the following season's French Cup, and was on target in the League Cup final against SC Bastia (2–0).


title: Raí

text: Raí once again proved essential as the capital outfit won the 1996 UEFA Cup Winners' Cup, scoring twice in a 3–1 home win against Parma, after a 1–0 away loss. He also appeared in the final against SK Rapid Wien, and went on to score three seasons in double digits during his five-season spell. In 1997–98 he scored in both the Coupe de la Ligue final and the Coupe de France final against Bordeaux and Lens respectively as PSG won both games.


title: Raí

text: Raí gained the first of his 49 caps for Brazil in 1987, whilst at São Paulo, being selected to that year's Copa América in Argentina, playing twice – including in the 0–4 group stage loss against Chile – in an eventual group stage exit. His debut occurred on 19 May at the Rous Cup, playing 15 minutes in a 1–1 draw against England.


title: Raí

text: Raí was picked by coach Carlos Alberto Parreira for his 1994 FIFA World Cup squad. He captained the team in the group stage and scored a penalty in the first match, a 2–0 win against Russia, after Romário was brought down in the box. Raí was subsequently dropped from the first team in the knockout stages, with Dunga taking over the captaincy. He was used as a substitute against the Netherlands (quarterfinals, ten minutes) and Sweden (semifinal, 45 minutes) as the national team went on to win the tournament.


title: Raí

text: Raí's older brother, Sócrates, was also a footballer and an attacking midfielder. He too represented Botafogo de São Paulo in his career, and was also a longtime Brazilian international.


title: Raí

text: After retiring, Raí became a social activist and justice campaigner, being involved in two separate philanthropic organisations.


title: Yoshinoya

text: The kanji 吉 ("yoshi") means "luck" in Japanese, the kanji 野 ("no") means "field", and the kanji 家 ("ya") means "house".


title: Yoshinoya

text: The founder of the company, Eikichi Matsuda (松田栄吉), was from the former town of Yoshino (吉野町) in Osaka Prefecture, and a belief predominates that Yoshino is the origin of the name.


title: Yoshinoya

text: In Japan, the nickname of the restaurant is ""yoshigyū"" (吉牛), which is an abbreviation of "Yoshinoya no gyūdon" (吉野家の牛丼, Yoshinoya's gyūdon).


title: Yoshinoya

text: The logo of Yoshinoya resembles a bull horn, and was invented by Yoshinoya's founder Eikichi Matsuda. The idea of the bull horn was derived from the initial letter of Yoshinoya's English name, "Y". The rope surrounding the horn represents a in Japanese sumo-wrestling, "Yokozuna" (equivalent to "winner"), representing the quality of the food served in Yoshinoya. The surrounding rope is made up of 27 rice grains. The logo as a whole is meant to suggest that Yoshinoya sells the "best beef bowls".


title: Yoshinoya

text: Yoshinoya first opened in 1899 at the Nihonbashi fish market in Tokyo. When the market was devastated by the Great Kantō earthquake, Yoshinoya moved to the new Tsukiji fish market in Tokyo in 1926.


title: Yoshinoya

text: On December 27, 1958, the chain's business model was changed from self-employed restaurants to a stock company, as an attempt to gain more profit.


title: Yoshinoya

text: In 1965, the chain earned a million dollars in sales, which led to the idea of expanding the chain's operations in Japan.


title: Yoshinoya

text: In 1975, the first American store of the fast-food chain was opened in Colorado.In the early 2000s, Yoshinoya, along with other chains such as McDonald's, triggered a price war in Japan by introducing a regular beef bowl dish for 280 yen, or around US$3.


title: Yoshinoya

text: Yoshinoya has a chain of stores in Japan, the United States, Hong Kong, Cambodia, China, Indonesia, Malaysia, Mongolia, Philippines, Singapore, Taiwan, and Thailand.


title: Yoshinoya

text: In its restaurants in Japan, tables are often counters, and in that case, they take orders over those counters. Chopsticks are provided. The menu includes standard-serving ("nami", or "namimori", 並盛), large-serving ("ōmori", 大盛), or extra-large-serving ("tokumori", 特盛) beef bowls, pork bowls ("butadon", 豚丼), raw eggs (to stir and pour on top, sometimes mixed with soy sauce), soft-boiled eggs ("hanjuku tamago", 半熟玉子), miso soup and pickles (called "oshinkō" [お新香] in its menu; a kind of "asazuke"). They also serve red ginger ("beni shōga"), spice, and Japanese tea ("ocha", お茶) free of charge. Some menus including raw eggs and miso soup can be taken out.


title: Yoshinoya

text: Some customers make special requests at no extra charge such as: extra gravy sauce ("tsuyudaku", つゆだく), extra onions ("negidaku", ねぎだく), without gravy sauce ("tsuyunuki", つゆ抜き), no onions ("neginuki", ねぎ抜き), egg-yolk only ("kimidake", 黄身だけ) and less rice ("karui no", 軽いの; literally "light one").


title: Yoshinoya

text: On June 14, 2011, Yoshinoya in Japan started serving eel bowls ("unadon", 鰻丼) as a standard seasonal menu to be offered until the latter part of July.